DOCSLIB.ORG

Toronto Consort Orfeo Housep

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Toronto Consort Orfeo Housep Thank You! It is with sincere appreciation and gratitude that we salute Vivian E. Pilar for her leadership and support of this production. Thank You! It is with sincere appreciation and gratitude that we salute Greig Dunn & Robert Maclennan for their leadership and support of this production. Thank You! It is with sincere appreciation and gratitude that we salute The Spem in Alium Fund for their leadership and support of this production. ORFEO Favola in musica Claudio Monteverdi Cast (in order of appearance) La Musica Katherine Hill Pastori Kevin Skelton, Laura Pudwell, Bud Roach, David Roth, Cory Knight Ninfa Michele DeBoer Orfeo Charles Daniels Euridice Katherine Hill Silvia (Messagiera) Laura Pudwell Speranza Laura Pudwell Caronte John Pepper Proserpina Michele DeBoer Plutone David Roth Spiriti Cory Knight, Bud Roach, Kevin Skelton Eco Cory Knight Apollo Kevin Skelton ORCHESTRA Étienne Asselin 2nd cornetto Maximilien Brisson tenor sackbut Peter Christensen tenor sackbut Felix Deak viola da gamba Emily Eng 2nd viola David Fallis director, organ, harpsichord Margaret Gay cello Geneviève Gilardeau 2nd violin Ben Grossman percussion Lucas Harris theorbo Paul Jenkins harpsichord, organ Matthew Jennejohn 1st cornetto Jeanne Lamon 1st violin Stephen Marvin 1st viola Terry McKenna theorbo, baroque guitar Alison Melville 1st recorder Joëlle Morton violone Catherine Motuz alto sackbut Linda Pearse bass sackbut Bud Roach baroque guitar Colin Savage 2nd recorder Julia Seager-Scott baroque harp Nathaniel Wood bass sackbut Tonight’s Performers are: Staff & Administration THE TORONTO CONSORT David Fallis, Artistic Director Michelle Knight, Managing Director David Fallis, conductor Adam Thomas Smith, Director of Michele DeBoer Audience Engagement and Education Ben Grossman Nellie Austin, Bookkeeper Katherine Hill Chris Abbott, Graphic Designer Paul Jenkins Yara Jakymiw, Season Brochure Graphic Designer Terry McKenna Martin Reis, Derek Haukenfreres Alison Melville & Ruth Denton, Box Office John Pepper Peter Smurlick, Database Consultant Laura Pudwell Gordon Baker, Stage Manager Cecilia Booth, Front of House, Volunteer Coordinator WITH SPECIAL GUESTS Gordon Peck, Technical Director Sabrina Cuzzocrea, CD Sales and Event Assistant Heather Engli, Touring Charles Daniels LA ROSE DES VENTS Felix Deak Emily Eng Étienne Asselin Maximilien Brisson Margaret Gay Board of Directors Geneviève Gilardeau Peter Christensen Lucas Harris Matthew Jennejohn Catherine Motuz Heather Turnbull, President Cory Knight Ann Posen, Past President Jeanne Lamon Linda Pearse Nathaniel Wood Harry Deeg, Treasurer Stephen Marvin Frances Campbell, Secretary Joëlle Morton John Ison Bud Roach Trini Mitra David Roth Sara Morgan Colin Savage Anita Nador Julia Seager-Scott Tiffany Grace Tobias Kevin Skelton Andrea Whitehead The Toronto Consort is a Proud Member of Follow us on Facebook and Instagram! @TorontoConsort 427 Bloor Street West, Toronto ON M5S 1X7 Box Office 416-964-6337 Admin 416-966-1045 | [email protected] TorontoConsort.org bloorstculturecorridor.com ABOUT US Top Row: David Fallis, Alison Melville, Michele DeBoer, John Pepper, Paul Jenkins Bottom Row: Katherine Hill, Terry McKenna, Laura Pudwell, Ben Grossman Photo Credit: Paul Orenstein Since its founding in 1972, The Toronto Consort to Europe and Great Britain four times, and has become internationally recognized for its frequently across Canada and into the US. excellence in the performance of medieval, The Toronto Consort has made recordings renaissance and early baroque music. Led by Artistic for the CBC Collection, Berandol, SRI, Dorian, Director David Fallis, nine of Canada’s leading and currently Marquis Classics, with 10 CDs to early music specialists have come together to form its credit, two of which have been nominated The Toronto Consort, whose members include for Juno awards. The most recent recording both singers and instrumentalists (lute, recorder, (The Italian Queen of France) was released in 2017. guitar, flute, early keyboards and percussion). Recently, the ensemble has been called Each year The Toronto Consort offers a upon to produce music for historical-drama subscription series in Toronto, presented in the TV series, including The Tudors, The Borgias and beautiful acoustic of the recently-renovated The Vikings, all produced by the cable network 700-seat Jeanne Lamon Hall, at the Trinity- Showtime. The Toronto Consort recorded St. Paul’s Centre in downtown Toronto. The the soundtrack for Atom Egoyan’s award- ensemble also tours regularly, having been winning film The Sweet Hereafter. PROGRAM NOTES ”Monteverdi has let me see the verses the first great “sung play” or, to use a word and hear the music of the comedy which your Monteverdi would have wondered at, opera. Highness commissioned, and in truth the poet Orfeo is not, strictly speaking, the first opera. and musician have represented the emotions of There were three or four plays sung throughout the spirit so well that none have bettered them.” from the years immediately preceding