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In addition to teaching, Board maintains an active schedule as a professional singer and conductor. Alon Goldstein Pianist is known as one of the most original and sensitive artists of his generation, admired for his musical intelligence and dynamic personality. He made his orchestral debut at the age of 18 with the Israel Philharmonic under the baton of conductor Zubin Mehta, and in April of made a triumphant return with conductor Herbert Blomstedt.

Paul, Jerusalem,Tel Aviv and Paris, among others. Alon graduated from the Peabody Conservatory where he studied with Leon Fleisher and served as his assistant. Also at the Rep he has been assistant director on many a leader among the new generation of string productions including Clay, A Christmas Story, Into The Woods, The ensemble. The quartet will premiere a new work from Joan Tower, Chatterbox Audio Theater, a non-profit, web-based theatre company commissioned for them by Chamber Music Monterey Bay, in April where he has written and directed The Dead Girl, which won the Silver The Human Experience, a form of confessional theatre.

Hatley received his degrees in released on two CDs in July , and future recordings, also for Theatre from Rhodes College. Bridge, include an album of chamber music by Lawrence Dillon Fall and the complete string quartets of Fred Lerdahl Fall The award-winning members of the Daedalus Quartet hold degrees from.

He is extremely excited to be working on such an interesting project with such high caliber talent in the brand new Kauffman Center no less! Please enjoy The Darwin Project as much as Concha enjoyed working on it. As always, he would like to thank his wife. Other scenic designs Missouri, among others. Born in London, Andrew Berry, Ph. Distinguished Lecturer has In addition to scenic design Mr. Barnett has designed the special effects and a degree in zoology from Oxford University and a PhD in evolutionary props for shows including Joseph and the Amazing Technicolor Dreamcoat genetics from Princeton University.

Combining Unicorn Theatre. Barnett has designed corporate events for companies the techniques of field biology with those of molecular biology, his work including Helzberg, Walmart, and Sprint. He has published on topics as diverse as giant rats in New Guinea, mice on Atlantic islands, aphids from the Far East, and the fruit fly.

At Jeffrey Cady Lighting and Projection Designer is a freelance designer Harvard, he currently co-teaches courses on evolutionary biology, on living in Kansas City. Recent design credits include the world premiere of the development of evolutionary thinking, and on the physical basis Sherlock Holmes and the Suicide Club, for the Arizona Repertory Theatre, of biological systems.

His non-technical the Amazing Technicolor Dreamcoat. Alfred Russel Wallace, the Victorian biologist who, with Charles Darwin, Kaeda for her love and support of all of his work and endeavors. As an educator and popularizer, his mission is to demystify the most important and most misinterpreted of all biological ideas: evolution. Truman John Hess, Ph. Nature Photographer is a scientist combining Lecture Series. In his book, that is a naturalist.

He began accumulating his knowledge base with a PhD in Zoology from Colorado State University; taught evolutionary biology, ornithology and other courses, including photography, for more than 30 years; and is now Emeritus Professor of Biology at the University of Central Missouri.

This broad background in science lies at the core of his approach to art. His artistic leanings have been satisfied through photography with which he has been active for more than 40 years. During this wide-ranging exploration he has dipped his toe into most facets of photography and along the way has developed a level of expertise in most formats.

Influenced by Edward Weston, Ansel Adams and Eliot Porter, his subjects are nearly always natural, but they range in scale from broad panoramas to microscopic subjects—wherever there is beauty to be enjoyed. With the advent of the digital revolution, and the development of technologies of permanence, Hess has shifted to this new and exciting arena. He has been a 36th season Then triplets take us even further afield from the constrained march Haydn's two visits to London in and gave him a very clear sense by infusing urgency and passion.

Haydn is well aware of the high contrasts of his own international fame. After three decades of service to the Austrohe has set up. These three motivic ideas dominate the entire fabric of the movement. Far from resting idle very important to the articulation of the to enjoy the adulation, Haydn was as musical material, and focus our attention industrious as ever. During his last active The string quartet is understood to be the most important form on Haydn's skilled use of his ensemble.

The great Haydn brought the string quartet into prominence dotted rhythms of the principal melodic in the midth century; both of the string quartet programs that and The Seasons, and several of his best idea and the triplets. In the season in April—tellingly begin their performances with Haydn In the Adagio, we hear Haydn at his late s, Haydn wrote little music quartets.

Another sonata-form movement, quartets, the Opp. For chamber Why did Haydn do this? Some theories immediately come to mind. One familiar names not only in the Haydn movement. First, it is written in the realm of the key of E-flat with its is a vocal and improvisatory melodic canon but also for Haydn's pupil, three flats, very far removed from that of G Major with its one sharp.

Haydn's Opp. The other is a series of widethe opposite of the roles assigned to the instruments in the first and the set of six that constitute his movement where each instrument plays individual, contrasting ideas.

In , Haydn century harmony, stretching toward the so he uses two elements taken from the first movement: the dotted began work on his Op. Beethoven's patron, Count Lobkowitz measure Haydn miraculously shows us how in this new context—E The slow movement is in the key of the eventual dedicatee of the "Eroica" flat Major and a very slow tempo—these same elements could not be more different. This mode of thinking would become the basis for E-flat, an unusual choice; a G-major symphony.

