He typically directed the Concentus from the cello and conducted larger pieces.
|
|
His recording of Beethoven's Fourth and Fifth Symphonies with the Concentus was recently released.
|
|
Mr. Harnoncourt, along with his wife, Alice, founded the period-instrument ensemble Concentus Musicus Wien in 1953.
|
|
It is the Concentus that he mostly conducts in these recordings, often with the superb Arnold Schoenberg Choir.
|
|
Pablo Heras-Casado — at 38, the principal conductor of the Orchestra of St. Luke's, who befriended Mr. Boulez and was recently invited to conduct the Concentus Musicus — argues that both respected text above all.
|
|
Mr. Harnoncourt, a cellist, founded the period-instrument ensemble Concentus Musicus Wien — with his wife as concertmaster — in 1953, and it remained crucial to his performance activities even as orchestral conducting came to dominate.
|
|
In the 1970s and '80s he and the Concentus took part in a complete recording of the nearly 200 surviving Bach sacred cantatas for the Teldec label, sharing the performances with the Dutch harpsichordist Gustav Leonhardt and his Leonhardt Consort.
|
|
Concentus Musicus Wien (CMW) is an Austrian baroque music ensemble based in Vienna. The CMW is recognized as a progenitor of the period-instrument performance movement.
|
|
Concentus ad libitum for jazz quintet and symphony orchestra, premiered by the Oslo Philharmonic Orchestra and Jan Garbarek 1979, is also viewed as one of Hurum's key works.
|
|
Harnoncourt was a cellist with the Vienna Symphony from 1952 to 1969. In 1953, he founded the period-instrument ensemble Concentus Musicus Wien with his wife, Alice Hoffelner, whom he married that year. The Concentus Musicus Wien was dedicated to performances on period instruments, and by the 1970s his work with it had made him quite well known. He played the viola da gamba at this time, as well as the cello.
|
|
The German composer Joseph Anton Xaver Auffmann wrote at least three concertos for organ and chamber orchestra, Op. 1 (Triplex concentus organicus, seu III. concerti organici à octo instrumentis, Augustæ-Vindelicorum: sumptibus Joannis Jacobi Lotteri Hæredum, 1754).
|
|
A number of his pieces were published in Sigismund Salblinger's Concentus (1545), and in the Leuven Collection (1554). Charles Burney praises his compositions for their ease, rhythm, and melody, as well as for a distinct marking of the key in which they are to be played.
|
|
From 1995 to 1998 she was also a lecturer at the Munich University of Music (history of song and music). In 2002 she completed her habilitation at the University of Munich. The title of the habilitation thesis is Gregor Mewe's' "Concentus harmonici and Jacob Obrechts last masses".
|
|
Concentus Moraviae is an international music festival held in the towns of the Vysočina and South Moravian region of the Czech Republic. The festival consists of more than thirty concerts with the subtitle of "Bohemian Dreams" in the churches, castles, and castle courtyards of the Czech towns.
|
|
The Quatuor Mosaïques is an Austrian string quartet, founded in 1987 by Erich Höbarth, Andrea Bischof, Anita Mitterer, and Christophe Coin, four members of the Concentus Musicus Wien who play on historical musical instruments. They specialize in music of the 18th century. The three Austrian musicians and the French cellist Christophe Coin got to know each other in Vienna as members of Nikolaus Harnoncourt’s Concentus Musicus. With their shared experiences as a starting point, they decided to form a classical string quartet playing on period instruments. The primary aim was not to create the sort of ‘authenticity’ that belongs in museums, but rather to ensure in their work a living link to the great European quartet tradition.
|
|
On 5 December 2015, one day before his 86th birthday, Harnoncourt announced his retirement via his website. "My bodily strength requires me to cancel my future plans," he wrote in a hand- written letter inserted into the program on his 86th birthday of a concert by the Concentus Musicus Wien.
|
|
Harnoncourt met his wife Alice through their mutual interest in historically informed performances of Baroque music and co-founded the Concentus Musicus Wien. Their daughter is the mezzo-soprano Elisabeth von Magnus. Their two surviving sons are Philipp and Franz. Their third son Eberhard, a violin maker, died in 1990 in an automobile accident.
|
|
Born in Oberpullendorf, Kulman achieved the Matura in 1991. She studied Russian, and musicology. She was a choir singer in several notable choirs in Vienna, including Arnold Schoenberg Chor, Concentus Vocalis Wien, Wiener Singakademie, Wiener Kammerchor and . She began voice studies in 1995 at the Universität für Musik und darstellende Kunst Wien with Helena Lazarska.