Orfeo, So wrote, in 1607, the monk Cherubino only some of whose scores survive in their Ferrari to his friend, Prince Gonzaga, on entirety. Significantly, two of these are on the the performance of a play by Alessandro same subject as Orfeo – that of the Arcadian Striggio the Younger, called L’Orfeo, with musician who, upon the death of his bride music by Claudio Monteverdi, the director Eurydice, decides to try and reclaim her from of music at the Mantuan court. hell, using the power of his song to charm the The reaction of the first audience to the infernal deities. The power of music is the central work was favourable. The Grand Duke of theme of the myth, more specifically the power Mantua was so impressed that he ordered a of song, and its triumph over death. A fitting second performance for a week later, in order subject, then, for the first operas, which were that more of the ladies of the city could see it. self-conscious attempts to create music which (Few women had, in fact, been present at the might move the emotions even more powerfully opening because it had been performed for than words alone were known to do, to create a gathering of the Accademia degl’Invaghiti, a music which had reclaimed its Orphic roots. sort of aristocratic arts club which sponsored The earliest operas were products various events, but whose membership was of academies, gatherings of aristocratic exclusively male.) One writer remarked that intellectuals who discussed how modem music “the poetry is lovely in conception, lovelier might regain the power the ancient writers still in form, and loveliest of all in diction,” attested to. The most important result of all and added that “the music, observing due this talk and experimentation was a move away propriety, serves the poetry so well that nothing from the sophisticated polyphonic art that had more beautiful is to be heard anywhere.” dominated Renaissance music, to a singing style Then, however, Orfeo was left behind which gave the text dominance, and in which the as “sung plays” developed from courtly rhythm and meaning of the words would dictate entertainment to spectacles for a paying the music. Like any period of experimentation, public, and after those first two performances the late sixteenth and early seventeenth in 1607, it was, as far as we know, never centuries witnessed a variety of ways in which performed again until Vincent d’Indy directed this basic new principle manifested itself. Some a concert performance in French at the composers, like Caccini, still wrote music which Paris Schola Cantorum in 1904. Since then, was basically in song form, but asked that it be of course, it has taken its rightful place as sung with a certain “refined negligence” as far as the rhythms were concerned. Others were realizing the bass line when accompanying more thoroughgoing, and wrote music which singers were lutes, harps and organs, was to be performed “senza misura” (without a less often harpsichord, and usually steady beat). A contemporary of Monteverdi’s, without the addition of a single-line Marco da Gagliano, pointed to the rhythmic instrument, such as cello or bassoon. freedom of this style of singing when he called Despite this variety of musical styles, it recitar cantando – speaking while singing. Orfeo is a carefully constructed work, elegant in Within this latter category variations existed, its formal design. It begins with a Toccata (to be as sometimes significant harmonies were played on muted trumpets) during which (one introduced, or bass lines were given rhythmic assumes) the Gonzaga princes took their seats at coherence by various repetition schemes. The the first performance. The Prologue makes clear result was that a sophisticated musical mind what has already been suggested by the choice like Monteverdi’s had a wide range of options of subject, namely, that the real theme of the upon which to draw, and one of the strengths evening is the power of music. Thus, it is Music of Orfeo is its integration of so many types herself who addresses us at the opening (not of text rendering. Indeed Orfeo is a virtual Tragedy as was the case in the earlier operatic compendium of early 17th-century vocal and Orfeos) cataloguing her powers and making sure instrumental forms, some hearkening back we listen, not just watch. Thereafter, the acts to the late Renaissance, others in the most are separated by choruses and dances, much avant-garde style of the emerging Baroque. in the way intermedii were used to separate the The choruses that close Acts III and IV acts in productions of classical tragedies at the might well have been written by Philippe time. Like the best intermedii, these choruses Verdelot in the 1530’s. The brass canzonas which relate closely to the action just finished, either in accompany them are similarly old-fashioned. the manner of people who are taking part, like On the other hand, the instrumental interludes the festive end to Act I or the mournful end to to Orpheus’ famous aria “Possente spirto” are Act II, or a chorus which points out the “moral products of the virtuoso soloistic style current of the story” as in Acts III and IV.
