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SUMMARY:J.S. Bach: Mass in B Minor
DESCRIPTION:Northwest Baroque MASTERWORKS PROJECT \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nArion Baroque Orchestra MONTREAL\nAlexander Weimann\, music director\nYulia Van Doren\, Shannon Mercer\, sopranos\nKrisztina Szabo\, Laura Pudwell\, mezzo-sopranos\nCharles Daniels\, Phillipe Gagné\, tenors\nChristian Immler\, Sumner Thompson\, baritones\n\nBach spent the last years of his life creating the magnificent Mass in B Minor. This performance is with full Baroque orchestra\, eight internationally renowned soloists and a professional chorus. \ndash\, panache\, and impeccable timing…outstanding. ARTS & OPINION \nVisit the website of\nArion Baroque Orchestra\nAlexander Weimann \n\nSupported by Canada Council for the Arts\, Conseil des Arts et des Lettres de Quebec\nThe Northwest Baroque Masterworks Project\, an initiative of EMSI and Early Music Vancouver\, is a series of major works performed at various venues in the Pacific Northwest. Supported by Christ Church Cathedral.\n\nPROGRAMME\nI Missa\nIntermission\nII Credo – Symbolum Nicenum\nIII Sanctus\nIV Osanna\, Benedictus\, Agnus Dei\n \nPROGRAMME NOTES\nAlmost all Bach’s works were composed for specific functions: the instrumental works for Prince Leopold of Anhalt-Köthen and for the Leipzig Collegium Musicum\, the cantatas and Passions for religious services at Weimar or Leipzig. The exceptions are the works written for keyboard and the Mass in B minor. This gigantic work was not intended to be sung in its entirety at any specific liturgical ceremony. As Roland de Candé says\, “listening to it is not compatible with the duration of the liturgy\, not even as part of the most solemn ceremony.” While several of its movements are borrowed from previously written cantatas\, it remains a free-standing gratuitous religious work\, without specific liturgical function. In this\, it is unique not only among Bach’s works\, but indeed in the history of music.\nLet us look at the circumstances and events of its genesis. Bach\, from the first\, had in mind a very precise goal. He was annoyed by the numerous vexations to which he was subjected by the authorities in Leipzig where\, for nearly ten years\, he had been working as Thomaskantor. The ‘most wise’ city council insisted more on his teaching Latin at the St. Thomas school than on the quality of music he was required to prepare for Sunday and holy day services at the St. Thomas and St. Nicholas churches.\nOn the other hand\, the court of Dresden—the capital of Saxony\, the state in which Leipzig was located—possessed one of the best orchestras in Europe. Musicians such as Weiss\, Zelenka\, Pisendel\, Hasse Heinichen\, plus Italians on tour (including Veracini and Lotti) assured the city a musical life of very high quality. Bach would have loved to add his name to this long list. Thus it was that\, on July 27\, 1733\, he dedicated to the Elector of Saxony a Kyrie and a Gloria—the equivalent of a Lutheran mass—in a bid to obtain the post of court composer. The Saxon court had been Catholic since 1697\, when Elector Augustus I converted so as to gain the throne of Poland\, becoming King Augustus II. However\, except for the question of religious obedience\, there was in principal no problem of liturgical usage\, for the standard texts were common to both religions. Luther had rejected neither the respective parts of the mass nor the numerous Latin texts: the Kyrie was sung on the first Sunday in Advent\, the Gloria and the Magnificat on Christmas\, and the Sanctus on all major feasts.\nJust as Bach was dedicating his work\, Augustus II died and his successor\, Augustus III\, was crowned King of Poland in 1734. The first two parts of what would be the B-minor Mass were probably first performed during the ceremonies in which Augustus III swore the oath of fidelity\, or possibly when he came to Leipzig. Some commentators have seen the Kyrie as funeral music for the dead Elector\, and in the Gloria a wish for good portents for the new one. Still with the same goal in mind\, Bach was unstinting in writing homages. Within two years he had composed and directed the Leipzig Collegium Musicum in several secular cantatas composed in honor of the Elector: for the birthday of the sovereign\, for that of his royal consort\, for the birth of an heir\, and for his coronation as King of Poland in Krakow. Despite all these efforts\, it is highly unlikely that the 1733 Kyrie and Gloria were ever played in Dresden. At last\, in 1736\, Bach obtained the coveted post at the Dresden court; but he had to remain in Leipzig\, for the post turned out to be more an honorary title than a real job. In the opinion of musicologist L.A. Marcel\, the position was not a feather in Bach’s cap.\nPerhaps at the request of some Dresden friends\, Bach decided at the end of the 1740s to finish the B-minor Mass by setting the texts of the mass for which he had not yet written music—with the exception of the Sanctus\, which he had set to music for Christmas\, 1724. Thus between 1747 and 1749—certain musicologists prefer an earlier date\, however—all the sections were completed. Carl Philipp Emanuel Bach reassembled them a bit later under the name of Große Katholische Messe (Great Catholic Mass)\, and arranged for the Credo to be performed in Hamburg in 1786. Between 1833 and 1845 Nägeli and Simrok published the first edition of the mass in Bonn. It was entitled Hohe Messe in h-moll (High Mass in B Minor)\, and described as “the greatest masterpiece of all time and all people.” It was not until 1859\, though\, that the work was first performed in its entirety—but in a modified version\, ‘improved’ according to 19th-century standards and translated into German!\nAlthough it had not been composed in one stroke\, the B-minor mass shows formidable unity. Sumptuously orchestrated—and far more often in a gleaming D major\, ideal for trumpets\, than in B minor\, the key of the Kyrie—it is like a gigantic cantata with neither recitatives nor chorales. Only in the Credo\, and there only in a few places\, did Bach utilize a Gregorian cantus firmus. He recycled pieces\, choruses and arias\, from a dozen cantatas\, but these borrowings are always rethought and reworked both as settings for Latin texts and for their general sense; and by adding a fifth voice to some four-voice choruses\, Bach made them almost more perfect than the originals.\nThe genre of the mass demands a different and more objective treatment than that appropriate for a motet or a cantata. The emotion that Bach breathed into his mass may not have the intensity of that in his Passions\, but it is more intense than the masses of his predecessors\, whose polyphonic compositional techniques he used. His choral writing is contrapuntal and expresses the full range of emotions\, from affliction to triumph\, registered in the text\, while the airs and duos are more modern and lighten the work’s general texture.\nMusical symbolism\, so prominent in the Passions and cantatas\, is present too in the B-minor Mass. However\, it serves more to underline the general sense of a section than to illustrate a specific word or expression. For instance\, the violin motifs in Et incarnates est evoke the grace of the Virgin; the consubstantial nature of Father and Son is represented by imitation at the unison of the two voices in the duo Et in unum Dominum; the six-voice chorales of the Sanctus symbolize the six wings of the seraphims as described by the prophet Isaiah; and the change of tonality on the words homo factus est represents the change of being associated with the Incarnation.\nBut the reasons pushing Bach to write this Mass\, the only religious vocal work of his not tailored to the needs of a specific function\, remain an open question. Because of its dimensions\, because of certain words not acceptable to the Catholic liturgy (for instance\, altissime after Jesu Christe in the Gloria)\, it suits neither the Lutheran rite\, in which nothing is sung after the Sanctus\, nor the Catholic. Bach must have known that his work could not be played\, at least in his lifetime. Maybe he wanted to rival or surpass composers\, such as Caldara\, Lotti\, or Zelenka\, who had written similar grand masses; or perhaps in the evening of his life\, he wanted to propose\, through his musical art\, a rapprochement between the Christian churches\, a musical solution to their quarrels\, so contrary to the spirit of the Gospels. The two oboes d’amore in unison on unam sanctam catholicam ecclesiam would seem to suggest this.\nBuilt on an architecture worthy of its subject and to the high standards of Bach’s genius; expressive of his personal idealism; distilling in the form of a testament the quintessence of his religious opus—many consider the Credo of the B-minor Mass to be Bach’s very last composition\, later even than The Art of Fugue: the confluence of all these factors make this monumental work one of the absolute summits of Western music.\n– François Filiatrault. English Translation by Douglas Kirk\n \nTHE ARTISTS\n\nYulia Van Doren\nRecognized by Opera Magazine as “A star-to-be” following her Lincoln Center debut\, young Russian-American soprano Yulia Van Doren’s debut with the Toronto Symphony Orchestra was acclaimed as a “revelation… a ravishing lyric voice and an ease with vocal ornamentation that turned her into an enchanted songbird” (Toronto Star). For her last minute step-in with the Cleveland Orchestra\, The Cleveland Plain Dealer praised Van Doren as an artist of “melting poignancy” and added\, “To Van Doren\, one could easily have listened for hours.”\nA dedicated interpreter of repertoire off the beaten path\, career highlights include creating the lead female role in the world premiere of Shostakovich’s Orango with the Los Angeles Philharmonic\, directed by Peter Sellars and released on Deutsche Grammophon; two Grammy-nominated opera recordings with the Boston Early Music Festival; the modern revival of Monsigny’s opera Le roi et le fermier at Opera de Versailles\, Lincoln Center and the Kennedy Center (recorded for Naxos); and a tour of Handel’s Orlando with Philharmonia Baroque Orchestra to the Mostly Mozart\, Ravinia and Tanglewood festivals.\nHighlights of Ms. Van Doren’s upcoming season include appearances with the Cincinnati and Baltimore Symphonies\, the Cleveland Orchestra\, and tours with Mark Morris Dance Group including performances of Handel’s Acis and Galatea and L’Allegro under conductor Nicholas McGegan.\nShannon Mercer\nRecognized for the luminosity and effortless agility of her voice\, as well as her commanding stage presence and profound acting ability\, Canadian soprano Shannon Mercer enthusiastically embraces a range of repertoire from early to contemporary music\, from Francesca Caccini and Monteverdi to John Beckwith and Ana Sokolović. Shannon maintains a busy and challenging performance calendar of opera\, concert\, and recital engagements throughout North America and Europe while also sustaining an active recording presence\, capturing some rarely performed works.\nHighlights of Shannon’s 2015–2016 season include a return to the opera stage as Pamina in the Calgary Opera production of Die Zauberflöte\, concerts with the Naples Philharmonic in Florida\, Handel’s Messiah with the Oregon Symphony\, Dean Burry’s The Mummers’ Masque with the Toronto Masque Theatre\, the 20th Anniversary Gala of the Toronto Welsh Male Voice Choir and a concert with the ensemble ‘5’ at the First Chamber Music Series.\nShannon’s discography includes Trobairitz\, a new disc containing songs set to poems by female troubadours in the South of France\, the 2014 Juno-nominated Berlioz’s Les Nuits d’été and Palej’s The Poet and the War\, two recordings of Bach’s St. John Passion\, the Juno-Award winning Gloria: Vivaldi’s Angels\, Vivaldi—The Return of the Angels\, Salsa Baroque\, O Viva Rosa\, Bach and the Liturgical Year\, Wales—The Land of Song\, and others. She appears on DVD in Alexina Louie’s comic operas Burnt Toast and Mulroney: The Opera\, and in Monty Python funny-man Eric Idle’s hit Not the Messiah.\nKrisztina Szabó\nIn the 2016–17 season\, Krisztina Szabó will sing the title role in Rossini’s Cenerentola with Edmonton Opera\, and will appear in concert with Tafelmusik (Toronto)\, Music of the Baroque (Chicago)\, Grand Philharmonic Choir (Kitchener-Waterloo) and Pax Christi Chorale (Toronto). She will also be a featured performer in Canadian Stage’s All But Gone\, a production featuring short plays by Samuel Beckett.\nIn the 2015–16 season Krisztina Szabó sang the role of Judith in Bluebeard’s Castle (Colorado Music Festival)\, Thisbe in Pyramus and Thisbe (Canadian Opera Company). She appeared as soloist in Handel’s Messiah (Symphony Nova Scotia\, Calgary Philharmonic)\, in concert with Bravissimo! at Roy Thomson Hall\, with Soundstreams\, with the Toronto Children’s Chorus\, and with Talisker Players.\nIn 2015\, she was nominated for 2 Dora Awards for her performances as The Woman in Erwartung with the COC and in Booster Shots with Tapestry Opera. Career highlights include The Woman in Death and Desire (Against the Grain Theatre)\, Donna Elvira in Don Giovanni\, and Sesto in La clemenza di Tito (Vancouver Opera)\, Le Pèlerin in L’Amour de loin and Idamante in Idomeneo (COC)\, Komponist in Ariadne auf Naxos (Stadttheater Klagenfurt)\, Rosalind in The Mines of Sulphur (Wexford Festival Opera)\, Cherubino (Le nozze di Figaro) and Meg (Little Women)(Calgary Opera)\, Dorabella (Mostly Mozart Festival\, NY)\, St. Matthew Passion (Brooklyn Academy of Music)\, Nerone in Agrippina (L’Opéra de Montréal)\, and Ruggiero in Alcina and Haydn’s Arianna a Naxos (Les Violons du Roy).\nLaura Pudwell\nGrammy-nominated Laura Pudwell’s reputation as a superb vocalist has been well-established as a result of her performances in London\, Paris\, Salzburg\, Houston\, Vienna and Boston. Her vast repertoire ranges from early music to contemporary works. Ms. Pudwell is equally at home on the opera\, oratorio or recital stage\, and has received international acclaim for her recordings.\nA frequent guest of many national and international presenters\, Ms. Pudwell has had the privilege of working with many outstanding conductors\, including Hans Graf\, Hervé Niquet\, Andrew Parrott\, Ivars Taurens\, Bernard Labadie\, Lydia Adams\, Howard Dyck and Robert Cooper.\nOn the opera stage\, she has performed across Canada with such companies as Opera Atelier\, the Calgary Opera\, Vancouver Early Music and Festival Vancouver\, as well as with the Houston Grand Opera and the Cleveland Opera. Her many roles include Cornelia (Giulio Cesare)\, Marcelina (Le Nozze di Figaro)\, Nerone and Arnalta (L’Incoronazione di Poppea) and Dido/Sorceress (Dido & Aeneas)\, which also was an award-winning recording performed by Ms. Pudwell in Paris. Laura Pudwell is a regular participant in many festivals\, including Festival Vancouver\, the Ottawa Chamber Music Festival\, the Banff Summer Festival\, the Elora Festival\, the Boston Early Music Festival and the WinterPark Bach Festival in Orlando.\nMs. Pudwell appears regularly with the Toronto Consort\, and is a frequent guest soloist with Tafelmusik\, the Calgary Philharmonic Orchestra\, the Toronto Chamber Choir\, Symphony Nova Scotia\, the St. Lawrence Choir\, Le Concert Spirituel and the Menno Singers. Ms. Pudwell lives in Kitchener-Waterloo\, Ontario with her husband and two children.\nCharles Daniels\nCharles Daniels is best known for interpreting Baroque music\, notably Monteverdi\, Purcell\, Bach\, and Handel\, but his narrative gifts have been praised over many repertoires. Among his two hundred recordings are Monteverdi L’Orfeo with Andrew Parrott\, Bach’s Matthäus-Passion with the Bach-Stiftung and Johannes-Passion with Portland Baroque\, Handel Messiah with the Gabrieli Consort\, Wojciech Kilar’s Missa Pro Pace with the Warsaw Philharmonic\, The Beggar’s Opera\, Schütz’ Christmas Story\, Lambert airs with Fred Jacobs\, much other Bach and Purcell.\nHis concerts range from intimate performances—Lawes songs with Les Voix Humaines\, Caccini and Kapsberger with Elizabeth Kenny\, John Tavener’s ‘Songs of the Sky‘—through Purcell King Arthur (Tafelmusik)\, Handel Solomon (Halle\, Göttingen)\, to BBC Proms\, Britten War Requiem (Canterbury\, Salisbury)\, and Elgar’s Dream of Gerontius (Wroclaw\, Cardiff).\nThis season features festive Bach (De Nederlandse Bachvereniging)\, secular Bach (Bach Collegium Japan) and Schütz in Stuttgart with Christoph Rademann.\nHis completion of Purcell’s unfinished Ode Arise my Muse was performed in Montreal in 2009 and broadcast on Radio-Canada. His completions of Gesualdo’s Sacrae Cantiones for 6 and 7 voices\, are being performed in Amsterdam’s Muziekgebouw by the Gesualdo Consort.\nHe is married with two daughters and is a keen cyclist. Charles enjoys frequent collaborations with Canadian musicians and is very much looking forward to this tour of Bach’s Mass in B Minor.\nPhilippe Gagné\nPhilippe Gagne has been praised for his expressiveness\, refined musical sensitivity and vocal flexibility\, as well as the beauty and lightness of his tone quality. He embraces all periods of music\, but has a predilection for the baroque repertoire.\nThis particular affinity\, combined with an innate talent for the music of this period\, has led him to perform in numerous countries and with many well-known groups\, including Les Violons du Roy\, Arion Baroque Orchestra\, Calgary Philharmonic Orchestra\, Orchestre symphonique de Québec\, Le Studio de musique ancienne de Montréal\, I Musici de Montréal\, La Bande Montréal Baroque and Le Palais Royal\, Les Boréades\, Les Idées heureuses\, Ensemble Caprice and L’Harmonie des Saisons. He has worked under several acclaimed conductors and artistic directors\, including Bernard Labadie\, Ivars Taurins\, Eric Milnes\, Fabien Gabel\, Christopher Jackson\, Francis Colpron\, Geneviève Soly\, Florian Heyerick\, Hervé Niquet and Christophe Rousset. In 2014\, Philippe was awarded the Bruce Haynes International Competition prize and also featured in two ATMA Classique recordings.\nDuring winter 2016 in Europe\, he sang on three different recordings under CPO Label\, including a selection of Beck\, Gossec and Telemann. In the coming months\, he will participate again in June in a recording of Bach cantatas under ATMA Classique label\, it will then produce in July and August with the Theatre of Early Music\, with Arion Baroque in September and October and then finally in November\, in Toronto with Tafelmusik.\nChristian Immler\nFrom the Tölzer Knabenchor as a boy alto to singing as a soloist at major concert halls all over the world\, German baritone Christian Immler has spent years making music of the highest quality. Having studied at the Guildhall in London with Rudolf Piernay\, Christian won the International Nadia et Lili Boulanger Competition in Paris in 2001\, launching his baritone career.\nAlthough also known for singing Handel\, Haydn\, Mozart and\, increasingly\, Mahler\, running down the spine of Christian’s career has been the music of J S Bach. Having sung the B minor Mass\, St John Passion and St Matthew Passion with Marc Minkowski and Les Musiciens du Louvre\, he has also performed these works with Philippe Herreweghe\, Daniel Harding\, Michel Corboz\, Jos van Veldhoven\, Leonardo García Alarcón (receiving a ‘Diapason d’Or’ for ‘Music for Weddings’ by Bach and Böhm) and Ensemble Pygmalion (‘Editor’s Choice’ in the Gramophone for Masses BWV 233/236).\nChristian’s musical interests and talents are very broad. Recent projects have included Handel’s Dixit Dominus with Concentus Musicus and Ivor Bolton\, Krenek’s Orpheus with Lothar Zagrosek (Berlin Konzerthaus)\, Mozart’s C minor Mass with Giovanni Antonini (Salzburg Festival)\, the world premiere of Hellstenius’s The moon eats humans (Bergen Festival)\, C. P. E. Bach’s Magnificat with Ottavio Dantone\, Christmas Oratorio with Akademie für alte Musik Berlin\, Weill’s Berliner Requiem at the Lucerne Festival\, Krenek’s Reisebuch with Radio Svizzera Italiana and Graziella Contratto\, Mahler Songs with the Ensemble Symphonique de Neuchâtel\, Handel’s Messiah with Masaaki Suzuki\, Telemann Cantatas with Andrew Parrott\, Rossini’s Petite Messe Solennelle (Vancouver Festival) and Fauré’s Requiem with the Gulbenkian Orchestra.\nAs a recitalist\, Christian has been hailed as one of the foremost Lieder singers of his generation\, applauded for his particular interest in 20th Century ‘Emigré Composers’ such as Zemlinsky\, Korngold\, Eisler\, Schreker and Gál. He has presented their works—as well as core Lieder repertoire by Schubert\, Schumann and Wolf—in leading recital venues\, such as the Wigmore Hall\, the Royal Festival Hall\, the Frick Collection in New York and the Salzburg Mozarteum\, the latter with pianist Helmut Deutsch. Their CD Modern Times was recently awarded both the ‘Diamant d’Opéra’ and the prestigious ‘Diapason Découverte’.\nAlongside his concert work\, Christian’s operatic career has been flourishing. His most recent roles were Docteur Itard/Vicaire in the world premiere of Fénelon’s JJR (directed by Robert Carsen) and Dodo/Frog Footman/Mock Turtle in Unsuk Chin’s Alice in Wonderland at the Grand Théâtre de Genève. He has also sung Seneca (Poppea) at the Boston Early Music Festival\, Förster (Cunning Little Vixen) for the Wiener Kammeroper\, Ubalde (Armide) at New Israeli Opera\, Achis (David & Jonathas) conducted by William Christie and Pharnaces in Zemlinsky’s Der König Kandaules at the Amsterdam Concertgebouw. Christian will return to the BEMF in 2013 to sing Consalvo in Handel’s Almira.\nHis recordings include Bach B Minor Mass\, Schubert Sakuntala (‘Diapason d’Or’)\, Continental Britons (five stars in BBC Music) and Albeniz’s Henry Clifford\, all released to wide critical acclaim. Christian is professor of voice at the Conservatoire in Lausanne/Fribourg.\nSumner Thompson\nDescribed as possessing “power and passion\,” and “stylish elegance\,” Sumner Thompson is in high demand on the concert and opera stage across North America and Europe. He has appeared as a soloist with many leading ensembles and orchestras including the Britten-Pears Orchestra\, the National Symphony\, the Boston Early Music Festival Orchestra\, Apollo’s Fire\, Pacific Baroque Orchestra\, Portland Baroque Orchestra\, Les Voix Baroques\, The Handel and Haydn Society\, Tafelmusik\, Arion Baroque Orchestra\, Gli Angeli Genève\, and the orchestras of Phoenix\, Memphis\, Indianapolis\, Buffalo\, and Charlotte.\nRecent engagements include a repeat performance of Handel’s Messiah with Boston’s Handel and Haydn Society\, Monteverdi’s 1610 Vespers with the critically acclaimed Green Mountain Project\, Britten’s War Requiem with the Boston Philharmonic\, Bach’s St. John Passion at the National Cathedral\, and the title role in Britten’s Saint Nicolas with Philadelphia Choral Arts. On the operatic stage he performed the role of El Dancaïro in Carmen with the Cincinnati Opera\, and the role of Siegmund in a concert version of Act I of Wagner’s Die Walküre in Boston.\nMr. Thompson can be heard on the Boston Early Music Festival’s Grammy-nominated recording of Lully’s Psyché on the CPO label\, with the Handel and Haydn Society on their recording of Handel’s Messiah on the Coro label\, and also with Les Voix Baroques on Canticum Canticorum\, Carissimi Oratorios\, and Humori\, all on the ATMA label.\nIn addition to his musical pursuits\, Mr. Thompson spends his time restoring his 1885 Stick-style Victorian home\, building various types of bass guitars\, and entertaining his 4 year old daughter.\nAlexander Weimann\nAlexander Weimann is one of the most sought-after ensemble directors\, soloists\, and chamber music partners of his generation. After traveling the world with ensembles like Tragicomedia\, Cantus Cölln\, the Freiburger Barockorchester\, the Gesualdo Consort and Tafelmusik\, he now focuses on his activities as Artistic Director of the Pacific Baroque Orchestra in Vancouver\, and as music director of Les Voix Baroques\, Le Nouvel Opéra and Tempo Rubato.\nRecently\, he has conducted the Montreal-based baroque orchestra Ensemble Arion\, Les Violons du Roy\, and the Portland Baroque Orchestra; both the Orchestre Symphonique de Québec and the Montreal Symphony Orchestra have regularly featured him as a featured soloist. In the last years\, he has repeatedly conducted the Victoria Symphony and Symphony Nova Scotia\, most recently with Handel’s Messiah.\nAlexander Weimann can be heard on some 100 CDs. He made his North American recording debut with the ensemble Tragicomedia on the CD Capritio (Harmonia Mundi USA)\, and won worldwide acclaim from both the public and critics for his 2001 release of Handel’s Gloria (ATMA Classique). Volume 1 of his recordings of the complete keyboard works by Alessandro Scarlatti appeared in May 2005. Critics around the world unanimously praised it\, and in the following year it was nominated for an Opus Prize as the best Canadian early music recording. Recently\, he has also released an Opus Award-winning CD of Handel oratorio arias with superstar soprano Karina Gauvin and his new Montreal-based ensemble Tempo Rubato\, a recording of Bach’s St. John’s Passion\, various albums with Les Voix Baroques of Buxtehude\, Carissimi and Purcell\, all with rave reviews. His latest album with Karina Gauvin and Arion Baroque Orchestra (Prima Donna) won a Juno Award in 2013\, and a complete recording of Handel’s Orlando was released in the fall of 2013\, with an exciting group of international star soloists and the Pacific Baroque Orchestra performing.\nAlexander Weimann was born in 1965 in Munich\, where he studied the organ\, church music\, musicology (with a summa cum laude thesis on Bach’s secco recitatives)\, theatre\, medieval Latin\, and jazz piano\, supported by a variety of federal scholarships for the highly talented. In addition to his studies\, he has attended numerous master classes in harpsichord and historical performance. To ground himself further in the roots of western music\, he became intensely involved over the course of several years with Gregorian chant. Alexander Weimann has moved to the Vancouver area with his wife\, 3 children and pets\, and tries to spend as much time as possible in his garden and kitchen.\nArion Baroque Orchestra\nFounded in 1981 in Montreal\, Arion Baroque Orchestra is now a cornerstone in the world of early music on period instruments in Quebec and Canada. The clarity and freshness of Arion’s interpretations have been remarked upon since its first concerts; the delicacy of its readings of well-chosen and varied works has never wavered in more than 30 years. Constant attention to detail has earned the orchestra\, led by the enlightened artistic vision of flutist Claire Guimond\, a place among the most renowned early music ensembles in North America and throughout the world.\nThe Orchestra offers a prestigious Montreal concert Series featuring more than twenty musicians and with the participation of internationally known guest conductors. Arion has hosted such celebrated conductors as Stefano Montanari\, Jaap ter Linden\, Monica Huggett\, Christophe Rousset\, Barthold Kuijken\, Rachel Podger and Elizabeth Wallfisch\, to name just a few. Arion has been awarded many prizes and grants and tours regularly in the United States\, Mexico\, Europe and Japan\, as well as Quebec and Canada. Arion know holds an impressive discography of 27 titles. In 2001\, Claire Guimond founded early-music.com\, dedicated to furthering excellence on period instruments in early music. Largely centered on Arion recordings\, early-music.com contributes undeniably to the prestige of these artists thanks to its international diffusion. For Arion’s discography\, please browse through the early-music.com website.\n 
