My former choir is having a concert on Palm Sunday:
Cantori New York
Mark Shapiro, Artistic Director
"From Darkness to Light"
Sunday, April 9, 2006
4 PM
Church of the Holy Trinity
316 East 88th Street (between 1st and 2nd Avenues)
4 PM
Church of the Holy Trinity
316 East 88th Street (between 1st and 2nd Avenues)
Private cocktail reception and supper to benefit Cantori New York
immediately following the concert at Rathbones, 1702 2nd Avenue
immediately following the concert at Rathbones, 1702 2nd Avenue
Concert $20
Reception $30
Tickets for both available at www.cantorinewyork.com
New York, NY (February 25, 2006)--- Cantori New York, led by its Artistic Director Mark Shapiro, Church of the Holy Trinity (Episcopal), 316 East 88th St, on Sunday, April 9, 2006, at 4 PM. Tickets available at the door for $20 or online at www.cantorinewyork.com.
The concert will open with a characteristic Cantori touch: the New York premiere of a novelty work by a "young" Arnold Schoenberg. Schoenberg composed his No! tturno (1896) for harp and strings. This five-minute work was originally composed for an event hosted by the composer and eventual father-in-law to Schoenberg, Alexander von Zemlinsky.
Lua Descolorida (Colorless Moon) (2000/2002) by Osvaldo Golijov will follow the Schoenberg. Cantori will perform this work with women¹s chorus. This version communicates a tender anthem Golijov composed for Dawn Upshaw, on a text apostrophizing the moon. The ensemble for this five-minute work is women's chorus and strings.
The concert¹s centerpiece is the New York premiere of Frank Martin¹s last completed work, the poignant cantata Et la vie l¹emporta (1974--And Life is the Victor). In three strongly contrasted movements the composer confronts his final illness, first acknowledging its terrible pain and cruelty, next waging war on his despair, and finally emerging triumphant. The composition is a symphonically executed triptych in Martin¹s characte! ristic meld of dodecaphony and impressionism.
Works from earlier eras counterbalance the concert¹s first half. The Sacred Songs (1881) for mixed chorus a cappella by Hugo Wolf are rarely heard. In his eloquent chromatic style, Wolf also deals with life¹s ³necessary losses.²
And Bach¹s Cantata #4, Christ lag in Todesbanden (Christ lay in Death¹s Prison) for chorus and chamber orchestra unfolds another resurrection myth. Its chorale text will be familiar to listeners: Martin¹s second movement uses the same words.
This concert is the second in a gala season celebrating Shapiro¹s fifteenth season as Cantori¹s Artistic Director. The group specializes in new, recent, and neglected but artistically important works for voices and instruments presented in conceptually rich programs. This concert, thematically unified across a range of languages and sonorities, epitomizes Cantori¹s approach and showcases the group's highest s! tandards of musical excellence.
Reception $30
Tickets for both available at www.cantorinewyork.com
- Notturno by Arnold Schoenberg. For harp and strings. NEW YORK PREMIERE. Anna Reinersman, harp
- Lua Descolorida (Colorless Moon) by Osvaldo Golijov. For women! ¹s chorus and strings.
- Et la vie l¹emporta (And Life is the Victor) by Frank Martin. For mezzo soprano, chorus, and chamber orchestra. NEW YORK PREMIERE. Charlotte Paulsen, mezzo soprano
- Three Sacred Songs by Hugo Wolf. For mixed chorus a cappella.
- Cantata #4, Christ lag in Todesbanden (Christ lay in Death¹s Prison) by J. S. Bach. For chorus and chamber orchestra.
New York, NY (February 25, 2006)--- Cantori New York, led by its Artistic Director Mark Shapiro, Church of the Holy Trinity (Episcopal), 316 East 88th St, on Sunday, April 9, 2006, at 4 PM. Tickets available at the door for $20 or online at www.cantorinewyork.com.
The concert will open with a characteristic Cantori touch: the New York premiere of a novelty work by a "young" Arnold Schoenberg. Schoenberg composed his No! tturno (1896) for harp and strings. This five-minute work was originally composed for an event hosted by the composer and eventual father-in-law to Schoenberg, Alexander von Zemlinsky.
Lua Descolorida (Colorless Moon) (2000/2002) by Osvaldo Golijov will follow the Schoenberg. Cantori will perform this work with women¹s chorus. This version communicates a tender anthem Golijov composed for Dawn Upshaw, on a text apostrophizing the moon. The ensemble for this five-minute work is women's chorus and strings.
The concert¹s centerpiece is the New York premiere of Frank Martin¹s last completed work, the poignant cantata Et la vie l¹emporta (1974--And Life is the Victor). In three strongly contrasted movements the composer confronts his final illness, first acknowledging its terrible pain and cruelty, next waging war on his despair, and finally emerging triumphant. The composition is a symphonically executed triptych in Martin¹s characte! ristic meld of dodecaphony and impressionism.
Works from earlier eras counterbalance the concert¹s first half. The Sacred Songs (1881) for mixed chorus a cappella by Hugo Wolf are rarely heard. In his eloquent chromatic style, Wolf also deals with life¹s ³necessary losses.²
And Bach¹s Cantata #4, Christ lag in Todesbanden (Christ lay in Death¹s Prison) for chorus and chamber orchestra unfolds another resurrection myth. Its chorale text will be familiar to listeners: Martin¹s second movement uses the same words.
This concert is the second in a gala season celebrating Shapiro¹s fifteenth season as Cantori¹s Artistic Director. The group specializes in new, recent, and neglected but artistically important works for voices and instruments presented in conceptually rich programs. This concert, thematically unified across a range of languages and sonorities, epitomizes Cantori¹s approach and showcases the group's highest s! tandards of musical excellence.
1 comment:
Hope you had a good concert. I'd forgotten it was palm Sunday til I saw some hlady walk by with some palm fronds...
Happy Palm Sunday!
Cheers,
Mr. H.K.
Postcards from Hell's
Kitchen
And I Quote Blog
Post a Comment