Tuesday, April 25, 2017
Message from the London Mozart Players: David Angel (1954-2017) The London Mozart Players are deeply shocked and saddened by the sudden death of David Angel, our beloved colleague and friend, co-principal 2nd violinist with the LMP for the past 22 years. He will be remembered for his enthusiasm, energy, musical integrity, consummate musical knowledge, all mixed up with a wonderful sense of humour that could lift any situation. All who came into contact with David were touched by his gentleness, generosity and humility as a human being. He is a massive loss to the world of classical music and 100% irreplaceable as a musician and personality within the LMP. He will be sadly missed, and our thoughts are with his family at this difficult time. _ David Angel was a founder pupil of the Yehudi Menuhin School, where he studied with Yehudi Menuhin, Frederick Grinke, Jacqueline Salomons and Nadia Boulanger. In 1971 he won an Associated Board Scholarship to the Royal Academy of Music, continuing his studies with Frederick Grinke and receiving chamber music coaching from Sidney Griller, winning prizes for both solo and chamber music. He was a co-founder of the Maggini Quartet in 1988. David’s solo playing received great acclaim, winning high praise in The Times for performances of Bach’s Chaconne and E major Concerto with the London Contemporary Dance, and in the Financial Times in 1988 for a performance at the Almeida Festival. He played Autumn from Vivaldi’s Four Seasons on many occasions, notably at the Barbican with the London Mozart Players, and was a soloist with London Musici. Co-principal of the second violin section of the London Mozart Players, he led the second violins of many top London chamber orchestras, including the London Chamber Orchestra, London Musici, Orchestra of St. John’s and Sinfonia 21. David was an ARAM and in demand as a teacher and chamber music coach; in autumn 1993 he was appointed Professor of quartet playing at Birmingham Conservatoire, and he was also an Honorary Fellow of Canterbury Christ Church University College and Brunel University.
Princeton, NJ (USA) Conducting Master Class with The Princeton Festival Chamber Choir and Baroque Orchestra June 18 – 24, 2017 with Dr. Jan Harrington Chancellor’s Professor Emeritus of Conducting Indiana University Jacobs School of Music George Frideric Handel Chandos Anthem no. 11, “Let God Arise,” HWV 256a Antonio Vivaldi Kyrie, RV 587 Claudio Monteverdi […]
It’s taken almost 300 years for the French composer’s genre-crossing opéra-ballet to come to the UK, with a Royal College of Music staging opening tomorrow. Why the wait? This week the Royal College of Music is staging a UK premiere of an opera so successful that it had 80 performances in its first year in France and four revivals over the following three decades. And yet it’s taken 278 years for it to come to the UK. It is startling to realise that there has not yet been a staged performance of Jean-Philippe Rameau’s Les Fêtes d’Hébé in Britain. Rameau is a composer every bit as important in our understanding of the era as his contemporaries Bach, Handel, Vivaldi and Scarlatti, and the French composer’s opéra-ballet is full of beautiful and charming music, with dance, song and chorus combining to entertain and delight. Continue reading...
The Royal Philharmonic Orchestra has teamed up with Cancer Research UK to play a version of the Vivaldi hit with one-third of the notes missing, signifying those we have lost. Interesting idea. More here.
Sabata/Armonia Atenea/Petrou (Aparte)Look at Xavier Sabata, all wet and gladiatorial! It’s one way of selling a countertenor disc, though this one shouldn’t need it: Sabata’s selection of 18th-century Italian arias, in which a variety of troubled characters go through the mill, includes gems you won’t often hear by Orlandini, Ariosti, Handel, Hasse and others, and showcases a supple, communicative voice that is honeyed and forthright by turns. But the relentless bounce and in-your-face character of George Petrou’s orchestra won’t be to all tastes; the aria from Vivaldi’s Il Farnace – which is, admittedly, inspired by a horrific dramatic situation – sounds like it’s being played on elastic bands stretched around a biscuit tin. This does at least make for a bold contrast with Sabata’s voice, which takes on extra sweetness in these long, sinewy lines; elsewhere, the most athletic fast passages can sound choppy. He’s going to need a lot of towelling down. Continue reading...