URL:https://earlymusicsocietyoftheislands.ca/concert/j-s-bach-mass-in-b-minor/
LOCATION:Chapel of the New Jerusalem\, Christ Church Cathedral\, 911 Quadra Street\, Victoria\, British Columbia\, Canada
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DTSTART;TZID=America/Vancouver:20160416T200000
DTEND;TZID=America/Vancouver:20160416T200000
DTSTAMP:20260501T103439
CREATED:20200426T014710Z
LAST-MODIFIED:20200426T044240Z
UID:3743-1460836800-1460836800@earlymusicsocietyoftheislands.ca
SUMMARY:Tears of St. Peter: Collegium Vocale Gent
DESCRIPTION:SPECIAL EVENT \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nCollegium Vocale Gent (Belgium)\nPhilippe Herreweghe\, director\nTears of St. Peter: 21 Sacred Madrigals\nFounded in 1970\, Collegium Vocale Gent is one of the most venerable and celebrated ensembles in the world of early music. They have traveled the world to ecstatic acclaim and now\, at long last\, make their Victoria debut\, performing Orlande de Lassus’s monumental Lagrime di San Pietro. \n“a superb performance of Orlande de Lassus’s powerful 16th century Lagrime di San Pietro.” THE TIMES (LONDON) \nVisit the website of Collegium Vocale Gent\nListen to Collegium Vocale Gent \n\n \nPROGRAMME\nTears of St. Peter: 21 Sacred Madrigals\nLagrime di San Pietro\nOrlando de Lassus (1532\, possibly 1530–14 June 1594)\nIl magnanimo Pietro\nMa gli archi\nTre volte haveva\nQual’ à l’incontro\nGiovane donna\nCosì tal’hor\nOgni occhio del Signor\nNessun fedel trovai\nChi ad una ad una\nCome faIda di neve\nE non fu il pianto suo\nQuel volto\nVeduto il miser\nEvago d’incontrar\nVattene vita và\nO vita troppo rea\nA quanti già felici\nNon trovava mia fe\nQueste opre e piu\nNegando il mio Signor\nVide homo\nPROGRAMME NOTES By Ignace Bossuyt\nFour centuries ago\, the most celebrated composer in Western Europe put the final barline to a strenuous career of forty years of creative activity with an altogether exceptional and curious work. In 1593-1594 Roland de Lassus\, aged sixty-two and Kapellmeister to the Bavarian Court in Munich at the time\, composed a monumental cycle of spiritual madrigals\, the Lagrime di San Pietro. On 24 May 1594\, he dedicated this swan song to Pope Clement VIII. Three weeks later\, on 14 June\, he died\, at the very moment when the decision to discharge him for economic reasons was decreed in writing. The work was published posthumously in 1595 by the publisher Adam Berg who\, with a good forty publications and reprints in his catalogue\, had applied himself to the dissemination of Lassus’ work since 1567.\nThe Lagrime di San Pietro are exceptional on more than one account\, and occupy a unique position both in Lassus’ overwhelming production and in the entire late 16th century repertory. In the first place\, Lassus attained an absolute summit in the genre of the madrigal\, of which the spiritual madrigal was a minor category\, but a no less important one\, for all that. The spiritual madrigal is a typical product of the Counter-Reformation\, intended as a stimulation to piety outside the official liturgy.\nThe Lagrime are remarkable\, too\, in their cyclic arrangement: the twenty-one sections\, twenty of which have words from a common source (the Lagrime di San Pietro by Luigi Tansillo)\, form an indivisible whole and\, from a strictly musical point of view\, the work is ordered according to the cycle of the modes. Lassus frequently used the same principle\, most notably in the Psalmi poenitentiales of 1559-1560.\nIn the third place\, the collection is characterized by the rather uncommon setting in seven parts. The infrequently encountered works in seven parts often have a symbolic connotation. The number seven in fact symbolizes the suffering and affliction of the Virgin Mary\, “Mother of the seven sorrows”. The number seven then became the symbol of suffering in general\, and most of the compositions in seven parts\, or consisting of seven sections\, allude to suffering and mourning. It may be noted\, too\, that Lassus’ work comprises twenty-one sections\, a multiple of seven\, the number three itself\, moreover\, being loaded with symbolic connotations! Lassus added a Latin motet (Vide homo quae pro te patior) to the twenty Italian madrigals. This motet\, his last composition\, is focused on the theme of suffering. Finally\, reference may be made to the dedication of the collection: no dutiful constraint associated with his position as Kapellmeister\, but “a personal devotion at this difficult age”. Indeed\, an uncommon occurrence in the 16th century.\nLassus had been stricken with a bout of severe depression in 1590-1591 and\, although he overcame it\, it had brought home to him the afflictions of old age and the precariousness of human existence. Concern for the salvation of his soul probably persuaded him that a certain degree of piety might be of help to him now that he had to come face to face with death (it is true that some of the secular songs that came from his pen must have shocked more than one sensitive ear!). The dedication to the supreme head of the Church\, the Pope\, is in perfect congruity with the subject of the work\, as Lassus expresses it himself\, “I hope that you will take pleasure in listening to my music\, not for itself\, but for the subject of which it speaks\, Saint Peter\, the foremost of the apostles of whom you are the true successor.” Lassus chose works by the Italian poet\, Luigi Tansillo (1510-1568)\, who had published forty-two eight-line stanzas (ottave rime) in 1560 on the grief and the repentance of Saint Peter after his denial of Christ. The Venetian publication remained in obscurity for a long time because it was printed as a complement to a translation of the second book of Virgil’s Aeneid\, not under the name of Tansillo but under that of Cardinal de’ Pucci. It was not until 1571 that these stanzas appeared under their author’s name in an anthology called Stanze di diversi Autori. It was reprinted in 1579.\nThe figurative language of Tansillo’s religious poetry is undoubtably derivative of the secular poetic art of Petrarch and the Neo-Petrarchism fostered by Pietro Bembo in the 16th century . The Giovane donna of the fifth stanza refers\, moreover\, to the first line of one of Petrarch’s sestine: Giovene donna sotto un verde lauro. Occhi (eyes) is one of the six rhymes recurring in each stanza of this sestina; lovers’ eyes and looks are\, in fact\, words that constantly appear in Petrarch’s love poetry. The transposition to the encounter between Peter and Christ adds a religious dimension to this love. Other profane elements are found to recur as well\, like the bow (arco) and the arrow (saetta)\, attributes of Amor\, the god of love.\nThe music Lassus composed to these texts\, which were held in high esteem at the time\, is of an extraordinary quality. The composer’s musical language had become more austere in his last period\, and this tendency persists. These pieces are good illustrations of the definition of it given by Adrien Le Roy\, the Parisian friend of Lassus: “pressus et limatus”\, meaning “concise and refined”. Not one superfluous note\, every one perfectly it its place\, no digression or repetition\, all of it shaped in terms of an ideal expression of the words. In its vocal sonority as much as in its semantic import\, the text is the be-all and end-all of the composition. With unequalled mastery and genius\, Lassus manipulates all of these elements in such a way that he transmits the message in a delicate and subtle form. However\, one must know the language and its grammar if one wishes to understand the message\, and Lassus’ language is that of the Italian madrigal.\nOnto poetry of high literary quality (with Petrarch as its figurehead) is grafted an equally elevated musical equivalent that does justice to the poetic art. The rhythm of the declamation of the word is transformed into a musical rhythm\, and the conceptual and emotional contents of the text are transposed into music. The musical grammar follows the syntax of the text\, and the musical caesuras (rests\, cadences\, changes in the number of voices) correspond to the caesuras of the text.\nThroughout the cycle Lassus explores his innermost soul by means of a text of his choice which he freely sets to music without any constraint. This deeply personal music cannot fail to move the listener and make an indelible impression on whoever is prepared to open ears and heart. This work is “doomed” to greatness; it asserts itself without conditions or concessions. It is\, in the true sense of the term\, “elitist art”\, Art with a capital “A”\, ranking with the best that was composed in the Renaissance. Let us finally reserve the place this masterpiece deserves in our present society that so fervently aspires after beauty.\n \nBIOGRAPHIES\nPhilippe Herreweghe was born in Ghent and studied at both the university and music conservatory there\, studying piano with Marcel Gazelle. He also started to conduct during this period\, and founded Collegium Vocale Gent in 1970. He was invited by Nikolaus Harnoncourt and Gustav Leonhardt\, who had noticed his innovative work\, to participate in their recordings of the complete cantatas of J.S. Bach.\nHerreweghe’s energetic\, authentic and rhetorical approach to Baroque music was soon drawing praise. In 1977 he founded the ensemble La Chapelle Royale in Paris\, with whom he performed music of the French Golden Age. From 1982 to 2002 he was artistic director of the Académies Musicales de Saintes. During this period\, he founded several new ensembles with whom he made historically appropriate and well-thought-out interpretations of repertoire stretching from the Renaissance to contemporary music. They include the Ensemble Vocal Européen\, specialised in Renaissance polyphony\, and the Orchestre des Champs Élysées\, founded in 1991 with the aim of playing Romantic and pre-Romantic repertoire on original instruments. Since 2009\, Philippe Herreweghe and Collegium Vocale Gent have been actively working on the development of a large European-level symphonic choir\, at the invitation of the prestigious Accademia Chigiana in Siena\, and from 2011 with the support of the European Union’s Cultural Programme.\nPhilippe Herreweghe continually seeks out new musical challenges\, and for some time has been very active performing the great symphonic works\, from Beethoven to Gustav Mahler. Since 1997 he is principal conductor of the Royal Flemish Philharmonic. He has been permanent guest conductor of the Netherlands’ Radio Chamber Philharmonic since 2008. He is also in great demand as a guest conductor with orchestras such as Amsterdam’s Concertgebouw Orchestra\, the Gewandhaus Orchestra in Leipzig and the Berlin-based Mahler Chamber Orchestra.\nOver the years\, Philippe Herreweghe has built up an extensive discography of more than 100 recordings with all these different ensembles\, on such labels as Harmonia Mundi France\, Virgin Classics and Pentatone. Highlights include the Lagrime di San Pietro of Lassus\, Bach’s St. Matthew Passion\, the complete symphonies of Beethoven and Schumann\, Mahler’s song cycle Des Knaben Wunderhorn\, Bruckner’s Symphony No. 5\, Pierrot Lunaire by Schönberg and the Symphony of Psalms by Stravinsky. In 2010\, together with Outhere Music\, he founded own label\, φ (PHI)\, in order to give himself full artistic freedom to build up a rich and varied catalogue. Since then some ten new recordings with music by Bach\, Beethoven\, Brahms\, Dvorak\, Gesualdo\, Mahler\, Mozart or Victoria have become available. In 2014 three new recordings appeared: another volume with J.S.Bach’s Leipzig Cantatas (LPH012)\, Joseph Haydn’s oratorio Die Jahreszeiten (LPH013) and Infelix Ego (LPH014) with motets and the Mass for 5 voices by William Byrd.\nPhilippe Herreweghe has received numerous European awards for his consistent artistic imagination and commitment. In 1990 the European music press named him “Musical Personality of the Year”. Herreweghe and Collegium Vocale Gent were appointed “Cultural Ambassadors of Flanders” in 1993. A year later he was awarded the Belgian order of Officier des Arts et Lettres\, and in 1997 he was awarded an honorary doctorate from the Catholic University of Leuven. In 2003 he received the French title Chevalier de la Légion d’Honneur. Lastly\, in 2010 the city of Leipzig awarded him its Bach-Medaille for his great service as a performer of Bach.\nMore info via: http://www.collegiumvocale.com / http://www.orchestredeschampselysees.com / http://www.defilharmonie.be\n© collegium vocale gent/jens van durme [January 2015]\n \nIn 2010\, Collegium Vocale Gent celebrated its founding forty years before\, by a group of friends studying at the University of Ghent\, on Philippe Herreweghe’s initiative. They were one of the first ensembles to use new ideas about baroque performance practice in vocal music. Their authentic\, text-oriented and rhetorical approach gave the ensemble the transparent sound with which it would acquire world fame and perform at the major concert venues and music festivals of Europe\, Israel\, the United States\, Russia\, South America\, Japan\, Hong Kong and Australia.\nIn recent years\, Collegium Vocale Gent has grown organically into an extremely flexible ensemble whose wide repertoire encompasses a range of different stylistic periods. Its greatest strength is its ability to assemble the ideal performing forces for any project. Music from the Renaissance\, for example\, is performed by an ensemble of six to twelve singers. German Baroque music\, particularly J.S. Bach’s vocal works\, quickly became a speciality of the group and is still the jewel in its crown. Today Collegium Vocale performs this music with a small ensemble in which the singers take both the chorus and solo parts. Collegium Vocale is also specializing more and more in the Romantic\, modern and contemporary oratorio repertoires. To this end\, Collegium Vocale Gent has enjoyed the support of the European Union’s Cultural Programme since 2011. The result is a shared symphonic choir recruiting singers from all of Europe\, in which experienced singers stand alongside young talent. Moreover\, Collegium Vocale Gent fulfils an important educational role.\nBesides using its own Baroque orchestra\, Collegium Vocale Gent works with several historically informed instrumental ensembles to perform these projects\, including the Orchestre des Champs Elysées\, Freiburger Barockorchester and Akademie für Alte Musik Berlin. It also works with prominent symphony orchestras such as deFilharmonie (Royal Flemish Philharmonic)\, the Rotterdam Philharmonic Orchestra\, the Budapest Festival Orchestra and Amsterdam’s Royal Concertgebouw Orchestra. The ensemble has worked with Nikolaus Harnoncourt\, Sigiswald Kuijken\, René Jacobs\, Paul Van Nevel\, Iván Fischer\, Marcus Creed\, Kaspars Putnins\, Yannick Nézet-Séguin and many others leading conductors.\nUnder Philippe Herreweghe’s direction\, Collegium Vocale Gent has built up an impressive discography with more than 80 recordings\, most of them with the Harmonia Mundi France and Virgin Classics labels. In 2010\, Philippe Herreweghe started his own label φ (phi) together with Outhere Music in order to give himself full artistic freedom to build up a rich and varied catalogue. Since then some ten new recordings with vocal music by Bach\, Beethoven\, Brahms\, Dvorak\, Gesualdo and Victoria have become available. In 2014 three new recordings appeared: another volume of J.S.Bach’s Leipzig Cantatas (LPH012)\, Joseph Haydn’s oratorio Die Jahreszeiten (LPH013) and Infelix Ego (LPH014) with motets and the Mass for 5 voices by William Byrd.\nCollegium Vocale Gent enjoys the financial support of the Flemish Community\, the Province of East Flanders and the city of Ghent. From 2011-2013 the ensemble has been Ambassador of the European Union.\nMore info via: http://www.collegiumvocale.com\n© collegium vocale gent/jens van durme [update: January 2015]
URL:https://earlymusicsocietyoftheislands.ca/concert/tears-of-st-peter-collegium-vocale-gent/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20160305T200000
DTEND;TZID=America/Vancouver:20160305T200000
DTSTAMP:20260501T103439
CREATED:20200426T014710Z
LAST-MODIFIED:20200426T044126Z
UID:3742-1457208000-1457208000@earlymusicsocietyoftheislands.ca
SUMMARY:Tafelmusik: House of Dreams
DESCRIPTION:SPECIAL EVENT \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nTafelmusik Baroque Orchestra (Toronto)\nHouse of Dreams\nA magical journey to the meeting places of baroque art and music—five European homes where exquisite works by Bach\, Handel\, Vivaldi and Marais were played against a backdrop of paintings by Vermeer\, Canaletto\, and Watteau. Includes stage direction\, narration\, and stunning projected images. \n“…much more than a concert … an experience that transcends its many components to create a special\, all-encompassing experience that makes one forget time and place for two bliss-filled hours.” THE TORONTO STAR \nVisit the website of Tafelmusik\nRead about House of Dreams\nListen to Tafelmusik \n\nTAFELMUSIK BAROQUE ORCHESTRA\nViolin: Jeanne Lamon\, Patricia Ahern\, Thomas Georgi\, Aisslinn Nosky\, Christopher Verrette\, Julia Wedman\, Cristina Zacharias\nViola: Patrick G. Jordan\, Stefano Marcocchi\nVioloncello: Christina Mahler\, Allen Whear\nBass: Alison Mackay\nOboe: John Abberger\, Meg Owens\nBassoon: Dominic Teresi\nLute: Lucas Harris\nHarpsichord: Charlotte Nediger\nPROGRAMME\nCanadian Tour March 2016. Conceived\, programmed\, and scripted by Alison Mackay\nMarshall Pynkoski\, Stage Director\nGlenn Davidson\, Production Designer\nRaha Javanfar\, Projections Designer\nTafelmusik Baroque Orchestra directed by Jeanne Lamon\nBlair Williams\, Narrator\nTRIPTYCH\nThe First House: London\nGeorge Frideric Handel    \nPrelude to “As with rosy steps\,” from Theodora\nAllegro\, from Concerto grosso op. 6\, no. 5\nVivace\, from Concerto grosso op. 3\, no. 2\nAllegro\, from Concerto grosso op. 6\, no. 1\nDances from Alcina:\nEntrée des songes agréables – Gavotte – Tamburino\nThe Second House: Venice\nAntonio Vivaldi \nLargo\, from Concerto in D Major for lute RV 93\nAllegro\, from Concerto in D Minor for 2 oboes RV 535\nAllegro\, from Concerto in E Minor for bassoon RV 484\nAllegro\, from Concerto in G Minor for 2 cellos RV 531\nThe Third House: Delft\nJan Pieterszoon Sweelinck    \nEngelse Fortuin\nHenry Purcell    \nFantasia in 3 parts upon a ground\nThird act tune\, from The Indian Queen\nSymphony\, from St. Cecilia Ode\n— Intermission —\nMIRROR IMAGE\nThe Fourth House: Paris\nMarin Marais    \nSuite from Alcyone\nTambourins – Marche en rondeau – Ritournelle Acte III –\nMarche des matelots – Ritournelle Acte III reprise – Tempeste –\nRitournelle Acte V – Chaconne\nThe Fifth House: Leipzig\nJohann Sebastian Bach    \nGigue\, from Trio sonata in C Major\, BWV 1037\nAdagio\, after Cantata 42/3: “Wo zwei und drei versammelt sind”\n(Where two and three are gathered together)\nAllegro\, from Concerto for 2 violins in D Minor\, BWV 1043\nGeorg Philipp Telemann    \nOuverture\, from Wassermusik\nReprise\nHandel\nPrelude from Theodora\nAllegro\, from Concerto grosso op. 6\, no. 5\n \nPROGRAMME NOTES By Alison Mackay\nTafelmusik’s House of Dreams is an evocation of rich and intimate experiences of the arts in the time of Purcell\, Handel\, Vivaldi and Bach. It is a virtual visit to London\, Venice\, Delft\, Paris and Leipzig\, where great masterpieces by European painters were displayed on the walls of five private homes. These houses were also alive with music\, often played by the leading performers and composers of the day. Thus it was possible for visitors to drink tea in a Mayfair townhouse\, observe how Watteau had applied his brushstrokes in the portrayal of a silk dress\, and listen to Handel directing the rehearsal of a new gavotte.\nThe five historical houses are all still in existence and our project has been planned as an international collaboration with their present owners and administrators. Invitations from the Handel House Museum (London)\, The Palazzo Smith Mangilli-Valmarana (Venice)\, the Golden ABC (Delft)\, the Palais-Royal (Paris) and the Bach Museum and Archive (Leipzig) to visit and photograph the houses have allowed us to portray for you the beautiful rooms where guests were entertained with art and music long ago.\nThe title of the concert comes from the atmospheric description of the “House of Dreams” in Book 11 of Ovid’s Metamorphoses. In a dark cave where no cackling goose or crowing cockerel disturbs the still silence\, the floor surrounding the ebony bed of the god of sleep is covered in empty dreams\, waiting to be sent to the houses of mortals. The people\, objects\, and animals in the theatre of our dreams are portrayed by the god’s children\, Morpheus\, Phantasos and Phobetor\, who are re-imagined as messengers of artistic inspiration in the context of our script. In the course of the performance\, dreams enter the houses in many guises\, first during Handel’s music for the “Entrance of the agreeable dreams” from his opera Alcina.\nAlcina\, like Messiah and Hercules\, was composed and rehearsed on an upper floor of the London house where George Frideric Handel lived for the second half of his life. The modest townhouse was built in 1723 as part of the new subdivision of Mayfair and Handel was its first tenant; as a foreign national\, he was forbidden from owning property. The location at 25 Brook Street was a convenient distance from St. James’s Palace\, where he performed his official duties as the newly appointed Composer to the Chapel Royal.\nThe plan of the house was typical for row houses in London at this time. The kitchens were in the basement; each of the next two floors up had a front and a back parlour; the third-floor bedroom contained a fine crimson\, canopied bed. We know these details from Handel’s estate inventory\, the legal document recording the value of his possessions at the time of his death. Estate documents are one of the most important sources of information about the contents and layout of all of our five houses\, along with wills\, private listings of paintings\, and catalogues from estate sales.\nTen months after Handel’s death\, the London firm of Abraham Langford published an auction catalogue of 80 paintings and 64 engravings from Handel’s private collection. This document came to light in 1985 and revealed Handel to have been a dedicated and sophisticated collector of art. The Brook Street house contained works by many major English and Continental painters\, including Antoine Watteau\, Marco Ricci\, Jan Breughel the Elder\, Canaletto and Rembrandt. It is not possible in most cases to determine the exact paintings that were on the walls\, but the titles and detailed descriptions in the auction listing allow for an appreciation of Handel’s taste. He was attracted by the works of artists who had been active as set painters in the opera world\, and he owned two paintings by Watteau called “conversations.” These were genre works depicting men and women in theatrical dress\, often set in the world of the Paris Opéra or Comédie. Two works which depict pairs of dancers and groups of instrumentalists have been chosen for our performance because of an important link between the Parisian dance world and the composition of the opera Alcina.