|
|
Thomas Hengelbrock (born 9 June 1958) is a German violinist, musicologist, stage director and conductor. Born in Wilhelmshaven, Hengelbrock studied the violin with Rainer Kussmaul. He started his career in Würzburg and Freiburg im Breisgau. He worked as an assistant to Witold Lutosławski, Mauricio Kagel and Antal Doráti and played with ensembles such as the Concentus Musicus Wien.
|
|
Malin Hartelius (born 1 September 1966) is a Swedish soprano who performs regularly with conductors such as Nikolaus Harnoncourt, Ton Koopman, Riccardo Chailly, Sir John Eliot Gardiner, Peter Schreier, Herbert Blomstedt, and Frans Brüggen. She has collaborated with orchestras like the Oslo Philharmonic Orchestra, the Tonhalle Orchester Zurich, the San Francisco Symphony, and the Concentus Musicus Wien.
|
|
She was born and raised in Jyderup, Denmark but lives in New York City where she was contracted with Wilhelmina Models NYC. Her parents are Irmgard Mathiesen and Aksel H. Mathiesen. Irmgard is a soloist who was a docent at the Royal Conservatory of Denmark. Aksel was a composer who led the acclaimed orchestra Concentus Musicus of Denmark.
|
|
Early lives of Rosa were written by the Dominican Father Hansen, "Vita Sanctae Rosae" (2 vols., Rome, 1664–1668), and Vicente Orsini, afterward. Pope Benedict XIII wrote "Concentus Dominicano, Bononiensis ecclesia, in album Sanctorum Ludovici Bertrandi et Rosae de Sancta Maria, ordinero praedicatorum" (Venice, 1674). There is a park named for her in downtown Sacramento, California.
|
|
In 1987, Harnoncourt also conducted the Chamber Orchestra of Europe. The event Ein Fest für Haydn (A feast for Haydn) in Schloss Eggenberg became a success with the audience. In 1988, Christopher Widauer succeeded Herberstein. A year later, the baroque church of Stainz was the first festival venue outside Graz, where Harnoncourt conducted concerts with the Concentus Musicus and the Arnold Schoenberg Chor.
|
|
Teldec's label Das Alte Werk specialises in early music A focus in the catalogue of the Teldec was the field of early music and historical performance practice, which were marketed from 1958 under its own sub-label Das Alte Werk. The first significant recordings were by Nikolaus Harnoncourt and his Concentus Musicus Wien, then later also with other orchestras, who became one of the main artists of the label. Teldec's largest project in this area was the prize- winning complete recording of Bach cantatas, which were recorded from 1970–1989 jointly by the Concentus Musicus Wien conducted by Nikolaus Harnoncourt and by the Leonhardt-Consort with Gustav Leonhardt. Teldec did not however achieve the distinction of completing the first set of these works, losing to the rival series by Hänssler Classic on conventional modern instruments by Helmuth Rilling.
|
|
Weir's recordings include sacred music by Schubert, with the Mass No. 6. A reviewer noted his "sensitivity and impressive breath control". In 1997, he recorded the title role of Schubert's unfinished oratorio Lazarus in a completion by Edison Denisov. In 2000, he took part in a recording of Haydn's opera Armida, with the Concentus Musicus Wien conducted by Nikolaus Harnoncourt, alongside Cecilia Bartoli and Christoph Prégardien.
|
|
Mr Alvin B. Paulin is a graduate of the Philippine Normal University, a member of the PNU Chorale and is the subject area head of the MAPEH area in Don Bosco Makati. During the group's first international tour in Singapore in the competition Orientale Concentus VII, he was awarded as the Best Young Conductor In 2015, he was a recipient of the 7th Ani ng Dangal.
|
|
Kožená appears regularly at the Prague Spring and at the Concentus Moraviae Festivals. She has given recitals in London, the Schubertiade Schwarzenberg, Brussels, Paris, Hamburg, Amsterdam, Munich, Prague, Tokyo, Yokohama and Sapporo, Carnegie Hall, in San Francisco and in London, Lisbon, Vienna, Copenhagen, Amsterdam, Hamburg and Prague. She also appeared in concerts with the Monteverdi Choir and English Baroque Soloists Bach Cantata Pilgrimage during the year 2000.
|
|
Omar Zoboli has been oboe soloist of the Radio Orchestras of Lugano (RSI) and Naples (RAI), the St. Gallen Symphony Orchestra and the Kammerorchester Basel. He has played baroque and classical oboes with Concentus Musicus Wien (Nikolaus Harnoncourt), Il Giardino Armonico (Giovanni Antonini), Scintilla Orchester Zürich, I Barocchisti (Diego Fasolis). Since 1991, he has also been conducting with great success his own projects with large wind ensembles and orchestras.
