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SUMMARY:“Sunrise and Sunset” RMP presents Ola Gjeilo’s Sunrise Mass & Fauré’s Requiem
DESCRIPTION:SUNRISE AND SUNSET\nOla Gjelo Sunrise Mass\nKristian Hernes Canticle of the sun\nGabriel Fauré Requiem in D minor\, Op. 48 \nSaturday 25 May\, 2019 at 8pm\nSt Paul’s Cathedral \nAndrew Wailes\, conductor\nPhoebe Paine\, soprano\nNicholas Jones\, tenor\nJeremy Kleeman\, baritone\nKristian Winther\, violin\nDean Sky-Lucas\, piano\nCalvin Bowman\, organ \nRoyal Melbourne Philharmonic Choir\nMelbourne University Choral Society\nRoyal Melbourne Philharmonic Orchestra \nThe Norwegian composer Ola Gjeilo was born in Oslo\, Norway\, in 1978. Following studies at the Norwegian Academy of Music in Oslo\, the Royal College of Music in London\, and the Juilliard School of Music in New York\, (where he won the 2005 Juilliard Composers’ Orchestral Work Competition)\, he relocated to the USA to study film composition in Los Angeles. As a composer he exploded on the choral scene in 2007. His recent and rapid meteoric rise as a composer corresponded with the creation of his masterwork for double SATB chorus and large string orchestra\, the Sunrise Mass. The Mass was commissioned in 2007 by Tore Erik Mohn for performance by two combined choruses\, Majorstua Kammerkor and Kammerkoret Nova\, and was premiered on November 2\, 2008. Since then\, the Sunrise Mass has been presented in concerts across the world to great acclaim. \nThis spiritually-uplifting extended work\, neither expressly sacred nor secular\, uses ancient texts even though the titles of the movements are in English: I. The Spheres (Kyrie); II. Sunrise (Gloria); III. The City (Credo); IV. Identity & The Ground (Sanctus). The four movements develop from a sense of the cosmos to an affirmation of the earth\, from the echo of The Spheres in the first movement to the final reassuring themes of Identity & The Ground. \nGjeilo’s compositional style and fingerprint is distinct and is the result of an amalgamation of cinematic and classical influences with sacred and secular elements. His Sunrise Mass was clearly composed with one eye on the big screen\, influences by today’s hottest motion picture composers\, and one eye towards the past in the direction of Brahms\, Britten\, Duruflé\, and Bach. In Gjeilo’s Sunrise Mass the listener experiences the full metaphorical journey from the starry Heaven to Earth\, from undifferentiated darkness to solid\, warm life\, evolving spiritually as a human. \nCommissioned by KORiOSLO (Conductor: Tom Wiklund)\, and financed by the Norwegian Composers Fund in 2017\, “Canticle of the Sun” was composed by Kristian Hernes in 2017. Kristian Hernes has a Masters degree (classical piano) from the Norwegian Academy of Music. He has a broad area of activity as a performer; as solo pianist\, accompanist for many of the nation’s leading artists\, studio musician for CD recordings / television / motion pictures and as the organist in Torshov / Lilleborg church\, Oslo. He has won a number of prizes for his compositions from the Norwegian Choir Association and the Norwegian Association for Sacred Music. His works\, especially his compositions for choir\, have been performed in a number of countries in throughout Europe and North America\, in Australia and South Africa. \nIn his famous seven-section Requiem\, the French composer Gabriel Fauré distilled some of the most beautiful melodies ever composed. The creation was almost certainly a musical tribute to his father\, who died in 1885\, three years before work on the Requiem began. \nAs with much of Western classical music\, the Requiem owes its roots to Christian faith. Traditionally\, at its heart\, it is a prayerful lament for the dead. Fauré’s own setting of the Requiem was altogether different\, though\, because here was a composer who\, unlike many of his contemporaries\, had no clear religious beliefs. By contrast\, he was very much a doubter\, described by his own son as ‘a sceptic’. In place of the sombre nature of many requiems that had gone before\, Fauré’s is noted for its calm\, serene and peaceful outlook. Faure’s Requiem provides musical solace to the listener in a work that focuses not on the guilt of sin or fear of damnation\, but on the supposedly restful and fear-free nature of death. \nOf all seven sections\, the Pie Jesu\, Agnus Dei and In Paradisum emerge as the most glorious\, filled with rich\, soulful melodies. The work garnered the praise of many other composers – not least Camille Saint-Saëns\, who thought it “divine”. It was performed at Fauré’s own funeral in 1924\, and has since become one of the world’s most enduring choral works across the globe.
