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Deux concerts imminents du Schola Cantorum et le Theatre of Early Music :

La Schola Cantorum, l’ensemble vocale de musique ancienne de l’Université de Toronto,
et le Theatre of Early Music collaborent sous la direction de
Daniel Taylor

Le magnifique violon de Adrian Butterfield dirigera l’orchestre du TEM

Avec :
Les chanteurs de York University
Lisette Canton, chef

"Vivat Rex"
Le couronnement du roi George II


Reprise de la représentation, acclamée par la critique, du couronnement du roi George II
Depuis le couronnement de Guillaume le Conquérant à l’Abbaye de Westminster en 1066, tous les monarques ont été couronnés au cours d’un service majestueux rempli de faste et de musiques glorieuses.
En cherchant dans les bibliothèques de la Chapelle Royale et de l’Abbaye de Westminster, Daniel Taylor, aidé par des musicologues de pointe, nous apporte des fanfares de trompettes, des marches de percussions et la musique de Gibbons, Purcell, Tallis et Haendel pour reconstituer la soirée magnifique honorant le roi George II qui restituera la splendeur de l’occasion.
"VIVAT REX"

Mardi le 2 décembre
19h30
Christ Church Cathedral
1444 Avenue Union
Métro McGill
Montréal
Québec,

Festival Bach Montreal présente:

"Vivat Rex"
Le couronnement du roi George II


Information / billets : Montreal Bach Festival

Mercredi le 3 décembre
19h30
Christ Church Cathedral
439 Queen St
Ottawa, ON

Cathedral Arts of Ottawa présente:

"Vivat Rex"
Le couronnement du roi George II

Information : Cathedral Arts Ottawa

Billets: The Cathedral Arts Box Office
Les heures d’ouverture de bureau sont:
Dimanche, 12:00 - 1:00 PM, Lundi, 11:00 - 1:00 PM, Mardi, 10:00 AM - 1:00 PM, Vendredi, 10:00 AM - 1:00 PM
à Lauder Hall, Christ Church Cathedral, 439 Queen Street, Ottawa, Ontario.
Tel: 613-567-1787 ou Courriel: info@cathedralarts.ca
Les billets sont également disponibles à Leading Note et Compact Music


Heavy and happy is the music that crowns a king

PETER ROBB, Ottawa Citizen
November 26, 2014
Since the coronation of William the Conqueror at Westminster Abbey in 1066, every British monarch has been crowned in a service full of glorious music. Ottawa-native counter tenor Daniel Taylor tells Peter Robb a little bit about the service and a performance of the music he is delivering on Dec. 3.

Q. What an interesting project. Where/when did the idea germinate?
A. The coronation of the Queen took place 60 years ago on June 2, 1953, when Queen Elizabeth II was crowned at Westminster Abbey. The Diamond Jubilee marked the 60th anniversary of the Queen’s accession to the throne. On the BBC, a shining example of what the CBC could be with proper management and effective government support, 30 million British citizens tuned in to watch a Coronation Festival. Last year, at the residence of the governor general, I was awarded the Queen’s Medal in recognition for my work in the arts. A few days later, I listened to the Gabrieli Consort’s Venetian Coronation and days later to the King Consort’s stunning rendition of Parry’s I Was Glad — it reminded me how much music can move us. In our current political climate, in a time when there still exists inequality in our society, when child poverty continues to go unnoticed by our ruling government, as our population ages I feel more and more the need to bring music to people.

Q. Please tell me about how you researched the music and the ceremony?
A. I traveled to Westminster Abbey, to St. George’s Chapel in Windsor and to the Chapel Royal. I spoke at length with the well-known British Period-Orchestra conductors Paul McCreesh and Robert King. We know that there are no indisputable documents that detail a specific order of service for the Coronations. We can be sure that the Clerk of the Cheque’s account of the service is fairly accurate in indicating that there was an introductory anthem as well as a setting of a work by Orlando Gibbons and Thomas Tallis confirming the tradition of returning to compositions of the past composers with works found in the music library of the Chapel Royal. Thus this concert/ceremony honors the ‘old’ music and music from the greatest of the English composers in a reconstruction of the pageant.
One of King George I’s last acts before his death on June 11, 1727 was to sign an act of naturalization of George Frederick Handel. Handel’s first subsequent commission was to write music for the coronation of King George II which took place on Oct. 11, 1727. To celebrate the ascension to the throne, a magnificent service full of pomp and ceremony was planned. The commissioning of new music was usually entrusted to the Composer and Organist of the Royal Chapel, however with the unexpected death of William Croft, the King appointed "Mr. Handel, the famous composer to the opera."
We will be playing Handel’s coronation anthems Zadok the Priest and The King Shall Rejoice. Their festive character brought the works great popularity, the performances being hugely successful and have been played ever since, Handel re-used excerpts notably in Deborah and Ester. Zadok the Priest has been sung at every subsequent coronation and was traditionally performed, as it will be in our concert, during the anointment of the King. (At Queen Elizabeth’s coronation in 1953 music by Gibbons, Purcell, Tallis and Handel, including Zadok the Priest, was played.)

