Join us for our exciting seventh season!
"Tribulation and Joy"
This is a concert with music from the 14th to the turn of the 21st centuries, and includes music by Josquin des Prez, Samuel Scheidt, and Heinrich Schütz recreating the struggle and observation of death and grief in vocal settings reflecting David's loss of his friend Jonathan, his mentor Saul and his son Absalom. Elgar and Thompson offer opportunity for reflection. Ned Rorem's six brief pieces are called In Time of Tribulation.
That bleakness is contrasted with three examples of joy: praise of God with Britten's Festival Te Deum, celebration of marriage reflected in Britten's Wedding Cantata, and the event of Advent and Christmas with Brahms' magnificent motet O Heiland reiss die Himmel auf, and a wistful and beautiful carol by John Rutter.
November 23, 2014 - 3:00PM
Our second concert features three major works from the German choral repertory begin with this startling injunction. Sing!
The three giants who have given us brilliant works setting this test are Heinrich Schütz, Johann Sebastian Bach, and Hugo Distler. Distler and Schütz have set the entirety of Ps. 98, while Bach's three movement piece for double choirs, the grandest of all his motets, uses a mirroring text from Ps. 149. Distler offers a mid-20th century work of energized, bravura choral writing.
These masterworks are contrasted with the utter simplicity and melodic beauty of Franz Schubert's Mass in G, the most popular of Schubert's masses. Providing context the concert includes a very early pre-Schütz motet, chorale-based, by Lupus Hellinck, (1544), surely never performed here. From the turn of the 19th-20th century, from another less known but important German, we will hear Georg Schumann's beautiful Das ist ein kostliches ding.
Sunday, March 22, 2015 - 2:00PM
Sunday, March 29, 2015 - 3:00PM
We begin with iconic masterpieces from the pen of G.F. Handel and nationally celebrated countertenor Jay Carter, who also happens to be a vital part of Musica Vocale as our Artistic Advisor and chorister. Featuring Handel’s aurally brilliant—and lesser known—setting of Te Deum Laudamus. This 1714 work was composed celebrating the safe arrival of Caroline of Hanover, wife or George II of England.
In our final performance of the season we will also explore music of the late 19th and 20th centuries influenced by Wagner’s blurring of tonality through insistent chromaticism. Max Reger’s O Tod, wie bitter bist du will be contrasted with Brahms three magnificent festival motets for double choir, Fest- und Gedenkensprüche, Opus 109.
Sunday, June 7, 2015 - 3:00PM