Tonight I’m covering the Tallis Scholars, who are performing “Masterpieces for Double Choir” at the Church of St. Mary the Virgin as part of Miller Theatre’s early music series. Selections include works by Lassus, Vivanco, Arvo Pärt (I’m interested to hear the Tallis Scholars sing this composer’s work!), and Praetorius. Below here a sample of their rendition of the latter’s “In Dulci Jubilo.”
Saturday, December 1, 2012
Church of St. Mary the Virgin (145 W. 46th Street)
Among Thursday’s offerings, two composer portrait concerts compete for the attention of New York audiences.
Photo by Maurice Foxall.
I’m writing about the Jonathan Harvey concert for Musical America. Performed by Ensemble Signal at Miller Theatre, it features two of his large scale, spiritually inspired ensemble pieces, Death of Light/Light of Death (1998) and Bhakti (1982) (event details here).
Bird Concerto with Plainsong, Jonathan Harvey’s recent CD on NMC, is one of my favorite discs thus far in 2012.
Mohammed Fairouz is having his portrait concert at Our Lady of Lebanon Cathedral in Brooklyn. It is being produced by the folks at Issue Project Room. The program includes three world premieres and features the Borromeo String Quartet, Cygnus Ensemble,Elizabeth Farnum, pianists Kathleen Supové, Blair McMillen, and Taka Kigawa, and mezzo-soprano Blythe Gaissert. (event details here).
Hot off the presses is Fairouz’s debut on the Bridge imprint, Sumeida’s Song, an opera about peacemaking and tolerance, written when the precocious composer was only twenty-two years old.
Much of the buzz around Manhattan this week is about Spring for Music at Carnegie Hall, and rightly so (we’ll be discussing it here as well). But there are several other noteworthy events going on. This coming Saturday, Ensemble Signal, conducted by Brad Lubman, presents a composer portrait of Hilda Paredes at Miller Theatre. Guest soloist: Irvine Arditti!
Saturday, May 12, 2012
Corazon de Onix (2005)
Señales: Homage to Jonathan Harvey dedicated to Ensemble Signal and Irvine Arditti (2012), world premiere, Miller Theatre commission
Ah Paaxo’Ob (2001)
NEW YORK – Miller Theatre’s Early Music series, which regularly presents concerts at the Church of St. Mary the Virgin in midtown Manhattan, concluded its season with a concert by the English vocal ensemble Stile Antico. It was the group’s last concert of their Spring American tour, and featured a program that was described from the stage as a “whistle stop tour through the music of the Renaissance.” Indeed, in a single evening the group covered a wide range of repertoire that encompassed the entire chronology of Renaissance polyphony. The program included a number of works that choral music aficionados would consider its chestnuts. These were complemented by less famous, yet still musical engaging, pieces and several works by lesser known composers who seem undeservedly underrepresented on concert programs and recordings.
Two of the latter were Spanish composers Rodrigo de Ceballos and Sebastian de Vivanco, whose Hortus Conclusus and Veni, dilecte mi, stood toe to toe with fellow countryman Tomas Luis de Victoria, despite his representation on the program being the superlative – and superlatively sung – O Magnum Mysterium. Two other Continental standouts were Nicolas Gombert’sMagnificat primi toni and Clemens non Papa’s Egos flos campi. The latter was particularly sumptuous (below, I’ve included a YouTube video of the group performing it in 2008).
Stile Antico excels in their presentation of English Renaissance repertoire, which was abundantly present on the program. Often, composers were represented by two contrasting works, demonstrating their responses to different texts and, during the Tudor era, their differing responses to Catholic and Anglican liturgical settings. Thus, William Byrd’s affirmative Laetentur coeli contrasted with Vigilate, a work that would seem to be a covert nod towards the suffering and tribulations of recusant Catholics during the Elizabethan era. Likewise, Thomas Tallis’O Sacrum Convivium (another gorgeously blended performance) was later contrasted with Why Fum’th in Fight, one of Eight Tunes from Archbishop Parker’s Psalter (probably best known for its reincarnation in Vaughan Williams’ Fantasy on a Theme by Thomas Tallis - or, as some of my less astute students recently said, “The theme from Master and Commander). John Sheppard was represented by a single work, but his Lord’s Prayer (with an earlier version of the wording that was quite moving) was another work performed with particular clarity and beauty of tone.
Commissioned for the ensemble, John McCabe’sWoefully Arrayed, a visceral and rhythmically charged Passion motet, was the program’s sole representation of non-Renaissance music, but it indicated theatStile Antico is more than up to the task of assaying challenging and chromatic repertoire. Generally speaking, here and elsewhere, the group’s intonation and diction were superlative. Their approach is faithful to current performance practice research, while embodying an immediacy and effulgent expressivity that is quite stirring. For example, the crisp consonants and tightly interwoven phrases they lent to Byrd’s Vigilate, when compared to the sensuous luxuriance of Stile Antico’s performance of Lassus’ Veni, dilecte mi demonstrated a broad range of approaches that were both imaginative and stylistically faithful. One area in which the ensemble might endeavor to improve is their diction in works with many divisi: some of the texts were difficult to decipher in their performances of Thomas Tomkins’ O Praise the Lord and the concert’s closer Tota pulchra es by Hieronymus Praetorius. But to dwell overlong on these minor infelicities would be hairsplitting: Stile Antico provided a wonderful evening of rousing singing.
