Juno Nomination pour "Tree of Life",
Trinity Choir avec Daniel Taylor!
Félicitations pour votre nomination à un prix Juno
à Daniel Taylor et aux chanteurs du Trinity Choir,
y compris certaines des jeunes étoiles (de gauche à droite):
Bronwyn Thies-Thompson, Rebecca Genge, Ellen McAteer,
Emma Hannan et Ryan Patrick McDonald de l’Université de Toronto
Voici la liste des nominations aux prix Juno pour 2018 :
Classical Album of the Year: Vocal or Choral Performance :
1. The Tree of Life, Daniel Taylor with The Trinity Choir
2. Crazy Girl Crazy, Barbara Hannigan with Ludwig Orchestra
3. Aeterna: Mother of Light: Isabel Bayrakdarian with Coro Vox
4. Schubert Sessions: Lieder with Guitar, Philippe Sly & John Charles Britton
5. In the Stream of Life: Songs by Sibelius, Gerald Finley with Bergen Philharmonic Orchestra
Lien pour les nominations Juno: Click here
Fall Baroque Academy : Giulio Cesare (Highlights) Review
On an unseasonably hot September night, in an exquisite Gothic Revival chapel, an irrepressible 18th century composer sent the collective
enthusiasm of early music students soaring last Sunday, singers and instrumentalists spirited partners in a courageous concert of
daring proportions. Highlighting excerpts from George Frideric Handel’s dazzling 1724 operatic masterpiece, Giulio Cesare,
the University of Toronto Faculty of Music’s Fall Baroque Academy provided ample occasions for emerging artists to shine......
Trinity College Chapel rang with passion.
Supported by an unfailingly buoyant 12-player student ensemble, augmented by a handful of imported professionals,
sensitively conducted from the ranks by guest Music Director Jeanne Lamon, the 14 members of founder Daniel
Taylor’s remarkable Schola Cantorum took command of 11 distinct arias. Primarily featured as soloists,
occasionally in duets, singers provided context, each précising moments of salient libretto, Giulio Cesare play by play.
Asked about his perception of his role as Head of Historical Performance in a brief one-on-one post concert conversation,
a smiling Maestro Taylor said simply, "not to educate the feeling and creativity away."
Judging from the boundless energy and tireless commitment of his students, he and his Academy colleagues
must surely be overjoyed by the scope of their success. The capacity audience in attendance at Trinity College most certainly was.
Posted on September, 2017 by Ian Ritchie, Opera Going Toronto
Complete review: http://operagoto.com/fall-baroque-academy-giulio-cesare-highlights-review/
Sometime in the early 1600s.......German composer and organist Hieronymus Praetorius wrote his Magnificat V,
one in a series of Magnificat settings for multiple voices all arranged in towering polyphony. Almost 400 years later,
contemporary Estonian symphonist Arvo Pärt blended the intricate Renaissance form with elements of Gregorian chant and
Russian Orthodox harmony to create a uniquely reshaped Magnificat, stark, solemn, strikingly reverent.
What surprises is not so much the breadth of the historical gulf separating the two works, but the depth of resonance that
unites them, a shared sense of acute spirituality expressed in vivid human overtones.
Presenting both pieces, the first foreshadowing the second, internationally acclaimed period virtuosi,
the Tallis Scholars, led by Peter Phillips launched a dazzling evening of sacred music at St. Paul’s Basilica on Saturday.
A vibrant choral sampler, the lush offerings essentially reflected parallel modes of expression over the centuries revealed in
four distinct Christian texts.
Alternating with Phillips as conductor, University of Toronto Head of Historical Performance, renowned countertenor
Daniel Taylor, joined by artists of the Choir of the Theatre of Early Music augmented and expanded the repertoire in
a glorious demonstration of exquisitely detailed programming.
