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Benefit Concert For The Historical Performance Area
Faculty of Music, University of Toronto

Friday, October 24th
7:30 pm in Trinity College Chapel.....don't miss it

Händel Love Duets

Presented by the Faculty of Music of the University of Toronto,
Friday, October 24th at 7:30 pm
Trinity College Chapel
University of Toronto
6 Hoskin Avenue
Toronto

Suzie Leblanc, Soprano
Daniel Taylor, Countertenor and Director
Adrian Butterfield, Violin solo
John Leberg, Narrator

Accompanied by the musicians of the Theatre of Early Music,
the Faculty of Music's "Visiting Ensemble-in-Residence",
led by the brilliant UK violinist Adrian Butterfield.

Early Italian works from Monteverdi and Cavalli compliment Händel’s famous works.

Information : University of Toronto, Faculty of Music Events - Brochure & Calendar

Regular Tickets : $40, $25 senior, $10 student
Royal Conservatory of Music
or call 416-408-0208
(serviced by the Weston Family Box Office at the TELUS Centre)

This event's donations will be dedicated to support the studies
of the students enrolled in the Historical Performance Area.
For information on donations, VIP seating and reception with the artists please contact :

Bruce Blandford, Director of Advancement : 416-946-3145

 

 

Theatre of Early Music - Latest Release

CD cover


Analekta
AN 29143
September 9 2014

The Heart’s Refuge / Le Refuge du cœur

1. Buxtehude, Dietrich (1637 - 1707)
Jesu, meines Lebens, BuxWV 62 (Aria)

2. Bach, Johann Cristoph (1642 - 1703)
Es ist nun aus mit menem Leben (Aria)

3. Schmelzer, Johann Heinrich (1680)
Harmonia a 5

4. Kuhnau, Johann (1660 - 1722)
Gott, sei mir gnädig nach diener

5. Bruhns, Nicolaus (1665 - 1697)
Ich Liege und schlafe mit Frieden

Schola Cantorum and The Theatre of Early Music:
Daniel Taylor, Director


To listen to The Heart’s Refuge or to order a CD on line
or download MP3 from Analekta please click here: Order Now

Whether one is a believer or not, it’s always with an attitude of deep meditation that we surrender to listening to the music of the German masters of the Baroque era. With a new album from the Analekta catalog, entitled Refuge of the Heart, featuring the Theatre of Early Music (TEM) and Schola Cantorum under the direction of Daniel Taylor, we dive a little deeper inside the heart and soul of contemporaries of one of the most turbulent times in history, that of the 30 Years War (seventeenth century). True to its mission to rediscover old music, TEM and its founder and artistic director, Daniel Taylor, revealing here five gorgeous cantatas by German composers of the Baroque era, all together in one album. Dietrich Buxtehude (1637 - 1707), Johann Christoph Bach (1642 - 1703), Johann Heinrich Schmelzer (1623 - 1680), Johann Kuhnau (1660 - 1722) and Nicolaus Bruhns (1665-1697).

These German cantatas were constantly renewed by the great Italian masters of the Baroque. The ensemble’s distinctive style, coupled with the expertise and enthusiasm of Taylor, leads to exciting and authentic readings of these works in a musical testimony of agony, torment, but also offering consolation for this century’s torn repression and internal conflict.

This repertoire covers a breadth in time of 4 centuries. Between 1618 and 1648, a series of devastating wars decimated half the population of Europe. If believers found refuge in their faith and their hope for a better world, the composers of the time found an endless source of inspiration. During the seventeenth century, Lutheran musicians created a magnificent repertoire of sacred music. The texts emphasize Christ’s message in an original and varied way. Death and deliverance ... the suffering of Jesus ... the distress of the soul are shown by ingenious methods of musical imagery: motifs are repeated to emphasise their message in the mind of the believer; very simple melodies have been refined to create a deep sense of peace and harmony ; a rapid succession of contrasts; voices change from soprano to bass successively to evoke the descent into the tomb..

All this reflects the emotional landscape for those that were brought face to face with the horrors of war and destruction. A non-profit organization, the TEM's mission is to allow early music to shine in all its glory. The excellent musicians share their passion alongside prestigious guests, through their series of concerts in Canada and through touring nationally and internationally (France, Argentina, Brazil, England and Asia in particular). Under the baton of Taylor, the Schola Cantorum of the University of Toronto - the elite of students of all levels - are guided by a desire to make known early music in its original version, joining the TEM to offer us a brilliant and authentic presentation. Restoring the works of great masters so that they regain lustre in our eyes, Daniel Taylor and musicians from TEM are meticulous in their work, this is an offering that reveals every dimension of humanity.
Listen to this album, it is like rediscovering an old world in a new light.

