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Format: 2015-03-27
Format: 2015-03-27
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    2 April 2015 - 6:30pm
    Early evening concert | Edinburgh Quartet
    Edinburgh Quartet
    Cottiers Theatre Glasgow G11 5PU
    United Kingdom

    Mendelssohn and his World: In its 2014/15 Rush Hour Series the Edinburgh Quartet investigates various influences on the music of Mendelssohn.

    Tema con Variazioni. Andante sostenuto in E major from 4 Pieces for String Quartet
    Felix Mendelssohn (1809-1847)
    String Quartet No 2 in G
    Ludwig van Beethoven (1770-1827)
  • 6 April 2015 - 7:30pm
    Handel's Messiah by candlelight | English Chamber Choir
    Belmont Ensemble of London, Ciara Hendrick, Elizabeth Weisberg, English Chamber Choir, Guy Cutting, Peter G Dyson, Philip Tebb
    St Martin-in-the-Fields London WC2N 4JJ
    United Kingdom
    Messiah (Watkins Shaw Edition)
    George Frideric Handel (1685-1759)
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    28 March 2015 - 7:30pm
    Pure Classics with Huntingdonshire Philharmonic
    Adrian Brown, Dominic Sedgwick, Harriet Webb, Huntingdonshire Philharmonic Chorus, Huntingdonshire Philharmonic Orchestra, Nicholas Allen, Nicola Ihnatowicz
    Hinchingbrooke Performing Arts Centre Huntingdon PE29 3BN
    United Kingdom

    Beethoven’s 'Pastoral' symphony belongs to a long tradition of descriptive music. Rustic country scenes and the inevitable storm are all present – with descriptive titles – but Beethoven’s own subtitle, “More an expression of feeling than a painting”, perhaps gives the real key to this symphony’s enduring appeal.

    The Harmoniemesse or 'Wind-band Mass' was Haydn’s last grand full scale work, and his only Mass to use a full complement of wind instruments. Sections of magnificent choral writing integrate with passages for soloists, and in the final climactic ending Haydn adds his farewell as the last notes of the 'Dona nobis pacem' soar heavenwards.

    Symphony No 6 in F, 'Pastoral'
    Ludwig van Beethoven (1770-1827)
    Mass No 14 in B flat, 'Harmoniemesse'
    (Franz) Joseph Haydn (1732-1809)
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    28 March 2015 - 7:30pm
    Sheringham and Cromer Choral Society Spring Concert
    Lawrence Tao, Nathan Waring, Paul Smy, Sheringham and Cromer Choral Society, Tom Stoddart
    St Peter's Parish Church Sheringham NR26 8QS
    United Kingdom

    Following on from our hugely succesful First World War Centenary Remembrance concert (which featured Eventide (In Memoriam Edith Cavell) which Sheringham and Cromer Choral Society especially commissioned from Patrick Hawes) we return to St Peter's Sheringham for our Spring concert with music especially relevant for Passiontide. We shall be singing works by two quite different 19th Century composers, one British, the other Italian.

    John Stainer's much loved oratorio The Crucifixion subtitled 'A meditation on the sacred passion of the Holy Redeemer' is written for choir and organ. It was written for the choir of Marylebone Church and first performed on February 24 1887. It includes 5 hymns intended for audience participation.

    Giuseppe Verdi's Stabat Mater was composed in 1896-97 and now forms part of the Quattro pezzi sacri which was first performed on 7 April 1898 in the Grande Opera, Paris. The 4 pieces had been composed separately over the 20 years since Verdi 'retired' from composing after finishing his Requiem in 1874.

    This concert includes the first performance of A Lenten Prayer composed by our Musical Director, Nathan Waring, especially for the Society. The libretto draws on a prayer written for Ash Wednesday by William Loader, Emeritus Professor at Murdoch University Perth Australia.