|
|
Kurt Jungwirth, as Kulturlandesrat responsible for cultural politics in the state of Styria, wanted to tie conductor Nikolaus Harnoncourt closer to his hometown Graz. The focus of the first Styriarte was Johann Sebastian Bach, with Harnoncourt's Concentus Musicus Wien playing a leading role. The festival was directed by Andrea Herberstein and Wolfgang Schuster, a member of the Wiener Philharmoniker. The first festival was staged in the summer of 1985.
|
|
Turković began his career as an orchestral musician, holding the post of principal bassoon in the Vienna Symphony. Turković was a member of Concentus Musicus Wien (1967–2012), the Chamber Music Society of Lincoln Center (1992–2012) and was a founding member of Ensemble Wien-Berlin (1983–2009). Turković is best known as a bassoon soloist. He has a substantial discography and has performed renowned orchestras across the world.
|
|
From 1978, he studied viola da gamba with Jordi Savall at the Schola Cantorum Basiliensis. He worked first mainly as a soloist. In 1984, he founded the Mosaïques Ensemble and in 1987 the string quartet Quatuor Mosaïques with Erich Höbarth, Andrea Bischof and Anita Mitterer, all players members of the Concentus Musicus Wien. The quartet has performed mostly works of the classical period on period instruments, with a focus on less known works.
|
|
Lehmberg worked with choirs and church musical groups both at Austin and St. Paul. He served on the board of Saint Paul Chamber Orchestra and on the board of Concentus Musicus (which performed antique music on period instruments) until its demise. For 28 years he was organist and choir director of St. Clement's Episcopal Church in St. Paul, Minnesota. He twice led the University's search for new heads of the university's Department of Music.
|
|
For the Telefunken (later Teldec) label, Harnoncourt recorded a wide variety of the Baroque repertoire, beginning with the viol music of Henry Purcell, and extending to include works like Bach's The Musical Offering, Monteverdi's L'incoronazione di Poppea, and Rameau's Castor et Pollux. One of his final recordings with the Concentus Musicus Wien was of Beethoven's Symphonies Nos. 4 and 5. One reason that Harnoncourt left the Vienna Symphony was to become a conductor.
|
|
In the following years, he led several concerts with the Chamber Orchestra of Europe, the Vienna Philharmonic and the Concentus Musicus. Harnoncourt also served as the conductor for major opera productions of the Festival: L'incoronazione di Poppea (1993), Mozart's Le nozze di Figaro (1995 and 2006), Don Giovanni (2002, marking also Anna Netrebko's international breakthrough as Donna Anna, and 2003) and La clemenza di Tito (2003 and 2006), and Purcell's King Arthur (2004).
|
|
Reichenberg took part in many concerts and recordings with Concentus Musicus, and gradually increased his activities with that group. In 1977, Reichenberg formed the Munich-based orchestra, Florilegium Musicum, which gave numerous performances of Bach cantatas and Mozart masses. During that year, Reichenberg received several requests to play in England. Most notable among these was the offer to participate in the Deutsche Grammophon/Archiv recordings of the Bach Orchestral Suites with the English Concert, directed by Trevor Pinnock.
|
|
Born in Vienna, Alice Hoffelner studied violin and other stringed instruments as a student of Josef Mertin, and subsequently became interested in baroque violin. In 1953, she married Nikolaus Harnoncourt, and the couple founded the period instrument ensemble Concentus Musicus Wien in the same year. Their ensemble strongly influenced and changed the performance and recording of early music by contemporary musicians, as it emphasized the use of period instruments. Until 1968, Harnoncourt performed on a Jakob Stainer violin made in 1658.
|
|
Vilsmayr's only surviving music is a collection published in Salzburg in 1715, titled Artificiosus Concentus pro Camera. It contains six partitas à Violino Solo Con Basso bellè imitate--a description that, until recently, was taken as "for solo violin and basso continuo". The bass part was presumed to be lost, however, scholar Pauline H. Nobes has recently demonstrated that the partitas were probably meant for violin solo, and Con Basso bellè imitate may refer to the polyphonic texture of the works.Letzbor, Gunar.
|
|
The first recording of the opera was issued in 1964, a version incorporating substantial cuts. The first complete recording was that of Nikolaus Harnoncourt and Concentus Musicus Wien in 1971, the first of three Harnoncourt versions in audio and video. Raymond Leppard's 1972 Glyndebourne version was recorded in a concert performance in the Royal Albert Hall; the following year the same Glyndebourne cast was recorded in a full stage performance. These recordings were issued many years later, in compact disc and DVD format.