Load more

Recommended publications
  • Janet Cardiff
    © Bernhard Müller Janet Cardiff The Forty Part Motet 9. bis 25. Juni 10:00-19:00 Kollegienkirche Janet Cardiff The Forty Part Motet Eine Bearbeitung von Spem in Alium Nunquam Habui, 1573 von Thomas Tallis Die kanadische Künstlerin Janet Cardiff hat Die in British Columbia lebende Janet Forty Part Motet wurde ursprünglich produziert mit ihrem international gefeierten Projekt Cardiff entwickelt, meist zusammen mit von Field Art Projects . The Forty Part Motet eine der emotionals- George Bures Miller, seit Jahren Installatio- In Kooperation mit: Arts Council of England, Cana- ten und poetischsten Klanginstallation der nen, Audio- und Video-Walks, die regelmä- da House, Salisbury Festival and Salisbury Cathedral letzten Jahre geschaffen. Die Sommersze- ßig mit Preisen ausgezeichnet werden. Ihre Choir, Baltic Gateshead, The New Art Galerie Walsall, ne 2021 bringt dieses berührende Hörerleb- Einzelausstellungen, die zwischen Wien Now Festival Nottingham nis erstmals nach Salzburg und installiert es und Washington zu sehen waren, sind Er- Gesungen von: Salisbury Cathedral Choir im sakralen Raum der Kollegienkirche. lebnisse für alle Sinne. The Forty Part Mo- Aufnahme & Postproduction: SoundMoves Die Grundlage der Arbeit bildet ein 40-stim- tet hat bereits Besucher*innen von der Tate Editiert von: Georges Bures Miller miges Chorstück, das aus vierzig Lautspre- Gallery bis zum MOMA begeistert. Eine Produktion von: Field Art Projects chern, die kreisförmig angeordnet sind, ab- gespielt wird. Janet Cardiff hat die Stimmen „While listening to a concert you are nor- Mit Unterstützung von der Motette Spem in Alium des englischen mally seated in front of the choir, in tradi- Renaissance-Komponisten Thomas Tallis tional audience position. (…) Enabling the aus dem 16.
    [Show full text]
  • BIOGRAPHY of EMILY HAMPER "The Extremely Difficult Piano Part
    BIOGRAPHY OF EMILY HAMPER "The extremely difficult piano part was perfectly realized by Emily Hamper, a very authoritative accompanist throughout the concert." (Concertonet, Paris, January 2014) Emily Hamper has earned an excellent reputation for her exceptional skills as a vocal coach and accompanist. Singers from her coaching studio perform with major opera companies and symphony orchestras around the world. Within an international career spanning twenty years, she has worked as a rehearsal pianist, coach, and assistant conductor for many prominent opera companies and organizations. Highly sought-after as a collaborator for voice recitals, she has recently appeared in performance for the Montreal Symphony Orchestra’s “Virée Classique”, L'Opéra National de Paris, and Music Toronto. In January 2017 she partners baritone Phillip Addis in recital at the Canadian Opera Company. Other performances include recitals for the Queensland Music Festival (Australia), Calgary Opera, Festival Orford, Stratford Summer Music, and many other venues in Canada, the USA, and Europe. In 2011 she was awarded the Best Collaborative ​ Pianist Prize at the Eckhardt-Gramatté National Music Competition and accompanied thirteen ​ performances across Canada on the National Winner's Tour. Performances have been broadcast on CBC Radio, Radio-Canada, Classical 96.3 FM and Vermont Public Radio. Engaged as a répétiteur and official audition accompanist by Calgary Opera, l'Opéra de Montréal, Opera Atelier and Pacific Opera Victoria, Ms. Hamper was production director for a performance based on Manon at the Muskoka Opera Festival in 2013. Her genuine interest in ​ ​ new music has resulted in engagements with Soundstreams Canada and Tapestry Opera, the workshopping of a new opera with Manitoba Opera, and the commission of a cycle of four songs by composer Erik Ross and poet Zachariah Wells.