He probably movement in the key of its subdominant intended to complete six, but he was In the Adagio, the dotted-rhythm idea is not playful; its slower pace gives it a gravitas unimagined from its use in the first movement. Two movements of And the marching idea first heard in the 2nd violin and viola and minor E minor. The significance of an unfinished third were published as eventually all three lower voices becomes a foil for the improvisatory, the key choice is underscored in the Trio Op.

But instead of creating restraint, it section of the Menuetto, which is also in becomes an enabler for the flights of fancy of the first violin. The quartet we hear this evening, the E-flat. It is approached with all four instruments in unison, The third movement, the Menuetto, Viennese house of Artaria in ; it may a strong signal that we must play closer attention.

After 23 measures pushes that normally staid, courtly also have been published by Clementi in of almost uninterrupted marching, all of the instruments stop. Marked Presto, London the following year. It is a mature wait. In hushed tones the opening is heard again. Now the dottedit is virtually indistinguishable in spirit work, by a composer at the apogee of rhythmic idea becomes an inexorable marching idea; it changes and drive from the early Beethoven the classical style and reflecting Haydn position with the steady eighth notes—the original marching idea!

Its role is to add poignancy to the repeated opening idea and one of the scherzos; indeed, Haydn may well at full mastery. Yet all of the endearing most agonizingly beautiful moments in the entire quartet literature. Haydn's quirky, lopsided structures with their inherent integrity emphasis on the second beat gives this and grace. Menuetto a hearty, almost rambunctious irreverence filled with good humor The opening movement, the Allegro moderato, illustrates this magical, very and folk-like immediacy.

This is not your dainty, elegant minuet of the past. Opening against the backdrop of String Quartet in G, Op. It is another illustration of Haydn's "monothematic" approach, which is actually one of the easiest ways to tell the difference between the music of Haydn and Mozart. Where Mozart's second themes tend to contrast in both character and rhythm, Haydn frequently builds his secondary material out of the opening idea.

This finale is an excellent example of this technique. It opens in unison, and then breaks open to some country fiddling that begs for foottapping, if not outright dancing. Even in the development section, Haydn is consistent in his adherence to the opening idea, though he flirts with some cross-rhythms. The sum total is unfailingly bouncy and irresistibly fun.

Even so, a starkness tinges some of his early s works. The Fourth Quartet has no key signatures. Its emphasis on linear counterpoint lends an in-your-face, expressionist edge to the piece. Schnelle Achtel, sehr energisch fast eighth notes, very energetic is atavistic, sometimes brutal, with wild gestures that suggest central European folk dances; a middle section introduces quasi-oriental sonorities. Played with mutes throughout, it features an oscillating, hypnotic figure that spans an octave, introduced by the viola.

Hindemith flirts with polytonality, but this movement feels more centered in a specific key A minor than the rest of the quartet. His opening Fugato: Sehr langsame Viertel fugue-like: very slow quarter notes is a salute to Baroque texture and form. The movement gathers momentum, building toward an impassioned climax before resuming the steady pulse of quarter notes that governs the whole.

He was a tonal classicist in a musical world that had all but abandoned traditional harmonic thinking. Steeped in aleatory, serialism, electronic music, and other avant-garde techniques, critics and composers turned up their noses at Hindemith, dismissing him as hopelessly old-fashioned, a stodgy German who had missed the boat.

They are finding in his compositions cadenza, using bariolage a virtuoso technique requiring rapid shifting back a rhythmic vigor, contrapuntal skill, quirky harmonic language, and sense and forth between two or more strings to produce a tremolo effect. Viola and of humor that make for engaging listening.

After the violence Hindemith quartet in America is still a rarity, making this a welcomed event. Throughout, his mastery of string playing because of his extensive experience as a string player. He began his career in envelops the listener with inventive sounds. By he was its concertmaster and appeared with other orchestras as a concerto soloist. He also joined the Rebner String Quartet as second violinist. String Quartet in A, Op. Though assigned to an army band, he was sent to the front in both Alsace and Flanders.

Somehow he continued to compose and he formed an army string quartet. Following the war, he switched to viola and focused increasingly on composition. With his brother Rudolf, a cellist, he founded the AmarQuartett in Hindemith was a leader in a new generation seeking to distance themselves from the sweeping gestures and lush textures of the post-romantic symphonists.

They attempted a leaner, more muscular style, with fewer melodic frills. Schumann also faced a challenge in the formal discipline demanded by large-scale, multi-movement works. He had only composed his first symphony the previous year, having up until that time written exclusively miniatures for piano or voice and piano. The site was his Schumann. Robert was as elated by their reunion as he had source of the Danube River.

He composed furiously, and by of good music, thus the inaugural festival devoted to new music drew wide the end of July he had completed the three string quartets of Opus These quartets were his only chamber music without piano. Those who. In preperation for writing the quartets, he immersed himself the friends of chamber music transcend tradition. Who does not know the quartets of Haydn, Mozart and Beethoven, and who would wish to say anything against them?

In fact it is the most telling testimony to the immortal freshness of their works that still, after half a century, they gladden the hearts of everyone; but it is no good sign that the later generation, after all this time, has not been able to produce anything comparable. The finale opens with a strong, Schubertian, dotted-rhythmic figure that constitutes the principal rondo subject.

Schumann unifies the movement through the regular restatement of this distinctive rhythm. The episodes that fall between its recurrence ramble far afield in both key center and mood, lending this finale some of the sectional character of a ballet suite. Like the Viennese masters before him and his contemporaries Onslow and Mendelssohn, Schumann found the quartet to be an ideal vehicle for his musical and emotional ideas. In many ways this third quartet is the most characteristic of the set.