They even shared an encore by Thomas Campion – a teaser from their latest CD on Harmonia Mundi,Tune thy Musicke to thy Hart. A collaboration with early music consort Fretwork, the disc is a collection of Tudor and Jacobean music for private devotion. This less formal, and more intimate, repertoire is approached by the groups with refinement, delicacy, and characteristic musicality. Both the CD, and Stile Antico’s next visit to a venue in your area, are wholeheartedly recommended.
Talea Ensemble performs Zorn at Miller Theatre. Photo: Matt Murphy
My article about John Zorn’s Composer Portrait at Miller Theatre is now up on Musical America’s website. While I had some reservations about the ADHD pacing of some of the piece’s on the program, I had no reservations about the performances, which were superb. Talea is an excellent group with a wide reach.
Amply demonstrating this, their next concert on 12/17 at Merkin Hall is devoted to Inharmonic/(X)enharmonic compositions. The program includes works by Tristan Murail, Enno Poppe, and Talea’s Artistic Director Anthony Cheung.
The US premiere of James Dillon’sNine Rivers, a three evening long contemporary classical epic, will open Miller Theatre’s 2011-’12 season (details below).
I’ll be writing about the first evening of the piece for Musical America. That said, I’ve been assured by those in the know that you probably shouldn’t take this Gesamtkunstwerk as if it’s three separate evenings of music: it’s kind of like having your Siegfried without your Götterdämmerung.
Is Nine Rivers a postmodern retort to the Ring? Perhaps not in terms of narrative, but in terms of its ambitious scope and extended genesis, its not an inapt analogy. A Scottish composer associated with complex scores of penetrating intensity, Dillon has spent years creating this work for electronics, voices, strings, and brass. Nine Rivers also includes a strong multimedia component, with lighting by Nicholas Houfek and video design by Ross Karre. Steve Schick will lead the performers, a group of fifty musicians from the ensembles red fish blue fish, ICE, and the Crossing Choir. Without giving too much away, audiences will be in for quite a finale: all of the musicians perform at once in the last section of Nine Rivers.
Now I must confess that I had some small misgivings when I heard about the massed forces for the piece’s conclusion: call it the logistician in me. After all, I’ve never seen even close to fifty musicians on the stage of Miller Theatre! Will they all fit?
Fortunately, it appears that elbow room, while at a premium, will be adequate. I’ve been assured – via Miller’s twitter feed – that having choral musicians in the mix has been a space saver in terms of stage choreography: after all, they won’t be lugging instruments onstage. That said, the Crossing (also via twitter) reports that they still must contend with big scores that will require music stands. So, it’s likely to be cozy up there!
Below is a video of Steve Schick discussing Nine Rivers.
Nine Rivers by James Dillon
Wednesday, September 14, 8:00PM
Friday, September 16, 8:00PM
Saturday, September 17, 8:00PM
Columbia University’s Miller Theatre is located north of the Main Campus Gate
at 116th St. & Broadway on the ground floor of Dodge Hall.
All-access passes for Opening Night are now on sale online at www.millertheatre.com.
Single tickets can be purchased online beginning August 15.
The public may also purchase tickets through the Miller Theatre Box Office
in person or at 212/854-7799, M–F, 12–6 pm beginning August 29.
Elliott Carter at Miller Theatre. Credit: Jon Simon
Boulez's 85th celebrated - a bit late - at Miller. Photo: Jon Simon
Elliott Carter turns 102 today! He was at Miller Theatre this past Monday night at the all Pierre Boulez concert put on by the Talea Ensemble. This was the last of many concerts celebrating Boulez’s 85th birthday (which occurred back in March).
The group played the US premiere of the latest version of Dérive 2: a work composed in 1988 to celebrate Carter’s 80th birthday. 22 years later, Boulez, now 85 himself, has expanded the piece to well over double its original length!
Talea Ensemble at Miller. Photo credit: Jon Simon.
As Raymond Bisha wrote on the Naxos Blog, Elliott Carter is planning to spend his 102nd birthday in Toronto, at a concert comprised entirely of works he’s written in the past two years!
Miller Theatre will start their 2009-’10 season with “Wordless Music Meets Miller.” The miniseries brings together indie and contemporary classical artists for four days of shows.
Wednesday, September 9, 8:00PM
The 802 Tour (Nico Muhly, Sam Amidon, and Doveman)
Thursday, September 10, 8:00PM
Do Make Say Think and Charles Spearin’s “The Happiness Project”
Friday, September 11, 8:00PM
Tim Hecker, Grouper, and Julianna Barwick
Saturday, September 12, 8:00PM
Destroyer, Loscil, and JACK Quartet
It seems like a natural evolution for both Ronen Givony’s Wordless Music and Melissa Smey’s Miller: both are nurturers of the hybridized, polystylistic music that seems to have captured the gestalt of 2009. Indie artists are making it cool to use classical instruments to rock out, and contemporary classical artists are moving closer than ever to popular terrain, both in terms of musical signatures and venues.
Assuming that this will find a ready and enthusiastic audience at Miller (it will), what pairings might Wordless/Miller consider next? Comment with your dream pairings of indie/new classical artists below.