Q. Any interesting stories to tell about the coronation music that you uncovered?
A. It is to some extent that we owe some thanks to Sir Frederick Bridge for his decision to shed a light on the best of the British composers. Bridge, the English composer and organist, became known to historians for organizing great state occasions including Queen Victoria’s jubilee in 1887, the Coronation of King Edward VII in 1902 and the Coronation of George V in 1902. On receiving his commission as Director Music, Bridge courageously decided to make a coronation a celebration of 400 years of English music including works by Orlando Gibbons, Henry Purcell and Thomas Tallis alongside compositions of the day. New works commissioned included Hubert Parry’s setting of Psalm 122, I Was Glad, which has been used at every subsequent coronation — it was made famous in modern times when it was performed at the wedding of Prince Charles and Lady Diana.

Q. Tell me about your upcoming performance.
A. The concert is played on period instruments and combines choristers from the Theatre of Early Music, the University of Toronto Schola Cantorum and the York University Chamber Choir. Just as Choirs were combined for the major events, so do we bring together 60 young choristers and musicians. We open with the tolling of the bells, a trumpet fanfare and cries of Vivat either side of the procession of the drums — it’s fantastic stuff.

 

 

Le dernier disque du Theatre of Early Music!

CD cover


Analekta
AN 29143
9 Septembre 2014

# 1 sur la Soundscan Classique,
Canada WholeNote Magazine

Pour écouter Le Refuge du cœur,
commander un CD en ligne
ou télécharger les fichiers en format mp3,
cliquez ici :
Commandez maintenant

Le Refuge du cœur / The Heart’s Refuge

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 et le Theatre of Early Music:
Daniel Taylor, Chef


Voici quelques critiques

Que l’on soit ou non croyant, c’est toujours avec une attitude de profond recueillement que nous nous abandonnons à l’écoute de la musique des maîtres germaniques de l’époque Baroque. Avec un nouvel album au catalogue d’ANALEKTA, intitulé Le Refuge du cœur, les ensembles Theatre of Early Music (TEM) et Schola Cantorum, sous la direction du chef (et contre-ténor parmi les plus en demande à travers le monde), Daniel Taylor, nous plongent encore un peu plus profondément à l’intérieur du cœur et de l’âme des contemporains d’une époque parmi les plus tourmentées de l’histoire, celle de la Guerre de 30 ans (XVIIe siècle). Fidèle à sa mission de faire redécouvrir les musiques anciennes, le TEM ainsi que son fondateur et directeur artistique, Daniel Taylor, dévoilent ici des cantates magnifiques de 5 compositeurs allemands de l’époque baroque, tous réunis dans un même album. Dietrich Buxtehude (1637 - 1707), Johann Christoph Bach (1642 - 1703), Johann Heinrich Schmelzer (1623 - 1680), Johann Kuhnau (1660 - 1722) et Nicolaus Bruhns (1665 - 1697).

La plupart en langue allemande, ces cantates furent remaniées à partir des formes initialement mises sur pied et sans cesse renouvelées par les grands maîtres italiens du Baroque, quelques décennies auparavant. Le style distinctif de l’ensemble, joint à l’expertise et l’enthousiasme de Taylor, mènent à des lectures captivantes et authentiques de ces œuvres, témoignages musicaux des agonies, des tourments, mais également, des consolations de ce siècle déchiré par la répression et les conflits internes.

C’est un bond dans le temps de 4 siècles que nous proposent ici les musiciens du TEM et leur chef. Entre 1618 et 1648, une série de conflits dévastateurs déciment la moitié de la population du continent européen. Si les croyants trouvent refuge en leur foi et en leur espérance en un monde meilleur, les compositeurs de l’époque trouvent là une source intarissable d’inspiration. Au cours du XVIIe siècle, les musiciens luthériens vont constituer un magnifique répertoire de musique sacrée. Les textes mettent en valeur le message du Christ de façon originale et variée. La mort et la délivrance; la souffrance de Jésus; le désarroi de l’âme sont illustrés par d’ingénieux procédés d’imagerie musicale : un motif inexorablement répété pour marteler le message dans l’esprit du croyant ; des mélodies très sobres dans une harmonisation raffinée pour créer un profond sentiment de paix; une succession rapide de contrastes; des voix qui passent du soprano à la basse successivement pour évoquer la descente au tombeau..