Perhaps feeling vindicated by extensive polyphonic essays in the first two quartets, Schumann gave full expression to his lyrical spirit in this sunny work. It is not that he avoided counterpoint but rather that, in this quartet, the imitative sections sound less academic and more natural than in the first two of Op. The first movement, which opens with a brief slow introduction marked Andante espressivo, is dominated by the motive of a falling fifth.

This tender opening idea occurs in both the opening measures and the first subject of the Allegro molto moderato that follows; this motive and its questioning chords are the foundation of the entire movement. Schumann skillfully inserts a couple of meter changes from triple to common time. So smoothly and subtly are they integrated that without a score, they are difficult to pinpoint. In this movement, Schumann employs a device that he uses in many of his compositions: which is a syncopated accompaniment that adds a powerful sense of yearning and urgency to the main theme it accompanies.

This off-beat figure pants with breathlessness as if it cannot catch up with the beat. Instead of a brisk, whirlwind scherzo, Schumann presents us with a set of variations in the second movement that fulfills the function that a scherzo might have served within the quartet.

In an unusual twist, however, he does not state the theme first. We hear two variations Assai agitato before the theme appears in an expressive Adagio. Intimate dialogue among the four players makes for a varied texture. Schumann uses syncopation and chromaticism to great effect in this movement. The slow movement, Adagio molto, is quintessential romanticism, couched, ironically, in a highly structured format: Schumann has written a full-bore sonata form, the only such slow movement among his quartets.

Rich harmonies and delicious restatements lend extraordinary expressiveness to what might have been an undistinguished melody. However, we soon learn that this melody serves as a foil for the emotional intensity that follows. In an especially poignant moment in this movement, time seems to stop. A dotted-rhythmic figure, halting and hypnotic, begins and becomes intensely wrought. Schumann often uses two instruments that speak to each other, a clear reference to himself and Clara.

He does so here with great effect. Schumann is noted for his attention to inner voices, and the viola part in this movement provides particularly rewarding listening. Regarded as one of the supreme chamber. Performing over a hundred concerts worldwide each season, the quartet has a devoted international following across the globe.

Instilled with a deep commitment to chamber music, the original members of what would become the Tokyo String Quartet eventually came to America for further study with members of the Julliard String Quartet, Robert Mann, Raphael Hillyer and Claus Adam.

An exclusive contract with Deutsche Grammophon firmly established it as one of the world's leading quartets. For more information visit www. Strauss, R. Mary Rodgers and Mr. A selection of popular songs to be announced. Chanticleer recordings are available on the Warner Classics and Chanticleer Records labels.

Musical Resources is the printed-music source for Chanticleer. This concert is underwritten, in part, by the Courtney S. Turner Charitable Trust, Daniel C. Weary and Bank of America, Trustees. Separated in age by only three years, Victoria and Vivanco undoubtedly received their earliest musical training from the same teachers. But unlike Victoria, whose career was centered in Rome, Vivanco remained in Spain throughout his life. So promising was Victoria, he was sent to Rome at the age of sixteen to study at the Collegio Germanico.

Victoria was ordained to the priesthood in , but continued to compose throughout his life, holding a variety of posts in Italy and, from until his death, his native Spain. In , Vivanco was appointed to a similar post in Salamanca, but left after less than a year to accept a professorship at the University of Salamanca the oldest university in Spain. It was through his connections there that he was able to publish three lavish volumes of his works.

Although his music is virtually unknown today, Vivanco was one of the leading composers of his time — a master of counterpoint who imbued his works with deep emotional sentiment. In Nigra sum sed formosa, Victoria sets a text from the Song of Songs. The Catholic Church of the Middle Ages and the Renaissance tended to interpret this text as allegorical to the Virgin Mary, assigning the texts to Marian feasts. This particular text is used as an Antiphon for Second Vespers of the major Marian feasts.

There voice choirs. Quite melodies of Gregorian chant in their choral controversial at the time, the works. Because he was very portray the mystical rapture through his use of lush suspensions and critical of his own compositions, he wrote very few works. The declamatory unique ability to maintain the supple flow of a Gregorian chant melody style indicates a familiarity with the work of his Italian counterparts, while coloring it with modal harmonies and polyphony.

This technique is most notably Giovanni Gabrieli. Its text is a hymn of the early Western church now most often heard on Holy Thursday, during Eucharistic Adoration, and at weddings. His mother was a composer and a student of Tournemire, from whom Daniel-Lesur took early organ and composition lessons.

He studied further at the Paris Conservatoire. They were sung by amateurs and professionals alike in a variety of settings. The texts often dealt with everyday matters: food, drink, love, and death. The madrigal developed in Italy and quickly spread north through Europe to England. In France, madrigals were known as chanson. He extended the groundbreaking changes to the harmonic language and musical structures made by Richard Wagner.

The works were written after Strauss had proven his greatness as an operatic and symphonic composer. The pieces were premiered at Lehigh University in April Sametz has had a close relationship with Chanticleer, writing many works for them and conducting them in the Monteverdi Vespers of In regard to this collaboration, Sametz shared the following remarks:.

