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(Habakkuk - Building Bomb Pyramid Web Dance - Cathedral William Duckworth (www.monroestreet.com)
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William Duckworth engaged in an experiment in which he collaborated with an ensemble to create a new work while an audience watched. The result? “Mysterious Numbers.”
Johan David Heinichen, contemporary of Johann Sebastian Bach and court composer serving the pleasure of August the Strong of Dresden, wrote music characterized by “untrammeled joy in existence, superabundant energy, and a powerfully positivistic outlook” says Reinhardt Goebel, who conducts the Musica Antiqua Koln in the Concerto in F Major. Try it; you’ll like it!
It’s Francois Couperin’s birthday (1668), so of course we must celebrate. Emma Kirkby joins co-soprano Judith Nelson, Christopher Hogwood on organ, and Jane Ryan on viola da gamba in an evocative rendition of his “Trois lecons de tenebres” (Three Lessons of Darkness). These motets use words from the “Lamentations of Jeremiah,” and were intended to be sung during the Holy Week before Easter.
“Mysterious Numbers” ends our second hour. Duckworth says that, before joining a group of performers in a series of workshops, he prepared some templates: 38 scales; 58 primary harmonies, and 15 secondary harmonies, together with some rhythms. Soon he and the performers found common ground and the piece took on a life of its own. We hear the result, titled because of the collaborative experience and the templates involved.
As the evening progresses, we hear the Eroica Trio playing the exquisite Piano Trio by Ravel, Schubert’s Mass No. 5 in A-flat with Philippe Herreweghe conducting the multiple forces required, and Wilhelm Kempff—called by some a poet of the piano—gives us Beethoven’s last sonata, No. 32 in D Minor.
Johan David Heinichen, contemporary of Johann Sebastian Bach and court composer serving the pleasure of August the Strong of Dresden, wrote music characterized by “untrammeled joy in existence, superabundant energy, and a powerfully positivistic outlook” says Reinhardt Goebel, who conducts the Musica Antiqua Koln in the Concerto in F Major. Try it; you’ll like it!
It’s Francois Couperin’s birthday (1668), so of course we must celebrate. Emma Kirkby joins co-soprano Judith Nelson, Christopher Hogwood on organ, and Jane Ryan on viola da gamba in an evocative rendition of his “Trois lecons de tenebres” (Three Lessons of Darkness). These motets use words from the “Lamentations of Jeremiah,” and were intended to be sung during the Holy Week before Easter.
“Mysterious Numbers” ends our second hour. Duckworth says that, before joining a group of performers in a series of workshops, he prepared some templates: 38 scales; 58 primary harmonies, and 15 secondary harmonies, together with some rhythms. Soon he and the performers found common ground and the piece took on a life of its own. We hear the result, titled because of the collaborative experience and the templates involved.
As the evening progresses, we hear the Eroica Trio playing the exquisite Piano Trio by Ravel, Schubert’s Mass No. 5 in A-flat with Philippe Herreweghe conducting the multiple forces required, and Wilhelm Kempff—called by some a poet of the piano—gives us Beethoven’s last sonata, No. 32 in D Minor.
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