We’d like to share the draft menu for the upcoming house concert at Casa M (v2) in Flower Mound on 31-Jan-14. We’re really looking forward to the warmth and comfort of this menu to accompany the delicate and gorgeous musical program. Hoping to see everyone there. Get your tickets now as seating is limited and tickets are going fast!
The first house concert of the season was this weekend and played to two sets of nearly standing room only crowds (~45 at each performance). What an amazing and lively program it was (see linked photo for the program)! We entertained until nearly 2am at the Casa M concert (Friday night) and were delighted to see many new faces whom we sincerely hope to see regularly at future concerts.
Photos of the Casa M (v2) event can be found here It’s safe to say that a good time was had by all in attendance and we are now looking forward to our holiday season set of concerts on the Traditional Concert Series and to welcoming Juliana Gondek for our next scheduled house concert!
The day started with a fantastic piece in the Dallas Morning News by Scott Cantrell promoting the event and opening night concluded with an enjoyable reception complete with Champagne and light snacks. Certainly safe to say the 2013-14 season opener was a delightful experience for everyone in attendance.
Thank you to the wonderfully talented Quartet Galant, Our Redeemer Lutheran Church for hosting us, one of our Board Members (Mark Goodson) for the bubbly, and The Bavarian Grill for being our season sponsor and the fantastic food at the reception.
We now have scheduled two possible audition dates:
- Tuesday, August 13, 2013, or
- Monday, August 26, 2013
The audition times will begin at 7 pm, and we would like to schedule each person within a 30-minute time slot. (That doesn’t mean your audition will last 30 minutes – just that it will be basically within that 30-minute period.) We’ll be at Our Redeemer Lutheran Church, 7611 Park Lane, Dallas (north side of Park Lane across from NorthPark Mall)
If you wish to audition and have not recently provided us with a resume, please do so as soon as possible by e-mail. Be sure all contact information is provided – e-mail addresses, phone numbers (including cell), and mailing address. If you have any digital audio recordings of yourself that you can send, or a link to one, that would be delightful and helpful!
For the audition, please plan to sing TWO prepared pieces by Bach, Handel, Telemann, Buxtehude, Monteverdi, Schütz, or one of their contemporaries. An accompanist will be provided, so you will need to bring legible scores for the accompanist. You may also be asked to sight-read. You will be evaluated for both solo and chorus positions.
Many thanks for your interest in Dallas Bach Society! I look forward to hearing from you.
Saturday Evening, 19-Oct-13 at Our Redeemer Lutheran Church — After the Concert Ends
Please join the executive committee, the board of directors, our membership, patrons, subscribers, and others who enjoy and support early music for a Champagne reception following our “String Quartet Galant” concert. The concert is our season opener and promises to be a magical experience for all to enjoy. We are looking forward to the opportunity to better get to know you and talk about our vision for the Dallas Bach Society.
Our first House Concert of the season was Bach Sonatas for Viola da gamba with Brent Wissick a smash hit! We got a glowing review from Theater Jones on the performance. Below is an excerpt from the review:
Article by: Gregory Sullivan Isaacs - Theater Jones
Viola da gamba specialist Brent Wissick and harpsichordist James Richman expertly played the sonatas for an audience that gave them a well-deserved ovation. Those in attendance represented a wide range─from connoisseurs of Baroque music to folks that were new to the entire concept. The concert was equally enjoyed by one and all. Converts were definitely made.
Dallas Bach Society spoke with Artistic Director James Richman.
DBS: For years, house concerts have been an integral part of Dallas Bach Society’s season. What’s so special about them, James?
J.R.: Well, you get to be really close to the musicians and have the unique opportunity to experience the music in a setting that is very similar to when the pieces were originally performed. In the Baroque period a small audience of connoisseurs could experience the artistry of master musicians in a private setting.
DBS: Neat. I know that I’m not only speaking for myself..I love it when I can get up close and personal with the performers and gain some insight into the music and the instruments that I might have missed in a more formal recital setting.
J.R.: Yes, and the intimate nature of our featured solo instrument in October makes it especially perfect for enjoyment at a house concert.
DBS: What are we going to hear at the first house concerts on Friday, Oct.19, in Flower Mound, and Saturday, Oct. 20, in Dallas?
J.R.: We welcome Brent Wissick, virtuoso extraordinaire of the viola da gamba, for a program of the complete sonatas for gamba and obligato harpsichord by J.S. Bach. Maestro Wissick is a Distinguished Professor of Music at UNC Chapel Hill and served for many years as President of the American Viola da Gamba Society.
DBS: Oh, I remember him from about a year ago. He is an amazing talent.