|
|
While studying there, Alireza Mashayekhi, an internationally regarded composer who also utilizes the Persian microtone system in his work, became his teacher. Mashayekhi has deeply influenced Saman's musical sensibilities, and his mentorship lit the flame that kindled in Saman his abiding passion for modern music. From 2006–2009 Samadi was the director and conductor of Concentus Chamber Orchestra, a mix of musicians from Tehran Conservatory of Music and the University of Tehran. Their repertory incorporated Baroque and contemporary works, including Samadi's own compositions.
|
|
Graduating in 1972, Reichenberg moved to Salzburg, where he attended the Mozarteum. It was in Salzburg that Reichenberg met Nikolaus Harnoncourt, director of Concentus Musicus Wien. Reichenberg became increasingly interested in playing the oboe's repertoire on the instrument for which it had been written and, with the assistance of Harnoncourt, moved to Vienna in order to study baroque oboe with Jürg Schäftlein. He simultaneously studied oboe making with Paul Hailperin, building the instrument upon which he played for four years.
|
|
The album was recorded in the United States and Romania over twelve days in October 2008. The band spent one week recording with Rich Costey, who they had previously worked with earlier in the year on their eponymous debut studio album, Glasvegas. The band then flew to Transylvania where they spent a further week recording in a Citadel which they converted into a small recording studio. The Concentus Choir, featured on the track "Silent Night/Noapte de Vis," was recorded at St. Nicholas Church in Braşov.
|
|
When she won the University of South Africa's Overseas Scholarship it was for her piano performance of Bach's C minor Partita. leftThis scholarship led to three years at Vienna (the Vienna Academy) where her principal teachers were Josef Dichler and Hilde Langer-Rühl. In Vienna she became properly acquainted with the harpsichord and the influence of Nikolaus Harnoncourt who was currently establishing the Concentus Musicus Wien. She went on to the Royal College of Music London where her teachers included Kendall Taylor (piano) and Thornton Lofthouse (harpsichord).
|
|
In 2009/10 he made recordings and gave concerts with Harnoncourt and the Concentus Musicus Wien, with Luisi and the Sächsische Staatskapelle Dresden, with Franz Welser-Möst and the Wiener Philharmoniker, as well as opera appearances at the Vienna Volksoper and at the Graz Opera.Herbert Lippert's performances on Wiener Staatsoper In June 2014, he performed at the Vienna State Opera as the replacement of Peter Seiffert who was indisposed in Act 2 as Siegmund in Wagner's Die Walküre. On 15 November 2014 Lippert appeared as Golizyn in Vienna in a new production of Mussorgsky's Khovanshchina.
|
|
Panajotis Iconomou (born May 22, 1971 in Munich) is a German bass-baritone of Greek parentage. Iconomou was born in Munich. He joined the Tölzer Knabenchor in 1980 and toured Europe as a boy. He made notable appearances in 1985 at the Salzburger Festspiele with Hans Graf, J.S. Bach's St John Passion and St Matthew Passion with Nikolaus Harnoncourt and the Concentus Musicus Wien at the styriarte Bach Festival in Graz, and the same program with Peter Schreier and Kurt Moll at the Stuttgart Bach Festival the same year.
|
|
In 2014, Kleiter recorded the role of Emma in Schubert's opera Fierrabras, alongside Michael Schade in the title role with the Vienna Philharmonic, conducted by Ingo Metzmacher. She recorded Bach's cantata Wachet auf, ruft uns die Stimme, BWV 140, conducted by Harnoncourt in 2007, live at the Musikverein in Vienna, with the Arnold Schoenberg Chor and the Concentus Musicus Wien, alongside Elisabeth von Magnus, Kurt Streit and Anton Scharinger.Short biography on Bach Cantatas Website In 2018, she recorded Bach's St John Passion and his Christmas Oratorio with the Bachchor Mainz, conducted by Ralf Otto.
|
|
He performs on the cello both as a soloist and in chamber works, and also occasionally composes. He has appeared in prestigious festivals such as the Prague Spring International Music Festival, Rezonanzen in Vienna, the Festival van Vlaanderen in Brugge, the Tage alter Musik in Sopron, , Strings of Autumn, and Concentus Moraviae. He has made dozens of compact disc recordings, many of which have received top awards: Diapason in 1994, Zlatá Harmonie in 1997, and a Cannes Classical Award in 2003. Nor does he avoid alternative projects - e.g.