Fernando Montaño and Artists of The Royal Ballet in rehearsal for Crystal Pite’s Flight Pattern, The Royal Ballet © 2017 ROH. Photograph by Rose Slavin Crystal Pite is a new choreographer to The Royal Ballet, but a familiar name to dance lovers in both North America and Europe. Working with companies from her own Kidd Pivot to Paris Opera Ballet and Nederlands Dans Theater , her creations often combine elements of classical ballet with a powerful sense of drama. Here are six pieces which show why Pite is one of the most esteemed choreographers working today: Betroffenheit Betroffenheit (2015) is a collaboration with Jonathon Young and Electric Company Theatre that draws on Young’s own experience in the wake of a personal tragedy. His journey through depression, addiction and recovery is told through a searing scenario that involves a host of characters encircling Young himself. The work returns to Sadler’s Wells this April . The Seasons' Canon A number of Pite’s works have used large groups of dancers. The Seasons’ Canon , created recently for Paris Opera Ballet, is one such work, in which Max Richter ’s recomposed version of Vivaldi’s The Four Seasons underpins a rippling mass which becomes a subtle evocation of the power and beauty of nature. Emergence When popular science writer Steven Johnson wrote Emergence: the Connected Lives of Ants, Brains, Cities and Software , he probably didn’t imagine that it would one day inspire a ballet. But that’s what happened in 2009, when Pite created Emergence for the National Ballet of Canada . Drawing on ideas of swarm intelligence and hierarchies, the multi-award-winning ballet has also been performed by Pacific Northwest Ballet and Scottish Ballet , which revives the ballet at Sadler’s Wells this summer . Polaris Polaris caused a sensation when it was first performed at Sadler’s Wells in 2014. It is set to Thomas Adès ’s extraordinary ‘voyage for orchestra’ of the same name, and features more than sixty dancers dressed in black, running, scuttling and quivering across the stage, creating a universe that is epic, strange and hypnotic. The Tempest Replica An unexpected link between Pite and Adès is their fascination with The Tempest : they have both created adaptations of Shakespeare’s play, Adès for The Royal Opera in 2004 and Pite for Kidd Pivot in 2011. But The Tempest Replica goes further than providing the narrative of the play: after a first section introduces the play’s characters and plot, in the second half a section of pure dance puts the spotlight on the characters’ relationships. Flight Pattern For her debut Royal Ballet work, Pite is collaborating once again with several of her regular designers: set designer Jay Gower Taylor , costume designer Nancy Bryant and lighting designer Tom Visser , all of whom worked on several of the works mentioned above. But the subject matter is very different: Flight Pattern addresses one of today’s greatest humanitarian questions, set to the first movement of Henryk Górecki ’s powerful ‘Symphony of Sorrowful Songs’. Flight Pattern appears in a mixed programme with The Human Seasons and After the Rain, which runs 16–24 March 2017. Tickets are still available. The mixed programme is staged with generous philanthropic support from Ian and Tina Taylor and The Taylor Family Foundation, with After the Rain given generous philanthropic support from Kenneth and Susan Green and Flight Pattern generous philanthropic support from Richard and Delia Baker and Sue Butcher.
Antonio Vivaldi (March 4, 1678 - July 28, 1741), was an Italian Baroque composer, priest, and virtuoso violinist, born in Venice. Vivaldi is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over 40 operas. His best known work is a series of violin concertos known as The Four Seasons. Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi worked between 1703 and 1740. Vivaldi also had some success with stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna hoping for preferment. The Emperor died soon after Vivaldi's arrival, and the composer died a pauper, without a steady source of income. Though Vivaldi's music was well received during his lifetime, it later declined in popularity until its vigorous revival in the first half of the 20th century. Today, Vivaldi ranks among the most popular and widely recorded Baroque composers.
Great composers of classical music