Claudin de Sermisy, early 16th century French composer, was recognized both for his chansons and his religious music, as he held positions with the court of France under several kings as well as the Sainte-Chapelle in Paris. Sermisy was strongly influenced by the Postage stamp issued in , designed by Leon Schnell Italian frottola style of composition with its harmonic simplicity, homophonic Chanticleer represents the highest levels of professional choral singing, just as texture, and attention to the text.

This style is evident in Tant que vivray, we strive to achieve the highest levels of amateur choral art. At the heart of as Sermisy uses a simple harmonic language and subtle text-painting to this — the love of singing, and doing it to our utmost — we have everything in tell a beautiful love story. Unlike Sermisy, Janequin never held a position at a cathedral or a court, and he focused almost exclusively on chanson.

His chansons are most famous for their programmatic qualities using onomatopoeic effects to imitate natural sounds. Toutes les nuits, however, does not follow this pattern. Instead, it expresses in simple tones the frustration of a lover who can find his beloved only in dreams. Both works track the passage of time.

Not an End of Loving follows a relationship from its intense romantic beginnings Where I Become You , to its fulfillment of Claude Le Jeune was one of the most prolific composers of the second intimacy We Two Boys Together Clinging to the culmination and release half of the 16th century.

It is not surprising that This Marriage this practice, displayed in the rigid meters and florid rhythms of Revoici venir du printemps, was very short-lived. In , he became the youngest recipient ever awarded the coveted Raymond C. Brock commission by the American Choral Directors Association.

Commercially he has worked with such luminaries as Barbra Streisand and Marvin Hamlisch. In the last ten years, he has conducted concerts of his choral and symphonic music in Japan, Australia, China, Singapore and much of Europe, as well as at dozens of American universities and colleges where he regularly conducts seminars and lectures with young musicians.

He received his M. John Tavener b. A highly accomplished organist and pianist, he soon turned his attention to composition, and attended the Royal Academy of Music, where he won many major prizes and awards. Since that time, he has been commissioned by numerous organizations in England and the United States. Tavener joined the Russian Orthodox Chruch in , and its spirituality, liturgy and music have had an impact on many of his compositions.

Rather, she was trained in the arts of Chinese song, dance, calligraphy, storytelling, and entertainment a tradition which has continued from antiquity through the early twentieth century. Scholars now question the existence of Tzu Yeh. It is rather ambiguous if she was one woman, or rather the creation of many generations of poets wishing to express the romantic sentiments expressed in these texts.

All of this serves to further shroud this poetry in a veil of mystery. Stephen Paulus Village Wedding was composed in for the Vale of Glamorgan Festival, shared these remarks about the poetry and music: where it was premiered by the Hilliard Ensemble. Stephen Paulus b. The Tzu Yeh poems seemed to fit the bill wonderfully. The many images evoked in the poems are rich in descriptions of nature.

Musically, I have tried to take advantage of the tremendous vocal talents of Chanticleer. I have used everything from unison to divisi chords with a variety of choral textures and ranges. My deep gratitude is extended to my dear friends, Mary and Hank Guettel for their kindness and generosity. I am happy to offer this work in honor of their friendship and their wonderful ability to inspire and motivate.

With the help of individual contributions, foundations, and corporate support, the Ensemble involves over young people annually in its extensive education programing. The season saw the creation of the Louis A. On a country tour in early the ensemble will return to. Chanticleer is proud to have commissioned over seventy. He had already written four German operas, all performed in Hamburg.

The libretto was written by Cardinal Vincenzo Grimani, whose family also owned the Teatro San Giovanni Grisostomo where the opera premiered on 26 December Special services unique to that city were held in the churches during the Triduum at the end of Lent, on Maundy Thursday and Good Friday. A life-size model of the holy sepulchre would have been presented in church for adoration. Henry Purcell was trained as a boy chorister in the Chapel Royal in London. When his voice broke in he was appointed assistant to John Hingeston, and received an appointment in his own right on his eighteenth birthday to replace Matthew Locke as the composer for the court violins.

Two years later, his mentor John Blow voluntarily gave up the position of organist at Westminster Abbey in favor of his younger colleague. Purcell would stay in this position for seventeen years until his death when the title reverted back to John Blow. The Chacony on biblical stories, and presented in G minor, Z.

Writing oratorios English tradition of court consort proved to be an excellent move for music written for violins and viols to Handel. Covent Garden in , the most Agrippina was an immediate popular and critical success, having a run of twenty-seven consecutive performances. An early eighteenth-century engraving of the Teatro San Giovanni Grisostomo gives some clues as to how the sinfonia or overture to Agrippina might have sounded in its first production in Venice.

The engraving shows an opera performance under way. The modest orchestra is composed of twelve musicians. While the exact instrumentation is not discernible, it would appear that, contrary to most modern practice, there is no double bass. Blow composed a substantial body Theatre in This work had begun life as a semi-staged masque, of vocal music, especially odes, anthems, and Venus and Adonis , written for a private performance in at Cannons, the home of the one of the earliest English operas.

In modern times Georg Philipp Telemann is best known as a composer of instrumental music, but it should be no surprise that this extremely prolific composer also wrote over 35 operas, more than 40 passions, and approximately cantatas. Like many composers with church positions in Protestant Germany in the seventeenth and eighteenth centuries, Telemann wrote weekly sacred cantatas, with appropriate texts selected according to the liturgical Though he spent most of his life in Venice, Antonio Vivaldi calendar.