More finely filigreed singing was much in evidence post intermission with four variants of Ave Maria, the first performed in a
single appearance by members of U of T Faculty of Music’s Schola Cantorum led by Taylor. Theatrically assembled in two ranks
flanking St. Paul’s great domed Victorian nave, the visibly excited cohort of student choristers gave rich balanced voice to
a heartfelt rendition of the hallowed plea written by an anonymous author.
The Nunc Dimittis, an exultant proclamation of the birth of the Infant Jesus, concluded the evening in historically varied guise.
A quasi madrigal written in glowing counterpoint by Orlando Gibbons. A short work by Spanish polyphonist Andrés de Torrentes.
A spectacular swelling iteration for double choir by the brilliant 20th century orchestral colourist, Gustav Holst.
The Tallis Scholars ended as magnificently as they had begun, utterly triumphant, gifting us with Claudio Monteverdi’s
irrepressibly joyful motet, Cantate Domino by way of an encore.
This was a concert of extraordinary dimensions, a spine tingling leap across time, astutely curated,
superbly sung, stirring and intense. In this, the holiest season in the Christian calendar, Phillips,
Taylor and artists remind us that music like faith can be powerfully transformative.
Publié par Ian Ritchie, Opera Going Toronto, Mars 2017
Revue de concert originale: http://operagoto.com/category/review/
Tallis Scholars & friends: Magnificat
Tonight felt like a kind of affirmation of permanence in the face of change and disorder in the world.
The Tallis Scholars, conducted by Peter Phillips, joined forces with two University of Toronto ensembles,
Schola Cantorum and Theatre of Early Music, conducted by Daniel Taylor. While the repertoire ranged from the renaissance to our own century,
we were listening to unaccompanied choral music, using religious texts: Magnificat, Pater noster, Ave Maria and Nunc Dimittis,
all in multiple settings.
St Paul’s Basilica at Queen & Power was packed with eager listeners, attracted no doubt by Tallis Scholars’ wonderful discography,
but also perhaps aware of the new kids in town, Taylor’s two ensembles that shared the program and are now also recording for SONY.
The acoustic plus the visuals are a dream come true for musicians presenting this kind of program.
For a few of the pieces we saw the combined forces, as in Praetorius’ Magnificat V to begin or Holst’s Ninc Dimittis to close the program.
......the singing is very direct and without excess vibrato (as you’d find in styles from later periods). The notes,
especially the ones sung way up high are totally exposed, and requiring nothing less than perfection of intonation.
I shall investigate further: through the magic of recordings.
Publié mars, 2017 par Barczablog
Revue de concert originale: https://barczablog.com/2017/03/
Nomination au prix Juno pour
Four Thousand Winter, The Trinity Choir avec Daniel Taylor
7 février 2017: Daniel Taylor écrit:
" Un cri à mes chanteurs du Trinity Choir
(y compris certaines des jeunes étoiles (de gauche à droite):
Bronwyn Thies-Thompson, Rebecca Genge, Ellen McAteer,
Emma Hannan et Ryan Patrick McDonald de l’Université de Toronto)
pour la nomination Juno! "
Voici la liste des nominations aux prix Juno pour 2017 :
Classical Album of the Year: Vocal or Choral Performance :
Bach: Magnificat BWV 243, Arion Baroque Orchestre, Alexandre Weimann
Four Thousand Winter, The Trinity Choir, Daniel Taylor
L’Aiglon, Orchestre Symphonique de Montréal, Kent Nagano
Dark Star Requiem, Tapestry Opera, Gryphon Trio, Elmer Iseler Singers
Handel Messiah, Toronto Symphony Orchestra, Toronto Mendelssohn Choir, Sir Andrew Davis
2017 Juno Winner : L’Aiglon, Orchestre Symphonique de Montréal, Kent Nagano
Trois Revues de Le couronnement du roi George II
Présentation de Toronto Summer Music
This was the most fun I’ve had at a concert since the epic minimalist concert ...in August 2013.