Tout cela traduit bien la charge émotive qui habitait ces créateurs face aux affres de la guerre et de la destruction. Devenu un organisme sans but lucratif en 2002, le TEM se donne pour mission de faire rayonner la musique ancienne dans toute sa splendeur, en remettant au goût du jour ses pratiques musicales et la sonorité de ses instruments. Les excellents musiciens de l’ensemble diffusent et partagent leur passion grâce aussi, à des invités prestigieux (Nancy Argenta, Robin Blaze, James Bowman, Benjamin Butterfield, Michael Chance, Charles Daniels, Alexander Dobson, Karina Gauvin, James Gilchrist, Michael George, Peter Harvey, Dame Emma Kirkby, Suzie LeBlanc, Daniel Lichti, Carolyn Sampson, Michiel Schrey, Stephen Varcoe et Deborah York) et par le biais de tournées à l’échelle nationale et internationale (France, en Argentine, au Brésil, en Angleterre et en Chine notamment). Sous la baguette du chef, les choristes d’élite de la Schola Cantorum de l’Université de Toronto, des étudiants de tous niveaux, animés eux aussi par l’ardent désir de faire connaître la musique ancienne dans sa mouture originale, se joignent au TEM, pour nous offrir une brillante et authentique prestation. Un peu comme lorsque l’on restaure une œuvre d’un grand maître pour qu’elle retrouve tout son lustre à nos yeux, Daniel Taylor et les musiciens du TEM font un travail minutieux pour rendre à ces œuvres toute leur dimension à la fois humaine et historique.

Écouter cet album, c’est un peu comme redécouvrir un monde ancien sous un jour nouveau.
Marie-Josée Boucher : info-culture.biz

 

Le baroque allemand du 17e siècle est souvent synonyme d’austérité. La musique était avant tout destinée à la ferveur religieuse. Encore en développement, elle trouva, une génération plus tard, un certain J.S.Bach qui l’amènera à un niveau supérieur. Pourtant, de cette apparente facilité, de ces couleurs sombres et intériorisées, il y a ici une magnifique invitation à la beauté du moment présent.

Baigné d’une douceur incomparable, tant dans la prise de son que dans la déclamation des chœurs, ce disque fait l’effet d’une consolation entière. La cantate "C’en est maintenant fini de ma vie" de J.Chr.Bach (un cousin du père de Bach) est d’une simplicité désarmante, subtilement harmonisée. Ces strophes répétées inlassablement dans le silence, comme des mantras, produisent chez l’auditeur un abandon total, une paix résignée. Les paroles "Welt, gute nacht" (Monde, bonne nuit) presque chuchotées dans la pénombre, possèdent quelque chose de sublime et d’émouvant.

En cela, il faut souligner le travail méticuleux et sensible de Daniel Taylor. Grand chantre lui-même, dévoué à l’art vocal, il a amené son ensemble tout près des textes liturgiques. De cette proximité, l’auditeur moderne y trouvera sûrement un sens qui lui fera le plus grand Le baroque allemand du 17e siècle est souvent synonyme d’austérité. La musique était avant tout destinée à la ferveur religieuse. Encore en développement bien.

http://leparnassemusical.com/2014/09/10/the-hearts-refuge-theater-of-early-music-schola-cantorum-daniel-taylor-2/

 

The most recent recording of the Theatre of Early Music (TEM) and the Schola Cantorum entitled The refuge of heart, published by Analekta, offers images of peace and serenity like many pearls on a unlikely necklace.

Of course, great baroque music is made up of a large and varied repertoire and perhaps we should not be surprised to hear such beautiful interpretations. But what sets this album apart from many others is the care taken by the conductor and artistic director of the Theatre of Early Music Daniel Taylor and his research and selection of composers and works. This may be first time on one recording that the well-known figures of Dietrich Buxtehude and Johann Christoph Bach (cousin of the father of Johann Sebastian Bach) are paired with rare compositions by lesser-known composers Johann Kuhnau, Johann Heinrich Schmelzer and Nicolaus Bruhns.

The purity and depth of what is offered to the listener is made even better by the impressive cast of soloists: the mezzo-soprano Rebecca Claborn, countertenor Kyle Guilfoyle, tenor Isaiah Bell and bass Alexander Dobson deliver inspired performances and the impression of a contagious spirituality.

In perfect harmony with the chorus and soloists, musicians of the TEM show guided restraint required for this type of repertoire in which the voice and text must occupy the largest share of the listeners focus - the particular sound of old instruments is offered here in all its flavour. The thoughtful, unhurried work immediately transports us elsewhere and for quite sometime. Such music, such purity!
Thank you Mr. Taylor!

www.pieuvre.ca

 

 

Le TEM bien reçu au 61e festival Bach de Tilford, Angleterre

photo of TEM choir & soloists 61st Tilford Bach Festival

Sunday, 26th May, 2013
All Saints’ Church
Tilford, Surrey, Angleterre

The London Handel Orchestra
Chef, Adrian Butterfield

Chœur du Theatre of Early Music

J.S. Bach Cantates pour le dimanche de la Trinité:
Cantate BWV 165 O heilges Geist- und Wasserbad
Cantate BWV 129 Gelobet sei der Herr, mein Gott
et
Magnificat en ré majeur BWV 243


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

This year’s 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.

Bach’s 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.

Bach’s 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 didn’t 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
(Les Hymnes de couronnement de Handel interprétés majestueusement par des musiciens talentueux)
Richard Todd, The Ottawa Citizen, 10 décembre, 2012

Les Hymnes de couronnement de Handel
Theatre of Early Music et Schola Cantorum
Daniel Taylor, chef
Knox Presbyterian Church - 8 décembre, 2012

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 it’s 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 hasn’t 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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