    The Crucifixion
    Sir John Stainer (1840-1901)
    Stabat Mater from 4 Sacred Pieces (Quattro pezzi sacri)
    Giuseppe Verdi (1813-1901)
    Locus iste, gradual
    Anton Bruckner (1824-1896)
    A Litany, 'Drop, drop slow tears'
    Sir William Walton (1902-1983)
    A Lenten Prayer
    Nathan Waring ()
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    3 April 2015 - 7:30pm
    Metamorphosen - Part of the Aldeburgh Music Easter Weekend
    Aldeburgh Strings, Lorenzo Soules, Markus Däunert
    Snape Maltings Concert Hall Snape IP17 1SP
    United Kingdom

    The meltingly intimate sextet that opens Strauss’s operatic discourse on the relative merits of music and poetry is also the prelude to this programme of contrasts, drawing inspiration from the distant past, but concluding with a grief-laden lament at recent history. Stravinsky and the young Britten turn to classical mythology to channel the spirit of Apollo, leader of the Muses and patron god of both poetry and music.

    Stravinsky’s bewitching ballet is both spritely and tender, poetic and majestic, whilst the febrile flourishes of Britten’s exhilarating miniature concerto exude youthful bravura. Strauss’s classically-titled elegy, a nostalgic In Memoriam both personal and profound was finished days before the second world war’s conclusion as Europe lay in ruins.

    Sextet from Capriccio
    Richard Strauss (1864-1949)
    Apollon Musagète
    Igor Stravinsky (1882-1971)
    Young Apollo
    Benjamin Britten (1913-1976)
    Metamorphosen
    Richard Strauss (1864-1949)
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    4 April 2015 - 11:00am
    Symphonies of Winds - Part of Aldeburgh Music's Easter Weekend
    Aldeburgh Winds, Nicholas Daniel
    Snape Maltings Concert Hall Snape IP17 1SP
    United Kingdom

    The brief flourish of a fanfare, portraits of Roman gods, a memorial, metamorphoses, music based on classical models; Aldeburgh Winds echo their string counterparts’ programme in music brimming with vitality – sonorous, richly textured and brilliantly exploiting the characteristics of their instruments, from solo oboe to a large wind ensemble.

    A pair of trumpets herald the honeyed textures and rich invention of Strauss’ youthful Serenade and Britten’s ingenious portraits in sound for solo oboe. Stravinsky’s ritualistic instrumental chanting decorates a simple In memoriam chorale, lending it a vivid and exotic charge before the tumultuous conclusion of Strauss’s magnificent large-scale symphony for winds.

    Symphonies of Wind Instruments
    Igor Stravinsky (1882-1971)
    Fanfare for a New Theatre
    Igor Stravinsky (1882-1971)
    Symphony for Wind Instruments
    Richard Strauss (1864-1949)
    Serenade for 13 Wind Instruments in E flat
    Richard Strauss (1864-1949)
    6 Metamorphoses after Ovid, for oboe
    Benjamin Britten (1913-1976)
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    4 April 2015 - 8:00pm
    I Fagiolini - Part of Aldeburgh Music's Easter Weekend
    I Fagiolini, Robert Hollingworth, The English Cornett and Sackbut Ensemble
    Snape Maltings Concert Hall Snape IP17 1SP
    United Kingdom

    Victoria and Schütz were from different worlds geographically and politically but wrote some of the most powerfully expressive music of their time. Schütz’s a capella setting of the Passion has a stripped-back feel: his use of brass in the accompanying Seven Last Words is extravagant by comparison. In contrast, the rich vocal satin of Victoria’s polyphony speaks of another place and times.

    St John Passion
    Heinrich Schütz (1585-1672)
    Lamentations for Holy Saturday
    Tomás Luis de Victoria (1548-1611)
    Motets and Divisions for Holy Week
    Tomás Luis de Victoria (1548-1611)
    The Last Seven Words from the Cross
    Heinrich Schütz (1585-1672)
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    28 March 2015 - 7:30pm
    Burford Singers Spring Concert
    Bob Chilcott, Jon Stainsby, Kate Bailey, Laurie Ashworth, Michael Bochmann, The Burford Singers, The Cotswold Chamber Orchestra, Thomas Elwin
    Church of St John Baptist Burford OX18 4RY
    United Kingdom

    During Brian Kay's sabbatical break we are delighted and honoured that Bob Chilcott, former King's Singer and now celebrated world-wide composer of choral music, is conducting this concert. The programme includes his own Requiem (originally commissioned by the Oxford Bach Choir). The second half will begin with Vaughan Williams's beautiful 'The Lark Ascending' and we conclude with the Spring section of Haydn's oratorio, The Seasons.