J.R.: Yes, he is. Brent has been featured with the Dallas Bach Society for several seasons. He has performed with essentially all of the important early music ensembles in North America as well as many in Europe.
DBS: One word about viola versus viola da gamba. They are not the same, are they? It’s confusing to some folks.
J.R.: Well, the viola is the second smallest instrument of the string family as we know it today, whereas the viola da gamba belongs to the viol family that was prevalent during the Renaissance and the Baroque era. The viola da gamba was a very important solo instrument in the Baroque period. The viola never really achieved such fame. The viola da gamba is held between the player’s legs much like a cello, only is has a much mellower sound and 6 strings as opposed to 4 on the viola and cello.
DBS: Thank you very much, James. We look forward to listening to you and Brent perform Bach’s sonatas for gamba at the house concerts this October.
The first house concert is fast approaching on Friday, October 19th and will be hosted by DBS’s very own secretary, Kyle Mistrot, and Dr. Michael Mathews at their amazing “Casa M” in Flower Mound. All who attended the house concert there last April knows that it is well worth the trip just to see the house itself.
The second house concert is on Saturday, October 20th and is being hosted by one of our esteemed patrons and Board members, in a beautiful, central location in Dallas. We are indeed fortunate to have such involved and dedicated patrons and board members at Dallas Bach Society.
Please join us for a truly memorable evening!
Those who are attending the Friday night performance of the Bach Sonatas for Viola da Gamba and Harpsichord can look forward to the culinary delights in addition to an evening of unforgettable music. Casa M (v2) has just shared the menu for the upcoming concert. Tickets for the performance are still available for purchase. Reserve yours now!
The Dallas Bach Society had their first concert of the season on Friday, September 14, 2012 at the SMU Caruth Auditorium. The following is an excerpt from the review by Margaret Putnam of Theater Jones.
Dallas — When the music is sublime and the poetry achingly beautiful, should not the ballet shimmer forth on gilded slippers? You would think so. But when The Dallas Bach Societyteamed with The New York Baroque Dance Company to perform Monteverdi’s “Il Ballo delle Ingrate,” the composer had something difference in mind; namely, that contrast makes for better drama.
To see the complete review click here
Our first concert this season (September 14, 2012, 7pm at Caruth Auditorium) features The New York Baroque Dance Company. Catherine Turocy, stage director/choreographer of NYBDC, answered a few questions about the program.
Catherine, you are performing two pieces by Claudio Monteverdi. What is “Il combattimento di Tancredi e Clorinda” about?
It is an opera scene or cantata. It is a romance set against the backdrop of the First Crusade and was first performed in 1624. Tancredi, a Christian knight, spars with a Saracen and only finds out at the end, as the Saracen is mortally wounded and asks to be baptized, that his opponent is a woman, Clorinda.
Yes! There is actually a complex and deep love between the couple who came from warring families and different religions.
What was the basis for your choreography?
Monteverdi himself includes a description of the production with the musical score. His descriptions of the combat are graphically illustrated in the music. They are matched by the actions of the dancers who are the doubles of the singing Tancredi and Clorinda.
So the plot and emotions are expressed through both the singers and dancers?
Exactly. The music contains passion and conflict beyond the words of the libretto. I have illustrated the music with the gestures, breath and attitude of the dancers.
How about the second piece on the program? “The ballo of the ungrateful ladies”- what a title!
According to the score, the stage set consists of a Hell’s Mouth, the entrance to the Underworld. Venus and Cupid visit Pluto, King of the Underworld, and complain that Cupid’s arrows are no longer effective on the proud ladies of Mantua who are scorning their lovers.
Well, what’s Pluto supposed to do about it?
Cupid asks Pluto to bring the spirit of the ungrateful women who rejected love up from the Underworld to show what fate awaits those who spurn love/marriage. Pluto agrees and the spirits emerge.
That is indeed a fascinating topic. How did you bring this onto the stage?
My interpretation was inspired by an eyewitness account. He said that the costumes looked like flames.
Oh, because we are dealing with the hell’s mouth, right?
Yes, the Underworld. The witness also vividly described the many different emotions that were demonstrated in the dancing.
Which emotions, for example?
Grief, desperation, pity, tenderness, rage, fury… I have created a dramatic interpretation of the music, knowing that Monteverdi was at the cutting edge of a new theater form based on the ancient Greek drama, the opera. This ballo was composed one year after “Orfeo”, and was first performed in 1608.
Catherine, thank you very much for these enlightening comments. A lot of detail- oriented research goes into staging these Baroque pieces. We can’t wait to see both of these interesting stories come to life right here in Dallas on September 14!