Translation from french of Marie-Josée Boucher : original - info-culture.biz

 

 

TEM well received at the 61st Tilford Bach Festival in Surrey, England

photo of TEM choir & soloists 61st Tilford Bach Festival

Sunday, 26th May, 2013
All Saintsí Church
Tilford, Surrey, England

The London Handel Orchestra
Conductor Adrian Butterfield

Choir of the Theatre of Early Music

J.S. Bach Cantatas for Trinity Sunday:

Cantata BWV 165 O heilges Geist- und Wasserbad
Cantata BWV 129 Gelobet sei der Herr, mein Gott
and
Magnificat in D major BWV 243

The final concert of each festival has traditionally been choral works by JS Bach and this year was no exception.

This yearís programme started quietly with the cantata BWV165 O heilges Geist - und Wasserbad (O holy font of Spirit and Water), a cantata for Trinity Sunday, being performed on that day. The London Handel Orchestra, under the direction of TBS Musical Director Adrian Butterfield, together with the choir and soloists from the Choir of the Theatre of Early Music (visiting from Toronto), delivered a warmly appreciated rendition of this piece.

The second piece was also a cantata for Trinity Sunday, written in 1726, one year later than the previous work and using a larger orchestra and larger chorus. The audience had its first taste of percussion and brass with the arrival of three natural trumpets.

Bachís selective use of trumpets greatly enhances their impact when they are deployed and, at this concert, the effect was very stimulating during the remainder of the concert.

The second cantata, BWV 165 Gelobet sei der Herr, mein Gott (Praise be the Lord, my God) was a more powerful piece and introduced the audience to more of the soloists from Toronto whose interpretation and delivery was excellent throughout. The interval allowed the audience to enjoy their drinks outside in sunny weather with a growing feeling of expectancy for a second half that promised much.

Bachís Magnificat BWV 243 is demanding and extremely well known to TBS regulars. As the full visiting choir entered the small church, the audience tensed in anticipation of hearing one of their favourite works performed by a relatively unknown assembly of musicians led by their new(ish) Musical Director, Adrian Butterfield.

There was no disappointment. The singers and orchestra delivered an excellent performance that shook the foundations of the small village church. There was good attack in the choruses and excellent solo singing.

The final chorus Gloria Patri was everything the audience were then hoping for with, once again, superb trumpets that didnít falter with all performers stretched to their limits. Adrian Butterfield has now delivered two excellent festivals for local music lovers.

Ian Sargeant

 

Concert Review:
Handel’s Anthems beautifully handled by skilled musicians
By Richard Todd, The Ottawa Citizen, December 10, 2012

Handel’s Coronation Anthems
Theatre of Early Music and Schola Cantorum
Daniel Taylor, conductor
Knox Presbyterian Church - Saturday December 8th

Handel’s four Coronation Anthems are not in any sense Christmas music, but they sound so celebratory that with different words they might pass readily as music of the season. They were the backbone of a concert given Saturday evening at Knox Presbyterian Church by Daniel Taylor’s Theatre of Early Music and a choir made up mainly of members of Toronto’s Schola Cantorum.

The all-Handel program began with the Overture to the Water Music played conductorless by the TEM’s superb baroque orchestra. The quality of the playing and idiomatic styling were to be the rule for the entire program. Although itís unfair to everyone else, in a way, the beautiful oboe playing of Matthew Jennejohn and Geoffrey Burgess needs to be singled out.

The first of the Anthems was perhaps the most familiar, Zadok the Priest. After several measures of orchestral introduction, the chorus came in with a most impressive double-forte, especially remarkable for an ensemble of 25 voices. The singing that followed was uniformly excellent, boasting all of the core technical values including balance, blend, precision and intonation.

Next came How beautiful are the feet of them who preach the Gospel of peace from Messiah, nicely sung by soprano Agnes Zsigovics. Zsigovics is familiar to most followers of vocal music in these parts, and her rendition on Saturday did not disappoint.

Then there was the anthem The King Shall Rejoice sung by the chorus. Once again the performance was entirely apt and beautiful.

The second half of the program began with tenor Michiel Schrey singing an aria from Handel’s oratorio Israel in Egypt, The Enemy Said. Like Zsigovics, Schrey has sung here frequently and hasnít even begun to wear out his welcome.

In fact, if you want a hint as to why the chorus was so good, you have only to look at its roster, which includes not only the likes of Schrey and Zsigovics, but also bass-baritone Alexander Dobson, whose rendition of The Trumpet Shall Sound was one of the evening’s highlights. His singing wasn’t all that made it special though, the fellow who sounded the baroque trumpet, Alexis Basque, was superb as well.

The final anthem, My Heart is Inditing, was the most elaborate of the four. In the first place it has four movements, making it the longest of them. Also, it is the only one to employ chorus and soloists. It integrates them well and made for an especially pleasing conclusion to the concert.

 

 

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