    [Show full text]
  • Universiv Micrmlms Internationcil
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • BOOKLET CCS SA SEL 3705 21-11-2017 13:26 Pagina 1
    BOOKLET_sampler 9:BOOKLET_CCS SA SEL 3705 21-11-2017 13:26 Pagina 1 CHANNEL CLASSICS CCS SA SEL 6717 SUPER ARTISTS IN SUPER AUDIO 15 tracks 69 minutes 32 composers 11 channel classics artists BOOKLET_sampler 9:BOOKLET_CCS SA SEL 3705 21-11-2017 13:26 Pagina 2 BOOKLET_sampler 9:BOOKLET_CCS SA SEL 3705 21-11-2017 13:26 Pagina 3 CCS SA 33412 Allegro from Concerto No.1 - A. Vivaldi 1 Holland Baroque Rachel Podger, violin ‘La Cetra’ A. Vivaldi 12 Violin Concertos, opus 9 on historical instruments SA-CD.net 5 stars: ... a triumphant return to Vivaldi ... Classics Today 5 stars: ... a search for the best recording of a given set of Vivaldi violin concertos gets easier with every new release from Rachel Podger ... Podger is a dynamic and unfailingly accurate virtuoso with exceptional interpretive instincts ... WQXR: Album of the Week: ... it's well tuned, and supported by a richly varied continuo of archlute, theorbo, gui - tar, organ and harpsichord ... Stereophile 5 stars: ... Podger and her Dutch band seek out the peculiari - ties, the differences and surprises ... the fast movements are joyful, almost dancelike, and the slow move - ments are embellished in ways that can be practically bluesy … the recording is spectacular … these per - formances are beauties, every one ... 3 BOOKLET_sampler 9:BOOKLET_CCS SA SEL 3705 21-11-2017 13:26 Pagina 4 CCS SA 32713 Götterdämmerung - Siegfried's Funeral March - R.Wagner 2 Budapest Festival Orchestra Iván Fischer, conductor Petra Lang, soprano R. Wagner Götterdämmerung Die Meistersinger von Nürnberg Excerpts Siegfried – Idyll BBC Music Magazine 5 stars: ... Fischer’s Meistersinger is quite sprightly yet poised, with an attractively underlying warmth, and his Siegfried-Idyll has chamber-like translucency ..
    [Show full text]
  • Opera Origins
    OPERA ORIGINS l)y ERt^^A LOUISE BOLAN B. A. , Ottawa University, 1952 A MASTER'S REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Departirient of Kusic KANSAS STATE UNIVERSITY Manhattan, Kansas 1968 _o Approved l^:. ih*-^ .-_-c^ LiacZ Major I^ofesst^ ii /^^ - . BG^' table of contents Page ^^^ INTRODUCTIOII • Chapter I. THE FOK^'S OF MUSICAL DRM^A BEFORE 1594 1 LITURGICAL DRill^^A 1 MYSTERIES 3 SECUL.AR DR/U'lATIC MUSIC 5 6 Masche):ata , Masque , and Ballet Intei-ir.edio " Madrigal Forras H Pastoral e Drama • 12 II. THE EMERGENCE OF OPERA THROUGH THE ZiWM^k 15 - 17 . MONODY THE GREEK WAY DAFNE 25 EURIDICE 27 MOKTETORDI AND ORFEO 31 ACKT>IOV.?LEDGl'ni;NT 33 BIBLICGRAPHI 34 INTRODUCTION In trying to reconstruct and assess the main features of any historical event, it is difficiilt to find the starting point. The history of opera is no exception. We find varying degrees of impor- tance given certain events by different v/riters. We find va-iters who see the music and drama combination of the Middle Ages and the Renais- sance as seeds of opera, and others feeling there is no significant connection. Ho\rever, in the inindo of the members of the "Florentine Caraerata," long since recognized as the originators of opera, there v;as no doubt as to the origin of their idea. Creek trsigedy, as they under- stood it, was the sole basis of their experiments. And yet, little is knovm of the part music really played in Greek drama, the one extant example being a very short mutilated fragment of imison melody from a chorus of Euripides' Orestes (^^08 b.c), and even this was not knovm to the early opera composers.
