Let's start the weekend with the Drakies. Enjoy :-)
Let's start the weekend with the Drakies. Enjoy :-)
Out of the Blue, Oxford's most well-known a capella group, live in session in the Taylorian Library with Jack Johnson's classic, 'Better Together'.
Arrangement: Bobby Goulder (OOTB alumnus 2012-14)
Performers (in soloist order): Charlie Hicks, Joel Fishel, Roshan Forouhi, Will Northcott, and Ollie Nicholls
This is an exclusive audio recording, from private archives, of a concert which took place in the Collégiale Saint-Martin, Etampes (France), in 1982, with outstanding soloists.
Soprano 1: Allan Bergius
Mezzo-soprano 2: Martin Busen
Director: Gerhard Schmidt-Gaden
I recommend in particular the duet for two sopranos "Der Herr ist groß", but all is at the highest level of boy singing.
00:04 Verleih uns Frieden genädiglich (Geistliche Chormusik SWV 372)
02:35 Gib unsern Fürsten (Geistliche Chormusik SWV 373)
04:53 Der Herr ist groß und sehr löblich / Sop. 1 & Sop. 2 (Kleine Geistliche Konzerte SWV 286)
07:27 Unser keiner lebet ihm selber (Geistliche Chormusik SWV 374)
11:18 Ist Gott für uns / Sop, Alto, Tenor, Bass (Kleine Geistliche Konzerte SWV 329)
13:52 Herr, auf dich traue ich (Geistliche Chormusik SWV 377)
17:04 Herr, wenn ich nur dich habe / Sop. 1, Sop. 2 & Tenor (Kleine Geistliche Konzerte SWV 321)
19:57 Die mit Tränen säen (Geistliche Chormusik SWV 378)
24:04 Das Blut Jesu Christi / Sop. 1, Sop. 2 & Bass (Kleine Geistliche Konzerte SWV 298)
26:33 Also hat Gott die Welt geliebt, (Geistliche Chormusik SWV 380)
29:36 Bone Jesu, verbum Patris / Sop. 1 & Sop. 2 (Kleine Geistliche Konzerte SWV 313)
34:07 Sehet an den Feigenbaum / Sop. & Alto (Geistliche Chormusik SWV 394)
In the following video of 1982, Martin (12 y.o.) can be seen at 1'18" and Allan (10 y.o.) at 2'12": https://www.youtube.com/watch?v=qd_rk...
The Tölzer Knabenchor has recorded the Kleine Geistliche Konzerte (3 CDs) for Capriccio in 1987/1988/1989/1990, in the Maria Himmelfahrt church of Bad Tölz. They can still be found for sale on the internet.
"All is at the highest level of boy singing" is a distinct understatement this is wonderfully good singing. Enjoy :-).
The Salt Lake Vocal Artists perform "Invocation" by Claudia Bigler live in concert on June 14, 2015 in Domani concert hall, Venlo, The Netherlands under the direction of Dr. Brady Allred.
Mendelssohn started work on this monumental oratorio in 1832 when working together with his childhood friend the lutheran pastor Julius Schubring on the libretto using passages from both the Old and the New testaments and chorales and hymn settings rather as Bach had done before him. After two years work on the libretto Mendelssohn began work composing the music and two years later again on May 22nd 1836 Paulus (St. Paul) premiered at the Lower Rhenish Music Festival in Düsseldorf. Its English premiere followed on October 3rd the same year in Liverpool the libretto having been translated from the German by Mendelssohn's friend, Karl Klingermann. It was very popular during Mendelssohn's lifetime and was regularly performed both in the English-speaking world and on the Continent but for some reason that I've never been able to discern it lost its popularity in the decades following Mendelssohn's death and, alas, is now rarely performed in its entirety.
Paulus is based upon the story of how Saul a Pharisee known for the enthusiasm and rigour with which he persecuted Christians was converted to Christianity by an encounter with the Risen Christ and went on to become one of Christianity's most powerful advocates and a founder of the Church. It's a four-part work (SATB) work with solos for soprano, tenor, and bass, with orchestral accompaniment. The text is Mendelssohn's own version of the story found chiefly in Acts of The Apostles and the influence of both Bach and Handel can be heard in the music. But it would be a very serious mistake indeed to write off Paulus as merely a homage to baroque oratorios. Nothing could be further from the truth it's a work of great originality whose elegance, fluidity, contrapuntal versatility, and originality is evident from very early on. Mendelssohn was a great composer and like Bach and Handel before him he was sufficiently confident of his own talent to take inspiration from another composer's work and transform it into some fresh and entirely original. You can hear this right from the start because like Bach before him Mendelssohn made use of chorales to express his religiosity which is why both the overture and a fairly hefty chunk of the first choral section are based on the chorale "Wachet auf, ruft uns die Stimme". His musical originality manifests itself throughout the piece it's difficult for us to really understand how shocking and radical it was for Mendelssohn to choose the dramatic point of the oratorio – when Christ addresses Saul directly, and have the Saviour's words sung by a four-part choir women. A storm of outrage and vituperation broke over Mendelssohn's head for doing that as he surely knew it must. And yet he went ahead and did it anyway, Mendelssohn was a very brave man.
In fact his portrayal of Christ throughout is astounding. This isn't Bach's Christ by any stretch of the imagination this is a Christ whose musical portrayal is powerful and immediate and somehow tremendously remote and not of this world this portrayal symbolising the Lutheran doctrine of God's simultaneous immediacy and unknowable remoteness lies at the theological heart of the work. But Mendelssohn doesn't leave it at that. Whether it's the soulful arias with their exquisite instrumental accompaniment or the dramatic way in which he presents Saul's life and the stunning dialogue between Christ and Saul Mendelssohn presents us with the full spectrum of religious feeling from the darkness and pangs of doubt to intimations of the power and the mystery of God's revealed plan of salvation ending with a luminous confidence. I've put links to various resources below the performance. Enjoy :-).