This last journey twenty annual cantata cycles. Unlike most other composers of cantatas of remains shrouded in mystery, but it seems clear that the Sinfonia al Santo his day, Telemann actually published a large number of liturgical cantatas: the friends of chamber music transcend tradition. Arguably the most aired American Baroque ensemble in the U.

Paul Sunday. He gave the world premiere of Jonathan Miller's acclaimed production of the St. The first of these collections, Der harmonische Gottesdienst requires only modest forces: voice, a single melody instrument, and basso continuo throughout. His cantatas, both the published ones and unpublished works circulated in manuscript copies, were well known in his time. Johann Ernst Bach, a nephew and pupil of Johann Sebastian Bach, claimed in that there hardly existed a German Protestant church where his cantatas were not sung.

The Concerto in A Major for harpsichord, strings, and basso continuo, BWV by Johann Sebastian Bach , is, like most of his harpsichord concertos, an arrangement of an earlier work for other forces. After coming to Leipzig in. Bach wrote his St. John Passion today. No sun, no moon, all dark amidst the blaze of noon! Oh, glorious light! No cheering ray, to glad my eyes with welcome day! Sun, moon and stars are dark to me!

Georg Philipp Telemann. Engraving by Georg Lichtensteger, c. How great the curse! Rachel's pain is without equal; For the corpses of her children she groans And weeps more blood than tears. Oh crush me, ye rocks and ye mountains, O Heaven, cast your bright beam upon me!

How wickedly, how sinfully, and with what arrogance Have I forgotten thee, O Jesus! Yea, though I were to don the rosy wings of dawn, My stern judge would draw me back again; Ah, fall prostrate in bitter tears before him! The mild, cheerful sun of grace Shines on it with strength and delight, And changes woe to abundant wellbeing. Aria: What is equal to the nobility of true Christians, Since God calls them his children.

He who throws down and builds up thrones Is he who looks on us as a Father; His spirit bears witness of this to our spirits. The poorest beggar Who can console himself in faith with this nobility Is happier for this than the man Who has brought East and West under his sceptre And made South and North his vassals, And yet has no appreciation, in the midst of his excess and rank, For what graces the former.

What advantage does not derive from being a child of God! It gives us courage and joy To come before God with prayer and, Just as a beloved child begs a beloved father to stand and protect us with all his healing power, Once counsel has been given, it puts us in a state of contentment:.

Which we receive from our Father! Ah, he calls himself a Father, But certainly loves us much more than as a Father! If someone has a father like this, how can he be undone! Are these not great gifts! Zeige dem Vater ein kindliches Herz! Vivace: Surge with ardor, delighted brood! Show your Father a childlike heart! At such a tender and mild urging Let your reflected love mount Full of obedience towards Heaven! Great Jehova lives and reigns, we in great Jehova trust.

And my spirit hath rejoiced in God my Saviour. Iconography and music, drawing their inspiration from biblical texts, have both fostered and fed off of the Christian culture of Marian devotion. Yet while many of these texts elevate Mary, strip her of flesh and transform her into saint and symbol, none are more emotive than those that retain her humanity. We see her by turns as daughter and mother, servant of God and Queen of Heaven—a woman at once divine and touchingly human.

One of the first German composers to adopt the progressive polychoral style, Hieronymus Praetorius is perhaps best known for his many settings of the Magnificat. The rising chromatic phrase seizes the ear, conveying the excitement of the text while maintaining a stark monumentality that characterises the work.

While rich in sensual imagery and barely-concealed eroticism, the metaphorical The madrigalian colours and textures of Jan P. Extracting all possible Natus Est is one of a collection of richness from the six-part texture Catholic motets he published in dominated by the lower-voices, Polyphonic sections are alternated this program work naturally together—a pair of textural variations on with sections chanted by the lower voices, and within the polyphonic a spiritual theme.

His Magnificat places a solo soprano voice chanting portions, the full five-part texture is set against the intimacy of verse. The work ultimately collapses back into the familiar waves of echoing sound for the Gloria. Associated with the Easter period, the Regina Caeli celebrates Mary as the Queen of Heaven, asking for her intercession and blessing. Through their recordings and concert performances, they have established. The Tallis Scholars perform in both sacred and secular venues, performing around 70 concerts each year across the globe.

Recordings by the Tallis Scholars have attracted many awards throughout the world. Music Awards in and , and in for their performance of music by John Browne which was also nominated for a Grammy. These accolades are continuing evidence of the exceptionally high standard maintained by the Tallis Scholars, and of their dedication to one of the great repertoires in Western classical music. Built around a cantus firmus in the tenor part, the outer parts weave their imitative, scale-like counterpoint with careful emphasis on the text.

This provides the imitative core around which the other four parts construct their textural patterns, producing an affirmative and densely layered work of celebration. The composer echoes the macaronic form of the carol setting, which is divided between two choirs: one smaller choir singing the Latin texts and the whole group singing the English texts. The two realms—the heavenly and the earthly—are heard here: the choir that sings in the vernacular choir to an impassioned musical and emotional climax; the smaller, heavenly chorus that sings in Latin remains coolly unmoved and unchanging.

Straightforwardly consonant in its harmony, the piece gains descriptive impact and drama through textural manipulation of the vocal forces. Et exultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillae suae: Ecce enim ex hoc beatam me dicent omnes generationes.