Then as now I believe we were seeing Toronto Summer Music Artistic Director Douglas McNabney
pushing the envelope of what’s possible in a concert.....But this time I believe we were engaging in genuine research, Daniel Taylor’s Theatre of Early Music
(TEM) challenging us to see and hear in a new way. .....
.......I loved this concert that ventured into different
territory beyond performance. We were re-enacting a public ritual from long ago, and I say "we" because the
audience weren’t merely passive viewers. Whether it was McNabney or conductor Daniel Taylor who conceived & curated this event,
they changed the usual ground-rules for a concert.
The evening was organized into a service: re-enacting a coronation, with a few modern pieces added.
Bill Coleman silently portrayed King George II, while Alan Gallichan played the Archbishop.
During Zadok the Priest, in the long gradual build-up of tension, we saw the Bishop put a crown upon
the King’s head, and then the two advanced towards us (the congregation?), leading to the shattering climax
as the chorus came in. The orchestra was a nice size to work with that fabulous chorus,
comprised of a string quartet, two oboes, two trumpets, drums and organ.
This wasn’t any old chorus, as Taylor looked out upon a small ensemble of some of the best
singers in the city, namely the Theatre of Early Music (TEM). The magnificent chorus included Ellen McAteer
(fresh from Friday night’s Rape of Lucretia) Asitha Tennekoon (heard in Tapestry Opera’s Rocking Horse Winner),
Alex Dobson, and Toronto Masque Theatre’s Larry Beckwith.......
I was struck by the sentiments stirred up at this concert. We heard wonderful music including "Worthy Is the Lamb",
but also participated in singing Parry’s "Jerusalem", admittedly an anachronism that served to personalize the event.
I wonder, would the crowd in the 18th Century have cried out "God Save the King" along with the chorus in "Zadok the Priest"?
Listening to this performance, I have to wonder. .... But notice that it’s
not wrong to be sentimental, not in this case. This isn’t a piece of art, it’s a practical composition for an event, intended
to stir up our feelings. When they sing "Alleluia" ....it’s a genuine prayer, not just a bit of singing....
...It’s a coronation anthem meant for an event like what we saw re-enacted tonight....Wow!
Publié le 27 juillet, 2016 par Barczablog
Revue de concert originale: https://barczablog.com/2016/07/27/the-coronation-of-king-george-ii/
The Coronation Of King George II
On October 11, 1727, George II, was crowned King of England. His journey to the throne had been a rough ride. His father, George I, Elector of Hanover, imported by an opportunistic Parliament to quell the threat of a dreaded Catholic succession, had prided himself on his singular disinterest in the political and cultural affairs of his adopted nation. His son, clever and artistic, bristled at the unpopular monarch’s entrenched philistinism to the point of estrangement. When, at long last, the disagreeable old king died, George II leapt at the chance to publicly commit to the customs and values of his newly inherited realm.
George Frideric Handel, another German-born expatriate, inveterate impresario, London showman par excellence, was hired to produce and direct the coronation. It would be a royal smash hit, an 18th century blockbuster, a spectacular, supremely theatrical show of Englishness.
Sounding a regal note to the Toronto Summer Music Festival’s celebration of British music, the Choir and Orchestra of the Theatre of Early Music conducted by the ensemble’s artistic director, Daniel Taylor, thrilled earlier this week with their sweeping, unbounded concert wryly entitled, The Coronation of King George II.
Parted by the turbulent passage of almost three centuries from the reality of the quintessential Georgian monarch’s legendary inauguration, no musicologist, however determined, can likely ever reconstruct the actual fabric of the ceremony given the jumbled fragments of existing unset texts. The Chapel Royal as Handel knew it, final arbiter and preserver of English court music, has been repeatedly gutted by domestic hostilities and war, its archives savaged.