URL:https://classicmelbourne.com.au/event/sunrise-and-sunset-rmp-presents-ola-gjeilos-sunrise-mass-faures-requiem/
LOCATION:St Paul’s Cathedral\, Cnr Flinders St and Swanston St\, Melbourne\, Vic\, 3000\, Australia
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DTSTART;TZID=Australia/Melbourne:20180512T200000
DTEND;TZID=Australia/Melbourne:20180512T220000
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SUMMARY:MOZART: Clarinet Concerto\, Great Mass in C minor and Die Zauberflöte Finale
DESCRIPTION:Program: \nMozart Clarinet Concerto in A major\, K. 622\nMozart Finale to The Act II of Die Zauberflöte\nMozart Great Mass in C minor\, K. 427\n \nThe Clarinet Concerto was the musical genius’s last major instrumental piece\, and one of his most poignant concertos. Mozart was at the shining apex of his talent at the time he wrote the clarinet concerto. His mastery at blending solo instrument with orchestra is staggering in this work and it is no wonder that today it is regrded as one of the world’s most cherished classical works for orchestra. The clarinet concerto seems to have been the perfect paintbrush for Mozart to illustrate his inner melancholy with. At the time of writing it he had fallen ill\, and perhaps knew his doom was imminent. Written in 3 movements\, the work begins with an Allegro: A rich\, flowing first movement which sets the stage for the clarinet with breathtakingly virtuosic passages\, packed with enormous jumps between various registers of the instrument. The famous second movement Adagio in which the composer express his inner loneliness is one of the most well known Mozart pieces\, because of the touching solo melodies and the deep currents of melancholy which stream through it. In contrast the final Rondo\, Allegro smashes the sadness of the second movement\,  charging to a bouncy\, almost humorous finale in a flighty whirlwind of sound which rounds out the concerto. \nOne of the world’s most loved operas\, Die Zauberflöte\, K. 620\, better known to English speaking audiences as The Magic Flute\, was written by Mozart in two acts to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel\, a popular form that included both singing and spoken dialogue. The work premiered on 30 September 1791 at Schikaneder’s theatre\, the Freihaus-Theater auf der Wieden in Vienna\, just two months before the composer’s premature death. \nIn the opera the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro; instead\, he learns the high ideals of Sarastro’s community and seeks to join it. Separately\, then together\, Tamino and Pamina undergo severe trials of initiation\, which end in triumph\, with the Queen and her cohorts vanquished. The earthy Papageno\, who accompanies Tamino on his quest\, fails the trials completely but is rewarded anyway with the hand of his ideal female companion Papagena. In teh Finale to Act II\, Papageno despairs at having lost Papagena and decides to hang himself.  (There we hear the famous Aria/Quartet: “Papagena! Papagena! Papagena! Weibchen\, Täubchen\, meine Schöne”) The three child-spirits appear and stop him. They advise him to play his magic bells to summon Papagena. She appears and\, united\, the happy couple stutter in astonishment and make bird-like courting sounds at each other. They plan their future and dream of the many children they will have together (Duet: “Pa … pa … pa …”). The traitorous Monostatos appears with the Queen of the Night and her three ladies. They plot to destroy the temple (“Nur stille\, stille“) and the Queen confirms that she has promised her daughter Pamina to Monostatos. But before the conspirators can enter the temple\, they are magically cast out into eternal night.In  The Temple of the Sun Sarastro announces the sun’s triumph over the night\, and hails the dawn of a new era of wisdom and brotherhood in a grand chorus which concludes the opera. \n  \nWidely regarded as Mozart’s most grandiose and spectacular choral work\, the Great Mass in C minor K. 427/417a\, is the common name of the last musical setting of the mass by the great Wolfgang Amadeus Mozart (which\, like his famous Requiem\, was left unfinished at the time of his death). Mozart composed the work in Vienna in 1782 and 1783\, when he was no longer a church musician of the Salzburg Cathedral in thanksgiving for the life of his wife. A large-scale missa solemnis\, the “Great” Mass is scored for two soprano soloists\, a tenor and a bass\, double chorus and large classical orchestra. The work was composed during 