\nOne of Handel’s most popular Italian operas\, Alcina\, was premiered April 16\, 1735 at Covent Garden. Shortly before\, a read-through had been directed by the composer himself in the music room of his home. It was attended by Handel’s great friend\, Mary Pendarves\, who later remarried and is now known as the brilliant letter writer and paper-cut artist\, Mrs. Delany. (Her brother\, also a great friend\, had given Handel his View of the Rhine by Rembrandt.) Of the rehearsal of Alcina\, Mrs. Delany wrote to her mother:\nYesterday morning my sister and I went with Mrs. Donellen to Mr. Handel’s house to hear the first rehearsal of the new opera Alcina. I think it is the best he ever made\, but I have thought so of so many\, that I will not say positively ’tis the finest\, but ’tis so fine I have not words to describe it. Strada has a whole scene of charming recitative – there are a thousand beauties. Whilst Mr. Handel was playing his part\, I could not help thinking him a necromancer in the midst of his own enchantments.\n\nOne of several startling features of this letter is its date of April 11 – there were only five days between the first read-through at home and opening night at Covent Garden. It was certainly common for London opera composers to hold open rehearsals before the move into the theatre. There is a charming series of nine paintings by the Venetian painter Marco Ricci (who had come to London to paint opera sets) depicting tea-drinking friends\, patrons and dogs attending rehearsals of this sort. One of these paintings forms a backdrop to our opening sequence and informs the placement of our continuo section in the first segment of the concert.\nThe premiere of Alcina featured dance music composed for the Parisian dancer Marie Sallé\, whose diaphanous costumes and expressive choreographies\, often featuring her brother as a partner\, had created a sensation on the London stage earlier in the decade. She had made her debut at the Paris Opéra in 1721\, placing her squarely in the world portrayed in Watteau’s “conversation” paintings. The pair of dancers depicted in Watteau’s Plaisirs du bal would have been virtuoso performers of the French gavottes and other dance forms used by Handel for Marie Sallé.\nHandel also owned a painting of the ducal palace at the harbour entrance to Venice\, a famous view by Canaletto\, who had started his career as a set painter for operas by Alessandro Scarlatti and Antonio Vivaldi. Canaletto painted a number of versions of this scene\, sometimes including the Ospedale della Pietà where Vivaldi was the music master. At this time La Pietà was a large red brick building\, slightly west of and entirely different from the white marble church we see today.\nA version of Canaletto’s harbour scene was also hanging in the Venetian home of Joseph Smith\, where Handel collected his forwarded mail when he was in Italy. Our performance makes the move from London to Venice through the portal of the painting: it appears first on the battleship-grey wall of Handel’s bedroom and then in the Grand Canal palazzo where it emerges on the red damask wall of Smith’s piano nobile – the “noble floor” where Venetians entertained their guests a level up from the odoriferous canal.\nJoseph Smith\, who had moved from London to Venice as a young man in 1700\, became a merchant banker and wealthy trader specializing in wine\, olives and dried fruits. In 1744 he was appointed British Consul in Venice where he continued to live until his death in 1770.\nHe lived just above the Rialto on the Grand Canal in a house known today as the Palazzo Smith Mangilli-Valmarana. It was famous all over Europe as a place of intellectual ferment and artistic activity. Carlo Goldoni\, in the preface to his play Il filosofo inglese\, which was dedicated to Joseph Smith\, called the house the site of “the most perfect union of all the sciences and all the arts.”\nSmith was a serious book collector with a magnificent library of printed books (including 248 printed before 1500) and rare manuscripts\, including one of the oldest and most complete texts of Ovid’s Metamorphoses. Anxious that his collection be kept intact after his death\, he sold his books to George III in 1765 and they became a founding collection of the British Museum Library.\nConsul Smith’s reputation as a collector also rested on his patronage of Venetian painters. He became the agent for Canaletto in the 1720s\, commissioning many paintings for his own palazzo and for English clients. His walls were covered in dozens of exquisite scenes of Venice\, as well as works by old Italian masters. A large collection of the paintings as well as engraved gems and hundreds of master drawings and prints were also sold to George III and remain in the Royal Collection today.\nSmith was a serious music lover whose collection of instruments used at house concerts was sold at auction in London after his death. His first wife\, Catherine Tofts\, was the English prima donna depicted in the version of Marco Ricci’s “Opera Rehearsal” seen near the beginning of our concert. In the 1730s Smith acted as agent for the celebrated castrato Farinelli in connection with opera performances in England.\nJoseph Smith’s interest in musical instruments may have attracted him to the famous Vermeer painting now known as The Music Lesson\, which he bought in 1742 from the estate of the Venetian painter Giovanni Antonio Pellegrini. Fifty years earlier the painting had been sold at auction as part of the estate of Jacob Dissius\, a Dutch bookbinder with a small shop called “The Golden ABC” on the main square of Delft.\nOn April 14\, 1680\, Dissius had married a young Delft woman named Magdalena van Ruijven who tragically died after only two years of marriage. The widower was so badly off that he had to borrow money to pay for mourning clothes and the funeral. Yet the walls of his tiny house with its street-level bookshop were covered with one of the great treasure troves of Western art\, for he had inherited 21 paintings by Johannes Vermeer from his wife. Vermeer had lived close by and had enjoyed the friendship and patronage of Magdalena’s father and mother\, Pieter van Ruijven and Maria de Knuijt\, who had bought many of the 34 Vermeers known to be in existence.\nMagdalena’s estate inventory lists 11 Vermeers in the front hall of the Golden ABC\, one in the kitchen\, two in the basement\, several others in unspecified rooms\, and four in the back room\, which also contained a chest of musical instruments and music books.\nThe young woman playing the virginals in The Music Lesson might have been playing a piece like Engelse Fortuin\, the early 17th-century set of variations on the English tune “Fortune my foe” by the great Dutch keyboard composer Jan Pieterszoon Sweelinck.\nThe music books in the back of the Dissius house might have contained later music from across the Channel\, for throughout the 17th century the Dutch public had a high regard for English music\, bolstered in the 1690s by the presence on the English throne of a Dutch king (William III of Orange) who employed Henry Purcell as his composer-in-residence and travelled to Holland with his English orchestra in tow.\nJacob Dissius died in 1695 at the age of 42 and was carried to the cemetery by coach and 18 pallbearers (a sign that he had begun to prosper). Six months later an announcement of the auction of the Dissius paintings with a number of their titles appeared in Amsterdam. We have chosen for our performance several of the paintings known to have been in the collection from the house.\nThe first half of the concert bears the subtitle of “Triptych\,” partly because of the three houses joined by shared works of art\, and partly because of the Vermeer triptych we have created with three famous tronies (character studies of expressive faces). When Jeanne Lamon and Christina Mahler met me in the Golden ABC this past September to play the violin and cello within the old rooms\, it was possible to imagine the impact that the thoughtful gaze of these young women\, forever captured in their youthful health by Vermeer\, must have had in the little house which had lost its young mistress.\nThe second half of the concert\, called “Mirror Image\,” takes place in two houses where paintings and performances of music were reflected in large embedded wall mirrors.\nThe Palais-Royal on the Rue St. Honoré in Paris\, just north of the Louvre\, began life as the principal residence of the theatre-loving Cardinal Richelieu\, first minister to Louis XIII. There was a private theatre in the east wing of the building with sets and lighting designed by Bernini. When the Cardinal died two years after the opening of the theatre\, the house was left to the crown and the theatre gradually fell into disrepair. In 1660 the young Louis XIV granted use of the theatre to Molière’s acting company and then to Jean-Baptiste Lully\, who renovated it for opera performance. It became the venue for every Paris performance of Lully\, Marais and Rameau operas for the next 70 years.\nIn 1692 the entire house became the property of the brother of Louis XIV\, the Duc d’Orléans\, known as “Monsieur.” His son Philippe became duke in 1701 and four years later Regent to the five-year-old Louis XV\, great-grandson of the previous king.\nThe Palais-Royal became a sparkling centre of Parisian social life\, with its beautiful gardens and rooms renovated by the architect Gilles-Marie Oppenord\, who was charged with creating a magnificent setting for the Duke’s collection of 500 paintings. Now known as the Orléans Collection\, it was in its time the most important private collection of art in Europe. The jewel of the palace renovation was a lofty salon and adjacent gallery covered in red damask with a huge mirror at each end\, making the already imposing space seem twice as long. The mirrors reflected the dramatic scenes portrayed by Titian\, Tintoretto and Correggio\, many of which were derived from the stories in Ovid’s Metamorphoses.\nThe Metamorphoses also provided the plots for many of the operas performed in the theatre. Thus it was possible within the walls of the palace\, open on certain days to the public\, to experience the stories from ancient mythology in visual art and on the stage. The night of the Duke d’Orléans’ 14th wedding anniversary was marked by the première of Alcyone\, an opera based on one of Ovid’s tales about a loving marriage\, set to music by the great viola da gamba virtuoso Marin Marais. The storm scene from this opera was famous for many years and was the first use of a double bass in French opera.\nThe style of decor and home furnishings found in the Palais-Royal spread across Europe as far east as the city of Leipzig\, described by Goethe a generation later as “a little Paris.” Across from the St. Thomas Church\, the signature of Goethe (who also made a pilgrimage to visit the grave of Consul Smith on the Lido) could be found in the visitors’ book of a beautiful house where a private collection of paintings by Rembrandt\, Holbein\, Rubens\, Lucas Cranach\, Paolo Veronese and Pieter Breughel the Younger was open to the public one day a week for two hours.\nThe art collection had been started by Georg Heinrich Bose\, who had moved into the house in 1711. The Bose family became best friends to the family of Johann Sebastian Bach after the Bachs moved into the St. Thomas School next door in 1723; four of the Bose daughters became godmothers to four of Bach’s children. The Bachs and the Boses also shared a love of domestic music-making and scholars think it highly likely that the Bach family performed in the beautiful music room at the top of the Bose house. This room had its walls covered in large embedded mirrors in French style and had a hidden musicians’ gallery\, revealed when a movable ceiling painting was mechanically raised.\nDetails about the rooms\, furniture\, and contents of the house are found in the family estate inventories. This is also true of J.S. Bach’s inventory\, which lists his musical instruments\, the titles of books in his library\, his items of clothing\, his furniture and his kitchen tools. This inventory is a still-life portrait of the rooms in his house\, captured in words at the end of his life. Our arrangement of a meditative aria from Cantata 42 accompanies three still-life paintings by Jean-Baptiste Siméon Chardin portraying objects of the type described in the inventory: a silver goblet\, a smoking box\, and a copper kettle.\nHouse of Dreams ends with a review of our own newly acquired art collection as if visited in the museum of our mind’s eye. No imagined image or digitized projection can rival the experience of being in the same room with an original painting by Vermeer or Chardin. But we lovers of Baroque music on original instruments can be grateful for the technology that allows us to step back into a time when Canaletto and Watteau were creating modern art and when visitors could spend an hour or two in a room full of delights for the ear and the eye.\nHOUSE OF DREAMS STAGE SET\nSeveral features of the stage set\, which was designed by Glenn Davidson and built in the theatre department at The Banff Centre\, have been inspired by historical features in the 18th-century Venetian residence of Joseph Smith. The collection of books\, paintings\, and other artifacts and artworks sold by Consul Smith to George III of England included a group of ornate gilt frames used for matched sets of paintings and mirrors. One of the frame designs still in the Royal Collection has been copied in the creation of our own framed projection surface. The floor design is a replica of the salmon and white marble tiles found on the ground floor of the Palazzo Smith Mangilli-Valmarana.\n THE HUDSON’S BAY COMPANY SCARF\nThe European economy during the period of House of Dreams was greatly influenced by the profits from newly-formed companies trading in North and South America\, Africa and Asia. Wealth from the Hudson’s Bay Company\, founded in 1670\, allowed middle-class people from Britain to embark on the Grand Tour and buy Italian paintings from dealers such as Joseph Smith. The company also injected capital into the Murano glass industry\, buying Venetian beads for the fur trade in Canada. We have used the centuries-old Hudson’s Bay Company design to help identify Blair Williams as the history-loving\, Shakespeare-reciting Canadian tourist who starts his own Grand Tour at Handel’s house in London.\n©Alison Mackay 2012\nBIOGRAPHIES\n\nHailed as “one of the world’s top baroque orchestras” by Gramophone Magazine\, Tafelmusik was founded in 1979 by Kenneth Solway and Susan Graves. At the heart of Tafelmusik is a group of remarkably talented\, enthusiastic\, and dynamic permanent members\, each of whom is a specialist in historical performance practice.\nDelighting audiences worldwide for more than three decades\, Toronto-based Tafelmusik reaches millions of people through its touring\, critically-acclaimed recordings\, broadcasts\, new media\, and artistic/community partnerships. The vitality of Tafelmusik’s vision clearly resonates with its audiences in Toronto\, where the orchestra performs more than 50 concerts every year for a passionate and dedicated following of all ages. For over 35 years Tafelmusik has maintained a strong presence on the world stage\, performing in some 350 cities in 32 countries.\nTafelmusik has also invested much energy and many resources into supporting the next generation of period performers through its artist training programmes\, most notably through the renowned annual Tafelmusik Baroque Summer Institute. Musicians from around the globe gather to study period performance in an intensive and varied programme. This year’s Institute takes place in Toronto June 5–18\, 2016 (application deadline March 11\, 2016: tafelmusik.org/TBSI).\nAn integral part of Tafelmusik’s worldwide success has been its critically acclaimed discography of over 80 baroque and classical albums\, which have garnered many national and international awards. including nine JUNO Awards. A number of new and past recordings have been released on the Tafelmusik Media label\, including a DVD/CD of House of Dreams. These and other recordings\, as well as digital downloads and merchandise\, are available from Tafelmusik’s online shop (www.tafelmusik.org/Shop).\nJeanne Lamon\nMusic Director of Tafelmusik from 1981 to 2014\, Jeanne Lamon has been praised by critics in Europe and North America for her strong musical leadership. She has won numerous awards\, including honorary doctorates from York University\, Mount Saint Vincent University\, and University of Toronto\, and the prestigious Molson Prize from the Canada Council for the Arts. In 2000\, Jeanne Lamon was appointed a Member of the Order of Canada and in 2014\, a Member of the Order of Ontario. She is in demand as guest director of symphony orchestras in North America and abroad. She is passionate about teaching young professionals\, which she does as Adjunct Professor at the University of Toronto and through Tafelmusik’s artist training programmes. Jeanne Lamon stepped down as Music Director of Tafelmusik in June\, 2014\, and is currently serving as the Chief Artistic Advisor until the next Music Director is chosen. She continues to perform and tour with the orchestra in a reduced capacity.\nAlison Mackay\nAlison Mackay\, who has played the violone and double bass with Tafelmusik since 1979\, is active in the creation of cross-cultural and multi-disciplinary programmes for the orchestra. A number of her projects\, which include The Four Seasons\, a Cycle of the Sun; Metamorphosis; The Galileo Project; House of Dreams\, and Bach\, the Circle of Creation have been made into feature documentary films and have toured extensively around the world. Her musical tale of adventure\, The Quest for Arundo Donax\, was awarded the 2006 Juno Award for Children’s Recording of the Year\, and she is the recipient of the 2013 Betty Webster Award for her contribution to orchestral life in Canada.\nBlair Williams\nBased in Toronto\, Blair Williams works as a director and actor in theatres across Canada and the US\, most recently appearing in Educating Rita at the Thousand Islands Playhouse and directing Moss Hart’s Light Up The Sky at the internationally renowned Shaw Festival. Prior to House of Dreams\, he had previously collaborated with Tafelmusik on the narrative concerts Chariots of Fire; King Arthur; The Grand Tour; and The Quest for Arundo Donax\, the recording of which won a Juno Award for Best Children’s Album of the Year. He was born in North Bay Ontario\, and is a graduate of the National Theatre School of Canada. \n\nHouse of Dreams is performed with the kind patronage of the Domaine National du Palais-Royal (Paris) and in partnership with Handel House Museum (London)\, Claudio Buziol Fondation (Venice)\, Het Gulden ABC (Delft)\, Bach Museum (Leipzig).\nWe acknowledge the support of the Canada Council for the Arts\, which last year invested $153 million to bring the arts to Canadians throughout the country. / Nous remercions le Conseil des arts du Canada de son soutien. L’an dernier\, le Conseil a investi 153 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.\n\nTafelmusik 2015 /2016 Season Presenting Sponsor\n\nGenerously supported by:\n\nHouse of Dreams received its premiere in February 2012 at The Banff Centre\, where it was co-produced in a residency.\n\nEMSI Season sponsors
URL:https://earlymusicsocietyoftheislands.ca/concert/tafelmusik-house-of-dreams/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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DTSTART;TZID=America/Vancouver:20160220T200000
DTEND;TZID=America/Vancouver:20160220T200000
DTSTAMP:20260501T103439
CREATED:20200426T014710Z
LAST-MODIFIED:20200426T043929Z
UID:3741-1455998400-1455998400@earlymusicsocietyoftheislands.ca
SUMMARY:Back Before Bach: Piffaro
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nPiffaro\, The Renaissance Band (Philadelphia)\nBack Before Bach\nMusic familiar to Bach’s father\, Johann Ambrosius Bach\, a Stadtpfeifer in the town band of Arnstadt\, performed on shawms\, recorders\, sackbuts and bagpipes by one of today’s most respected Renaissance wind ensembles. Works by Isaac\, Luther\, Praetorius\, Obrecht and Lassus\, plus the popular dances of the day that underlie and inform all Baroque music. \n“”Piffaro sits atop the early music scene as one of the world’s top international ensembles.” THE DETROIT NEWS March 2013 \nVisit the website of Piffaro\nListen to Piffaro \n\nThis concert is co-sponsored by the Ancient Music Society of Victoria\n\nPIFFARO\, The Renaissance Band\nJoan Kimball & Bob Wiemken\, Artistic Co-Directors\nGreg Ingles – sackbut\, recorder\, percussion\nGrant Herreid – lute\, guitar\, shawm\, recorders\, krumhorn\, percussion\nPriscilla Herreid – shawm\, schalmei\, recorders\, krumhorn\nJoan Kimball – shawm\, schalmei\, recorders\, bagpipes\, dulcian\, krumhorn\nChrista Patton – shawms\, harp\, bagpipes\, recorder\, percussion\nBob Wiemken – dulcians\, recorders\, krumhorn\, percussion\nwith Guests\nCatherine Motuz – sackbut\nChuck Wines – shawm\, dulcian\, recorders\, bagpipes\nPROGRAMME\nGerman Popular Tunes (Bagpipes\, recorder\, guitar\, percussion)\nHildebranntslied/Es taget/Zart liep (Anonymous\, German\, 16th c.)\nChrist ist erstanden (Shawms\, schalmei\, sackbuts\, dulcians)\nChant (traditional\, 11th c.)\nSetting à 3    (Glogauer Liederbuch\, c. 1480)\nSetting à 4 (Heinrich Isaac 1450-1515)\nSetting à 5 (Stephen Mahu c.1490-c.1541)\nSetting à 3 “auf Bergreihenweis” (Johann Walther 1527-1578)\nSetting à 4 “ad aequales” (J. Walther)\nChorale à 4 (Michael Praetorius 1571-1621)\nChorale BWV 276 (Johann Sebastian Bach 1685-1750)\nA Jolly Song & Two Dances from Terpsichore (Bagpipes\, guitar\, krumhorns\, percussion)\nZu Regensburg (Anonymous)\nPhilou & Ho Herders (M. Praetorius)\nA solis ortus/Christum will sollen loben schon (Recorders\, harp)\nA solis ortus cardine (Anonymous\, late 15th c.)\nMotet: Christum wir sollen loben schon à 4 (J. Walther)\nHymnus: Christum wir sollen loben schon à 5 (J. Walther)\nChorale: A solis ortus à 4 (M. Praetorius)\nMotet: A solis ortus à 6 (M. Praetorius)\nCanzona: A solis ortus à 4 (Samuel Scheidt 1587-1684)\nChorale: Christum wir sollen loben schon à 4 (J.S. Bach)\nMore dances from Terpsichore (Shawms\, sackbuts\, dulcian\, percussion)\nPassameze à 6 (M. Praetorius)\nAllemande (S. Scheidt)\nVolta (M. Praetorius)\nINTERMISSION\nThe World of Chromaticism (Shawms\, sackbuts\, dulcians)\nMusica\, Dei donum optimi (Orlande de Lassus c.1532-1594)\nCarmina chromatico: Prologue (de Lassus)\nMirabile mysterium (Jakob Handl 1550-1591)\nSteht auf\, ihr liebe Kinderlein (Kile Smith b. 1956)\nA Song from Andernach along the Rhine (Recorders\, lute\, harp)\nTander naken (Jakob Obrecht 1450-1505)\nTanndernac (Antoine Brumel c. 1460-1512 or 1513)\nTandernack Quatuor (Ludwig Senfl c.1486-1543)\nSuite of Flemish Dances (Tylman Susato\, publ. 1551) (Bagpipes\, shawms\, sackbuts\, dulcians\, percussion)\nPasse e medio/Reprise\nThree Galliards\nLa Morisque\nPROGRAMME NOTES\nIt’s perhaps an inescapable truism – but one worth mentioning in the context of this programme – that no composer can truly write de novo. He or she is but one link in the long chain of compositional history\, a product of centuries of practice\, innovation and experimentation\, all of which finds its voice ineluctably and perceptibly in each new work. Even the most innovative composer\, who may try to steer his/her own course against the flow of received tradition\, must wrestle with the weight of preceding years. There will always be a “back before” that illuminates any present and traces the path of a fascinating journey\, time travel through layers of individuality applied to temporal contexts.\nThis program attempts just such a journey\, trekking through some\, but by no means all of the influences\, the musical strata that are brought to bear on the formation\, the creativity and imagination of one of the Baroque period’s most fascinating\, adventuresome and individual composers\, Johann Sebastian Bach.\nFamily matters! Bach’s father was a stadtpfeiffer in the towns of Lubeck and Arnstadt. He played trumpet\, surely also shawm\, probably even recorder. Such were the job requirements for a wind player of that day\, multi-instrumentalists par excellence\, conversant in most genres of music\, embellishing many a different occasion\, fluent in the languages of both sacred and secular occasion. Even more\, Bach’s wife’s father\, Johann Caspar Wilcke\, was a trumpeter in Zeitz and Weissenfels. His godfather\, Sebastian Nagel\, was a stadtpfeiffer in Gotha. The preponderance of familial evidence suggests that Johann Sebastian knew wind instruments\, wind playing\, wind tradition and repertoire intimately. As a young boy he heard the sounds of trumpets and shawms\, sackbuts and dulcians ringing in his ears\, that combination of reeds and brass that from the early 15th century constituted the professional German bands\, employed by almost every city\, court and cathedral of substance. Whether performing mass or motet\, hymn or psalm\, canzona or dance\, these wind players maintained their lofty place in German music circles well through the 17th century\, even when strings had carved out a prominent niche for themselves in the professional musical circles of the time. These wind players\, the stadtpfeiffer\, with their historical instruments\, repertoire and style served as the plinth on which Bach erected his own column of compositional creativity.