    Requiem
    Bob Chilcott (1955-)
    The Lark Ascending
    Ralph Vaughan Williams (1872-1958)
    Spring from Die Jahreszeiten, The Seasons
    (Franz) Joseph Haydn (1732-1809)
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    4 April 2015 - 5:30pm
    Pergolesi's Stabat mater | Take2! (soprano and countertenor duo)
    Adrian Boorman, Anna Shackleton, Jonathan French, Take2!
    St Giles' Church Oxford OX2 6HT
    United Kingdom

    Come along and experience this unusual opportunity to hear a special duet performance of Pergolesi's celebrated Passiontide Cantata Stabat mater for the end of Holy Week in the famous and historic setting of St Giles Church, located in the heart of the City of Oxford. St Giles Church provides a fitting backdrop for a performance of this the most famous composition of the 26year old master of the Italian Baroque and the most frequently reprinted work of the 18th century.

    This atmospheric Grade 1 listed building lies at the junction of the Woodstock and Banbury Roads, just north of the Oxford city wall. St Giles Church was first mentioned in the Domesday Book of 1086 and surviving 12th century features include two windows in the north side of the clerestorey of the nave and the lower parts of the bell tower, finished early in the 13th century, along with Early English Gothic Lancet windows and the decorated Gothic Chancel.

    With its 13th century text, a strongly emotional retelling of the Passion story from the viewpoint of the grieving mother, the Virgin Mary, and extraordinary harmonic language it is little wonder that the popularity of the Stabat mater has endured to this day. The work's feeling of restrained 'sacred opera' is retained this evening, performed in a liturgical context, attempting to recreate what the composer may have originally intended and featuring the etherial combination of solo soprano and countertenor voices singing in the same octave.

    This is a very special event and one not to be missed, irrespective of your religious conviction, featuring the acclaimed Oxford based soloists, soprano Anna Shackleton and countertenor Adrian Boorman, both former students of Birmingham Conservatoire, accompanied by award-winning pianist and tutor at Birmingham Conservatoire, Jonathan French.

    A text text translation and performance notes will be provided and donations are invited to support the St Giles Choir Academy.

    "The opening movement of Pergolesi's Stabat mater is the most perfect and touching duet to come from the pen of any composer" Jean-Jacques Rousseau (1712-1778)

    Stabat Mater
    Giovanni Battista Pergolesi (1710-1736)
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    3 April 2015 - 2:30pm
    Mozart's Requiem, transcribed for String Quartet | Liverpool String Quartet
    Liverpool String Quartet
    The Bluecoat Liverpool L1
    United Kingdom

    Don’t miss this exceptional arrangement by Peter Lichtenthal (Mozart’s pupil) of this masterpiece performed by the Liverpool String Quartet. Lichtenthal was able to reduce the soloists, choir and orchestra to the four voices of the string quartet and keep the main ideas and harmonies of the original intact. With apropos poetry reading.

    Despite being founded only four years ago, the Liverpool String Quartet has a reputation as a world class ensemble. In Liverpool, the Liverpool String Quartet has been Quartet in Residence at the Bluecoat in the heart of the city since 2012 and at Mayer Hall (Bebington, Wirral) since 2014. Notable concerts given in Merseyside have been held at the Williamson Art Gallery on the Wirral, Liverpool’s Anglican Cathedral (with an audience of 1600 people) and the Atkinson Art Gallery (Southport). International highlights include concerts at the Teatro Principal de Valls (Spain), in the Cathedral of Pamplona, and in Olite, Navarre. In July 2012 the Liverpool String Quartet conducted a tour of the Balearic islands, with concerts in Valldemossa (Mallorca) and were invited to perform in the inaugural concert of the prestigious International Music Festival of Mahon (Menorca). Their last tour in July was exclusively sponsored by International Water Company Comaigua with critical success.

    Requiem, transcribed for String Quartet
    Wolfgang Amadeus Mozart (1756-1791)
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