Less authentic period statement than a summoning of the idea of coronation, Taylor, singers and musicians wisely sketched the past with broad strokes during the course of their recreation, emphasizing not so much a particular moment in time and place as a continuum, an artful witnessing of an entire history of orchestral and choral pageantry, Renaissance to Baroque to present-day. Rousing, gripping, frequently uplifting, the experience both charmed and enthralled, blending Gibbons and Palestrina, Purcell and Handel with pieces composed, in the case of Hubert Parry and John Tavener, 200 – 300 years after the momentous gala in Westminster Abbey. Handel may not have programmed each and every one of Taylor’s selections but he would surely have approved.
On a summer soft evening at U of T, the Faculty of Music’s Walter Hall sparkled, ringing with trumpets, soaring with organ, bright and luminous with song.
Eighteen voices strong, choristers processed in stately file through the auditorium, opening from the rear of house, lining opposing side aisles at the concert’s midway point. Surround sound effects abounded, unexpectedly visceral and dramatic. Interspersed with well-known vocalists plucked from the ranks of the Toronto opera community — Ellen McAteer, Asitha Tennekoon, Alex Dobson, Cairan Ryan — the purpose assembled choir touched the heart with its exquisite blend of warmth and passion.
Setting the tone for the evening’s instrumental proceedings, Parry’s I was Glad still ringing through the hall, period oboes, organ and strings... quickly merged into a delightfully no-nonsense Overture and March from Handel’s Ode to St. Cecilia’s Day. Moving through the attentive audience to join the Theatre of Early Music’s refreshingly uninhibited players on stage, chorus and orchestra assembled for the great, swelling coronation anthem, The King Shall Rejoice, Taylor leading with great charisma and exuberance.
A very tangible, physical sense of occasion held sway throughout the exquisitely intense 1-hour performance that followed heightened, in no small measure, by the robed presence of Rev. Alan Gallichan of Christ Church Cathedral, Ottawa, assuming the role of Archbishop of Canterbury. Startling, exuding an air of pronounced drama, costumed actor Bill Coleman, commanded attention as the King in faux white lead make-up and full wig.
As solemn as it was joyful, the scope of imagination and invention underlying this impossibly fanciful, utterly engaging Coronation of King George II was nothing less than extraordinary, a dream of monarchy set to magical music. Gibbons’ Drop, Drop Slow Tears, ethereal and a cappella, mesmerized. The stark beauty of Purcell’s Hear My Prayer, O Lord haunted. Parry’s mighty hymn, Jerusalem, a towering classic shaped into a potent communal encounter by Taylor, inspired and moved, a great plainspoken cry of hope and joy sung by audience and choristers alike.
Then suddenly it was over, Handel’s iconic Zadok the Priest potent and resonant as it should be, Worthy the Lamb from Messiah concluding the all-too-brief program. “God save the King!”, cried the Archbishop. “God save the King!”, we echoed.
A stirring concert, a visionary offering. A glorious crowning touch to a fine 2016 Festival.
- Ian Ritchie, Opera going Toronto, July 2016
Crowning George II
For the occasion Mr. Taylor had assembled a small band of strings, trumpets, oboes and drums and both a chamber organ and the
newly repaired organ of Walter Hall were brought into play. There was a choir of twenty including some pretty classy singers.
Good use was made of the space to create different effects. Parry’s I Was Glad was sung with the choir in the back corners of the hall
with the organ at stage right. Later on Tavener’s Hymn to the Mother of God was sung by the choir split down the sides of auditorium.
This was highly effective and it made the most of a very beautiful piece; for me the musical highlight of the night.
There were fanfares from suitably wonky period trumpets and drum rolls and lots of liturgical call and response of the "We are miserable sinners O Lord " , "Yes we are really miserable "
Then there was Handel; Zadok the Priest and The King Shall Rejoice (natch) and Purcell (Remember Not, Lord and Hear My Prayer,
O Lord and Gibbons (Drop, Drop Slow Tears) and Palestrina (Jesu, Rex Admirabilis) all sung very beautifully a capella.
The "congregation " (us) got to belt out Jerusalem before the choir kicked in with Zadok for the actual coronation
followed by lots of "Long live the king! "s and a final blast of Worthy is the Lamb and the Amen from Messiah.