\nSo\, back before Bach we go. The initial step of the journey is a familiar one\, namely\, a few good tunes. German repertoire throughout the Medieval and Renaissance periods is replete with singable\, enduring\, popular melodies that drove compositions of numerous varieties and forms. One of the more famous is the Hildebrandtslied\, a tale of heroic valor sung to a haunting melody\, possibly of Flemish origin. Another is the lilting\, dancelike Es taget vor dem walde (“It’s early morning in the woods”)\, a tune set many times by Ludwig Senfl and numerous other composers\, clearly a favorite. The final tune in the set is the boisterous and cheerful Zart liep\, wie süß dein anfang ist (“Tender love\, how sweet the beginning”) from the Lochamer Liederbuch\, an extensive collection of German songs from the transition between the late Middle Ages and the Renaissance. It dates from about 1450 and is regarded as one of the most important surviving collections of music from fifteenth-century Germany.\nThe next leg of the journey takes us from 11th century Burgundy to 18th century Leipzig and to Bach himself\, the means of transport the well-known Easter hymn Christ ist erstanden (“Christ is risen”). The hymn is based on and derived from the original Latin Easter sequence Victimae paschali laudes (“Praises for the paschal victim”)\, attributed to Wipo of Burgundy in the 11th century\, which was itself transformed into a Leise in the 12th century. The Leise was a devotional\, German stanzaic song in the nature of a refrain\, found particularly in the later Middle Ages\, supposedly deriving its name from the words of the opening section of the Mass\, ‘Kyrie eleison’\, that often appeared repeated in the verses of the song. In the early stages of specifically German polyphony\, beginning with the lost early 15th-century Strasbourg manuscript\, Leisen were often transformed into multiple-voiced compositions.\nThe earliest known such polyphonic setting of the Leise on Christ ist erstanden to have survived is found in the Glogauer Liederbuch\, dating from the 1480’s\, a three-voice version in late Medieval style\, with the melody lying uncharacteristically in the top voice and embellished in florid\, improvisational style in the two lower voices. The subsequent setting by Heinrich Isaac expands to four voices and places the melody in the more usual tenor voice\, though the opening phrase appears in imitation in all the voices. Isaac’s setting\, however\, maintains some of the florid counterpoint of the Glogauer version. In both of these settings the Kyrie eleison is replaced by the simple Alleluia.\nThe setting by Stephan Mahu bridges the gap between late Medieval and early Renaissance compositional styles. Mahu’s works consist chiefly of a few contrapuntal settings à 4 and 5 of German songs\, both sacred and secular. His five-part Christ ist erstanden setting is unusual for its scoring of virtually four tenor and one bass range voices\, containing the tessitura in a tightly-knit aural spectrum resulting in a dense texture. From the text of one of his sacred songs\, Lobt Gott ihr Christen all (“Praise God\, all you Christians”)\, a fierce diatribe against the abuses of the Roman church\, as well as from the fact that Mahu contributed a setting à 5 of Martin Luther’s Ein’ feste Burg (“A mighty Fortress”)\, to Georg Rhau’s Geistliche Gesange (“Sacred Songs”) of 1544\, we might conclude that Mahu was more Lutheran in his sympathies than Roman.\nA major bend in the road occurred with the founding of the Reformation in Germany in 1516 under the leadership of Martin Luther. Though he jettisoned some of the excess baggage the Roman Church had amassed over the centuries\, Luther nevertheless maintained many of its musical and liturgical traditions. Under his influence\, and with the help of his close friend and colleague\, Johann Walther\, the Leise on Christ ist erstanden was transformed into a liturgical hymn for congregational use. In so doing\, elements of the original Easter sequence melody were reinstated\, as well as\, most notably\, the Kyrie eleison of the early Leise traditions. Walther was himself a prolific and accomplished composer who supplied the emerging Reformed\, (i.e. Lutheran)\, Church with a wealth of musical treasures\, in both hymn and polyphonic motet styles.\nWalther’s contributions to the emerging Lutheran church were matched and even exceeded by the more well-known Michael Praetorius\, composer\, publisher\, theorist and arranger\, whose respect for Walther’s works led him to include many in his own publications. Praetorius provided numerous chorale-based settings of various hymn tunes that served the church’s pedagogical aims and needs. His chorale setting of Christ ist erstanden is a characteristic 17th century marker on the road to those of Bach himself.\nPraetorius is also well known\, and well appreciated\, for his famous collection of dances\, the Terpsichore of 1612. Dance stands as yet another\, significant leg of the journey to Bach\, for a commonplace of current scholarly opinion holds that Baroque music is heavily imbued with elements of dance (as is that of the Renaissance)-not just specific dance forms themselves\, such as the passameze\, the allemande\, the bourree\, the gigue\, the gavotte\, the ballet\, and more\, but the rhythms\, figures and gestures of dance music in general. Curiously\, little German dance music in ensemble settings survives that might be dated before this publication by Praetorius. His collection\, however\, is international in scope\, preserving not only German dance forms but also much from the French\, Flemish\, English and Italian traditions as well\, both courtly and rustic.\nConsequently\, this leg of our journey makes a couple of appropriate stops at the Terpsichore station. The Philou and Ho Herders (“Yo\, shepherds!”) represent the rustic side of German dance\, appropriately set to bagpipes and krumhorns\, near cousins to the bagpipes\, with the driving rhythmic energy of the guitar and percussion as well. The second set including the Passameze\, Allemande and Volta display the more courtly side of German\, and international\, dance and are thus set to the shawms\, sackbuts and dulcians that constituted the major instruments of the professional court bands in Praetorius’ day.\nAnother major trajectory in this musical journey to Bach lies in the well-known early Christian hymn A solis ortus cardine (“From the point of the sun’s rising”). Attributed to Coelius Sedelius (d. 450)\, the text narrates the life of Christ from birth to resurrection in 23 verses\, each one starting with a consecutive letter of the Latin alphabet\, a technique called abecedarius or alphabet song. The first seven verses related the events of the birth and thus in the Middle Ages became a separate Christmas hymn in the Roman liturgical calendar. Subsequently\, Martin Luther translated this hymn for use in the Reformed church\, giving it the title Christum wir sollen loben schon (“We should now praise Christ…”)\, which became the principle Lutheran Christmas hymn until recently when the publication of the 1955 Evangelisches Gesangbuch left it out.\nThe first four-voice polyphonic treatment of this early 5th century monophonic hymn appears to be the anonymous setting from the late 15th century on this program. It preserves the contour of the original melody\, distributing the opening\, stepwise rising fifth\, D to A\, in slow note values throughout the voices\, vividly depicting the sun’s gradual emergence over the horizon. The original chant melody appears in the tenor voice\, as was a customary style of the time\, with elaboration in the remaining three parts. Johann Walther’s four-voice setting of the Lutheran hymn maintains this treatment in late medieval style while altering the melody of the anonymous setting slightly\, but significantly. Whereas the original chant melody opens with a stepwise rising pattern\, Walther’s rendering bypasses the E in the sequence and thus opens with an initial leap of a minor third\, D to F\, which appears in all the parts. In addition\, he further embellishes the melody\, particularly in the alto and bass lines with appropriately florid counterpoint. His five-part setting represents a step toward the more equal-voiced style of the early Renaissance polyphonic practice\, much in the manner of Heinrich Finck. The melody still lies in the tenor voice\, yet snippets of the melody sound from all the voices in this overlapping imitative texture\, providing the compositional framework for the whole.\nThe chorale setting by Michael Praetorius reverts to the Latin text\, A solis ortus cardine\, and moves the melody to the top voice\, as regularly occurred throughout later 16th century treatments of earlier material. The writing is much more chordal and homorhythmic\, and thus more singable for a congregation of untrained voices\, as was Luther’s desire. Yet\, he maintains the opening leap of a minor third that first appears in the Walther settings\, and harmonizes the melody in an up-to-date\, “modern” style for his time. His six-part setting\, however\, represents a striking\, and highly creative\, divergence from the received tradition. He achieves a thoroughly polychoral effect within the six voices\, frequently dividing them into an upper and a lower choir of three voices each\, which interact in a clever conversation around the elements of the familiar melody that no longer exists intact in any one voice. Nevertheless\, the hymn’s identity remains clearly discernible.\nEven more imaginative is the canzona-like setting by the renowned organist and composer\, Samuel Scheidt\, a younger contemporary and colleague of Praetorius.  From his collection of organ works\, the Tablatura Nova published in 1619\, this setting pares down to four voices once again and maintains the opening minor third leap in all the previous Lutheran settings. In addition\, he alters the opening rhythm of equal rising notes to an opening dactyl\, or long-short-short figure\, which puts this treatment squarely in the long-standing canzona tradition. Melody no longer predominates or even prescribes. Instead\, Scheidt allows himself to enjoy flights of fancy based on the ostinato of the opening rising figure from the original chant\, a feature that drives the entire composition. Only in the last five bars does his whimsical playfulness give way to a more declamatory\, and traditional\, glide into the final chord.\nFinally\, Bach himself drew upon the Lutheran hymn to compose an entire cantata with Luther’s German text reinstated. The concluding chorale of this cantata is emblematic of Bach’s creative genius\, and a fitting culmination to this part of our musical journey. Notably\, he also reinstates the note “E” in the opening\, ascending figure between the D and the F\, as in the original chant\, but treats both the D and E in short note values as though a pickup to the F – a small feature but distinctly his own. In addition\, his harmonizations\, replete with chromatic adventures\, bear witness to his unique vision\, even though he preserves the modal beginning\, Dorian\, and ending\, Phrygian\, of the original chant.\nBefore completing this journey to Bach\, it is imperative that we travel the route that carries us through the history of chromaticism in late Renaissance composition\, for one cannot imagine the works of Bach without the first adventurous\, striking and even courageous explorations outside the strictures of Medieval and Renaissance theory at the hands of such composers as the Flemish masters Adrian Willaert and Cipriano de Rore\, the Neapolitan organist Giovanni Maria Trabaci and most notably\, Carlo Gesualdo. The most prominent German composer to venture down this path was Orlande de Lassus. While serving Duke Albrecht V of Bavaria and his son William V in Munich for most of his career\, Lassus achieved international acclaim as one of the most gifted purveyors of imitative polyphony of his generation. His Musica\, Dei donum optimi (“Music\, gift of the most high God”) not only evinces his love and devotion to his profession\, but also displays his near perfection of the genre. With Lassus\, and his contemporaries Palestrina\, Victoria and Guerrero\, the international language of sacred mass and motet reached a pinnacle in compositional success. Little more remained to be achieved within the style. There was need for something new and one of those new elements lay in the bold use of notes outside the gamut\, or range\, of acceptable notes.\nLassus’ chief contributions to this new direction lay in his collection entitled Prophetiae Sibyllarum (“Sibylline Prophecies”)\, an extraordinary collection of twelve songs with a prologue. The Sibylline Prophecies of the title are the work of 2nd century authors apocryphally attributed to the legendary Sibyls\, ancient Greek prophetesses. The texts\, which purport to foretell the birth of Christ\, were accepted as genuine by Saint Augustine and other early Christian thinkers\, giving the Sibyls a status equal to that of Old Testament prophets. Michelangelo painted five of the Sibyls onto the ceiling of the Sistine Chapel in the Vatican in 1508 – 1512. The Prologue\, the Carmina Chromatico\, whose text may have been written by Lassus himself\, reads in translation: “Polyphonic songs which you hear with a chromatic tenor/these are they in which our twice-six sibyls once sang with fearless mouth the secrets of salvation.” Lassus responded immediately to the idea of “chromaticism” with a series of jarring\, yet successful\, progressions. Within the opening nine measures of this prologue\, he uses all twelve chromatic pitches of the octave and builds triads on ten different roots\, bursting the bounds of the traditional gamut beyond recognition.\nFollowing hot on the heels of Lassus’ extraordinary effort\, lies the justly famous Mirabile mysterium (“Wondrous mystery”) of the Slovenian composer\, Jacob Handl\, or Jacobus Gallus in the Latinized version of his name that he himself preferred. Handl\, or Gallus\, represented the Bohemian Counter-Reformation in his musical career\, writing almost exclusively in sacred Latin texts for the Catholic tradition. His style was essentially wide-ranging and eclectic\, blending archaism with the latest elements of modernity. He displayed fluent mastery of the Franco-Flemish style of imitative polyphony and successfully braved the waters of chromaticism as well. His motet Mirabile mysterium foreshadows the eccentricities of Carlo Gesualdo\, while at the same time pays close attention to text and its message.\nFounded on these early\, essential steps\, Bach’s use of chromaticism shows a clear sophistication and easy familiarity with the practice. His chorale settings on the melodies of Christ ist erstanden  and Christum wir sollen loben schon are just two of many examples. His chromatic ventures are less jarring and shocking than these earlier\, Renaissance experiments\, which nevertheless paved the way to a fully chromatic scale. He weaves his chromaticism deftly and smoothly into the full fabric of the polyphonic texture.\nOne last\, and highly necessary\, stop on this musical journey involves the practice of florid\, improvisatory instrumental display. It was common practice in the Medieval and Renaissance periods for performers to embellish compositions with ornaments\, as they were called\, or diminutions\, sequences of small note values in swift melodic flow in place of larger notes. Some were even capable of improvising whole lines of such quick display\, often to a fixed melody or tenor. Some examples of this improvisatory treatment survive in written form\, giving us a transparent window into the practice. One of the most popular melodies to receive this treatment was the song entitled “Tandernaken”\, a sad love song the events of which occurred near the Dutch town of Andernach along the Rhine river. For some reason the melody of this popular song pricked the imagination of composers and performers alike\, leaving a small treasure trove of ingenious creations.\nThe settings of this song in this programme are a small sampling of the many that have survived in written form\, and presumably of the many more that never did. Obrecht’s three-part composition keeps the melody intact in the tenor\, embellishing it with somewhat restrained virtuosic display in the upper and lower voices. Brumel’s setting\, also in three parts\, keeps the melody unembellished in the tenor\, but gives the other two lines many more notes to play in more rhythmic variety than does Obrecht\, which in the words of one scholar “seem[s] to represent a conscious effort to push professional instrumental virtuosity to its limits”. Ludwig Senfl’s four-part setting is notable for its treatment of the melody in close imitation in the tenor and bass voices together. These provide a framework for delightful embellishment in the top two voices\, until the last few bars give all the voices a concerted run into the final chord.\nThis practice of improvisatory display\, much in the manner of jazz musicians of our day\, continues throughout the 16th century and is codified in treatises by Silvestro Ganassi in Italy (1535) and Diego Ortiz\, a Spaniard working in Rome (1550’s). Gradually\, however\, composers worked such instrumental displays into the fabric of their own compositions\, usurping the performers prerogative very likely for the purpose of gaining more control over the performances of their own works.  The results of this trend lead directly to the written embellishments that are ubiquitous in all the works of baroque composers\, most notably of Bach himself.\nAt journey’s end\, then\, one can’t help but be awestruck by the wealth\, the richness\, the variety and depth of musical history that lay in the couple of centuries or more “back  before Bach”.\nBob Wiemken\nARTISTS\n“Widely regarded as North America’s masters of music for Renaissance wind band” (St Paul Pioneer Press)\, Piffaro has delighted audiences throughout the United States\, Europe\, Canada and South America since its founding in 1980. Piffaro recreates the rustic music of the peasantry and the elegant sounds of the official wind bands of the late Medieval and Renaissance periods. Its ever-expanding instrumentarium includes shawms\, dulcians\, sackbuts\, recorders\, krumhorns\, bagpipes\, lutes\, guitars\, harps\, and a variety of percussion — all careful reconstructions of instruments from the period. Under the direction of Artistic Directors Joan Kimball and Bob Wiemken\, Piffaro concertizes extensively\,  close to home with its four-concert season in Philadelphia\, as well as nationally and internationally. The ensemble debuted at Tage Alter Musik in Regensburg\, Germany in 1993\, and has returned to Europe frequently since then\, most recently in June 2014\, performing at major festivals in Austria\, Germany\, France\, Belgium\, Italy\, Spain and The Czech Republic. They have traveled to South America\, including a memorable tour in Bolivia under the auspices of that country’s bi-annual International Renaissance & Baroque Festival. Piffaro has performed at the major Early Music festivals throughout the US\, including Boston\, Berkeley\, Indianapolis\, and Madison\, as well as on Early Music series\, chamber music series\, and college series\, both in the US and Canada. Through Piffaro’s many recordings on Newport Classics\, Deutsche Grammophon Arkiv Produktion\, Dorian Recordings\, PARMA/Navona\, and its own house label\, and through radio and internet broadcasts\, its music has reached listeners as far away as Siberia. Piffaro has been active in the field of education since its inception\, and has been honoured twice for its work by Early Music America\, receiving the “Early Music Brings History Alive” award in 2003\, and the Laurette Goldberg “Lifetime Achievement Award in Early Music Outreach” in 2011. Its National Recorder Competition for Young Players attracts talented competitors from around the country to Philadelphia every two years. The ensemble was honoured this past June by The American Recorder Society with its “Distinguished Artist Award”.\nAfter graduating from Oberlin Conservatory\, Greg Ingles played trombone in the Hofer Symphoniker in Hof\, Germany\, and then completed Master’s and Doctoral degrees in trombone at SUNY Stony Brook\, specializing in historic performance. Greg is a member of Quicksilver and Ciaramella\, has performed with the American Bach Soloists\, Chatham Baroque\, Concerto Palatino\, and Tafelmusik\, and recently played on Broadway with the Globe Theater.  He is Music Director of the Dark Horse Consort\, an ensemble devoted to rarely performed 17th-century brass music. Greg taught trombone at Hofstra University for ten years and is currently Lecturer in Sackbut at Boston University.\n Grant Herreid performs frequently on early reeds\, brass\, strings and voice with many US early music ensembles. A specialist in early opera\, he has played theorbo\, lute and baroque guitar with Chicago Opera Theater\, Aspen Music Festival\, Portland Opera\, New York City Opera\, and others. A noted teacher and educator\, he is the recipient of Early Music America’s Laurette Goldberg award for excellence in early music outreach and education. On the faculty at Yale University\, he leads the Yale Collegium Musicum and the Yale Baroque Opera Project (YBOP). Grant also directs the New York Continuo Collective\, and often sings gregorian chant for the Tridentine mass. He has created and directed several theatrical early music shows\, and devotes much of his time to exploring the esoteric unwritten traditions of early music with the ensembles Ex Umbris and Ensemble Viscera. Grant mourns the recent passing of his teacher\, colleague and friend\, Pat O’Brien.\nPriscilla Herreid plays early winds with Piffaro\, Waverly Consort\, Hesperus\, and Ex Umbris\, and performs on early oboes and recorder with Trinity Baroque Orchestra\, Handel & Haydn Society\, Philharmonia Baroque\, Portland Baroque\, Venice Baroque\, Juilliard Baroque\, Musica Angelica\, Mercury\, and Tempesta di Mare. She has sung and played new music with the Metropolis Ensemble\, the Second Instrumental Unit\, Cygnus\, and the Momenta Quartet. Last season\, Priscilla played for the Shakespeare on Broadway productions\, and made her third appearance at the annual Festival Dans les Jardins de William Christie. She graduated from Temple University and Juilliard School’s Historical Performance program.\nJoan Kimball\, artistic co-director and founding member of Piffaro\, has concertized with the ensemble throughout the U.S.\, Europe\, and South America\, and has performed with many of the leading early music artists and ensembles in this country. She gave full time to early music performance in 1980 after a number of years as an educator\, and still treasures her work teaching recorder and early winds to students of all ages. In addition\, she collaborates with instrument maker Joel Robinson of Portland OR on the construction of Medieval and Renaissance bagpipes\, and makes double reeds for shawms\, dulcians and capped winds.\nCatherine Motuz enjoys an active career in North America and Europe as a performer\, teacher\, and scholar. Co-director of Ensemble La Rose des Vents in Montreal and a founding member of I Fedeli\, she has also played and recorded with ensembles including Concerto Palatino\, the Amsterdam and Freiburg Baroque Orchestras\, and the Studio de Musique Ancienne de Montréal. Recent recordings include 17th-Century Italian Motets\, with ¡Sacabuche! and Fede e Amor: Baroque Music with Trombones from the Viennese Imperial Court with countertenor Alex Potter. She has also performed on slide trumpet with Mediva and at Shakespeare’s Globe in London. Catherine lived in Basel\, Switzerland\, from 2004 to 2011\, where she studied historical trombone with Charles Toet at the Schola Cantorum. Now a Ph.D. Candidate in musicology at McGill University’s Schulich School of Music\, Catherine’s primary research interests focus on ideas about musical expression in the sixteenth century.\nChrista Patton\, historical harpist and early wind specialist\, has performed with many of today’s premiere early music ensembles. As a baroque harpist she has appeared with Apollo’s Fire\, King’s Noyse\, Newberry Consort\, Toronto Consort\, Seattle Baroque Orchestra\, La Nef\, Blue Heron\, Folger Consort\, Parthenia\, ARTEK\, Pegasus Early Music\, and New York State Baroque Orchestra.  She has performed in early opera productions with New York City Opera\, Wolf Trap Opera\, Tafelmusik\, Opera Atelier\, Opera Vivente and Opera Omnia. Christa is musical director and co-director of the Baroque Opera Workshop at Queens College specializing in the works of early 17th century composers.\nBob Wiemken began his musical life as a French hornist\, but started a love affair with early double-reed instruments in the early 80’s\, playing\, studying\, and making reeds for shawms\, dulcians\, bassoon\, krumhorns and more. As artistic co-director of Piffaro\, he has performed worldwide\, recorded extensively\, and built over 100 programs of Renaissance and early Baroque music. He is a well-appreciated teacher and lecturer in college and university settings\, having directed the Early Music Ensembles at Temple University for 20 years. He teaches at workshops throughout the country\, and is director and teacher for the Indiana Early Double Reed Workshop.\nWoodwind specialist\, Charles Wines is a native of the Kansas City area and has performed extensively with the Philharmonia of Greater Kansas City\, the Kansas City Baroque Consortium\, St. Michael’s Baroque Ensemble\, and at multiple theaters in the Kansas City area. He is founder and director of Forgotten Clefs\, a Renaissance wind band which performed at the Boston Early Music Festival in 2015. He studied bassoon at UMKC and oboe at the University of Central Missouri. He recently completed a Masters in Early Music at the University of Indiana Bloomington\, and will begin his doctorate this fall.