    [Show full text]
  • Motive and Spatialization in Thomas Tallis' Spem in Alium Kevin Davis
    Motive and Spatialization in Thomas Tallis’ Spem in Alium Kevin Davis Abstract This paper is an analysis of Thomas Tallis’ 40-voice motet Spem in Alium. A piece of this scale and complexity posed challenges in terms of voice leading and counterpoint in this musical style due to its forces, scale, and complexity. In this analysis I suggest that Spem in Alium, due to the peculiarities of its nature, compelled Tallis to experiment with two specific elements—motive and spatialization, the specific treatment of which arises from the fundamental properties counterpoint and voice-leading and combines to create this unique form of antiphonal music. From this combination of factors, the piece’s distinctive “polyphonic detailism” emerges. 1 Origins of work and project Suggestions as to how and why such a work came to be are varied and unreliable. In her book Thomas Tallis and His Music in Victorian England, Suzanne Cole lists a variety of possible reasons claimed by different writers: an attempt to improve upon a 36-voice work of Ockeghem, for quasi-political reasons, as a response to a royal payment of 40 pounds, as a protest on behalf of forty generations of English Catholics slandered by the Protestant Reformation, and for Elizabeth I’s 40th birthday celebration2. Paul Doe in his book Tallis also suggests that is might have been for the sake of personal fulfillment, though as a sole motivation seems less likely.3 Thomas Legge in his preface to the score makes the most convincing argument as to its origin however: inspired by a performance of mass of 40 voices by Alessandro Striggio in London, June of 1557, Tallis was encouraged to undertake the challenge of composing a work with similar forces.
    [Show full text]
  • CHAN 0723 Booklet.Qxd 13/12/07 18:40 Page 2
    CHAN 0723 Front.qxd 13/12/07 18:36 Page 1 BUXTEHUDE SACRED CANTATAS Vol. 2 EMMA KIRKBY • MICHAEL CHANCE • CHARLES DANIELS • PETER HARVEY THE PURCELL QUARTET CHAN 0723 CHANDOS early music CHAN 0723 Booklet.qxd 13/12/07 18:40 Page 2 Dietrich Buxtehude (c. 1637–1707) Sacred Cantatas, Volume 2 1 Das neugebor’ne Kindelein, BuxWV 13 6:45 for soprano, alto, tenor, bass, three violins, violone and basso continuo AKG Images 2 Quemadmodum desiderat cervus, BuxWV 92 7:44 Chiaccona à 3 for tenor, two violins and basso continuo Nichts soll uns scheiden von der Liebe Gottes, BuxWV 77 10:22 for soprano, alto, bass, two violins, violone and basso continuo 3 Nichts soll uns scheiden von der Liebe Gottes 2:34 4 Wie sollte wohl heißen das zeitliche Leiden 1:54 5 Auch ist kein erschaffnes Vermögen zu nennen 2:00 6 Denn Gott hat die Liebe so hoch ja getrieben 3:52 Dixit Dominus Domino meo, BuxWV 17 10:03 for soprano, two violins, two violas, violone and basso continuo 7 Sonata 0:44 8 Dixit Dominus Domino meo 2:43 9 Juravit Dominus 0:52 Dietrich Buxtehude, with sheet of music, in an allegorical painting by Johann (Johannes) 10 Dominus a dextris tuis confregit in die irae suae reges 1:30 Voorhout (1647–1723) called Musizierende Gesellschaft, or Häusliche Musikszene (1674), 11 …conquassabit capita in terra multorum 1:22 also showing Johann Adam Rincken, at the keyboard 12 Gloria patri et filio et spiritui sancto 2:48 3 CHAN 0723 Booklet.qxd 13/12/07 18:40 Page 4 An filius non est Dei, BuxWV 6 12:09 29 Jesu dulcis memoria, BuxWV 57 7:20 for alto, tenor, bass,
    [Show full text]
  • Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640
    Chapter 7: Humanism and the Emergence of Opera in Italy: 1590–1640 I. Introduction A. Groups of humanists flourished in Italy during the Baroque period. 1. New ideas included stile rappresentativo (representational style), monody, and recitative. 2. Early plays featuring music in this new manner included intermedia (singular: intermedio). Musical plays called favola in musica (fable in music) are now considered the first operas. B. An important figure was Claudio Monteverdi, who explored the seconda pratica (second practice), claiming, “the words are the master of the music.” II. The Baroque era A. The word Baroque is used to cover music from 1600 to 1750. It was applied to music later and used to describe the music as overly decorated and ornate. 1. It could be referred to as the Italian age because most of the musical innovations during the time took place in Italy. It could be called the Galilean period, because of Galileo Galilei’s work, along with other developments in science, or the Cartesian period after Descartes. 2. Theatrical age, instrumental age, and continuo age could also apply because of developments. III. Humanism and the Greek past A. During the sixteenth century, academies formed in Italy, modeled loosely on the academies of ancient Greece. B. The most important academy was in Florence. 1. This group considered the performance of Greek drama and poetry a musical event. 2. These ideas were adopted by a group of humanists known as the Camerata. IV. Monody and the representational style A. Galilei thought that music should represent the meaning or emotion. 1.