Quia fecit mihi magna qui potens est: et sanctum nomens eius. Et misericordia eius a progenie in progenie timentibus eum. Fecit potentiam in brachio suo: dispersit superbos mente cordis sui. Deposuit potentes de sede; et exeltavit humiles. Esurientes implevit bonis: et divites dimisit inanes.

Suscepit Israel, puerum suum, recordatus misericordiae suae. Sicit locutus est ad patres nostros, Abraham et semini eius in saecula. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. For he has looked with favour on the lowliness of his handmaiden. Behold, from henceforth all generations shall call me blessed.

For he that is mighty has done wondrous things for me; and holy is his name. And his mercy is upon them that fear him throughout all generations. He has shown the power of his arm; he has scattered the proud in their conceit.

He has put down the mighty from their seat, and has exalted the humble and meek. He has filled the hungry with good things and the rich he has sent empty away. He has sustained his servant Israel, in remembrance of his mercy; As he promised to our forefathers, Abraham and his seed, forever Glory be to the Father, and to the Son, and to the Holy Ghost.

As it was in the beginning, is now, and ever shall be: world without end. Tota pulchra es Robert White Tota pulchra es, amica mea, et macula non est in te; Favus distillans labia tua; mel et lac sub lingua tua; Odor unguentorum tuorum super omnia aromata: Jam enim hiems transiit, imber abiit et recessit. Flores apparuerunt; vineae florentes odorem dederunt, et vox turturis audita est in terra nostra: surge, propera, amica mea: veni de Libano, veni, coronaberis.

Magnificat anima mea Dominum. Tota pulchra es Robert White You are altogether beautiful, my love; there is no flaw in you. Your lips distil nectar; honey and milk are under your tongue; The scent of your perfumes is beyond all spices. For now the winter is past, the rain is over and gone.

The flowers have appeared; the flowering vines have given forth their fragrance, And the voice of the turtle-dove is heard in our land. Arise, my love, my fair one; come from Lebanon, come, you will be crowned. For he hath regarded the lowliness of his handmaiden. For behold, from henceforth all generations shall call me blessed. For he that is mighty hath magnified me; and holy is his name. And his mercy is on them that fear him; throughout all generations He hath showed strength with his arm; he hath scattered the proud in the imagination of their hearts.

He hath put down the mighty from their seat; and hath exalted the humble and meek. He hath filled the hungry with good things and the rich he hath sent empty away. He, remembering his mercy, hath holpen his servant Israel; As he promised to our forefathers, Abraham and his seed, forever.

My soul doth magnify the Lord. Nunc dimittis servum tuum, Domine, secundum verbum tuum in pace: Quia viderunt oculi mei salutare tuum Quod parasti ante faciem omnium populorum: Lumen ad revelationem gentium, et gloriam plebis tuae Israel. Lord, now lettest thou thy servant depart in peace, according to thy word. For mine eyes have seen thy salvation, Which thou hast prepared before the face of all people; To be a light to lighten the Gentiles, and to be the glory of thy people Israel.

Glory be to the Father, and to the Son, and to the Holy Ghost; As it was in the beginning, is now, and ever shall be, world without end. He has sustained his servant Israel, in remembrance of his mercy; As he promised to our forefathers, Abraham and his seed, for ever.

Glory be to the Father, and to the Son, and to the Holy Ghost. Regina caeli White Regina caeli laetare, alleluia, Quia quem meruisti portare, alleluia, Resurrexit sicut dixit, alleluia. Ora pro nobis Deum, alleluia. Regina caeli White Queen of heaven, rejoice, alleluia, For he whom thou wast worthy to bear, alleluia, Hath risen as he said, alleluia. Pray for us to God, alleluia. Queen of heaven, rejoice, alleluia, For he whom thou wast worthy to bear, alleluia, Hath risen as he said, alleluia.

All this world was forlorn Eva peccatrice, Till our Lord was y-born De te genetrice. With ave it went away Darkest night, and comes the day Salutis The well springeth out of thee. Quia fecit mihi magna qui potens est : et sanctum nomens eius. Fecit potentiam in brachio suo: dispersit superbos mente cordis sui Deposuit potentes de sede; et exeltavit humiles. For he hath regarded; the lowliness of his handmaiden.

And his mercy is on them that fear him throughout all generations. He hath showed strength with his arm; he hath scattered the proud in the imagination of their hearts. He hath put down the mighty from their seat, and hath exalted the humble and meek. He hath filled the hungry with good things, and the rich he hath sent empty away.

He, remembering his mercy, hath holpen his servant Israel: As he promised to our forefathers, Abraham and his seed, forever. Nunc dimittis Palestrina Nunc dimittis servum tuum, Domine, secundum verbum tuum in pace: Quia viderunt oculi mei salutare tuum Quod parasti ante faciem omnium populorum Lumen ad revelationem gentium, et gloriam plebis tuae Israel.

Nunc dimittis Palestrina Lord, now lettest thou thy servant depart in peace, according to thy word. Handel began his study of music as an organist and harpsichordist, also learning the rudiments of composition. In his first operas were produced in Hamburg.

The following year, he traveled to Italy to learn more about fashionable Italian opera. That journey changed his style of composing, and indeed the course of his career. After study and work in Florence, Rome, Naples and Venice, young Handel understood as much about Italian opera as any native. He returned briefly to Germany in , where he secured a position in service to the Elector of Hannover. A series of trips to England ensued; in Britain Handel found great favor and a large, wealthy audience eager for his Italian operas.