URL:https://earlymusicsocietyoftheislands.ca/concert/back-before-bach-piffaro/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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DTSTART;TZID=America/Vancouver:20160116T200000
DTEND;TZID=America/Vancouver:20160116T200000
DTSTAMP:20260501T103439
CREATED:20200426T014710Z
LAST-MODIFIED:20200426T062505Z
UID:3740-1452974400-1452974400@earlymusicsocietyoftheislands.ca
SUMMARY:Dramatic Baroque Suites: Victoria Baroque Players
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nVictoria Baroque Players\nSteven Devine\, harpsichord and direction (UK)\nDramatic Baroque Suites with Four Horns\nSpectacular large scale baroque suites by Handel\, Telemann and Rameau are performed by one of the largest baroque orchestras ever to appear on a Victoria stage. Directed by Steven Devine\, one of Britain’s most distinguished harpsichordists and conductors. \n“…oozing virtuosic exuberance.” BBC MUSIC MAGAZINE\nVictoria Baroque Players are “Lively\, sensitive\, and stylish” TIMES COLONIST \nVisit the website of Victoria Baroque Players\nListen to Victoria Baroque Players\nVisit the website of Steven Devine\nListen to Steven Devine \n\nPROGRAMME\nThe Victoria Baroque Players directed by Steven Devine\nLeader & Harpsichord: Steven Devine\nViolins: Christi Meyers\, Chloe Meyers\, Ann Monnington\, Paul Luchkow\, Louella Alatiit\, Kirsty Money\nViola: Mieka Michaux\, Glenys Webster\nCello: Martin Bonham\nViolone: Natalie Mackie\nFlute and Piccolo: Soile Stratkauskas\, Janet See\nOboe and Recorder: Curtis Foster\, Marea Chernoff\nBassoon: Katrina Russell\nHorns: Andrew Clark\, Gavin Edwards\, Steve Denroche\, Holly Bryan\nG.F.Handel: Sinfonias from Act III of Giulio Cesare\nSinfonia to scene 2\, Act III\nSinfonia to the final scene\, Act III\nG.P.Telemann: Wassermusik “Hamburger Ebb und Fluth”\nOuverture\nSarabande: Die schlafende Thetis (Thetis sleeping)\nBourrée: Die erwachende Thetis (Thetis awakening)\nLoure: Der verliebte Neptunus (Neptune in love)\nGavotte: Spielende Najaden (Naiads at play)\nHarlequinade: Der schertzende Tritonus (Triton at play)\nDer stürmende Aeolus (turbulent Aeolus)\nMenuet: Der angenehme Zephir (agreeable Zephyrus)\nGigue: Ebb’ und Fluth (ebb and flow)\nCanarie: Die lustigen Bots Leute (the merry mariners)\nG.F.Handel: Orchestral Suite from “Il Pastor Fido”\nOuverture\nBallo\nBallo di Cacciatori\nMusette\nMenuet\nMarch – Pour les Chasseurs – March\nTambourin\nChaconne\nINTERVAL\nJ.P.Rameau: Orchestral Suite from “Castor and Pollux”\nOuverture\nGavotte I – Gavotte II\nPassepied I – Passepied II\nGavotte Gai\nGavotte I – Gavotte II\nAir des Demons\nTambourin – Menuet\nG.P.Telemann: Overture (Suite) in F “Alster Overture” TWV 55:F11\nOuverture\nDie canonierende Pallas (Pallas’ welcome salute)\nDas Älster Echo (the Alster echo)\nDie Hamburgischen Glockenspiele (the bells of Hamburg)\nDer Schwanen Gesang (the swans’ song)\nDer Älster Schäffer Dorff Music (village music of the Alster shepherds)\nDie concertirenden Frösche Krähen (concert of frogs and crows)\nDer ruhende Pan (Pan resting)\nDer Schäffer und Nymphen eilfertiger Abzug (the shepherds’ and nymphs’ hasty departure)\nPROGRAMME NOTES\nWhat happens when the best musical minds are given free rein to depict royalty as well as the life of villagers and mariners? In this grand Baroque orchestral programme\, the splendour of four hunting horns provides the pomp and circumstance for music of royal grandeur\, as well as the humorous characterization of animals and raucous village life. Orchestral highlights from operas by Handel and Rameau are featured alongside two of Telemann’s biggest concert pieces – his “Water Music” and “Alster Overture”\, both of which provide musical descriptions of the ebb and flow of life along the rivers of Hamburg. This is a concert of kings and princes\, gods of sea and the air\, nymphs\, merry mariners\, frogs\, and crows.\nContemporary audiences are accustomed these days to seeing orchestras sporting a horn section of four players\, each playing an independent part. In the early to mid-eighteenth century\, however\, this was a very unusual and dramatic event. Handel was one of the first composers to invite the hunting horn from the forests and fields into the (usually!) more genteel milieu of the orchestra. Indeed\, in the first performance of his now famous Water Music (1717) the British public heard horns in an orchestral concert for the first time. In keeping with European practices\, from this point onwards horns were most generally used in pairs\, but two of the works presented in today’s programme – one by Handel and one by his contemporary\, Telemann – demonstrate the origins of the symphonic horn section of four players. It should be noted that this will be the first time the Victoria Baroque Players have allowed such a plethora of brass players into their ensemble!\nAll the works presented in this programme are taken from either the Operatic or instrumental “programme music” vein\, which brings to life specific sights and sounds through musical representation. The short opening Sinfonias  both come from the Third Act of Handel’s opera Giulio Cesare\, and apart from the work’s opening Overture\, they are the only other purely instrumental pieces in the entire work. What they may lack in duration\, however\, is made up for in sheer drama! Handel’s use of two separate keys for the two pairs of horns (G and D) is the only example of such a compositional technique being used within the Baroque period. The next well-known example does not occur until Haydn’s Symphony No.39 in 1765. The success of Giulio Cesare is demonstrated by Handel’s run of 13 consecutive performances in London in 1724\, followed by several revivals in later years.\nTelemann’s Wassermusik or Hamburger Ebb und Fluth was performed on April 6th 1723 as part of the celebrations for the hundredth anniversary of the Hamburg Admiralty. It formed the opening part of a serenata (a costume drama\, largely without action) with a text by Michael Richey (1678-1761). At the time\, Telemann was responsible for composing and directing music in Hamburg\, and was employed by the city in that role. The titles of the movements\, apart from the overture\, are references to Greek mythological characters and gods\, which were (and are) commonly used to illustrate archetypal personalities in drama. Those chosen here are all associated with water\, the sea or the wind. Their music is represented here in a series of dance movements which reflect mood and character by the choice of instruments\, tempo and tessitura (i.e. pitch or range) and dynamics. After the first performance it was reported in the Stats u. Gelehrte Zeitung that the music was ‘uncommonly well-suited to the occasion’.\nPrompted by the rivalry in London in the 1730s between the Nobility Opera (led by Frederick\, Prince of Wales) and the Royal Academy of Music (supported by King George II and directed by Handel)\, Handel revised (and revived) his 1712 opera Il Pastor Fido in 1734\, adding dance music to each act\, and preceding it by what the Daily Post described as “a new Dramatic Entertainment (in Musick) call’d Terpsichore”. This brought to the public the spectacle of the celebrated Mlle Sallé and her company of dancers. The press were a little shocked by her\, as she “dared to appear… without pannier\, skirt\, or bodice\, and with her hair down… Apart from her corset and petticoat she wore only a simple dress of muslin” (-Mercure de France)\, thus helping to draw the public’s attention in a way in which readers will no doubt be familiar. This was Handel’s only venture into French-style opera-ballet. We present a suite chosen from the dance music.\nRameau was born in Dijon\, only a couple of years before Handel\, but it was not until the age of 50 that his first Opera (Hippolyte et Aricie) was premiered in Paris. Castor and Pollux was the second of his Operas to be staged\, opening on October 24\, 1737\, and it caused as much of a furor as the production of Hippolyte et Aricie had done\, with critics claiming Rameau’s works to be greatly inferior to those of Lully – the heretofore undisputed king of French opera. Rameau’s critics claimed his musical style was distasteful\, too Italianate for French sensibilities\, and too expressive! To compound matters\, the libretto was heavily criticized\, and the controversy ensured that the premiere of Castor and Pollux was a noteworthy event. Nonetheless\, it was a success\, initially receiving twenty performances. The opera was revived in 1754 with a profoundly modified libretto and a greatly re-worked score. This new version was a resounding success\, with many critics both then and since\, claiming Castor and Pollux to be Rameau’s greatest achievement.\nThe plot\, in a nutshell\, revolves around Castor and Pollux who are fraternal twins. According to Greek mythology\, Leda\, their mother\, was visited on the same night by Jupiter (disguised as a swan) and by her husband Tyndarus\, King of Sparta. As a result\, Pollux is the son of Jupiter and is immortal\, while Castor is the son of Tyndarus and is a mortal. Castor is killed defending his beloved Télaire (daughter of Apollo) from an abduction attempt. Pollux then resolves to give up his immortality and take Castor’s place in the Underworld. After extended debate over who will live and who will die\, the brothers are eternally united by being transformed into the constellation Gemini.\nThis orchestral suite of some of the opera’s dance movements was compiled especially for this programme\, with the majority of material coming from the later 1754 version\, but with a few dances retained from the earlier rendition.\nIt is very likely that the Alster Overture was also composed by Telemann for another serenata\, the now lost Auf zur Freude\, zum Scherzum\, zum Klingen\, performed on June 4\, 1725 to honour a state visit by the Duke of Brunswick-Lüneburg. The reference to Pallas in the second movement is most likely a comparison of the visiting Duke to the Greek Titan god.\nThe Alster is a tributary river\, joining the Elbe in Hamburg. Engineers ponded it in the 13th century and created two artificial lakes called the Außenalster and the Binnenalster\, used as recreational parks in the heart of the city. It is possible that the piece was performed outdoors in one of these parks. Telemann seemed to have a lot of fun with this work\, drawing on several local references\, such as native wildlife and village music. Much of the humour in the music is obvious\, but it is worthwhile to point out the comparison between village music of the Alster shepherds of movement VI and Mozart’s Musical Joke: deliberate “wrong notes” in the harmony and the use of bag-pipe effects\, perhaps leading to speculation that Mozart knew this work. The Concert of frogs and crows (VII) also draws on “wrong note technique” in the harmony and outrageous character stylization – perhaps here Telemann also wished to portray the horn players as drunks\, possibly dragging the oboes with them!\nWe hope you enjoy the journey from Princes to frogs…\n© Katrina Russell & Andrew Clark 2015\nBIOGRAPHIES\nSteven Devine\nSteven Devine enjoys a busy career as a music director and keyboard player working with some of the finest musicians. Since 2007 Steven has been the harpsichordist with London Baroque in addition to his position as Co-Principal keyboard player with the Orchestra of the Age of Enlightenment. He is also the principal keyboard player for The Gonzaga Band\, Apollo and Pan\, and The Classical Opera Company\, and he performs regularly with many other groups around Europe. He has recorded over thirty discs with other artists and ensembles and made six solo recordings. His recording of Bach’s Goldberg Variations (Chandos Records) has received critical acclaim – including Gramophone magazine describing it as “among the best”. Volumes 1 and 2 of the complete harpsichord works of Rameau (Resonus) have both received five-star reviews from BBC Music Magazine\, and Steven’s new recording of Bach’s Italian Concerto has been voted Classic FM’s Connoisseur’s choice.\nHe made his London conducting debut in 2002 at the Royal Albert Hall and is now a regular performer there – including making his Proms directing debut in August 2007 with the Orchestra of the Age of Enlightenment. He has conducted the Mozart Festival Orchestra in every major concert hall in the UK and also across Switzerland. Steven is Music Director for New Chamber Opera in Oxford\, and with them has performed repertoire from Cavalli to Rossini. For the Dartington Festival Opera he has conducted Handel’s Orlando and Purcell’s Dido and Aeneas.\nFrom 2016 Steven will be Curator of Early Music for the Norwegian Wind Ensemble and will complete his complete Rameau solo recording for Resonus Classics.\nVictoria Baroque Players\nNow in their Fifth season\, the Victoria Baroque Players present high quality early music concerts for Vancouver Island audiences and beyond. The core members are Vancouver Island residents and early music specialists with extensive experience in Canada and abroad.  For larger orchestral projects like tonight’s\, the ensemble expands to include musicians from mainland BC and Washington.\nBesides their own series at the Church of St John the Divine in Victoria\, the VBP has performed as guest artists for Eine Kleine Summer Music\, the Early Music Society of the Islands\, Early Music Vancouver\, and the Vancouver Island Chamber Music Festival. Their guest soloists and directors include soprano Nancy Argenta\, tenor Benjamin Butterfield\, Pacific Opera Victoria’s Timothy Vernon\, Tafelmusik’s Jeanne Lamon\, and UK-based violin virtuoso Kati Debretzeni. The ensemble’s ongoing collaboration with the St John’s Chamber Singers has brought about many dynamic performances of Baroque masterpieces\, such as Bach’s St John Passion\, several of his cantatas\, and Handel’s Dixit Dominus. Outreach and student engagement is close to the VBP’s heart\, and the ensemble regularly collaborates with local vocal students. It has presented school concerts and workshops and\, in May 2014\, it led a concert with the Greater Victoria Youth Orchestra. VBP’s début CD Virtuosi of the Baroque\, on Marquis Classics\, was released in November 2014\, and was nominated for a Western Canadian Music Award.
URL:https://earlymusicsocietyoftheislands.ca/concert/dramatic-baroque-suites-victoria-baroque-players/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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DTSTART;TZID=America/Vancouver:20151219T200000
DTEND;TZID=America/Vancouver:20151219T200000
DTSTAMP:20260501T103439
CREATED:20200426T014708Z
LAST-MODIFIED:20200426T062358Z
UID:3739-1450555200-1450555200@earlymusicsocietyoftheislands.ca
SUMMARY:Praetorius Christmas Vespers
DESCRIPTION:SPECIAL EVENT \nDoors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nEarly Music Vancouver Vocal and Instrumental Ensemble\, La Rose des Vents Cornetto and Sackbut Ensemble (Montreal)\, St. Christopher Singers (Victoria)\, David Fallis\, music director (Toronto)\nSoloists: Jolle Greenleaf\, soprano\, Jane Long\, soprano\, Emma Hannan\, soprano\, Danielle Sampson\, soprano\, Laura Pudwell\, alto\, Liz Hamel\, alto\, Joshua Haberman\, alto\, Orrin Doyle\, tenor\, Jacques-Olivier Chartier\, tenor\, Sumner Thompson\, tenor\, Stephen Bélanger\, baritone\, Paul Grindlay\, baritone\, Martin Auclair\, bass\nInstrumentalists: Linda Melsted\, violin\, Steve Creswell\, viola\, Paul Luchkow\, viola\, Nathan Whitaker\, cello\, Natalie Mackie\, violone\, Curtis Daily\, double bass\, Matthew Jennejohn\, cornetto\, Catherine Motuz\, sackbut\, Peter Christensen\, sackbut\, Trevor Dix. sackbut\, Katrina Russell\, dulcian\, Konstantin Bozhinov\, theorbo\, Gus Denhard\, theorbo\, John Lenti\, theorbo\, Michael Jarvis\, organ \nPraetorius Christmas Vespers\nThirteen vocal soloists\, a string band\, cornetti and sackbuts\, three theorbos\, multiple keyboards and the St. Christopher Singers join together to recreate the joyful celebration of Christmas Vespers as it might have been heard under the direction of Michael Praetorius in 17th-century Germany. In the spirit of celebration\, the audience will join the assembled mass musical forces in singing favorite early Christmas carols. \n“The music was balanced and period-perfect. The whole effort felt authentic in a natural\, unforced way…David Fallis is a magician.” TORONTO STAR \nA Northwest Baroque Masterworks Project produced by Early Music Vancouver in partnership with EMSI\, the Portland Baroque Orchestra and the Early Music Guild of Seattle. Supported by the Canada Council for the Arts\, BC Arts Council and the Conseil des Arts et des Lettres de Quebec. In cooperation with Christ Church Cathedral.\nCBC North by Northwest interview\nSheryl MacKay of CBC’s North by Northwest interviewed David Fallis and began the conversation by asking him about Michael Praetorius. Listen to the interview. \n\n\n \nProgramme\nThe music is by Michael Praetorius (1571-1621) except where noted.\nOpening Chorale: Geborn ist Gottes Söhnelein (Please see carol sheet)\nPsalm: Jauchzet dem Herren – Heinrich Schütz (1585-1672)\nTen Commandments: O Herr\, das sind die deinen Gebot\nCredo: Wir gläuben all an einen Gott\nLord’s Prayer: Vater Unser\nPavane d’Espagne\nHymnum de tempore: Quem pastores laudavere\nTBA\nAntiphon: Christum unsern Heiland\nMagnificat Part I: Meine Seele erhebt den Herrn\nCarol: Ein Kind geborn zu Bethlehem\nMagnificat Part II: Denn er hat grosse Ding an mir getan\nCarol: Freut euch ihr lieben Christen\nMagnificat Part III: Er stösset die Gewaltigen vom Stuhl\nCarol: Von Himmel hoch – Praetorius & J. H. Schein (1586-1630)\nMagnificat Part IV: Wie er geredt hat unsern Vätern\nCarol: Joseph lieber\, Joseph mein – Johann Walther (1496-1570)\nCollect: Der Herr sei mit euch\nBlessing: Benedicamus Domino\nClosing Chorale: In dulci jubilo (Please see carol sheet) – Praetorius & Walther\n \nProgramme Notes\nMichael Praetorius is one of the most prolific and influential composers of the early German Baroque. There is some uncertainty about his birth date – contemporary sources suggest from as early as 1569 to as late as 1572 – but the most generally accepted date is February 15\, 1571. He died on February 15\, 1621 at the height of his powers\, on his fiftieth birthday. During his lifetime he published an astonishing amount of music in a wide range of styles\, from the simplest of chorale settings to the most complex polychoral masterpieces\, and many of his compositions are still used in churches today.\nHis Polyhymnia Caduceatrix et Panegyrica (named after Polyhymnia\, the muse of sacred poetry) is the largest and most important collection of Lutheran church music of the period. Published in 1619\, it appeared after a period of six years during which Praetorius published his extensive three-volume theoretical treatise Syntagma Musicum\, but no music. This break in the chronology of Praetorius’ compositions is particularly notable because earlier\, from 1605 to 1613\, while he was both Kapellmeister and court organist to Duke Heinrich Julius of Brunswick-Wolfenbüttel\, Praetorius produced sixteen volumes of music\, sometimes four in a single year. But with the death of Heinrich Julius in 1613\, Praetorius lost a supportive patron of music\, and for the next few years\, while retaining his posts at Brunswick-Wolfenbüttel\, he travelled to and worked in a variety of northern German cities\, most notably Dresden\, at the court of the Elector of Saxony.\nDresden was a leading centre of the most innovative Baroque musical techniques being developed at the time in Italy\, and Praetorius would have come into contact with many Italian musicians and heard firsthand many newly-composed Italian works there. Polyhymnia Caduceatrix has been compared to Claudio Monteverdi’s volume of sacred music published in 1610 (containing the famous Vespers of 1610)\, in terms of both its variety and significance; the apt comparison also extends to the new Baroque musical techniques and forms of expression found in both volumes.\nNo work in Polyhymnia Caduceatrix displays these innovative techniques better than the last piece in the collection\, a large-scale setting of the German Magnificat “Meine Seel erhebt den Herren”. Here\, in one of Praetorius’ most important masterworks\, one encounters all the wonderful new musical techniques which up until 1619 had not appeared in his music: masterful use of madrigalian word-painting; virtuoso ornamentation in the vocal writing; colourful use of a large basso continuo group; echo effects; elaborate instrumental ritornellos; and contrasting vocal and instrumental forces\, all combined and recombined in seemingly infinite variety. And like Monteverdi’s Vespers of 1610\, “Meine Seel” is also distinguished by a brilliant treatment of pre-existent plainsong material\, in this case the so-called tonus peregrinus\, a reciting tone to which the Magnificat was often chanted in Lutheran services. This simple melody can be found in one guise or another throughout “Meine Seel”\, from the charming opening treble duet to the spectacular finale of “Und von Ewigkeit zu Ewigkeit\, Amen”. “Meine Seel” does indeed compare favourably with Monteverdi’s brilliant and justly renowned music.\n* * * * *\nAlthough the word “vespers” derives from the Latin vesper\, meaning evening\, by the time of the early Baroque\, vespers was the name given to the afternoon service of the church\, and in both Catholic and Lutheran rites\, the musical centrepiece of vespers was the singing of the Magnificat. But\, while the Lutheran mass retained almost all of the elements of its Catholic predecessor\, significant changes occurred to the makeup of the reformed vespers service. To determine the form of the Lutheran vespers service in Praetorius’ time\, we have consulted various north German “Instructions to Churches” or Kirchenordnungen from the late 16th and early 17th centuries. While it is fair to say that regional variants are found more often in vespers services than in the morning mass\, certain common elements are discernible.\nThe most important factor affecting the vespers service was the fact that Sunday afternoons in the Lutheran tradition were centred on the instruction of young people learning their catechism. According to most of the Kirchenordnungen consulted\, the catechism students gathered at one o’clock to examine and learn the essential elements of the faith\, with special emphasis on the psalms\, the Lord’s Prayer\, the Creed and the Ten Commandments. At two p.m. the vespers service began\, with the young people being joined by the wider congregation. Where the Catholic vespers service contains five psalms and the Magnificat as its main musical elements\, the 17th-century Lutheran vespers reduces the psalms to one or two\, retains the Magnificat\, but adds pieces the young people had been studying in the hour before\, namely the Lord’s Prayer\, the Creed\, and the Ten Commandments. These last occur\, with the reading for the day and a psalm\, at the beginning of the service. Then follows a seasonal hymn\, a sermon\, the singing of the Magnificat (sometimes in German\, sometimes in Latin)\, the collect of the day\, and finally the blessing Benedicamus Domino.\n* * * * *\nToday’s performance reconstructs a possible vespers service for Christmas as it might have sounded in a large north German church in the early 17th century. A number of important performance practice issues have been addressed\, as suggested by Praetorius’ writings and contemporary tradition.\nIn Megalynodia Sionia\, Praetorius publishes a number of Magnificat settings with German carols or hymns inserted at various points into the Magnificat. A further carol follows at the end. As he explains elsewhere\, this is to allow the “best-loved German songs” to be sung in the vespers service\, a practice which was most common at Christmas time\, but which Praetorius suggests could be used on any important feast day. He recommends that only one or two verses of the hymn be sung\, and provides a wide selection of the kind of pieces appropriate for insertion.\nThis practice of adding music into the Magnificat was widespread and long lasting. (There is a version of J. S. Bach’s Magnificat with Christmas carol insertions.) In the early 17th century\, whole volumes of Christmas music were published in which the bulk of the examples were deemed suitable for insertion into the Magnificat at Yuletide. Some scholars have suggested that the practice arose because the pageants at the crib required non-liturgical excuses for more carols\, and it is true that some of the most commonly found insertions\, such as “Joseph lieber” and “Von Himmel hoch”\, centre on the Christ child at the manger. For this performance we have selected our interpolations from among Praetorius’ many suggestions\, being guided by his advice of an upper limit of two verses per carol\, except in the case of “Ein Kind geborn” where we have followed the example of his “Magnificat super Ecce Maria” in which he inserts a number of verses of “Geborn ist Gottes Söhnelein” with each successive verse employing an added voice. “Meine Seel” is divided by Praetorius into four parts\, allowing for easy and logical insertion points.