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2017-2018 Chorus Auditions

Auditions

We have scheduled two possible audition dates:

  • Monday, August 14, 2017, starting at 6:30 PM
  • Tuesday, August 15, 2017, starting at 6:30 PM

Our Redeemer Lutheran Church, 7611 Park Lane, Dallas TX 75225

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.)

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.

Kathy
Chorusmaster

Questions? Email info@dallasbach.org.

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Tune in to KERA today: Artist Spotlight on Catherine Turocy

Catherine Turocy, Artistic Director of the New York Baroque Dance Company and stage director and choreographer of the Dallas Bach Society’s upcoming production of Henry Purcell’s Fairy Queen, is being featured today on KERA’s Artist Spotlight program. Interviewed by Jerome Weeks, Ms. Turocy demonstrates how Baroque opera is staged with period movement, directing soprano Camille Ortiz-Lafont.

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Passiontide concert

Saturday Evening, April 1, 2017 at 7:30 pm – Zion Lutheran Church

The Dallas Bach Society

James Richman, Artistic Director

German Baroque Passiontide Music

Cantata 4: Christ lag in Todesbanden (BWV 4, 1707) by Johann Sebastian Bach

Sinfonia
Verse I: Christ lag in Todes Banden
Verse II: Den Tod niemand zwingen kunnt
Ms. Beasley, Ms. Kledas
Verse III: Jesus Christus, Gottes Sohn
Verse IV: Es war ein wunderlicher Krieg
Verse V: Hier ist das rechte Osterlamm
Mr. Grogan
Verse VI: So feiern wir das hohe Fest
Verse VII: Wir essen und leben wohl

Die Sieben Worte Jesu Christi am Kreuz by  Heinrich Schütz

Evangelist – Nicholas Garza
Jesus – Patrick Gnage
Criminals by Jesus’s side – Peter Tiggelaar, W. Charles Moore

Membra Jesu Nostri by Dietrich Buxtehude

Ad pedes: Ecce super montes
Ad genua: Ad uber portabimini
Ad manus: Quid sunt plagae istae
Ad latus: Surge amica mea
Ad pectus: Sicut modo geniti infantes
Ad cor: Vulnerasti cor meum
Ad faciem: Illustra faciem tuam

Anna Fredericka Popova, Leslie Hochman, Soprano
Nicholas Garza, Alto
Tucker Bilodeau, Tenor
David Grogan, Bass

 

bout the Program:   

In the eighteenth century, music in Germany adopted the best from Italy and France, and crafted from these the cosmopolitan style which reached its apex with Mozart. This was quite intentional, and a conscious choice by the leading composers, leaving behind the native German School, which was considered somehow primitive and parochial for all its forthright and powerful skill and clarity. It is this abandoned tradition that we celebrate in this concert.

Heinrich Schütz, the first of our composers this evening, was born in the sixteenth century, and in fact was heavily influenced by his Venetian teacher, the renowned Giovanni Gabrieli, with whom he spent three years from 1609-1612. His musical studies were launched early on when the Landgrave Moritz of Hessen-Kassel heard him sing at age twelve while staying at his father’s inn at Weissenfels. The Landgrave convinced his parents to allow him to become a choirboy at the castle in Kassel, after which he studied law, before going to Italy. He returned to become organist at Kassel from 1613 to 1615, at which point he left to become Court Composer to the Elector of Saxony in Dresden for the rest of his life. Of course the outbreak of the Thirty Years’ War shortly thereafter had a profound and negative effect on all German musical life until 1648, and perhaps as a result Schuetz took advantage of an invitation to Italy to study with Claudio Monteverdi in 1628, and then in 1633 he went to Copenhagen for two years to compose music for the wedding festivities there, and then returned for another extended visit in 1641.

Luckily, Schütz lived to a very old age, and was able finally, with the end of the wars, to realize a great many compositions. An alarming amount of his earlier music is lost, including the first German opera, Dafne, from 1627, but nonetheless there are over 500 compositions that survive. His later works are almost austere in comparison with the flamboyance that marked his Italianate youth, and the Seven Last Words are typical of this style. The little Sinfonia contained in the work is the only piece of purely instrumental music (outside of the voluminous organ works) that we have.