By the late s his reputation was such that entire concerts of his compositions drew audiences. Handel wrote them in a characteristic fever of inspiration during a five-week span in September and October They were the first pieces protected by a Royal Privilege essentially a copyright issued on 31 October, , specifying Twelve Grand Concerto's [sic] in 7 parts, for Four Violins, a Tenor, a Violoncello with a Thorough-Bass for the Harpsichord.

His publisher John Walsh issued Opus 6 early the following year. Handel's biographer Percy Young calls these pieces Handel's crowning works in concerto form. Early in his career, Handel had also played violin. He understood string playing well and the way an orchestra worked.

The instrumental concerti of his Italian contemporaries were familiar to him as well. However, his concerto model differs from that of Vivaldi and Albinoni, whose Venetian concerti tended to be in three larger movements, with fast-slow-fast tempi. For each of his concerti, Handel composed more movements, and shorter ones. His concerti are far more similar to those of Corelli, whose music was enormously popular in England.

Because he adapted to stylistic changes evolving around him, he was an important transitional figure from the high Baroque to the Rococo style. At that time, the Italian term flauto meant recorder. Wooden flutes held with the column to the side were called flauto traverso transverse flute. The modern silver flute we see in symphony orchestras did not yet exist.

Recorders were only infrequently used as solo instruments. In larger ensembles such as court orchestras, oboists or transverse flutists doubled on recorder. He and Bach are the most prominent of the 18th-century composers who fused the two genres. Contemporary writers coined several terms for the hybrid, which was variously known as concert en ouverture, concerto en suite, and concertouverture. In this A minor work, the soloist appears in every movement.

His remaining movements are dance-like, but not all are actual dances. They reflect the strong influence of French style and taste in Baroque Germany. For example, in Les plaisirs—a movement that illustrates how minor mode can be lively and cheerful—the recorder introduces new material when it enters. Elsewhere in the Suite, Telemann writes for the full ensemble, with a larger accompanying ripieno string ensemble.

The exception is this or strings alone with the soloist doubling one or two violins, or violin and Concerto in B-flat, which is for full orchestra throughout. Its opening Largo viola. His imagination with respect to texture is quite impressive. It serves to introduce the first Allegro, in which Another noteworthy aspect is the two pair of optional extra dances.

Telemann, Handel makes a fugue subject based on a repeated F. We hear it first in half Bach, and others called them Galanterien gallantries. The term comes from notes, then quarters, then eighths, before a closing flourish launches the second popular poetry collections that were circulating in Leipzig in the early 18th entrance. The texture is By contrast, the Andante looks to the newer style of to try new ideas. Concerto in F major for soprano recorder and strings The concluding Hornpipe gives this concerto grosso its subtitle.

This British Giuseppe Sammartini country dance was popular from the 16th to 19th centuries. Traditionally, sailors performed it as a solo dance. The syncopated effect will have your feet tapping. Sometimes spellings and pronunciations shift just as a matter of acculturation. Georg Philipp Telemann Two of his sons followed him into the music profession. The elder, Giuseppe, Telemann was far more famous in his day than his younger contemporary, was a successful oboist like his father.

The younger brother remained in Milan Bach. This Concerto is by the other Sammartini: Giuseppe, who writing in different eras and vastly different musical styles. Its roots extend was five years older. He first left Italy in for Brussels. By he had back to the 15th century. The term folia, which is of Portuguese origin, is settled in London, where he enjoyed a high profile career as a virtuoso oboist.

One of those children was the Francesco Geminiani was one of the greatest violinists of the antico and the romanesca. Baroque era and an excellent composer. He remains less known The tune was already well known by One would expect that Sammartini would than many of his Italian contemporaries, in part because so the end of the 17th century.

Alessandro have composed several concertos for oboe, many of his better known compositions are reworkings of his Scarlatti, Marin Marais, Vivaldi and and he did. This concerto for descant own music and music by his teacher and mentor, Arcangelo Bach were among the many Baroque recorder, however, has eclipsed all of them.

It Corelli Born in pattern as the basis for variations sets. His La Follia, a midth century. Why soprano recorder? Palatine Chapel. At age sixteen, he was sent to Rome. From to he probably studied with both Corelli and sonata for violin and continuo, was Sammartini could well have been writing Alessandro Scarlatti in Rome. In December he became published with eleven other trio sonatas for himself. As we observed in the Telemann principal violinist of the Teatro dei Fiorentini in Naples for a full as Op.

He may Rome in Corelli used a bar were expected to be proficient on more than have succeeded his father at the Palatine Chapel. As a member of the London After , Geminiani spent most of his career in the British melodic line. We know that he played at the court of King George I in La follia remained popular in the preHandel, Sammartini would have regularly , with Handel at the harpsichord. Franz Liszt through teaching. He died in Dublin. Twentieth-century F major Concerto that concludes this program come from his than on the continent.

Geminiani published them in two groups of six, in a consort, so were recorders. A substantial Variations on a Theme by Corelli, Op. In the 21st century, Puerto Ricanthere are few solo works for the non-standard These works were controversial, drawing criticism from other born Roberto Sierra b. The violinist Francesco members of the recorder family. Veracini famously disparaged Geminiani as a rifriggitoro—a concerto responded to that need.