|
|
At the close of the year, Reichenberg toured the United States with the Concentus Musicus and thereafter moved to England. In London, Reichenberg was immediately in demand as a freelance player with all the orchestras playing on period instruments. These included the Taverner Consort, the London Classical Players, London Baroque, the English Bach Festival, the Academy of Ancient Music, the English Baroque Soloists, as well as the English Concert. Reichenberg appeared extensively as soloist with the English Concert, and toured the United States, Japan, Germany, Austria, France and Italy with this group.
|
|
Kurt Equiluz became known for his interpretation of Bach's cantatas and oratorios when was engaged in the recordings of Nikolaus Harnoncourt and Gustav Leonhardt covering the complete vocal works with historical instruments. He was the Evangelist in the first recording of Bach's St John Passion on period instruments with the Concentus Musicus Wien in 1965Johannes- Passion BWV 245 on bach-cantatas and in 1970 the Evangelist in the St Matthew Passion. In 1977 he was the Evangelist in a recording of the St Matthew Passion with De Nederlandse Bachvereniging, conducted by Charles de Wolff, with Max van Egmond as the Vox Christi.
|
|
Although Tacitus doesn't distinguish between the barditus and the heroic songs, his choice of words implies a second genre. Tacitus' cumulation of alliterationsTacitus, Germania 3.1 (alliterations emphasized with capital letters): […] Accendunt Animos Futuraeque pugnae Fortunam ipso cantu augurantur Terrent enim Trepidantve prout sonuit acies nec tam Voces illae quam Virtutis concentus videntur […] is probably the first mention of rhyme in Europe, an early form of the German Stabreim, which became widely popular in the Mediaeval Ages.G. Wolterstorff, Philologische Wochenschrift 60, 1940, p. 59; Tacitus' account of the Germanic alliterative verse indicates that he heard it in person, either in Germania or Rome.
|
|
The 1969 recording by Nicholas Harnoncourt and the Vienna Concentus Musicus, using Harnoncourt's edition based on period instruments, was praised for "making Monteverdi's music sound something like the way he imagined". In 1981 Siegfried Heinrich, with the Early Music Studio of the Hesse Chamber Orchestra, recorded a version which re-created the original Striggio libretto ending, adding music from Monteverdi's 1616 ballet Tirsi e Clori for the Bacchante scenes. Among more recent recordings, that of Emmanuelle Haïm has been praised for its dramatic effect. The 21st century has seen the issue of an increasing number of recordings on DVD.
|
|
The hymn is a general song of praise, paraphrasing Psalm 103 in four stanzas of 12 lines each. It is supposed to have been written in 1525 "at the request of the Margrave Albrecht, as a version of his favourite Psalm". The hymn was published in Nürnberg as a broadsheet around 1540, and in Augsburg in the hymnal Concentus novi by in 1540, with a hymn tune, Zahn No. 8244, derived from the secular song "Weiß mir ein Blümlein blaue". A fifth stanza was added in a reprint in Nürnberg in 1555, "Sey Lob und Preis mit Ehren".
|
|
The focus of his repertoire has been the works of Ludwig van Beethoven and Franz Schubert, along with Hugo Wolf, Gustav Mahler and Erich Wolfgang Korngold. He has performed with Irwin Gage, Fritz Schwinghammer, Helmut Deutsch, Leonard Hokanson and Shinya Okahara: since 1996 he has regularly toured Japan with Okahara. He has made numerous recordings on CD, including with the Freiburg Baroque Orchestra under René Jacobs, Bach's St Matthew Passion with the Concentus Musicus Wien, under Nikolaus Harnoncourt, and the recording of Busoni's Doktor Faust, which in 2001 won a Grammy Award for Best Opera Recording.
|
|
Early in her career, she performed as a recorder soloist with the Concentus Musicus Wien. She has also worked for ORF as a presenter and announcer. von Magnus appeared at the Salzburg Festival first in 1993 in Mozart's Great Mass in C minor as well as in L'incoronazione di Poppea and Vespro della Beata Vergine 1610 of Monteverdi. She took part in several projects with Nikolaus Harnoncourt, such as a production of Mozart's Le nozze di Figaro staged by Jürgen Flimm in Amsterdam. Her US debut in 1991 was in Bach’s St Matthew Passion with the Los Angeles Philharmonic conducted by Peter Schreier.