Somehow it struck the right balance between gravity and levity and a good time was had by all.
John's Opera Ramblings, July 2016
La Vallée des Pleurs / The Vale of Tears
Le dernier disque récital du TEM et Schola Cantorum sous étiquette Analekta.
15 Septembre 15 2015
Pour écouter La Vallée des Pleurs,
commander un CD en ligne ou
télécharger les fichiers en format mp3,
cliquez ici : Commandez maintenant
La Vallée des Pleurs / The Vale of Tears
1. Praetorius: "Hört auf mit Weinen und Klagen"
Schütz: Musikalische Exequien, Op. 7
2. Concerto in the form of a German Requiem Mass
3. Motet: "Herr, wenn ich nur dich habe"
4. Canticle of B. Simeonis: "Herr, nun lässest Du Deinen Diener"
5. Praetorius: "Mit Fried und Freud ich fahr dahin"
J.S. Bach: O heilige Geist- und Wasserbad, Cantata BWV 165
6. Aria (soprano): "O heilige Geist- und Wasserbad"
7. Recit. (bass): "Die sündige Geburt verdammter Adamserben"
8. Aria (alto): "Jesu, der aus großer Liebe"
9. Recit. (bass): "Ich habe ja, mein Seelenbräutigam"
10. Aria (tenor): "Jesu, meines Todes Tod"
11. Chorale: "Sein Wort, sein Tauf, sein Nachtmahl"
Schola Cantorum et le The Theatre of Early Music:
Daniel Taylor, Chef
La Scena Musicale, Montréal, Novembre 2015
"De toute évidence, Daniel Taylor adore la voix humaine. Le choix méticuleux des chanteurs qui
l’entourent est admirable. Il apporte à ces merveilles vocales une direction sensible, un sens
musical empreint d’une profondeur indéniable. Cette vallée des pleurs se transforme en
rivière dont la coulée atteint son but, près d’un siècle plus tard, avec la cantate BWV 165 de Bach.
La cantate, axée sur le baptême du croyant, se termine sur une exécution limpide et pure,
sans doute la plus belle interprétation de cette œuvre discrète du grand Bach.
Un disque essentiel que l’on garde près de son cœur. "
Theatre of Early Music, Schola Cantorum, Dan Taylor, The Vale of Tears
Article posted on CBC web site by Robert Rowat - Sept 2015
On the heels of their Juno-nominated 2014 album The Heart's Refuge, the Theatre of Early Music, Schola Cantorum and
director Daniel Taylor are back with another exciting release on the Analekta label, The Vale of Tears.
The Theatre of Early Music is Taylor’s collective of early music specialists committed to reconstructing music for historical events,
and that’s exactly what we have in The Vale of Tears. Here, the event in question is a funeral for Heinrich Posthumous Reuß,
a member of the noble class in Dresden where another Heinrich, Schütz, was Kapellmeister.
Schütz composed his Musikalische Exequien in 1635 to honour Reuß, and it is has endured as his most famous work.
It’s complemented on The Vale of Tears by J.S. Bach’s cantata O heilige Geist- und Wasserbad, which draws on some of the same texts and
chorale sources as Schütz’s work and two hymns by Michael Praetorius that were performed at Reuß’s burial service.
It’s a substantial choral program for Schola Cantorum, a vocal ensemble comprised of students from the Univeristy of Toronto’s faculty of music, where Taylor is head of historical performance.
But in the few years since he established the group, it has blossomed into a virtuosic choir capable of tackling the most challenging baroque repertoire.
We reached Taylor by email to find about more about his most recent project.
Music from the early baroque period doesn’t get as much attention as music from the high baroque. Why is that?
It could be said that, aside from Monteverdi, many of the composers from the early baroque period have been neglected. Perhaps until recently, ensembles have not taken risks in their programming, so often it’s Fireworks or the Brandenburgs, in part because of the reduced funding provided by the federal government to the arts.