Dietrich Buxtehude, born in 1637 in Denmark at Helsingborg (which is now part of Sweden), was a very important North German composer, especially for organ music, although in his case as well a great deal of music is lost, including a significant number of larger works. His career centered around the Marienkirche in Lübeck, where he moved in 1668 to succeed Franz Tunder. He followed in the footsteps of Tunder, including most importantly the Abendmusik concert series which resumed in 1673. He also married Tunder’s daughter, and apparently when both Handel and J.S. Bach paid homage to him late in life he offered them each his post, with the provision that they marry his daughter!

The Membra Jesu nostri patientis sanctissima (The Most Holy Limbs of our Suffering Jesus) is a cycle of seven cantatas, on the medieval hymn Salve mundi salutare which is divided into seven parts, each addressed to a different part of the crucified Christ’s body – the feet, knees, hands, sides, breast, heart and head. The work is scored for five voices, SSATB, and instruments. Buxtehude selected Biblical verses for each cantata, and used three strophes from each section of the poem for the arias in each cantata. The Biblical words refer to the member in each cantata, and are mostly taken from the Old Testament.

One of J.S. Bach’s earliest cantatas, indeed the earliest for which we have a firm performance date, is Christ lag in Todes Banden, written for Arnstadt. It is very much in the old German style, using all the verses in the hymn of Martin Luther on which it is based. The eight movements are all in the same key of E Minor.

It is very interesting indeed that Sebastian Bach seems to have taken Martin Luther’s words to heart in the creation of his chorale preludes, including this one, perhaps the most engaging and beloved of his compositions where the simple chorale tune is elaborated in complex and amazing ways. Luther declared, in his Table Talk: “How strange and wonderful it is that one voice sings a simple unpretentious tune… while three, four, or five other voices are also sung; these voices play and sway in joyful exuberance around the tune and with ever-varying art and tuneful sound wondrously adorn and beautify it, and in a celestial roundelay meet in friendly caress and lovely embrace; so that anyone, having a little understanding, must be moved and greatly wonder, and come to the conclusion that there is nothing rarer in the whole world than a song adorned by so many voices.” Two hundred years later Bach realized this precise formula for brilliant compositions!

About the Dallas Bach Society and James Richman:

Since its founding in 1982 the Dallas Bach Society has been the primary resource in the Southwest for Baroque and Classic music on original instruments. Under the musical direction of James Richman, the Society unites the finest vocalists and instrumentalists from the Metroplex, all over the United States, and from abroad, in lively and informed performances of Bach, Handel, Vivaldi, Purcell, Monteverdi, Couperin, Schütz and other period composers. Every season the Dallas Bach Society presents a full program of Baroque and Classic music on original instruments, featuring performances of favorites like Handel’s Messiah, Bach’s Passions,  Cantatas and Brandenburg Concertos, Vivaldi’s Four Seasons, as well as little known works of great music which would otherwise be heard only rarely, if at all. Significant recent performances include staged presentations of Monteverdi’s Ballo delle Ingrate and Combattimento di Tancredi e Clorinda and the modern staged premiere of Jean-Philippe Rameau’s Zéphyre, both with the New York Baroque Dance Company; the Dublin and Mozart versions of Handel’s Messiah, Bach’s Saint John Passion and Saint Matthew Passion, French cantatas with Bernard Deletré and Ann Monoyios from the Paris Opera, CPE Bach’s Concerto for Harpsichord and Fortepiano with fortepianist Christoph Hammer, and recordings for CD of Messiah and Bach solo Cantatas. Our performance of Messiah was chosen for broadcast nationwide by Public Radio International in 2012. The Board of Directors has defined the mission of the Dallas Bach Society as follows: to present in public performances of the highest quality music composed before 1800, especially the works of Johann Sebastian Bach, to encourage the development of this musical repertoire in the Dallas area for both performers and audience, and to promote and encourage public education and awareness, understanding, and appreciation of the musical art of the Baroque and earlier periods in our own time. Funding for the DBS includes grants from the City of Dallas Office of Cultural Affairs, Texas Commission of the Arts, the Dallas Foundation, TACA, and private donations.  The DBS is a member of the Association of Professional Vocal Ensembles, the Neue Bach Gesellschaft, and is a founding member of Early Music America.