    [Show full text]
  • Tallis's Spem in Alium
    Spem in Alium – a comparatively review of fourteen recordings by Ralph Moore Background We know less about Thomas Tallis than Shakespeare or any other major cultural figure of the Tudor age; definite facts are few and reasonable inferences and conjectures are many, starting even with the dates of his birth – presumed to be around 1505 - and death - either 20th or 23rd November, 1585. The exact site of his grave in the chancel of the parish of St Alfege Church, Greenwich, is lost. We have no authenticated portrait. What we do know is that despite being a recusant Catholic, he not only survived those perilous times but prospered under a succession of Protestant monarchs, the sole Catholic being Edward VII’s sister Mary, who reigned for only five years, from 1553-1558. He was so valued and respected that Elizabeth gave him the lease on a manor house and a handsome income, and in 1575 he and his pupil William Byrd were granted an exclusive royal patent to print and publish polyphonic music. The key to his survival must lie in his discretion, flexibility and, above all, prodigious talent: he is indubitably one of the greatest English composers of his or any age and a towering figure in Renaissance choral music. His masterpiece is certainly the forty-voice motet Spem in alium but here again, verified facts regarding its origin and first performance are few. The original manuscript is lost and our knowledge of the work is derived from another score prepared for the investiture in 1610 of James I’s elder son, Henry, as Prince of Wales, and used again for the coronation in 1625 of his younger brother, Charles I, next in line to the throne after Harry’s death in 1612 from typhoid fever at eighteen years old.
    [Show full text]
  • Matthäus-Passion. Charles Daniels (Evangelist Und Tenor), Peter Harvey
    Johann Sebastian Bach: Matthäus-Passion. Charles Daniels (Evangelist und Tenor), Peter Harvey (Jesusworte), Joanne Lunn (Sopran), Margot Oitzinger (Alt), Wolf Matthias Friedrich (Bass), Chor und Orchester der J.S. Bach-Stiftung, Leitung: Rudolf Lutz. JSB 3 CDs 7640151160111. Seit 2007 führt die schweizerische „J.S. Bach-Stiftung“ – so ihre eigene Schreibweise – monatlich ein Vokalwerk des Thomaskantors auf, und zwar mit großem Aufwand: Zunächst gibt es eine musikalisch-theologische Werkeinführung, die zwar Workshop genannt wird, aber eher ein Vortrag ist. Dann erklingt das jeweilige Stück zum ersten Mal an diesem Abend, worauf eine Betrachtung des barocken Kantatentextes aus heutiger Sicht durch eine Persönlichkeit aus Kultur, Wirtschaft oder Politik folgt. Abschließend wird das Stück ein zweites Mal gesungen und gespielt, damit man es nach der Reflexion anders wahrnehmen kann als zuvor. Dokumentiert wird das Ganze in mehrfacher Form: Einmal auf DVD mit allem Drum und Dran, aber nur einem Werk pro Veröffentlichung; oder auf CD mit mehreren Stücken, aber ohne Einführung und Reflexion. Die Reflexionen kann man wiederum als Buch oder als Download kaufen. Hierüber wie über weitere Details informiert die Website www.bachstiftung.ch. Die Produkte sind entweder direkt bei der Bach-Stiftung oder über den deutschen Versandhandel zu beziehen. Ein ebenso ehrgeiziges wie engagiertes Projekt, das sich über 25 Jahre erstrecken soll und mit der sprichwörtlichen schweizerischen Genauigkeit gestaltet wird. Die Sorgfalt im Detail ist schon beeindruckend, in spiel- und aufnahmetechnischer Hinsicht gibt es nicht das Geringste auszusetzen, die Redaktion der DVDs, CDs und Bücher ist hervorragend, nur die alberne Entscheidung der Werbeagentur, an prominenten Stellen (z. B. Überschriften oder Werktiteln) bewusst gegen die Regeln der Rechtschreibung zu verstoßen, um sich „grafisch vom traditionellen Bach-Markt abzuheben“ (wie es heißt), wirkt reichlich deplatziert.