\nAlthough the Kirchenordnungen seem to suggest that vespers normally ended with the blessing\, at the end of our service we have added “In dulci jubilo”\, one of Praetorius’ recommendations for music which can “be sung and used at the place of the Benedicamus and for the going forth”. The opening verse of this famous chorale is one of many examples of music by Praetorius marked “ad aequales” in which three treble voices are accompanied by a bassetto part. Following Praetorius’ suggestion elsewhere in Polyhymnia Caduceatrix\, we accompany the three trebles with a curtal playing down the octave.\nIn undertaking this reconstruction\, while we make no claim that this is an actual service of worship\, we wanted to incorporate into the music-making the aspect of congregational participation\, so essential to the reformed tradition. This means two things. First\, we are joined in each of the cities on our tour by a wonderful local choral ensemble participating as the German congregation\, and singing where a 17th-century congregation would have joined in. Musically\, it has been fascinating to experience the added richness of male congregation members singing the melody down an octave\, especially in the context of elaborate polyphonic settings such as the final verse of the Creed\, or Johann Hermann Schein’s arrangement of “Von Himmel hoch”. In all of the  Magnificat insertions\, and in the chorales sung elsewhere in the service\, we have employed Wechselgesang\, the practice of alternating verses of a hymn between the congregation singing in unison to the accompaniment of the organ (choraliter) and the assembled professional musicians performing more elaborate versions (figuraliter)\, sometimes ending with a version which combines both methods\, that is\, with a clear unaltered melody in the top part\, and contrapuntal complexity in the other parts.\nSecondly\, we would like you the audience to take part in this “exchange” during two well-known 17th-century Christmas carols. In each one\, the musicians onstage and the audience will sing alternate verses. (Incidentally\, you will be singing in English\, the musicians in German or Latin; but this too is very much in the spirit of the 17th century\, when often the congregation sang in the vernacular\, and the choir sang in Latin.)\nBoth Wechselgesang and the interpolations into the Magnificat provide the congregation with opportunities to participate in the music-making of the more highly trained musicians. In the history of sacred music there has always existed a tension\, not easily resolved\, between the desire for musical participation by the assembled worshippers and the abilities and aspirations of the professional musicians. In a 17th-century Lutheran vespers service\, on a feast day such as Christmas blessed with many familiar and beloved hymns\, a balance and integration of these competing desires is achieved which has not often been matched elsewhere in the history of music.\nDavid Fallis\n \nPerformers\nDavid Fallis\, Music Director\nDavid Fallis has been a member of the Toronto Consort since 1979 and its Artistic Director since 1990. He has led the ensemble in many critically-acclaimed programs\, including The Praetorius Christmas Vespers\, The Play of Daniel\, all three of Monteverdi’s operas in concert\, Cavalli’s La Calisto\, and Carissimi’s Jephte\, among many others.\nHe has directed the group in its many recordings and tours\, and has conceived and scripted many of their most popular programs\, such as The Marco Polo Project\, The Queen\, and The Real Man of La Mancha. He is also one of Canada’s leading interpreters of operatic and choral/orchestral repertoire\, especially from the Baroque and Classical periods. He is Music Director for Opera Atelier and has conducted major operatic works by Mozart\, Monteverdi\, Purcell and Handel in Toronto and on tour to Japan\, Korea and Singapore. He has conducted for Houston Grand Opera\, Cleveland Opera\, Wolf Trap Theatre\, Utah Opera\, Orchestra London\, Symphony Nova Scotia\, the Windsor Symphony\, Festival Vancouver\, the Singapore Festival\, the Seoul Arts Centre (Korea)\, the Elora Festival\, the Guelph Spring Festival and the Elmer Iseler Singers. Currently he teaches in the Graduate Department at the Faculty of Music at the University of Toronto.\nEMV Vocal And Instrumental Ensemble\nThe Early Music Vancouver Vocal Ensemble is selected by Artistic Director Matthew White from an international pool of artists. Unburdened by a fixed membership\, its greatest asset is its ability to assemble the ideal forces for any given project. Given the breadth and variety of repertoire presented at Early Music Vancouver\, this flexibility allows the ensemble to fit the needs of the music\, and not the other way around.\nLa Rose Des Vents\, Cornetto & Sackbutt Ensemble\nLa Rose des Vents\, Montreal’s newest early music group\, was founded by historical trombonist Catherine Motuz and cornettist Matthew Jennejohn. The ensemble has been playing together in various guises since 2009\, when it combined with Les Voix Baroques to perform at the Ottawa International Chamber Music Festival. The name La Rose des Vents – “The Compass Rose” – reflects the spirit of exploration in early music.\nIn formations from the Renaissance city wind band to the lavish sacred ensemble of the Baroque\, La Rose des Vents seeks to promote musical dialogues and story-telling\, bringing expressive devices to the foreground of performance. Our concerts have an emphasis on improvisation\, exploring early ideas about expression while giving players the freedom to play with ideas\, a freedom inherent to chamber music.\nThe sackbut and cornetto were both renowned in their day for their ability to imitate the human voice\, both in their malleable timbres and in their ability to use different articulations in order to imitate speech. Many of our activities will therefore involve collaborations with vocal groups. On October 1st\, 2011 we gave a concert as guests of the acclaimed Montreal choir VivaVoce with repertoire from an original Renaissance wind band\, and later that year combined with the Ottawa Bach Choir for a concert of German and Italian Christmas music.\nThe St. Christopher Singers\nThe St. Christopher Singers are responsible for singing the weekly Anglican Service of Choral Evensong in Christ Church Cathedral.  Under the direction of Madeleine Humer and Michael Gormley\, the Singers have become accomplished performers of the unique music written for this contemplative evening service.\nThroughout the year\, the St. Christopher Singers explore the rich heritage of works written from the Tudor period through to the present day\, including canticles and anthems by Orlando Gibbons\, William Byrd\, Thomas Tallis\, Robert Parsons\, Christopher Tye\, Adrian Batten\, Michael Wise\, William Boyce\, John Stainer\, Thomas Attwood Walmisley\, Henry Smart\, Charles Villiers Stanford\, Herbert Sumsion\, Herbert Howells and Kenneth Leighton.\nEvery January the St. Christopher Singers help the Cathedral celebrate the Epiphany season\, presenting the popular Service of Epiphany Readings and Music.\nIn 2006\, the St. Christopher Singers performed with Fretwork\, one of the world’s premier period instrument ensembles\, as part of the Early Music Society of the Islands concert series (Renaissance Music from the Chapel Royal).  In 2008\, 2010\, and 2013\, Fretwork returned to the Cathedral and accompanied the St. Christopher Singers at special Choral Evensong Services.
URL:https://earlymusicsocietyoftheislands.ca/concert/praetorius-christmas-vespers/
LOCATION:Chapel of the New Jerusalem\, Christ Church Cathedral\, 911 Quadra Street\, Victoria\, British Columbia\, Canada
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20151114T200000
DTEND;TZID=America/Vancouver:20151114T200000
DTSTAMP:20260501T103439
CREATED:20200426T014708Z
LAST-MODIFIED:20200426T062244Z
UID:3738-1447531200-1447531200@earlymusicsocietyoftheislands.ca
SUMMARY:Swithun: Dialogos
DESCRIPTION:Doors open at 6:45 pm. Please note: there is no pre-concert talk for this event. \nDialogos (France)\nSwithun! Music from Winchester c.1000\nDialogos explores early polyphony from Winchester (10th–11th centuries) in a semi-staged performance with English subtitles. Through the voice of Wulfstan the Cantor\, we follow the path of a penitent man haunted by his visionary dreams\, trying to escape from three raging Furies\, wild as wolves\, and finally finding salvation from Swithun\, saint of all miracles. \n“As an aural and visual experience it was one of the most moving events of this year’s Festival.” THE HERALD (SCOTLAND) \nVisit the website of Dialogos\nListen to Dialogos \n\nPROGRAMME \nSWITHUN ! One saint\, three Furies and a thousand miracles from Winchester around 1000\nRegem regum dominum Two-part invitatory\, Winchester Troper\nAelfeah adest\, Ordbirhtus adest\, Wulfsinus et Aelfric Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nPax huic domui Processional antiphon\, Paris\, BNF\, ms. 943\, 10th c. \nMagna miracula Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nEt licet extremus hominum Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nOs ky hereos. Statuit ei dominus Troped introit\, Winchester Troper \nAlma fuit vicina dies Wulfstan of Winchester\, Narratio metrica de sancto Swithuno\nGloriosus vir sanctus Swithunus Two-part responsory\, Winchester Troper\nCumque dies eadem benedicta Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nIn pace in idipsum Antiphon\, Worcester Cathedral\, Music Library\, ms 160\, 1″th c. \nÞa swefna beoð wynsume Aelfric of Winchester\, Life of saint Swithun\nQui post evigilans Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nAuxilium\, domine Alphabetic hymn in acrostic «De Sancto Swithuno»\,\n Wulfstan of Winchester: text\, Rouen\, BM 1385\, 10th c.\, melodic reconstruction: K. Livljanic\nSed cum nulla virum feritas Wulfstan of Winchester\, Narratio metrica de sancto Swithuno \nEcce vir prudens Swithunus Two-part responsory\, Winchester Troper \nInfirmo siquidem\, cum nullum prendere somnum Wulfstan of Winchester\, Narratio metrica de sancto Swithuno\nLaudemus dominum Two-part responsory\, Winchester Troper\nTalibus aegrotum Wulfstan of Winchester\, Narratio metrica de sancto Swithuno\nSint lumbi vestri Two-part responsory\, Winchester Troper \nPervigilat ternis ibi noctibus atque diebus Wulfstan of Winchester\, Narratio metrica de sancto Swithuno\nHwæt ða se halga Swyðun Aelfric of Winchester\, Life of saint Swithun\nVia lux veritas Sequence\, Winchester Troper \nQuid plura ? Wulfstan of Winchester\, Narratio metrica de sancto Swithuno\nLength: 65 minutes with no intermission\nMusicological consultant: Susan Rankin\nPrincipal sources\nWinchester Troper: Cambridge\, Corpus Christi College\, 473\, 11th century; Oxford\, Bodlean Library\, Bodley 775\, 11th century. Transcriptions: Susan Rankin.\nWulfstan of Winchester\, Narratio metrica de sancto Swithuno. Edited by M. Lapidge. Manuscript: London\, British Library\, Royal 15. C. VII\, 10-11th century. Music: Katarina Livljanić.\nAelfric of Winchester\, The life of saint Swithun. Edited by M. Lapidge. Manuscript: London\, British Library\, Cotton MS Julius E VII\, 11th century. Music: Katarina Livljanić.\n \nPROGRAMME NOTES\nOne of ensemble Dialogos’s favorite repertoires – early Medieval polyphony from Winchester (10th-11th c.) – is at the origin of this programme. This project is a continuation of our work on early polyphonic repertoires\, in collaboration with Susan Rankin from Cambridge University\, the principal international specialist of the earliest Medieval polyphonic repertoires. In the style of the programme Abbo Abbas\, created in 2004 ( performed more than fifty times at numerous international festivals\, inspired by the personality of Abbon de Fleury\, one of the most prominent men of the 10th century)\, we explore the polyphonic repertoires from the famous Winchester Troper\, one of the richest and earliest records of notated polyphony in Western Medieval music.\nThrough the voice of Wulfstan the Cantor\, we follow the path of a penitent man haunted by his visionary and terrifying dreams. Trying to escape from three raging Furies\, wild like wolves\, he finally finds salvation from Swithun\, saint of all miracles.\nSwithun – the “Superman” saint\nThe cult of Saint Swithun started when the bishop of Winchester\, Aethelwold\, transferred the relics of the saint to the Old Minster and there celebrated a sumptuous ceremony on July 15th\, 971. Thus started an important tradition which transformed this local saint into a sort of Anglo-Saxon Medieval Superman\, celebrated in the virtuosic Narratio metrica de S. Swithuno by Wulfstan\, famous cantor at Winchester cathedral at the end of the 10th century. Several versions of his life were written\, the advertising of his relics promoted by his numerous miracles\, and generous gifts were given by healed people.\nWulfstan and Aelfric\nWulfstan\, the cantor in Winchester at the end of the 10th century\, decided to write a versified life of Saint Swithun: his magnificent Narratio metrica de S. Swithuno is the longest Anglo-Latin poem written before the Norman Conquest\, and is dedicated to refined poetry lovers. His mastery of the Virgilian hexameter bears witness to one of the most virtuosic poets of his time. The text is written without musical notation.\nFor this programme\, I selected several passages from the Narratio to create a continuous story. The Miracle of Three Furies particularly caught my attention. The three Furies appear as three terrifying women\, naked and vulgar. They attack a poor man who loses the use of his legs after seeing them. The man arrives at the gate of Winchester where he meets a man dressed in white. This mysterious man advises him to go to the miraculous grave in the Old Minster. He spends three nights there\, between waking and sleeping. In a mystical vision (or while sleeping) the man in white appears to him again and reveals his identity: he is Saint Swithun himself. The poor man falls asleep again. A big earthquake shakes the grave and the whole church. A superhuman creature takes the man in its hands and takes off one of his shoes (which nobody will be able to find later). The man remains like a confused Cinderella\, without his shoe\, but healed from his paralysis caused by the encounter with the three Furies.\nIn order to put the story in its context\, a few short passages are taken from another text and used in our programme. This is another biography of Saint Swithun\, in the Anglo-Saxon language\, written by Aelfric\, a man from the circle of the bishop Aethelwold of Winchester around 1000. Aelfric’s text was not created for monks or scholars. His version of Saint Swithun’s life\, clear and concise\, is dedicated to laymen’s education.\nThe Winchester Troper\nIn the dense atmosphere in which these great minds moved\, liturgical chant took on similar density and sumptuousness. Winchester cantors cultivated a specific musical practice described by Thierry\, a monk of Fleury in France around the year 1000. Speaking of the night-office responsories\, he says they were sung “by four brothers in albs and cope at the top of the steps; two of them\, like pupils\, are restricted to the chant melody\, while the other two\, like masters\, stand behind them and perform the accompaniment– they are called ‘organists’.”\nThe Winchester Troper preserves a large number of pieces for two voices\, bearing witness to this tradition. It was copied in the first decades of the 11th century\, and contains a series of pieces in Saint Swithun’s honour\, some based on a historia\, the saint’s life. This repertoire was used as a core of our programme: it creates a continuous story between the excerpts from Saint Swithun’s miracle of three Furies and polyphonic pieces.\nNotated using a complex system of neumes\, which allows not one but several interpretations\, these polyphonic pieces might have been condemned to silence and neglect\, since it is impossible to give a unique interpretation of them in modern transcription. Therefore\, any attempt to find out what they sounded like can only proceed from a hypothetical reconstitution\, even with the aid of the Medieval theoretical treatises (Musica enchiriadis and Guido of Arezzo’s Micrologus). But it is precisely the ambiguity of the written sources that has prompted us to devote ourselves to this repertoire: in this programme\, Dialogos offers a musical creation in which the music of the 10th century from the Winchester Troper (transcribed by Susan Rankin) is placed in dialogue with new musical creations and improvisations in the style of the 10th century singers\, using the texts of Saint Swithun’s miracles by Wulfstan and Aelfric. These new creations attempt to reconstruct the polyphonic style which Medieval cantors in Winchester would have heard in their cathedral\, while discreetly opening some new windows to a more contemporary musical language.\nKatarina Livljanić\n \nBIOGRAPHIES\nEnsemble Dialogos\, Ensemble For Medieval Music\nSince its foundation in 1997\, Dialogos\, the vocal ensemble directed and created by Katarina Livljanić\, has emerged as one of the most outstanding and original Medieval music ensembles of the new generation. The ensemble’s projects link new musicological research with an innovative approach to Medieval music performance\, a theatrical dimension\, and an expressive musicality. Dialogos is composed of women’s or men’s vocal ensembles\, depending on each specific project.\nSince its first projects\, Dialogos has been acclaimed by critics (in journals such as The New York Times\, Early Music America\, Le Monde\, Le Figaro\, El País\, The Guardian) and performed in the most prestig-ious concert halls and festivals worldwide (Lincoln Center\, Festival of Saintes\, Utrecht\, Ambronay\, Royal Festival Hall of London\, Metropolitan Museum of New York\, Cité de la Musique in Paris\, Boston Early Music Festival\, Edinburgh Festival)\, as well as radio and television broadcasts. The recordings\, published by labels such as Arcana\, Sony-BMG\, Ambronay Editions\, and Empreinte Digitale\, have received nu-merous press distinctions in international music magazines\, including Diapason d’or\, Choc du Monde de la Musique and Goldberg 5 stars. Dialogos is an ensemble-in-residence at the Royaumont Foundation (2011-14). Dialogos receives a subsidy from DRAC Ile-de-France – French Ministry of Culture and Communication. Mécénat Société Générale is the principal patron of the ensemble.\nKatarina Livljanić\, Director And Vocalist\nKatarina Livljanić\, singer and musicologist\, is an international specialist in Medieval music and plain-chant performance. Born on the Adriatic coast of Croatia\, she decided to become a Medieval music per-former at a very early age\, training at the Zagreb Music Conservatory before moving to France to study voice and musicology. She founded and directs the vocal ensemble Dialogos\, specializing in Medieval chant and liturgical theatre of the Glagolitic tradition. For her work in this field\, she was decorated for cultural achievement in 2002 by the president of Croatia.\nShe obtained a Ph.D. at the Ecole Pratique des Hautes Etudes in Paris. She is currently Maître de\nConférences in Medieval music at the Sorbonne University in Paris\, where she directs a Medieval music performance Masters programme. She is regularly invited as visiting lecturer or artist in residence at Har-vard University (visiting lecturer in 1997\, artist in residence in 2003 and Blodgett Artist in Residence in 2011)\, and to numerous universities in Europe\, the United States\, and Canada (Schola Cantorum Basili-ensis\, Fondazione Cini\, Boston University\, Yale)\, as a teacher or resident artist. With Benjamin Bagby (Sequentia)\, she was awarded a Cornille Visiting Professorship at Wellesley College (USA) in 2007. She publishes articles about Medieval chant performance in specialized reviews worldwide\, and is the author of a volume in the collection Paléographie Musicale founded by the monks of Solesmes in 1889. In 2002 she was a guest artistic advisor at the Early Music Festival in Utrecht\, Netherlands\, and in 2012 she was artist in residence at the Laus Polyphoniae Festival in Antwerp\, Belgium.\nAs a soloist\, she performs contemporary repertoire in collaboration with the Croatian pianist Danijel Detoni. She is also an active poet and publishes in Croatian literary reviews.\nChristel Boiron\, Vocalist\nAfter cello studies at the ENM of St Etienne and a degree in musicology\, Christel Boiron entered the Conservatoire of Lyon’s Early Music Department in 1990 as a singer. She studied with Marie Claude Vallin\, Eugène Ferré\, and Dominique Vellard\, and graduated from the Conservatory of General Studies of Lyon with honours in 1995.\nSince then\, she has worked regularly with the following ensembles: Musica\, Gilles Binchois\, Discantus\, Choirs Lyon-Bernard Tetu\, Huelgas Ensemble\, Le Concert Spirituel\, and Contemporary Resonance. Since 2007\, she has studied vocal technique with Ronald Klekamp and vocal pedagogy at the Center of Voice in the Rhône Alps.\nClara Coutouly\, Vocalist\nAfter studying contemporary dance\, theatre and piano\, Clara Coutouly completed her training with sing-ing and studying at the Maîtrise de Notre Dame de Paris and Lyon’s Conservatoire\, in the class of Marie-Claude Vallin. She graduated in 2005 with a Diploma of Superior Studies of Ancient Chant Music. The same year\, she participated in the Baroque Academy of Ambronay\, conducted by William Christie. She then studied at the Musikhochschule Trossingen with Maria Cristina Kiehr.\nClara Coutouly works with the early music ensembles (Medieval\, Renaissance\, and Baroque) Doulce Mémoire (Denis Raisin-Dadre)\, Dialogos (Katarina Livljanić)\, Céladon (Paulin Bündgen)\, the Gregorian ensemble of Notre Dame de Paris (Sylvain Dieudonné)\, Peregrina (Agnieszka Budzinska)\, Stella Maris Basilea (Tetyana Polt-Lutsenko)\, Le Miroir de Musique (Baptiste Romain)\, and Vox Luminis (Lionel Meunier). She performed with these different ensembles in prestigious festivals in France and abroad (Music before 1800 in New York\, Amuz in Anvers\, MA-Festival in Bruges\, Oude Muziek in Utrecht\, Quinçena Musical in San Sebastián\, festivals in Split and Dubrovnik\, Cité de la Musique of Paris\, les Rencontres Polyphoniques in Calvi\, de Saintes\, d’Île de France\, de Saint-Denis\, d’Ambronay\, and de Royaumont).\nAlong with her polyphonist activities\, Clara Coutouly sings and participates regularly as a soloist with choreographic or staged performances (Baroque operetta with Céladon)\, as well as in concerts combining ancient and popular music (Croatian traditional singing with Dialogos\, Iran or fado with Doulce Mé-moire). Clara Coutouly has recorded for the Calliope\, Zig Zag Territories\, Ambronay\, K617\, Ricercar\, Aeon Arcana\, Céladon\, Doulce Mémoire\, Dialogos\, The Music Mirror\, Baroque Crossings\, the Gregorian Ensemble Notre Dame de Paris and Vox Luminis labels.\nCaroline Gesret\, Vocalist\nCaroline began her musical education as a child\, studying the piano in Rennes\, France. While studying economics and cultural management\, she joined the singing classes at the Musikhochschule Bochum and then at the Conservatoire in Grenoble and Lyon\, where she graduated in 2002.\nShe completed her training in Germany\, participating in master classes with Thomas Hampson (Mahler’s Kindertotenlieder with orchestra at Schleswig-Holstein Musik Festival in Salzau)\, and with Dame Felici-ty Lott and Graham Johnson (Schubert and Schumann’s songs and French “mélodie” in Lübeck)\, and in Austria with Thomas Quasthoff (Brahms’s songs in Schwarzenberg). In the Baroque music area\, she was coached on Monteverdi’s operas by Christophe Coin\, Gabriel Garrido\, and Christina Pluhar.\nShe appeared on stage at the Opéra de Lyon as the messaggiera in Monteverdi’s Orfeo (Latella / Pickett) and took part in several productions at the Théâtre du Châtelet in Paris in the choir (under the direction of Sir John Eliot Gardiner\, Kazushi Ono\, and Christophe Eschenbach). Her repertoire includes Baroque ora-torio and cantatas\, French “mélodie”\, and German song (in Recital with Jean-Sébastien Dureau and Vin-cent Planès). She is intensely involved with contemporary music and has been heard in many first produc-tions of French composers with Choeur Britten (conducted by Nicole Corti) and Resonance Contem-poraine (Alain Goudard).\nIn 2012\, she created her own ensembles : jet:zt! – a trio dedicated in particular to the performance of Morton Feldman’s three voices\, and 4anima – a female vocal quartet forging links between early and con-temporary music.\nShe joined Dialogos (Katarina Livljanić) in 2013.
