The 2019 Festival concludes with one of the most powerful musical works of all time. Composed in 1727, Bach’s St. Matthew Passion was probably not heard outside Leipzig until Felix Mendelssohn’s famous revival in Berlin in 1829. Carsten Schmidt conducts this period instrument performance. (Included in the ANNUAL or SUMMER PASS)
Celebrating their 20th anniversary, the UMD Chamber Singers and Alumni Choir will perform Stravinsky’s Les Noces and a commissioned work by School of Music composition alumna Dale Trumbore. This performance is part of the National Collegiate Choral Organization Conference. Hosted by the School of Music, this 8th biennial conference features the very best college and university choir ensembles chosen by audition from around the country.
Baltimore Baroque Band, Peabody’s Baroque Orchestra - Dr. John Moran and Risa Browder, co-directors
Peabody Renaissance Ensemble - Mark Cudek, director
Washington Cornett and Sackbutt Ensemble - Michael Holmes, director
Maryland Institute College of Art - James Rouvelle, project director
Composed for St. Mark‘s Basilica in Venice, Monteverdi’s 1610 Vespers is the most ambitious and spectacular composition written before Bach. In Baltimore Choral Arts’ second collaboration with MICA, Professor James Rouvelle and Lili Maya will add multi-sensory images to further illuminate this grand and expressive masterpiece.
Claudio Monteverdi - Vespro della Beata Vergine
Cross-posting from Facebook:
“Proud to announce that I will be joining the U.S. Army Chorus for the next four years! I took the oath, signed the contract, and I’m headed to Basic Combat Training at Fort Jackson on October 30th. After graduation, I’ll be living in the Washington, D.C. area, singing with the Army Chorus, continuing my career as a freelance singer, and not doing the fighting things. I couldn’t be more excited about joining this awesome team of camo-clad tenors and basses. I’ll still be doing “civilian” gigs, but with some of the pressure to gig 24/7 removed, I’m going to focus on developing my voice and taking on mostly the kind of solo, small ensemble, and early music projects that I’m most excited about. A big thank you to the family, friends, military connections, and everyone at Trinity Wall Street, who have been so supportive as I’ve made my way through a lengthy and at times stressful enlistment process. It's happening!”
I will not be reachable during the time I’m at BCT, so I appreciate your patience if I’m unable to answer your email in a prompt fashion! I look forward to catching up in January.
This season, Bach at One evolves into Bach + One: featuring one Bach cantata each week paired with a complementary work from early to modern composers. Trinity’s presentation of Bach’s entire monumental output of vocal sacred music has been praised by The New York Times for its “dramatic vigor.”
Johann Sebastian Bach Ach Gott, vom Himmel sieh darein, BWV 2
Christoph Graupner Ach Gott, vom Himmel sieh darein
The Choir of Trinity Wall Street; The Trinity Baroque Orchestra; Avi Stein, chorusmaster and continuo; Robert Mealy, concertmaster; Julian Wachner, conductor
Now comes the setting sun: Trinity Choir explores its Anglican Heritage
The GRAMMY nominated Choir of Trinity Wall Street showcases Anglican staples alongside the US premiere of Wachner’s Regina Coeli à 8.
Charles Wood Hail, Gladdening Light!
Julian Wachner Regina Coeli à 8 (US Premiere)
Herbert Howells Magnificat and Nunc dimittis (St. Paul’s Service)
William Harris Faire is the Heaven
Edward Naylor Vox Dicentis
Henry Balfour Gardiner Evening Hymn
The Choir of Trinity Wall Street; Avi Stein, organ; Julian Wachner, conductor
National Sawdust launches their fourth season with a night devoted to new music from celebrated minimalist composer and Founding Artistic Advisory Board member Terry Riley, who has been lauded as a “pioneering American composer” and the “guru of American music” (New York Times). Riley’s groundbreaking compositions in the early 1960s helped create the Minimalist movement in American music, and his subsequent works forever altered the landscape of electronic music, directly inspiring musicians in The Velvet Underground and The Who.
Riley will share the stage with Artist-in-Residence and up-and-coming conductor and composer Julian Wachner. Wachner has been hailed by the New York Times as “viscerally dramatic”, and this collaboration will afford him the opportunity to hone his skills with one of the movers and shakers of classical music. Along with the NOVUS NY ensemble of Trinity Wall Street, they will perform Riley’s Madrigal (2015), Archangels (2003), and Remember This, O Mind (1997), as well as Gity Razaz’s The Strange Highway, a cello octet commissioned by Richard Aaron for the third Amsterdam Cello Biennale.
Come and Bach up the family tree with us with music by C.P.E., J.C., and J.S. Bach. The Grammy nominated Choir of Trinity Wall Street will join the orchestra in papa Bach’s secular cantata “Schleicht, spielende Wellen”, BWV 206.
C.P.E - Orchester-sinfonien No. 1, Wq. 183/1
J.C. - Sinfonia concertante for 2 violins and cello in E flat major
J.S. - Kantate BWV 206 “Schleicht, spielende Wellen”
The Uncommon Music Festival in Sitka, Alaska, presents several concerts featuring chamber music both new and old. UMF in particular programs music by underrepresented composers, including women and people of color.
For a complete schedule of events: http://www.uncommonmusicfest.org/schedule-2018
Time’s Arrow Festival Part Two
Webern: Passacaglia Op. 1, Im Sommerwind, Six Pieces for Large Orchestra Op. 6, Kantate #2
Brahms: A German Requiem
NOVUS NY, The Choir of Trinity Wall Street, and Downtown Voices; Colleen Daly, soprano and Stephen Salters, baritone; Julian Wachner, conductor
BA|Charlotte Cantata Choir and NCBO
Scott Allen Jarrett, directing
BWV 147 "Herz und Mund und Tat und Leben"
BWV 1066 "Orchestral Suite No. 1 in C Major"
BWV 225 "Singet dem Herrn"
Location TBD! For the most up-to-date information, see https://bacharlotte.com/