The Theatre of Early Music made its first effort to remedy that with our Juno-nominated album dedicated to early German composers including Kuhnau and J.C. Bach. Kuhnau was a composer I first brought to the Quebec and Canadian public thanks to Christopher Jackson’s invitation to direct the Choir of the Studio de musique ancienne de Montréal.
In many ways, Christopher proved to be a mentor and inspiration to me and my work that would follow. It’s encouraging to see groups such as Arion now programming Kuhnau, it is a compliment to my musicians and to their dedication as well as to Christopher’s unerring commitment to early music.
This album gives us a faithful representation of the kind of music we’d hear at a solemn occasion in 17th-century Germany. Does this sort of historic immersion drive your projects with the Theatre of Early Music?
Absolutely. My interest in liturgical reconstructions is driven by my belief that the art itself is already perfect in form; this, to be clear, this is not about having a
"brand name" or leaving my own fingerprints all over the scores, but in allowing the original beauty of the work to be shown.
It must be like the feeling of revelation that they had when they restored the frescoes of the Sistine Chapel, this is very much a sacred process guided by the musicians.
You’ve been directing U of T’s Schola Cantorum for three years now. What are the challenges you face making music at a professional level with a student ensemble?
There is a moment that I usually wait for in each rehearsal, that moment during which I see the students singing with joy (priority number 1!) suddenly realize that I am going to make very specific professional artistic demands of them, they are, after all (as one of the reviewers noted recently) an ensemble of the elite singers in this country, and with opportunity comes tremendous discipline and very, very hard work.
Their first concert was with the greatest choir in the world, the Tallis Scholars, and since then they have appeared with members of the Monteverdi Choir, the Gabrieli Consort and the Kammerchor Stuttgart. Combined with the rich array of courses offered through the University of Toronto’s choral program developed by Dr. Hilary Apfelstadt, our program is unrivaled in Canada.
Tell us what the recording sessions were like.
Recording sessions were intense and yet the singers and I found them to be greatly rewarding. For some of these young people,
this was their first professional recording yet instead of hearing doubt or hesitation, you can hear their excitement.
To be sure, the Musikalische Exequien is a complex piece and there were certainly times when I asked myself why I had set such a monumental
task before all of us. However, they answered this challenge by lifting the music to a higher level.
Le Refuge du cœur / The Heart's Refuge - Nomination au prix Juno !
26 janvier 2015: Daniel Taylor écrit:
" Quel accomplissement pour nos étudiants du département de musique ancienne à l’Université de Toronto Faculté de musique en partenariat avec le Chœur et Orchestre du Theatre of Early Music! "
Voici la liste des nominations aux prix Juno pour 2015 :
CLASSICAL ALBUM OF THE YEAR: VOCAL OR CHORAL PERFORMANCE:
Schubert: Winterreise Gerald Finley & Julius Drake (Hyperion) GAGNANT POUR 2015
Handel & Porpora: The London Years Julie Boulianne, Clavecin en concert & Luc Beauséjour (Analekta)
Mozart: Opera & Concert Arias Karina Gauvin, Les Violons du Roy & Bernard Labadie (Audiogram)
Terra Tremuit Studio de musique ancienne de Montréal (ATMA)
The Heart's Refuge Theatre of Early Music, Schola Cantorum & Daniel Taylor (Analekta)
Pour voir tous les prix Juno pour 2015, veuillez cliquer ici: les prix Juno pour 2015
9 Septembre 2014
#1 sur le Classical Soundscan
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
Dripping with beauty and style, they establish their seriousness from the off - Buxtehude's passacaglia meditating on
Christ's sacrifice and continue it through Johann Christoph Bach's aching strophic death aria.
The choir shows its youth in a light and pleasing sound. This snapshot of 17th-century German sacred music is a heartwarming and worthy one.
Gramophone février 2015
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.
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!