One reason was surely commercial: to strengthen focused on the art of ornamentation his reputation in London and encourage sales. But Geminiani The central Siciliano is surely Giuseppe and execution of dynamic gradations— clearly revered Corelli. It he mentions a discussion with update works for modern taste that might otherwise be deemed shows up on collections of soothing, gentle Corelli about Follia.

He could simply have wished to music. It is the sole movement in the concerto Geminiani was hardly alone in recrafting the music of an where he specified a cadenza. Concerto No. The soprano recorder shows itself the equal to the violins in its agility.

His Op. The collection circulated widely throughout Europe. It was reprinted more than forty times in the 18th century in Italy, the Netherlands, Austria, England, France, and. Organized in at the. And indeed, with his tours all across the globe and. In recent seasons, under the leadership of Principal Guest Conductor Jean-Marie Zeitouni, Les Violons du Roy explore further the repertoire of nineteenth and twentieth centuries.

With a repertoire focused on Early Music, Maurice Steger is a sought-after soloist with the leading Early Music period instrument ensembles. Steger draws on ornamentation by various composers and virtuoso performers. Paisible from Paris, and others. In the second part of the opus, he features of performances in and on the fringes of the Handel clan during experimented more with preludes and dance movements, in the style of a these years.

The Sonata No. Geminiani anticipated that the soloist in his Corelli arrangements would be a Spain. Thus, when Geminiani made his decision to craft his own versions of them for what we would call chamber orchestra, he was appealing to current fashion. The most distinctive movement is the Sarabanda, which does not have the characteristic long note values of the triple meter dance.

Taken at a relaxed tempo, however, it allows for abundant embellishment, which is a characteristic of most sarabands. Also, the Gavotta is unusually brief: only eight bars. There are subtle links among the five movements. For example, the Allemanda adopts a rhythm from the Prelude; the Giga uses a rhythmically-altered theme first heard in the Gavotta.

A violinist can easily move from upbow to downbow and back again, or move among different strings, during rapid passage work. The recorder virtuoso must find an appropriate split second to breathe somewhere in the extended virtuoso episodes.

Some of the violin parts transfer well to recorder, but the violinistic figuration is less idiomatic for the wind instrument—which makes its execution all the more dazzling in the recorder. In order to avoid transposition of this particular work, Mr. Steger chose, instead, to play four different recorders. Please note: For tickets to this performance, please contact the Central Ticket Office at The letters "BWV" stand for Bach Werke Verzeichnis, or "Catalogue of Bach's Works," by Wolfgang Schmieder , a German music librarian who first undertook an exhaustive bibliographical study of Bach's compositions and compiled a comprehensive thematic catalogue identifying every known work.

At this early stage in his career, Bach was known primarily as a performer. He had, thus far, composed almost exclusively for solo instruments and for small ensembles. The six concertos he sent to Christian Ludwig in may have been his first orchestral works.

Early in , the prince sent Bach to Berlin, probably to negotiate the purchase of a new harpsichord. The Margrave, uncle to the Prussian king Friedrich Wilhelm I, evidently collected concertos, for there were nearly in his private library at his death. After hearing Bach play, he asked him to compose some concertos. Unfortunately, the Margrave's instrumental resources were more modest than those of Prince Leopold.

Although Christian Ludwig earned himself a measure of immortality through Bach's dedication, he never had the works performed in his own court. Upon reaching his maturity in , he set about building up his court orchestra. When Johann Sebastian Bach joined Leopold's musical staff as Kapellmeister in late , the young prince employed 18 musicians. Proper Instruction wherein the lovers of the clavier, and especially those desirous of learning, are shown a clear way not only 1 to learn to play clearly in two voices but also, after further progress, 2 to deal correctly and well with three obbligato parts, simultaneously; furthermore, at the same time not only to have good inventiones [ideas] but also to develop the same well, and above all, to arrive at a cantabile [singing] style in playing and at the same time to acquire a strong foretaste to composition.

Prepared by Joh. Invention No. Stern Foundation for the Arts. Bach—the greatest contrapuntalist of all time—also had a dreamy, exploratory, improvisatory side and an endlessly fertile imagination. Through this selective survey of his keyboard music, we will learn a little about Bach as parent and educator, as pragmatic professional and idealist, and as theorist and philosopher, and we will hear a great deal of miraculous music.

Italian Concerto in F Major, BWV Johann Sebastian Bach Having written a prodigious amount of church music in his first years as Cantor of the Thomasschule in Leipzig, Bach took up a further post in that of director of the Leipzig Collegium Musicum, an institution which put on public concerts in the city.

Unique to the second volume, is its concentration on the number two: two pieces, two keys, two modes, two nations, a two-manual harpsichord this last actually specified on the title page. The keyboard figuration shares some of the violinistic touches of the earlier? Andante, but at times in the episodes Bach introduces sparkling new ideas strikingly suited to the harpsichord. If he found that anyone, after some months of practice, began to lose patience [with keyboard exercises], he was so obliging as to write little connected pieces, in which those exercises were combined together.

Of this kind are the six little Preludes for Beginners and, still more the fifteen two-part Inventions. Bach had a different in doing so, attended only to the perspective. He viewed the Latin term "Inventio" as a window momentary want of the scholar. But into composition: the invention of suitable material for musical he afterwards transformed them into development and the motives to be worked through and explored beautiful, expressive little works of art.

His goal was hands. In the early 17th century, it certainly did not mean symphony in the sense that Beethoven or Mahler construed that word.


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