URL:https://earlymusicsocietyoftheislands.ca/concert/swithun-dialogos/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2015/10/4_swithun3_.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20151017T200000
DTEND;TZID=America/Vancouver:20151017T200000
DTSTAMP:20260501T103439
CREATED:20200426T014708Z
LAST-MODIFIED:20200426T062145Z
UID:3737-1445112000-1445112000@earlymusicsocietyoftheislands.ca
SUMMARY:Chaconne: Ensemble Caprice
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nEnsemble Caprice (Montreal)\nChaconne! Voices of Eternity\nIn the baroque era\, chaconnes\, with their steady harmonic progressions\, were associated with the concept of eternity. Composers from across Europe\, including Bach\, Falconieri\, Merula\, Vitali\, and Rebel used the chaconne form to transcend the boundaries of time. \n“The artists’ physical involvement and infectious enjoyment\, conveyed through body rhythms and expression\, were what music should always be about.” WASHINGTON POST \nVisit the website of Ensemble Caprice\nListen to Ensemble Caprice \n\nPROGRAMME \nDeath and the Maiden? Death and Arleccino!\nSerenata con altre arie\, Johann Heinrich Schmelzer (1623-1680)\nSerenata-Arlecchino-Adagio-Allegro-Ciacona-Campanella e Lamento\, Johann Heinrich Schmelzer\nChaconnes of Heaven and Hell: Part I\nSonata sopra la Monica\, Biagio Marini\nPassacalle (1650)\, Andrea Falconieri\nAria di Fiorenza y sua Corente (1646)\, Carlo Calvi (Italy\, 17th century)\nCiacona di Paradiso\, et dell inferno\, Anonymous (Rome\, 1657)\nStories of love and solitude\nCzech Folk songs\, Anonymous (16th century)\nByl jest v Kunštátě\nAch mlynářko\, mlynářko\nKeby som já mala\nStuoj\, formánku\, nehýbaj\nProč\, kalino\, v struze stojíš\nJidech tam vedle řeky\nVij mi věnec\nZvolil jsem sobě\nChaconnes of Heaven and Hell: Part II\nCiacona\, Tarquinio Merula (1595-1665)\nSonata seconda op.III\,3 (1660)\, Johann Heinrich Schmelzer\nBattalla de Barabaso yerno de Satanas (1650)\, Andrea Falconieri\nINTERMISSION\nVoices of Eternity\nLamentabile for 2 flutes\, W.Fr. Bach\nChaconne BWV 1004 for 2 recorders and bc (arr.M.Maute)\, J.S.Bach (1685-1750)\nMadmen and broken hearts\nTwo in one upon a Ground\, Henry Purcell (1659-1696)\nThe Duke of Norfolk\, or Paul’s Steeple (1684)\, Anonymous 17th century\nA New Scotch Tune\, Henry Purcell (1659-1696)\nBudro\, Anonymous 17th century\nFullmoon in Spain\nLa Jota\, Santiago de Murcia (1673-1739)\nMad….but happy!\nSonate op.I\,12 La Follia\, Antonio Vivaldi (1681-1741)\nPROGRAMME NOTES\nMusic tells stories. What a simple statement – but how far-reaching are the consequences generated by the intrusion of fiction into music! The music of the 17th and 18th century was often conceived with a narrative or a particular situation in mind :\nWhen J.H.Schmelzer in his Serenata con altre arie leads us through the whole cycle of carnival\, including the dances\, the comedia dell arte of arlecchino\, and then subsequently the regrettable end of the festivities on Ash Wednesday garnished with a deathbell and a repeated lamento\, we witness a whole story unfolding within a very condensed time frame. Whereas carnival lasted several days\, the last sounds of Schmelzer’s serenata die away after just a couple of minutes. Evidently music can depict a whole world within a short segment of our life! It is no accident that many stories that we ourselves have been told when we were young start with an evocation of the 4th dimension : « Once upon a time… ».\nTime and its mysteries have fascinated human beings throughout the evolution of our civilization. The notion of mortality versus eternity was and still is at the heart of most religions : We have organized our life down to the minute but at the same time we hope for eternity… However\, interestingly enough\, during the 17th and 18th century people attributed to music the power to bring the notion of eternity into their daily life. The chaconne became the synonym for eternity and a symbol for music which reaches out to higher dimensions.\nThe fact that the bass pattern is repeated over and over again\, turning around like a spinning wheel has made it possible to associate a fairly simple (however very powerful!) harmonic progression with a dimen-sion of time which goes beyond our human measurements. Bach’s famous Chaconne BWV 1004 comes with an aura of death and vanity – supposedly\, he wrote it as instrumental lament for his first wife Maria Barbara\, who tragically passed away while Bach was traveling.\nPurcell’s Two in one upon a ground presses on into unknown territory of our experience of time : whereas the repeated bass line refers to eternity\, the canon of the two recorders integrates both past and future into one line brought to life by two different performers. While player 1 shows the future (we already know what the other player will perform)\, player 2 shadows the past of his colleague who is always a step or two ahead in time.\nFrom there it is only a small step to the depiction of heaven and hell (Ciacona di Paradiso\, et dell inferno)\, the anxiety of a young girl who does not want to enter a convent (Sonata sopra la Monica)\, Falconiero’s battle between Satan and Barabas or Vivaldi’s breathtaking excursions into the wild world of madness (La Follia). Despite the variety of different stories being told\, all these pieces share one feature: repeated patterns open the ear to a perception of time which is nourished by the mystery of life and death.\nThe concert tonight is certainly only a drop in a seemingly endless sea\, but the composers’ boats float on waters which have been travelling to the edge of space and time and back again…\n Matthias Maute\nBIOGRAPHIES\nEnsemble Caprice\, a baroque ensemble which performs on period instruments\, was founded by acclaimed recorder soloist Matthias Maute and has become known for its innovative and adventuresome approach to an increasingly expanding musical repertoire. In addition to its concert series in Montreal\, the group tours extensively\, giving dozens of concerts mostly across Canada and the USA\, but also in Europe (UK\, Germany) and in Israel. In Canada\, the ensemble can be heard at the Ottawa International Chamber Music Festival\, Early Music Vancouver\, Early Music Voices in Calgary and the Festival International du Domaine Forget. This remarkable touring schedule has established Ensemble Caprice as one of the most important Canadian baroque music ensembles. The Ensemble’s recording activity is impressive\, comprising over twenty CD’s on the Analekta\, ATMA Classique and Antes labels\, sold in some fifty countries. These recordings have gained many honours and much critical acclaim in Canada\, USA and in European countries. The CD Gloria! Vivaldi and his Angels received a JUNO Award in 2009 from the Canadian recording industry. http://ensemblecaprice.com\nMatthias Maute\, recorder\, baroque flute\, composer\, conductor and co-artistic director of Ensemble Caprice\nMatthias Maute has carved out an impressive international reputation for himself not only as one of the great recorder and baroque flute virtuosos of his generation but also as a composer and conductor. Since winning first prize in the soloist category at the prestigious Bruges Early Music Competition in 1990\, he has led a highly successful career as a soloist. He made his debut in New York’s Lincoln Center in 2008 and has twice been the featured soloist for the Boston Early Music Festival. The Washington Post hailed him as one of the greatest recorder players in North America. He has been invited to perform as guest soloist or conductor by eminent baroque orchestras like the Portland Baroque Orchestra and Apollo’s Fire. Recently he has been invited to conduct other renowned orchestras including I Musici de Montréal.\nMatthias Maute is also celebrated for his work as artistic director and conductor of Ensemble Caprice. In this capacity he is known for creating ingenious and original programmes. His compositions are highly regarded and one of his publishers is Breitkopf & Härtel. He has some thirty recordings to his credit on many labels including Analekta and ATMA Classique.\nSophie Larivière\, recorder\, baroque flute and co-artistic director of Ensemble Caprice\nSophie Larivière has been a member and co-artistic director of Ensemble Caprice since 1997. In this capacity\, she has been instrumental in developing the unique and innovative identity of this ensemble\, which provides concert goers with an exciting blend of virtuosity and musical expressiveness. As a member of Caprice\, she has played in numerous concerts in many countries. Much appreciated for the flowing\, expressive beauty of her playing\, Sophie Larivière is regularly invited to perform with many early music ensembles. She has played with Arion Orchestre Baroque\, l’Opéra de Montréal\, the Studio de Musique ancienne de Montréal\, the Theater of Early Music\, Rebel\, the Violons du Roy\, and New York’s Trinity Choir\, as well as the Concert Spirituel in Paris. Sophie Larivière has taken part in some thirty recording projects for the Analekta\, Virgin Classics\, Atma Classique\, Antes Edition and Interdisc labels. She is a devoted teacher\, and for decades has been transmitting her passion for music to a younger generation of performers as well as to amateur musicians.\nSusie Napper\, violoncello\nSusie Napper was awarded Quebec’s “Personality of the Year” Prix Opus in 2002. She is the founder and Artistic Director of the Montreal Baroque Festival. Having grown up in an artistic milieu in London\, UK\, she then studied at the Juilliard School in New York\, and later at the Paris Conservatory. Since then\, Ms. Napper has appeared with several internationally-known early music ensembles\, such as the Philharmonia Baroque Orchestra\, Stradivaria in France\, the Studio de musique ancienne de Montréal\, the Trinity Consort of Portland\, Tafelmusik\, Ensemble Caprice and the viola da gamba duo Les Voix Humaines. Her concert tours have taken her as far afield as China\, Japan\, New Zealand\, India\, the Middle East\, Europe and North America. Ms. Napper’s recordings\, which include most of the known repertoire for two viols\, can be heard on the Harmonia Mundi\, EMI\, Erato\, ADDA\, CBC Records\, Naxos\, Analekta\, and\, most notably\, on the Atma Classique labels.\nDavid Jacques\, guitar\nDavid Jacques was born in Saint-Georges de Beauce\, Québec in 1978 and has a  Doctorate in the interpretation of early music from the Université de Montréal.  He began his studies of classical guitar at the Cégep de Sainte-Foy\, continuing at Université Laval and later at the Conservatoire de Québec. He has recorded more than 15 CDs on the XXI-21\, ATMA and Analekta labels and collaborated on numerous other productions. His Pièces de guitarre de Mr Rémy Médard (Productions XX-21) won the Conseil Québécois de la Musique’s 2008 Prix Opus Disc of the Year award in the early music category. David has also published several arrangements for guitar for Les Productions d’OZ. Active both in Canada and internationally\, he has performed over 2000 concerts in 30 countries on all five continents. He is currently Professor of Classical Guitar at Université Laval and the Cégep de Sainte-Foy and is frequently invited by other musical organizations to give master classes and workshops.\nZiya Tabassian\, percussion\nZiya Tabassian began playing the tombak at the age of eleven. He began his formal training in Iran\, pursuing his studies with Master Tehrani’s method. In Canada\, he studied classical percussion with Julien Grégoire at the Université de Montréal and later returned to Iran to continue his training with M. Bahman Rajabi. Ziya is an active member of Constantinople\, which he co-founded with his brother Kiya Tabassian. In addition to Ensemble Caprice he has collaborated with the Kronos Quartet\, the Nouvel Ensemble Moderne\, En Chordais\, and the Studio de musique ancienne de Montréal. His solo CD\, entitled TOMBAK was released on the Ambiances Magnetiques label.
URL:https://earlymusicsocietyoftheislands.ca/concert/chaconne-ensemble-caprice/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20150926T200000
DTEND;TZID=America/Vancouver:20150926T200000
DTSTAMP:20260501T103439
CREATED:20200426T014708Z
LAST-MODIFIED:20200426T062044Z
UID:3736-1443297600-1443297600@earlymusicsocietyoftheislands.ca
SUMMARY:Handel and Haydn: Byron Schenkman & Friends
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm.  \nByron Schenkman & Friends (Seattle)\nHandel and Haydn: Harpsichord Concerti\nByron Schenkman\, one of EMSI’s favourite performers and known for his effervescent virtuosity\, returns to Victoria with a programme of keyboard masterpieces by Handel (op. 4\, no. 2 and no. 4) and Haydn (H.XVIII:3). \n“Byron Schenkman & Friends display dashing musicianship” THE SEATTLE TIMES \nVisit the website of Byron Schenkman & Friends\nListen to Byron Schenkman & Friends  \n\nProgram\nHANDEL: Harpsichord Concertos in B-flat (op. 4\, no. 2) and F (op. 4\, no. 4)\nHANDEL: Violin Sonata in A Major (op. 1\, no. 3)\nHAYDN: Trio in C Major\, H.XV:21\nHAYDN: Harpsichord Concerto in F (H.XVIII:3) \nProgram Notes: Handel & Haydn Harpsichord Concertos\nGeorge Frideric Handel and Joseph Haydn were two of the most famous musicians of the 18th century and are rare examples of composers who were celebrated during their own lifetimes and have remained famous ever since. Although their music often appeared side by side in the late 18th and early 19th centuries\, they are not usually paired on modern concert programs. We think of Handel as Baroque and Haydn as Classical and tend to program accordingly. It is as if we imagine a curtain coming down around 1750 and reopening on a completely different scene. Yet Handel was a thoroughly modern composer at the end of the Baroque Era\, while Haydn grew up on Baroque music and then late in his career was greatly influenced by Handel’s music—long after our imaginary scene change.\nThe concerto for one solo instrument supported by a full ensemble was a new form in the early 18th century. Antonio Vivaldi composed hundreds of these concertos\, most often for solo violin but also for other solo string and wind instruments. Handel was among the first to give the solo part to the keyboard which for over a hundred years had almost always been the accompanist in any ensemble. This was practical on Handel’s part. First of all\, Handel was a great keyboard player who used these concertos to showcase his own virtuosity\, often between acts of his oratorio performances. Secondly there was a growing market for challenging keyboard music which could be enjoyed by accomplished amateurs. Handel’s concertos were published in versions with and without accompanying instruments\, to allow for flexibility of performance depending on available instruments and players.\nMost of Haydn’s chamber music with keyboard is aimed at that same amateur market. Many pieces we now label sonatas\, trios\, and concertos were originally called divertimenti—diversions or light entertainments—again for keyboard with or without accompanying instruments. The concerto in F is one of Haydn’s few larger scale works in this form and is much like some of Mozart’s keyboard concertos. Unlike Mozart\, who adopted the new fortepiano early on in his career\, Haydn kept the harpsichord as his principal instrument through most of his life. The harpsichord seems an ideal instrument for the vocal quality of Haydn’s music as well as its wit and sparkle. The use of the harpsichord also links Haydn back to the Baroque world we associate with Handel.\nByron Schenkman \nThe Artists\nByron Schenkman has recorded more than thirty CDs of 17th- and 18th-century repertoire\, including recordings on historical instruments from the National Music Museum\, Vermillion\, and the Museum of Fine Arts\, Boston. A recipient of the Erwin Bodky Award from the Cambridge Society for Early Music “for outstanding achievement in the field of early music\,” he was voted “Best Classical Instrumentalist” by the readers of Seattle Weekly in 2006. He has been a featured guest with the Chameleon Arts Ensemble of Boston\, the Daedalus Quartet\, the Northwest Sinfonietta\, Pacific Baroque Orchestra\, Philharmonia Northwest\, and the Portland Baroque Orchestra. He was also founding co-director of the Seattle Baroque Orchestra with violinist Ingrid Matthews. In 2013 he launched “Byron Schenkman & Friends\,” a Baroque and Classical chamber music series at Benaroya Hall in Seattle. Recently he has been studying Klezmer music with Shawn Weaver and has begun collaborating on performances of Russian Jewish art music with violinist Steven Greenman. Schenkman is a graduate of the New England Conservatory and received his master’s degree with honors in performance from the Indiana University School of Music. He currently teaches at Seattle University and Cornish College of the Arts. In 2012 he also served as guest lecturer in harpsichord and fortepiano at the Indiana University Jacobs School of Music. www.byronschenkman.com\nIngrid Matthews has long been established as one of the leading baroque violinists of her generation. She founded the Seattle Baroque Orchestra with Byron Schenkman in 1994\, and served as Music Director until stepping down from that position in 2013. First prize-winner in the 1989 Erwin Bodky International Competition for Early Music\, Matthews has performed extensively around the world as soloist\, guest director\, or concertmaster with many prominent period-instrument ensembles including the New York Collegium\, the Australian Brandenburg Orchestra\, the Boston Early Music Festival Orchestra\, Tafelmusik\, and many others. Matthews has won international critical acclaim for a discography ranging from the earliest solo violin repertoire through the Sonatas and Partitas of J.S. Bach. The latter recording was named by Third Ear’s Classical Music Listening Companion as “the finest complete set of these works\,” and the critic for American Record Guide writes “this superb recording is my top recommendation for this music… on either modern or period instruments.” Matthews has served on the faculties of the University of Toronto\, the University of Washington\, Indiana University\, the University of Southern California in Los Angeles\, the International Baroque Institute at Longy\, and Amherst Early Music\, and is currently on the faculty of Cornish College of the Arts in Seattle. In addition to her musical work\, she is active as a visual artist.\nLaurel Wells is known for her work on both baroque and modern viola and violin. She has enjoyed an extensive and eclectic musical life\, performing in Hong Kong\, Norway\, Canada\, and throughout the United States. For twenty years she played violin with the Lyric Opera of Chicago\, between seasons earning master’s degrees in violin and viola from Indiana University. She studied chamber music at the Banff Centre in Canada and performed extensively under the guidance of the Vermeer Quartet. Wells was a member of the Northwest Chamber Orchestra\, holding the position of principal viola. She is currently a member of the Pacific Northwest Ballet orchestra and performs often with the Seattle Symphony\, Seattle Opera\, and at the 5th Avenue Theater. In the early music world\, Wells plays with the Seattle Baroque Orchestra\, Pacific MusicWorks\, and with her quartet\, Opus 20\, in the Gallery Concerts series. She has also participated in the Whidbey Island Music Festival\, and performed Haydn’s Creation at the Oregon Bach Festival in 2015. Wells has recorded with Seattle Baroque for NPR\, Wild Boar\, and Centaur Records.\nViolist Jason Fisher is a founding member of the critically acclaimed\, co-directed chamber orchestra\nA Far Cry. He is also a member of the newly founded bi-coastal baroque ensemble\, Gut Reaction. Fisher has been described as bringing “an intelligent\, impassioned delivery and innate understanding of the conversational nature of chamber music” (The Springfield Republican). Fisher has performed with members of the Florestan and Peabody Trios\, and the Brentano\, Cleveland\, Emerson\, Mendelssohn\, and St. Lawrence String Quartets. In an appearance with the Peabody Trio\, he was hailed as a “fine guest artist”\, his performance described as “first-rate” (The Baltimore Sun). He was a Carnegie Hall Fellow\, taking him on a tour of concerts\, outreach\, and cultural exchange in Kazakhstan and the Kyrgyz Republic\, as well as a Peabody Singapore Fellow\, spending a month in Southeast Asia assisting with inaugural ceremonies for the new Yong Siew Toh Conservatory and performing as guest with the Singapore Symphony Orchestra. He plays on an 18th-century English viola by Richard Duke made in London\, 1768.\nNathan Whittaker\, violoncello\, enjoys a unique and diverse career as a concert soloist\, chamber musician\, recitalist\, teacher\, and historical cello specialist. He plays regularly with the Seattle Baroque Orchestra\, Pacific Baroque Orchestra\, Portland Baroque Orchestra\, and is a founding member of the Op. 20 String Quartet. Recent concert appearances have included the Indianapolis Early Music Festival\, Vancouver Early Music Festival\, and Victoria’s Pacific Baroque Festival\, as well as other concert stops ranging from Seattle to New York to Dubai. He also composed and recorded an original score for the Emmy nominated documentary “When Seattle Invented the Future”. He can be heard on recordings by ATMA Musique and Harmonia and broadcasts by NPR\, CBC\, and KING FM. An active pedagogue\,\nhe maintains a dynamic private studio\, is on the faculty at the Cornish College of the Arts\, and is the founder and director of the Seattle Chamber Music Coaching Sessions (SCMCS). Along with his busy performance and teaching schedule\, he completed a Doctorate of Musical Arts from the University of Washington in 2012. Dr. Whittaker also holds degrees from Indiana University.