|
|
Turković's discography currently consists of 9 CDs as a conductor, 20 CDs with solo repertoire, 24 CDs with chamber music and over 200 CDs with Concentus Musicus Wien. He has recorded Mozart's bassoon concerto four times; his third recording was played on a period instrument, with Nikolaus Harnoncourt conducting. Other releases include the concerti by Weber (with Sir Neville Marriner), the quintet for bassoon and strings Meeelaan by Wynton Marsalis and a double CD “Bassoon Extravaganza”. On his most recent CDs he conducted three symphonies by Haydn and two CDs with the German ensemble Selmer Saxharmonic (Echo Klassik Award, 2010).
|
|
Sacrae cantiones singulis binis ternis quaternis quinisque vocibus concinendae, Venezia, A. Gardano, 1620; 1 motet reprinted in Deliciae sacrae musicae… Quas ex lectissimo lectissimorum nostri aevi musicorum penu, quaternis vocibus, cum basso ad organum applicato, suavissime modulandas exprompsit… ac… publice posuit, Ioannes Reininger, Ingolstadt, 1626 (= RISM 1626/2); 5 motets reprinted in Promptuarii musici concentus ecclesiasticos CCXXXVI. selectimos, II. III. & IV. vocum. Cum basso continuo & generali, organo applicato, e diversis et praestantissimis Germaniae Italiae et aliis aliarum terrarum musicis collectos exhibens, pars tertia… Opera et studio Joannis Donfrid, scholae Neccaro Rottenburgicae, nec non ad D. Martini ibidem musices moderatoris, Strasbourg, 1627, vol 3 (= RISM 1627/1).
|
|
Nikolaus Harnoncourt (Johann Nikolaus Harnoncourt,Registration information from the Austrian central registration register (): . Retrieved on 7 March 2016 nobility historically Johann Nikolaus Graf de la Fontaine und d'Harnoncourt-Unverzagt; () 6 December 1929 – 5 March 2016) was an Austrian conductor, particularly known for his historically informed performances of music from the Classical era and earlier. Starting out as a classical cellist, he founded his own period instrument ensemble, Concentus Musicus Wien, in the 1950s, and became a pioneer of the Early Music movement. Around 1970, Harnoncourt started to conduct opera and concert performances, soon leading renowned international symphony orchestras, and appearing at leading concert halls, operatic venues and festivals.
|
|
Little is known about the actual music of this time, however. Instrumental music from the 17th century is known from the collections of various Upper Hungarian and Transylvanian collectors, such as János Kájoni, who collected the Cantionale Catholicum, Kájoni Codex, Organo Missale and Sacri Concentus. The collectors of the Vietórisz Codex, whose identities are unknown, and another anonymous collector from Lőcse, also published "the first examples of autonomous, developed virginal music, equally accomplished in style, melodic texture and technique of adaptation". These songs were characterized by "flexible, finely shaded melodies, a tendency to create wider and looser forms, and a gradual independence of the forma (sic) principles of song melodies toward a clearly instrumental conception".
|
|
The year 1970 was milestone in the choir's history, when van der Meer devoted himself entirely to Baroque music in historical performance. When the regular orchestra Noordelijk Philharmonic Orchestra was not available for a performance of Bach's Magnificat, van der Meer invited Nikolaus Harnoncourt and his Concentus Musicus Wien to the Netherlands for the first time. In 1973, the choir offered the first historically informed performance in the Netherlands of Bach's St Matthew Passion. The Evangelist was Marius van Altena, the vox Christi was Max van Egmond, the other soloists were three boys from the Tölzer Knabenchor, René Jacobs, Harry Geraerts, Michiel ten Houte de Lange, Frits van Erven Dorens and Harry van der Kamp.
|
|
"Für die Streichquartett-Kultur erwies sich dieses Zusammentreffen von Erich Höbarth, Andrea Bischof, Anita Mitterer, und Christophe Coin als ein Glücksfall, blickt man auf die mittlerweile mehr als 20 Jahre zurück, in denen die vier Concentus Musicus-Mitglieder als Quatuor Mosaïques auf den Konzertbühnen international gastieren und Erfolge feiern… Dabei stand nie eine museale 'Authentizität' im Vordergrund, vielmehr sollte die lebendige Verbindung zur großen europäischen Quartett-Tradition spürbar werden. So gingen vom legendären Végh-Quartett, dessen Mitglied Erich Höbarth drei Jahre lang war, wesentliche Impulse aus: Letztes Ziel jeder Interpretation sollte sein, den inneren geistigen Reichtum der Musik zu offenbaren." Retrieved January 12, 2019. The Quatuor Mosaïques has received the Gramophone Award for its interpretations of Haydn.