    [Show full text]
  • Matthew Brook & Peter Seymour
    Matthew Brook & Peter Seymour Amore traditore Cantatas for bass and harpsichord St Lawrence Church 15 July 2021 1.00 pm _________________ Online Premiere 16 July 2021 1.00 pm Matthew Brook bass-baritone Peter Seymour harpsichord Cantata: ‘Amore traditore’, BWV 203 Johann Sebastian Bach (1685-1750) Ich habe genug; Schlummert ein, BWV 82 Bach Mädchen, die von harten Sinne, Bach from Kaffeekantate, BWV 211 Cantata: ‘Dalla guerra amorosa’, HWV 102a George Frideric Handel (1685–1759) Pur ritorna a rimirarvi from Agrippina Handel Komm, süsses Kreuz Bach from Matthäus Passion, BWV 244 Vieni, o cara Handel from Rinaldo Sull’arena di barbara scena Handel from Imeneo This programme is taken from the high Baroque of the eighteenth century in Italy and Germany. Handel, although born in Germany, assimilated the latest Italian fashions, especially of opera and the smaller-scale cantata, during his studies in Italy around 1707-09. Whilst Dalla guerra amorosa is only one of many in this form (a sequence alternating recitatives and (often da capo) arias), that by Bach, Amore traditore, is unique as a continuo cantata, written during his employment at Köthen. It may have been an exercise in setting an Italian text (along with BWV 209, Non sa che sia dolore, for soprano, flute and strings), and the text was copied from a setting by Fago which Bach found in the library at Köthen. Whilst Handel travelled to Rome and Venice to study Italian fashions and innovations, Bach experimented either by arranging existing Italian compositions (e.g. by Vivaldi and Albinoni) or with his own original compositions such as here.
    [Show full text]
  • Western Culture Has Roots in Ancient
    24 11. Statement: These musical/theatrical genres needed an interest in ancient Greek drama in order for opera to Chapter 14 come to life. The Invention of Opera 12. What were the two views of music in ancient Greek tragedy? 1. [307] What is the etymology of the word opera? Give a Only the choruses were sung (Andrea Gabrieli, 1585, Oedipus definition. Rex); the play was sung throughout (Girolamo Mei) Italian for work; a drama with continuous, or nearly continuous, music that is staged with scenery, costumes, 13. (310) What were Mei's conclusions? and action Single melody sung by a soloist or chorus with or without accompaniment. The melody (register, rhythms, tempo) 2. Do the same for libretto. could have a powerful effect on the listener Italian for little book; usually a play in rhymed or unrhymed verse 14. What was the Florentine camerata? Who were its members? 3. What are the two viewpoints of opera's origin? Circle or association (an academy); Bardi, Galilei, Caccini, 1. Recreate ancient Greek tragedy (a drama, sung throughout, (Peri) in which music conveys the emotional effects) 2. Blend of existing genres (plays, theatrical spectacles, dance, 15. What was Galilei's published work? madrigals, and solo song) Dialogo della musica antica et della moderna, 1581. Polyphony can't accurately represent the emotional 4. List briefly the distant precedents. meaning of text; word painting and such were childish Choruses and principal lyric speeches in the plays of Euripides and Sophocles were sung; liturgical plays; Renaissance 16. What genre resulted? Definition, please. plays often had songs or offstage music Monody; accompanied solo singing 5.
    [Show full text]