URL:https://earlymusicsocietyoftheislands.ca/concert/handel-and-haydn-byron-schenkman-friends/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20150425T200000
DTEND;TZID=America/Vancouver:20150425T213000
DTSTAMP:20260501T103439
CREATED:20200426T014708Z
LAST-MODIFIED:20200426T061944Z
UID:3735-1429992000-1429997400@earlymusicsocietyoftheislands.ca
SUMMARY:Hildegard of Bingen: VocaMe
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nVocaMe Germany\nSigrid Hausen\, mezzo-soprano\nSarah M. Newman\, soprano;\nPetra Noskaiová\, mezzo-soprano\nGerlinde Sämann\, soprano\nMichael Popp\, music direction and instruments (vielle\, santur\, harp\, monochord\, oud\, dilruba\, iklig\, bells) \nHildegard of Bingen: Songs and Visions\nWatch VocaMe on YouTube\nVisit the VocaMe website\nLearn about VocaMe’s voice workshop on Apr 27 \n\n\n\nVisionary\, mystic\, author\, theologian\, naturopath\, feminist: Hildegard of Bingen was all of these things but\, for us\, she was also a composer of inspired music. The internationally acclaimed women’s ensemble VocaMe will transport us back to the 12th century and let us glimpse Hildegard’s luminous visions and religious ecstasies. There lie the revealed harmonies of the cosmos\, the reflected sounds of eternity.\nEnrolled before the age of 15 as a novice\, Hildegard spent the rest of her long life (1098-1179) as a Benedictine nun and prioress in what is now Germany. From her earliest days she had been subject to visions revealed to all five of her senses\, experiences that she first kept shut up and which later\, in the second half of her life\, she used to inform three major works of biblical commentary. She also wrote the text and music for a group of liturgical songs. Her nuns could use them to enhance their celebration of divine office\, to make it more beautiful. Sixty-nine of her pieces have survived to the present time\, one of the largest oeuvres of any medieval composer.\nAcclaimed a saint and religious authority during the Renaissance\, Hildegard has become a feminist icon. At a time when women were not expected to have learning or opinions and even the lives of queens are hard to tease from the historical record\, Hildegard stands almost alone for what we know of her daily activities\, her correspondence\, books\, medical knowledge\, and her place in the social order. Her writings give us insight into the pervasive character of medieval religious thought. Her music shows us its glory.\nHer songs have just a single vocal line but the melodies often push the boundaries of Gregorian chant\, soaring as if towards heaven. Her melodies are complex\, each word being carried across several notes. Her texts\, which the evening’s programme notes will carry in translation\, have been carefully matched to their melodies.\nThe ensemble VocaMe is made up of four renowned female vocalists from the field of early music\, directed and accompanied by Michael Popp. They created a sensation with their initial project\, the world’s first recording of the hymns of Kassia\, a female composer of the ninth century. EMSI hosted this programme in Victoria to critical acclaim in March\, 2012.\nVocaMe has performed at prestigious music festivals in Europe and North America. “I’m eager to hear them return with this programme of Hildegard’s music”\, said EMSI’s Artistic Director James Young.\nVocaMe’s mezzo-soprano Sigrid Hausen will host a voice and choral workshop for early music singers at all levels in Ganges\, on April 27th.\n“A rewarding\, musical (very) Early Music adventure—a harmoniously unique\, deeply spiritual aural experience.” Crescendo\n \n\n\n\n\n\n\n  
URL:https://earlymusicsocietyoftheislands.ca/concert/hildegard-of-bingen-vocame/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20150328T200000
DTEND;TZID=America/Vancouver:20150328T213000
DTSTAMP:20260501T103439
CREATED:20200426T014707Z
LAST-MODIFIED:20200426T061834Z
UID:3734-1427572800-1427578200@earlymusicsocietyoftheislands.ca
SUMMARY:Henry Lawes: Jeffrey Thompson\, La Rêveuse
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nJeffrey Thompson\, tenor\n La Rêveuse (France)\nHenry Lawes: Songs of an English Cavalier\nHenry Lawes lived through the troubled times of 17th-century England. He was acknowledged in his day as one of the finest composers for the voice. With his extended vocal ranges\, his expressive melodies\, his vibrant dissonances and the high poetic quality of his texts\, Lawes is a subtle painter of the melancholy of his age.\n“virtuosity\, inner energy and dramatic flair.” Washington Post\nVisit the webpage of Jeffrey Thompson\nVisit the website of La Rêveuse\n  Listen to La Rêveuse\nRead the concert programme in advance of the concert.\n 
URL:https://earlymusicsocietyoftheislands.ca/concert/henry-lawes-jeffrey-thompson-la-reveuse/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20150307T200000
DTEND;TZID=America/Vancouver:20150307T213000
DTSTAMP:20260501T103439
CREATED:20200426T014706Z
LAST-MODIFIED:20200426T061721Z
UID:3733-1425758400-1425763800@earlymusicsocietyoftheislands.ca
SUMMARY:Mozart Piano Sonatas: Kristian Bezuidenhout
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nKristian Bezuidenhout\, fortepiano (South Africa/UK)\nMozart Piano Sonatas \nBezuidenhout’s interpretation of Mozart has caused a sensation at the world’s major early music festivals. Come and find out why. The reigning superstar of 
the fortepiano brings to the keyboard masterpieces 
of Mozart an unprecedented flair and freedom.\n“Kristian Bezuidenhout plays Mozart on the 
fortepiano like no-one else…sensitivity\, expressivity\, flair and stylistic integrity…has marked him out as a supreme master of the early keyboard.” The Scotsman\n  Listen to Kristian Bezuidenhout\nVisit the website of Kristian Bezuidenhout\nRead the concert programme in advance of the concert.\n 
URL:https://earlymusicsocietyoftheislands.ca/concert/mozart-piano-sonatas-kristian-bezuidenhout/
LOCATION:Oak Bay United Church\, 1355 Mitchell Street\, Victoria\, British Columbia\, V8S 4P9\, Canada
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20150215T150000
DTEND;TZID=America/Vancouver:20150215T163000
DTSTAMP:20260501T103439
CREATED:20200426T014706Z
LAST-MODIFIED:20200426T061602Z
UID:3732-1424012400-1424017800@earlymusicsocietyoftheislands.ca
SUMMARY:Handel Theodora: Pacific Baroque Orchestra\, Vancouver Cantata Singers\, Alexander Weimann
DESCRIPTION:Doors open at 2:30pm. There is no pre-concert talk for this concert.\nThe Northwest Baroque Masterworks Project\nPart of an extraordinary week exploring the music of G.F. Handel with Pacific Baroque Festival’s The Justly Celebrated Mr. Handel February 19-22\, 2015. \nPacific Baroque Orchestra (Vancouver) Vancouver Cantata Singers Alexander Weimann music director\nHandel: Theodora\nA collaboration with the EMSI\, Early Music Vancouver and the Seattle Early Music Guild Featuring some of Handel’s most glorious music\, Theodora depicts the self-sacrificial love between a Christian virgin and a Roman imperial bodyguard. It serves as a timeless parable of spiritual resistance to tyranny and an indictment of persecution. Performed by 28 instrumentalists\, 40 singers\, and five international soloists. “Handel doesn’t miss a trick in creating spectacular choral effects; neither did music director Alexander Weimann in bringing them to life with theatrical cunning and an all-embracing sense of joy” The Vancouver Sun. \nVisit the Pacific Baroque Orchestra website\nVisit the Vancouver Cantata Singers website\n  Listen to the Vancouver Cantata Singers\nRead the concert programme in advance of the concert \n\n\nSpecial pricing on another Handel event for EMSI members! Pacific Baroque Festival\nwill be offering EMSI members a special rate for a Festival Pass: $85 Adults and $65 Seniors/Students. This rate will be available only for on-line purchases through the Festival website.
URL:https://earlymusicsocietyoftheislands.ca/concert/handel-theodora-pacific-baroque-orchestra-vancouver-cantata-singers-alexander-weimann/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2014/07/5_CantataSingers.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20141220T200000
DTEND;TZID=America/Vancouver:20141220T213000
DTSTAMP:20260501T103439
CREATED:20200426T014706Z
LAST-MODIFIED:20200426T061450Z
UID:3731-1419105600-1419111000@earlymusicsocietyoftheislands.ca
SUMMARY:Bach Christmas Oratorio: Stephen Stubbs
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm.\nThe Northwest Baroque Masterworks Project \nAn exciting new collaboration with the EMSI\, Early Music Vancouver\, Pacific Baroque Orchestra and Pacific MusicWorks\nStephen Stubbs\, music director (Seattle)\nTeresa Wakim\, soprano\nKrisztina Szabó\, mezzo-soprano\nZachary Finkelstein\, tenor\nSumner Thompson\, baritone \nBach: Christmas Oratorio\nCelebrate the holiday season with a collection of North America’s most celebrated period instrumentalists and soloists in this festive performance of three of Bach’s six Christmas  Oratorio Cantatas performed as they would have been in Leipzig in 1734.\nJauchzet\, frohlocket! Auf\, preiset die Tage\, BWV 248/1\nHerrscher des Himmels\, erhöre das Lallen\, BWV 248/3\nOrchestral Suite No. 3 in D major\, BWV 1068\nHerr\, wenn die stolzen Feinde schnauben\, BWV 248/6\n“That Early Music Vancouver has presented a selection of these remarkable works annually for a decade\, …remarkable singing and fine ensemble work in music of utterly exceptional quality.” Vancouver Sun\nRead the concert programme in advance
URL:https://earlymusicsocietyoftheislands.ca/concert/bach-christmas-oratorio-stephen-stubbs/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2014/07/5_Handel.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20141129T200000
DTEND;TZID=America/Vancouver:20141129T213000
DTSTAMP:20260501T103439
CREATED:20200426T014706Z
LAST-MODIFIED:20200426T061323Z
UID:3730-1417291200-1417296600@earlymusicsocietyoftheislands.ca
SUMMARY:Vivaldi and his Imitators: Accademia Hermans
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nAccademia Hermans (Italy)\nVivaldi and his Imitators\nIn the eighteenth century\, Antonio’s Vivaldi’s works were consistently fresh\, wildly popular—and widely imitated. Sometimes it is unclear when a work is by the Venetian master or one of his admirers. You be the judge. Vivaldi’s followers included the great J.S. Bach and the ever popular anonymous. “engaged and engaging…tour de force.” Early Music\n  Listen to Accademia Hermans\nVisit the Accademia Hermans website\nRead the concert programme in advance
URL:https://earlymusicsocietyoftheislands.ca/concert/vivaldi-and-his-imitators-accademia-hermans/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2014/11/slider3_Accademia.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20141108T200000
DTEND;TZID=America/Vancouver:20141108T213000
DTSTAMP:20260501T103439
CREATED:20200426T014705Z
LAST-MODIFIED:20200426T061205Z
UID:3729-1415476800-1415482200@earlymusicsocietyoftheislands.ca
SUMMARY:Monteverdi Madrigals: Pacific MusicWorks\, Stephen Stubbs
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nPacific MusicWorks (Seattle)\nStephen Stubbs\, lute and direction (Seattle)\nMonteverdi Madrigals: Songs of Love and War\nMany of America’s leading early music specialists\, under the direction of lutenist Stephen Stubbs\, join forces for a performance of selections from Book Seven and Eight of Monteverdi’s Madrigals. Vocal soloists include Catherine Webster and Aaron Sheehan.\n“Visionaries have always done what they want to do when the moment is ripe for them…such is Stephen Stubbs.” Seattle Post Intelligencer \n\nRead the concert programme in advance
URL:https://earlymusicsocietyoftheislands.ca/concert/monteverdi-madrigals-pacific-musicworks-stephen-stubbs/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2014/04/2_PacificMusicWorks.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20141004T200000
DTEND;TZID=America/Vancouver:20141004T213000
DTSTAMP:20260501T103439
CREATED:20200426T014705Z
LAST-MODIFIED:20200426T061035Z
UID:3728-1412452800-1412458200@earlymusicsocietyoftheislands.ca
SUMMARY:Dowland in Dublin: La Nef\, Michael Slattery
DESCRIPTION:Doors open at 6:45 pm. Pre-concert talk at 7:10 pm. \nLa Nef (Montreal)\n Michael Slattery\, tenor (USA)\nDowland in Dublin\nCould the great John Dowland have been born in Ireland? What if his songs and dances had been performed in a Dublin pub? A speculative premise\, perhaps\, but the musical results are delightful. This remarkable young American tenor is accompanied on lute\, cello\, Irish flute and cittern.\nMichael Slattery has a “voice like a warm summer day.” Early Music America\n    Listen to La Nef\nVisit the La Nef website\nRead the concert programme in advance\n\n \n \n \nWe acknowledge the support of the Canada Council for the Arts\, which last year invested $157 million to bring the arts to Canadians throughout the country.
URL:https://earlymusicsocietyoftheislands.ca/concert/dowland-in-dublin-la-nef-michael-slattery/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2014/07/1_La_Nef.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20140412T200000
DTEND;TZID=America/Vancouver:20140412T200000
DTSTAMP:20260501T103439
CREATED:20200426T014704Z
LAST-MODIFIED:20200426T051551Z
UID:3727-1397332800-1397332800@earlymusicsocietyoftheislands.ca
SUMMARY:Monica Huggett (UK): Seventeenth-century German cantatas
DESCRIPTION:EMSI is proud to present the Victoria debut of Harry Van der Kamp\, the legendary Dutch bass with more than 120 CDs to his credit. The equally distinguished Monica Huggett leads performances of cantatas and instrumental music by Johann Christoph Bach\, Bruhns\, Rosemüller\, Tunder and Biber.\n“Huggett’s imaginative approach and lively response to detail are among the most rewarding aspects of her version of these emotionally rewarding pieces.” BBC MUSIC MAGAZINE\nMonica Huggett\, artistic director and violin (UK)\nHarry van der Kamp\, bass vocalist (Netherlands)\nChamber Soloists of Portland Baroque Orchestra (Oregon)\nRead the concert programme in advance\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/monica-huggett-uk-seventeenth-century-german-cantatas/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2013/06/9_Huggett.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20140314T200000
DTEND;TZID=America/Vancouver:20140315T200000
DTSTAMP:20260501T103439
CREATED:20200426T014704Z
LAST-MODIFIED:20200426T051421Z
UID:3726-1394827200-1394913600@earlymusicsocietyoftheislands.ca
SUMMARY:Boston Early Music Festival (USA): Charpentier
DESCRIPTION:Boston Early Music Festival: Vocal\, Chamber and Dance Ensembles (USA)\nPaul O’Dette and Stephen Stubbs\, Musical Directors\nMarc-Antoine Charpentier’s \nLa Descente d’Orphée aux Enfers\nand La Couronne de Fleurs\nFor the first time ever\, Victoria audiences will have the opportunity to experience a semi-staged baroque opera\, performed in a period style by one of the world’s leading baroque music ensembles. Close to thirty singers\, dancers and musicians will perform a double bill of operas by Marc-Antoine Charpentier\, first played for the Dauphin of France. This is the most ambitious production in EMSI’s almost thirty-year history.\nTwo jewels of the  French Baroque\, the operas are a brilliant fusion of music\, drama\, and dance. Paul O’Dette and Stephen Stubbs\, reigning authorities on early music\, lead the internationally acclaimed singers\, instrumentalists\, and dancers of the Boston Early Music Festival.\nOrphée is a blend of two operas by Marc-Antoine Charpentier. The operas\, dating from 1685 and 1686\, are presented as a play within a play – a musical contest framing the story of Orpheus and Euridice.\nLa Couronne de Fleurs\, based on a text by Molière\, depicts a musical contest in tribute to Louis XIV as shepherds vie for a crown of flowers from the goddess Flora for the most beautiful and eloquent aria. These miniature masterpieces showcase one of the great composers of the French Baroque. The short opera La Descente d’Orphée aux Enfers is presented as a further entry in the poetic contest\, telling the famous story of Orphée\, who decends into the underworld to use his musical powers to rescue his beloved Euridice. These miniature masterpieces showcase one of the great composers of the French Baroque.\nPlayful\, elegant\, and haunting\, this performance is a perfect melding of consummate musicianship and exhilarating theatricality.\nA must-see for those who love the art of the Baroque and the glory of Opera!\n“musically intelligent and dramatically affecting” THE BOSTON GLOBE\nCo-presented with Pacific Opera Victoria\n\nConcert programme\nSynopsis of the operas\nLibretti: La Couronne de Fleurs\nLibretti: La Descente d’Orphée aux Enfers\nFrench Baroque Opera by Robert Holliston\nVisit the Boston Early Music Festival  webpage\nSee Tickets for purchasing information\n  \n\nBehind-the-Scenes Preview video by Kathy Wittman\, Ball Square Films. \nBoston Early Music Festival\nFounded in 1980\, the Boston Early Music Society has long been one of the leading groups in the performance of music from the Medieval\, Renaissance\, Baroque and Classical eras\, acclaimed internationally for their artistry\, technical polish\, style\, scrupulous research\, and above all excitement and drama. This is a perfect opportunity for Victorians to acquaint ourselves with the bewitching and unique world of French Baroque opera\, made only more perfect by the performers. NOT TO BE MISSED!! \nCast and Creative Team\nBoston Early Music Festival Chamber Opera Series \n\nPaul O’Dette & Stephen Stubbs\, Musical Directors\nGilbert Blin\, Stage Director\nAnna Watkins\, Costume Designer\nMelinda Sullivan\, Choreographer\n\nBoston Early Music Festival Vocal Ensemble \n\nAaron Sheehan\, Orphée\nMireille Asselin\, Flore and Proserpine\nJesse Blumberg\, Apollon and Pan\nTyler Duncan\, Silvandre and Pluton\nDanielle Reutter-Harrah\, Hyacinte\nJason McStoots\, Forestan and Ixion\nCarrie Henneman Shaw\, Rosélie and Euridice\nTeresa Wakim\, Amarante and Enone\nBrenna Wells\, Daphné\nZachary Wilder\, Mirtil and Tantale\n\nBoston Early Music Festival Chamber Ensemble \n\nCynthia Roberts\, concertmaster\nTekla Cunningham\, violin\nLaura Jeppesen\, viola da gamba\nChristel Thielmann\, viola da gamba\nBeiliang Zhu\, viola da gamba\nGeoffrey Burgess\, oboe & recorder\nKathryn Montoya\, oboe & recorder\nAvi Stein\, harpsichord\nPaul O’Dette\, Baroque guitar and theorbo\nStephen Stubbs\, Baroque guitar and theorbo\n\nBoston Early Music Festival Dance Ensemble \n\nBen Delony\nCaitlin Klinger\nAlexis Silver\nAndrew Trego\nRyan Began\, Actor\n\nPersonnel Subject to Change\n 
URL:https://earlymusicsocietyoftheislands.ca/concert/boston-early-music-festival-usa-charpentier/
LOCATION:Victoria\, British Columbia\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2013/06/8_Opera1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20140222T200000
DTEND;TZID=America/Vancouver:20140222T200000
DTSTAMP:20260501T103439
CREATED:20200426T014704Z
LAST-MODIFIED:20200426T051246Z
UID:3725-1393099200-1393099200@earlymusicsocietyoftheislands.ca
SUMMARY:Simphonie Nouvelle (Seattle): Emanuel Bach Tricentennial
DESCRIPTION:Visit the webpage of Jeffrey Cohan\n2014 marks the 300th anniversary of the birth of C.P.E. Bach. EMSI celebrates by hosting one of the world’s great keyboardists and some of Seattle’s most distinguished early music specialists in performances of flute and harpsichord concerti by Emanuel Bach\, and the Suite in B minor by his father\, Johann Sebastian.\n“Hans-Jürgen Schnoor is stunning…the harpsichordist absorbed the audience in the rising emotional tension.” WASHINGTON POST\nSimphonie Nouvelle (Seattle)\nJeffrey Cohan\, baroque flute (USA)\nHans-Jürgen Schnoor\, harpsichord (Germany\nRead the concert programme in advance\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/simphonie-nouvelle-seattle-emanuel-bach-tricentennial/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20140201T200000
DTEND;TZID=America/Vancouver:20140201T200000
DTSTAMP:20260501T103439
CREATED:20200426T014701Z
LAST-MODIFIED:20200426T051124Z
UID:3724-1391284800-1391284800@earlymusicsocietyoftheislands.ca
SUMMARY:Profeti della Quinta (Israel): Il Mantovano Hebreo
DESCRIPTION:Il Mantovano Hebreo: Italian madrigals and Hebrew prayers by Salomone Rossi\nSalomone Rossi\, a member of the Jewish community in Mantua\, was one of the greatest Italian composers of the seventeenth century. The vocal ensemble Profeti della Quinta was the winner of the prestigious biennial York Early Music International Young Artists Competition in 2011; this performance brings to life the full range of Rossi’s compositions\, including a selection of his works in Hebrew.\n“a pure delight.” JERUSALEM POST\n  Listen to them here .\nRead the Programme  in advance of the concert\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/profeti-della-quinta-israel-il-mantovano-hebreo/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2013/06/6_profeti.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20131214T200000
DTEND;TZID=America/Vancouver:20131214T200000
DTSTAMP:20260501T103439
CREATED:20200426T014701Z
LAST-MODIFIED:20200426T050949Z
UID:3723-1387051200-1387051200@earlymusicsocietyoftheislands.ca
SUMMARY:Nancy Argenta\, Jeanne Lamon (Canada): Christmas in Bach's Leipzig
DESCRIPTION:EMSI’s Christmas concert is always highly anticipated as the most entertaining of the season. This year\, the towering Christmas cantatas of Johann Sebastian Bach are performed by some of Canada’s leading baroque music specialists and many of Victoria’s favourite musicians\, all under the direction of Jeanne Lamon (Music Director of Tafelmusik Baroque Orchestra).\n“A wonderful evening’s music-making.” DERYK BARKER\, MUSIC IN VICTORIA\nNancy Argenta\, soprano (Victoria)\nBenjamin Butterfield\, tenor (Victoria)\nSumner Thompson\, bass (USA)\nJeanne Lamon\, violin and direction (Toronto)\nVictoria Baroque Players (Victoria)\nVox Humana Chamber Choir (Victoria)\nRead the Programme in advance of the concert\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/nancy-argenta-jeanne-lamon-canada-christmas-in-bachs-leipzig/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20131124T143000
DTEND;TZID=America/Vancouver:20131124T163000
DTSTAMP:20260501T103439
CREATED:20200426T014701Z
LAST-MODIFIED:20200426T050841Z
UID:3722-1385303400-1385310600@earlymusicsocietyoftheislands.ca
SUMMARY:Esteban La Rotta (Montreal): Birth of the lute soloist
DESCRIPTION:Esteban La Rotta\, one of Canada’s leading players of early plucked instruments\, will perform music from the Codex Faenza\, the Buxheimer Organ Book and other sources as well as pieces from the newly discovered Wolfenbüttel Manuscript\, the earliest known music written specifically for the lute.\n“a crack continuo squad…excellent.” MONTREAL GAZETTE\nEsteban La Rotta\, lute\, chitarrino and Renaissance guitar\nView his bio here .\nProgramme notes (available just prior to concert date)\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/esteban-la-rotta-montreal-birth-of-the-lute-soloist/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Toronto:20131123T200000
DTEND;TZID=America/Toronto:20131123T220000
DTSTAMP:20260501T103439
CREATED:20200426T041701Z
LAST-MODIFIED:20200426T041751Z
UID:3815-1385236800-1385244000@earlymusicsocietyoftheislands.ca
SUMMARY:Pallade Musica (Montreal): Terreno e vago
DESCRIPTION:In the early seventeenth century\, Italians relished adventurous nuance\, extreme dynamics and the chance to demonstrate skilful playing. Pallade Musica expresses these qualities passionately  in this programme of Italian chamber music for violin\, cello\, and basso continuo. Works of Castello\, Stradella\, Marini\, Scarlatti and other composers are featured.\nGRAND PRIZE WINNER\, 2012 EARLY MUSIC AMERICA BAROQUE PERFORMANCE COMPETITION\n  Listen to them here !\nProgramme notes (available just prior to concert date)\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/pallade-musica-montreal-terreno-e-vago/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
ATTACH;FMTTYPE=image/jpeg:https://earlymusicsocietyoftheislands.ca/wp-content/uploads/2013/06/3_Pallade.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20131102T200000
DTEND;TZID=America/Vancouver:20131102T200000
DTSTAMP:20260501T103439
CREATED:20200426T014701Z
LAST-MODIFIED:20200426T062604Z
UID:3721-1383422400-1383422400@earlymusicsocietyoftheislands.ca
SUMMARY:¡Sacabuche! (USA): The Golden Era of the Polish Baroque
DESCRIPTION:EMSI delights in bringing to its audience neglected masterpieces. On this occasion\, the musicians of ¡Sacabuche! (singers\, sackbuts\, violins and organ) illuminate the works of Jarzębski\, Mielczewski\, Szarzyński and Zieleński\, Polish composers who\, in the seventeenth century\, adopted the emerging idiom of the Italian baroque with brilliant results.\n“The ensemble’s intonation was flawless\, its balance excellent\, and its overall sound was deliciously fullbodied and smooth.” BOSTON MUSIC INTELLIGENCER\n  Listen to them here !\nRead the Programme Notes in advance of the concert\nSee Tickets for purchasing information\n  
URL:https://earlymusicsocietyoftheislands.ca/concert/sacabuche-usa-the-golden-era-of-the-polish-baroque/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20131005T200000
DTEND;TZID=America/Vancouver:20131005T200000
DTSTAMP:20260501T103439
CREATED:20200426T014701Z
LAST-MODIFIED:20200426T062646Z
UID:3720-1381003200-1381003200@earlymusicsocietyoftheislands.ca
SUMMARY:London Handel Players (UK): Handel at Home
DESCRIPTION:To the public\, Handel was the great man of theatre\, the titan who dominated the English music scene for half a century. His friends saw another side; in his rooms at 25 Brook Street (Handel’s home from 1723 until his death in 1759)\, the finest musicians would collaborate with Handel the chamber musician. The London Handel Players recreate these musical soirées.\n“Their consummate musicianship is consistently delightful.” GRAMOPHONE\nThe programme notes are now available for you to download.\nSee Tickets for purchasing information
URL:https://earlymusicsocietyoftheislands.ca/concert/london-handel-players-uk-handel-at-home/
LOCATION:Alix Goolden Hall\, Victoria Conservatory of Music\, 907 Pandora Avenue\, Victoria\, BC\, V8V 3P4\, Canada
END:VEVENT
END:VCALENDAR