|
|
The composer was a deep lover of ancient music; he transcribed many works by such composers as Girolamo Frescobaldi, Claudio Monteverdi, and Andrea and Giovanni Gabrieli. Ghedini's works are often inspired by music from the Renaissance and Baroque eras, but combined with a very personal language which combines ancient and modern styles. Among his masterworks are a Concerto for orchestra (in memory of Guido Cantelli), two violin concertos Il Belprato and Concentus Basiliensis, and a concerto for two cellos L'Olmeneta (The Elm Grove) and Musica Notturna (Night Music). Ghedini's most celebrated concert piece is Concerto dell'Albatro (Albatross Concerto) for violin, cello, piano, narrator and orchestra, which includes fragments from Herman Melville's novel Moby-Dick in its final movement.
|
|
Belcher has given solo concerts throughout the United States and abroad. Her numerous recordings include the premiere CD of the Glatter-Götz/Rosales at Claremont, which won the 2000 Golden Ear Award from The Absolute Sound. She has appeared as a featured recitalist at four national conventions of the American Guild of Organists, as well as numerous chapter meeting and regional conventions. Performances with orchestra include the Philadelphia, Jacksonville, Syracuse, and Memphis Symphony Orchestras, as well as the Philadelphia Chamber Orchestra and Cambridge Concentus, and she has collaborated with such colleagues as trombonist Joseph Alessi, trumpeter Rob Roy McGregor, the Memphis Boychoir, the Choral Arts Society of Philadelphia, and the Buxtehude Consort.
|
|
J.S. Bach: Matthäuspassion on bach- cantatas, #71 In the St John Passion he recorded the words of Jesus in 1965 with Harnoncourt and the Concentus Musicus Wien, in 1979 with van der Meer, in 1986 with de Wolff, and in 1987 the arias with Sigiswald Kuijken and La Petite Bande. He participated in recordings of Monteverdi's operas with Harnoncourt, L'Orfeo in 1968,Monteverdi: L'orfeo / Harnoncourt, Hansmann, Berberian Naxos and the first complete recording of Il ritorno d'Ulisse in patria in 1971.Monteverdi: Il Ritorno D'ulisse In Patria / Harnoncourt Naxos He also performed more recent operas, such as the world premieres at De Nederlandse Opera of Jurriaan Andriessen's Het Zwarte Blondje in 1962 and of Antony Hopkins' Three's Company in 1963.
|
|
Kurtzman, who edited a publication of the work for Oxford University Press, notes: "...it seems as if Monteverdi were intent in displaying his skills in virtually all contemporary styles of composition, using every modern structural technique". Monteverdi achieved overall unity by using the Gregorian plainchant as a cantus firmus, for the beginning, the psalms, the litany and the Magnificat. This "rigorous adhesion to the psalm tones" is similar to the style of Giovanni Giacomo Gastoldi, who was choirmaster at the Basilica palatina di Santa Barbara at the ducal palace in Mantua. Whenham summarised about the use of chant: Musicologists have debated topics such as the role of the sacri concentus and sonata, instrumentation, keys (chiavette), and issues of historically informed performance.
|
|
Concentus Moraviae Even more important is his "Treatise on Christmas Eve", where he describes and analyzes the folk customs associated with the celebration of Christmas Day and evening. This is an early example of an ethnography. He analyzes the different Christmas customs (using his own childhood experience), including their probable roots and describes the oldest known Slavic carol "Vele, vele, stojí dubec vprostřed dvoru" ("Vele, Vele, the Oak Stands in the Middle of the Court"). The Czech historian Josef Pekař attributed the authorship of Czech spelling with diacritical marks (instead of the previously used digraphs) to Jan; however, other historians have attributed that contribution to Jan Hus, possibly from ideological reasons when the Hussite movement became a kind of national ideology in Czech lands.
|
|
The omitted chants (styled concentus), which are to be sung by the choir, are contained in a supplementary volume called the "Graduale" or "Liber Gradualis" (anciently the "Gradale"). In like manner, the Roman Breviary, practically entirely meant for singing in choro, contains no music; and the "Antiphonarium" performs for it a service similar to that of the "Liber Gradualis" for the Missal. Just as the "Liber Gradualis" and the "Antiphonarium" are, for the sake of convenience, separated from the Missal and Breviary respectively, so, for the same reason, still further subdivisions have been made of each. The "Antiphonarium" has been issued in a compendious form "for the large number of churches in which the Canonical Hours of the Divine Office are sung only on Sundays and Festivals".