1782/83. In a letter to his father Leopold dated 4 January 1783\, Mozart mentioned a vow he had made to write a mass when he would bring (his then fiancée) Constanze as his wife to Salzburg; Constanze then sang the glorious coloratura soprano aria “Et incarnatus est” at the work’s premiere. The first performance took place in Salzburg on Sunday 26 October 1783 in St Pater’s Abbey. Mozart had moved to Vienna in 1781\, but was paying a visit to his home town in the company of Constanze\, who had not yet met his father or his sister Nannerl. \nThe work embodies magnificent pomp and solemnity\, associated with the Salzburg traditions of the time\, but it also anticipates the symphonic masses of Joseph Haydn in its solo-choral sharing. The mass shows the strong influences of Bach and Handel\, whose music Mozart was studying at this time. The Mass in C minor looks back to the tradition of Bach’s great Mass in B minor\, although it is not clear whether Mozart actually knew that specific work. Both are examples of what is sometimes called a Cantata Mass\, in which the Gloria and Credo\, the two parts with very lengthy texts\, are subdivided into a series of arias and choruses. Mozart’s Mass also includes some of his most imposing fugues. He thus combines the old with the new\, calling as well upon his gifts as a great opera composer and master of a gallant style. \nIn July 2015\, Pope Francis told reporters that the “Et incarnatus est” from Mozart’s C minor Mass “is matchless; it lifts you to God!” \n  \nAndrew Wailes conductor\nPhilip Arkinstall\, clarinet\nSuzanne Shakespeare\, soprano 1\nGreta Bradman\, soprano 2 \nMichael Petruccelli\, tenor (runner-up 2017 RMP Aria)\nOliver Boyd\, baritone (winner\, 2017 RMP Aria) \nRoyal Melbourne Philharmonic Choir \nMelbourne University Choral Society\nRoyal Melbourne Philharmonic Orchestra
URL:https://classicmelbourne.com.au/event/mozart-clarinet-concerto-great-mass-in-c-minor-and-die-zauberflote-finale/
LOCATION:St Paul’s Cathedral\, Corner Flinders St and Swanston St (opposite Fed Square)\, Melbourne\, 3000\, Australia
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DTSTART;TZID=Australia/Melbourne:20160714T200000
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SUMMARY:A FESTIVAL OF FIVE CHOIRS - A Celebration of Song!
DESCRIPTION:Melbourne University Choral Society\, in association with Classical Movements\, the Australian Boys Choral Institute\, and The Australian Children’s Choir proudly presents  \nA FESTIVAL OF FIVE CHOIRS – A Celebration of Song \nThursday 14 July 2016 at 8pm \nSt Paul’s Cathedral Melbourne  \nThe internationally – acclaimed\, Grammy Award-winning Pacific Boychoir Academy Choir from the USA will be the special guests at this special choral celebration at St Paul’s Cathedral. \nThe concert will also feature outstanding performances by The Australian Boys Choir\, The Vocal Consort\, The Australian Children’s Choir\, and Melbourne University Choral Society. \nOver 200 voices\, united in song\, making beautiful music together in the spectacular setting of Melbourne’s magnificent St Paul’s Cathedral. \n\nPacific Boychoir Academy (USA)\, directed by Kevin Fox\n\n\nThe Australian Boys Choir and Vocal Consort\, directed by Noel Ancell OAM\n\n\nThe Australian Children’s Choir and Melbourne University Choral Society\, directed by Andrew Wailes\n\n  \nVenue: \nSt Paul’s Cathedral (Corner of Flinders St & Swanston St (opposite Federation Square)\, Melbourne\, VIC 3000 \n  \nBOOKINGS:  \nBOOK ONLINE VIA TRYBOOKING: https://trybooking.com/MDMT \n  \n“The sound that these boys produce is of a quality that I have not heard in any group of young singers performing in the States at present. This is combined with secure intonation\, sensitive blend\, strong musicianship\, and a rigid discipline which never inhibits the pure joy that these boys invest in their singing. I am sure that over the next few years\, the Boychoir and their Music Director Kevin Fox will become even more in demand as performers throughout the world.” \n— Maestro Donald Palumbo\, Chorus Master\, Lyric Opera of Chicago \n  \nMedia Enquiries / further information: \nAndrew Wailes: Email: conductor@mucs.org.au Phone: 0433 661 971
URL:https://classicmelbourne.com.au/event/a-festival-of-five-choirs-a-celebration-of-song/
LOCATION:St Paul’s Cathedral
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ORGANIZER;CN="Melbourne University Choral Society (MUCS)":MAILTO:conductor@mucs.org.au
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