|
|
Helge Hurum (born 1 August 1936) is a Norwegian jazz musician, composer, arranger and musical director. Hurum has led several of Norway's key big bands, including the Oslo University Big Band (1969–74), Norway's Radio Big Band (1979–90), his own Helge Hurum Storband (1965–70), the EBU Big Band (1973), the Chateau Neuf Big Band and, in later years, the Oslo Big Band. Hurum studied at the Norwegian Academy of Music, and has practiced as an autodidact contemporary composer with his works being performed by orchestras such as the Oslo Philharmonic Orchestra (Concentus ad Libitum, 1979) and a number of marching bands. Hurum's works Fata Morgana (1984) and Canto for Solo Piccolo and String Quartet (1985) were bestowed with NOPA Work of the Year Awards.
|
|
He wrote motets using the new concertato style pioneered by the composers of the Venetian School, though he was not associated with Venice himself. Most of his music is for two to five voices with instrumental accompaniment including basso continuo, and some of his works--for example a book of psalm settings--exist in several settings for different types of performance, with different instrumental and vocal forces. Ignazio Donati wrote the Sacri concentus and published it in Venice in 1612; here he defined the "cantar lontano" vocal practice. In some of his music he went even farther, and suggested multiple performance ideas--from singing only a very few parts, to using multiple choruses with instrumental doubling, based on the resources of the performing ensemble and the type of effect required by the performance occasion.
|
|
The first recording of L'Orfeo was issued in 1939, a freely adapted version of Monteverdi's music by Giacomo Benvenuti, given by the orchestra of La Scala Milan conducted by Ferrucio Calusio. In 1949, for the recording of the complete opera by the Berlin Radio Orchestra under Helmut Koch, the new medium of long-playing records (LPs) was used. The advent of LP recordings was, as Harold C. Schonberg later wrote, an important factor in the postwar revival of interest in Renaissance and Baroque music, and from the mid-1950s recordings of L'Orfeo have been issued on many labels. The 1969 recording by Nikolaus Harnoncourt and the Vienna Concentus Musicus, using Harnoncourt's edition based on period instruments, was praised for "making Monteverdi's music sound something like the way he imagined".
|
|
In 2009, he appeared again at the Rheingau Musik Festival in Schumann's Das Paradies und die Peri. In the field of historically informed performance, Güra was the tenor (Evangelist and arias) in a 1997 recording of Bach's Christmas Oratorio, conducted by René Jacobs, with the RIAS Kammerchor, the Akademie für Alte Musik Berlin, Dorothea Röschmann, Andreas Scholl and Klaus Häger. In 1998, he recorded the arias of the St Matthew Passion with Philippe Herreweghe, the Collegium Vocale Gent, Evangelist Ian Bostridge, Jesus Franz-Josef Selig, Sibylla Rubens, Andreas Scholl and Dietrich Henschel. In 2006, he was the Evangelist in Bach's Christmas Oratorio with Nikolaus Harnoncourt, the Arnold Schoenberg Chor, the Concentus Musicus Wien, Christine Schäfer, Bernarda Fink, Gerald Finley and Christian Gerhaher, recorded live in the Musikverein Vienna.
|
|
300 Hofmeister's fear that the work was too difficult for amateurs was borne out by an article in the Journal des Luxus und der Moden published in Weimar in June 1788. The article highly praised Mozart and his work, but expressed dismay over attempts by amateurs to perform it: :"[as performed by amateurs] it could not please: everybody yawned with boredom over the incomprehensible tintamarre of 4 instruments which did not keep together for four bars on end, and whose senseless concentus never allowed any unity of feeling; but it had to please, it had to be praised! ... what a difference when this much-advertised work of art is performed with the highest degree of accuracy by four skilled musicians who have studied it carefully."Quoted in Deutsch 1965, 317–318.
|
|
He was a founder member alongside Paul Esswood, James Griffett and James Bowman of the men's voice vocal ensemble Pro Cantione Antiqua, making a series of recordings in 1970 for German radio stations conducted by Bruno Turner. Also in 1970 he made his professional opera debut at the Landestheater Darmstadt as Ottone in L'incoronazione di Poppea in a production by the Harro Dicks, conducted by Hans Drewanz using a new edition by Nikolaus Harnoncourt. In 1969 and 1970, he sang with the Concentus Musicus Wien, first as alto soloist in the Christmas Oratorio in Bremen, and then at the Vienna Festival in a Konzerthaus performance of two Bach alto cantatas. He also recorded the Machault Messe de Nostre Dame with James Bowman, and was a soloist in the first period instrument recording of the St Matthew Passion, conducted by Nikolaus Harnoncourt.
|
|