James Richman, Artistic Director of the Dallas Bach Society, is a prominent harpsichordist and fortepianist, as well as one of today’s leading conductors of Baroque music and opera. The first musician since Leonard Bernstein to graduate Harvard, Juilliard, and the Curtis Institute of Music, James Richman studied conducting with Max Rudolf and Herbert Blomstedt, piano with Rosina Lhevinne and Mieczyslaw Horszowski, and harpsichord with Albert Fuller and Kenneth Gilbert.  He holds a degree in the History of Science magna cum laude from Harvard College.  A recipient of the prestigious United States-France Exchange Fellowship from the National Endowment for the Arts, he was made a chevalier in the Ordre des Arts et des Lettres by the French government in 1995, in recognition of his contributions to the field of music. James Richman has been a prizewinner in four international competitions for early keyboard instruments, including first prize in the Bodky Competition of the Cambridge Society of Early Music, laureate of the Bruges Harpsichord Competition and bronze medal in the Paris Harpsichord Competition of the Festival Estival and in the First International Fortepiano Competition (Paris).  In appearances at the Mostly Mozart Festival, the Spoleto Festival USA, the E. Nakamichi Baroque Festival, the Boston Early Music Festival, as well as in regular series in New York, he has organized and conducted revivals of stage works by Handel, Gluck, Purcell, J.C. Bach, Monteverdi, and seven operas of Jean-Philippe Rameau. He has recorded for Nonesuch, Newport Classic, Centaur, Vox and New World records, and his live performance of Bach’s Brandenburg Concerto #6 is featured on National Public Radio’s Bach CD, along with recordings of James Galway, Yo-Yo Ma and Christopher Hogwood.  He is also Artistic Director of New York’s Concert Royal ensemble, which appears annually with the Choir of Men and Boys at Saint Thomas Church on Fifth Avenue in the performances of Messiah and the great works of Bach and Purcell.

Concerts

Repertorio Español

Saturday Evening, February 10-11, 2017 at 7:30 pm

Meadows Museum at SMU

The Dallas Bach Society
James Richman, Artistic Director

Repertorio Español
Nell Snaidas, Soprano

Yo soy la Locura from Cinquisieme livre (1614)
Henri du Bailly (158?-1637)
Gabrielle Bataille (1575-1639)
(obbligato parts Grant C. Herreid)

Ciaccona
Andrea Falconieri (1585-1656)

Quien quiere entrar
El baxel
Bataille

Recercada Primera sobre tenore Italianos
Recercada Segunda sobre ‘La Spagna’
Recercada Segunda sobre tenore Italianos
Diego Ortiz (1510-1570)

Zarzuela ‘SALIR EL AMOR DEL MUNDO’ (1696)
Eso No Cobarde
Sosieguen, descansen
Sebastián Durón (1660-1716)

Folia
Falconieri

Ojos pues me desdeñáis
No sé yo cómo es
Niña como en tus mudanzas
José Marin(1619-1699)

Passacalles
Los Imposibles
Fandango
Santiago de Murcia
(1673-1739)

Passapieds viejo y nueba
Cumbes
Murcia

Codex Martínez Compañón/ Codex Trujillo del Perú  (1781)
Transcribed and arranged by Tom Zajac (1956-2014)
El Palomo
Lanchas Para Baylar

Oygan una Xácarilla
Rafael Castellanos (1725-1791)

Convidando está la noche
Juan García Zéspedes (1619-1778)

About the Artist: 

Grammy-nominated soprano Nell Snaidas has been praised by the New York Times for her “vocally ravishing” performances and “melting passion”. Her voice has also been described as “remarkably pure with glints of rich sensuality” (Vancouver Sun) as well as “powerfully at home in the works of Monteverdi” (San Francisco Classical Voice). Of Uruguayan-American descent, Nell is recognized for her specialization in historical performance practice, in particular the repertoire of Italy, Latin America and Spain. Nell began her career singing leading roles in zarzuelas at New York City’s Repertorio Español and has sung in venues ranging from the Hollywood Bowl to Tanglewood, from Teatro Massimo (Palermo) to the missions of Bolivia. Favorite projects include singing with Los Angeles Philharmonic at Disney Hall, recording the movie-soundtrack of “The Producers” with Mel Brooks in the booth, singing Schubert Lieder with duet partner Daniel Swenberg on 19th century guitar and collaborating with Alicia Keys on the musical arrangement and Italian translation of her song “Superwoman” for Kathleen Battle for the grand finale of the 2008 America Music Awards. Upcoming performances include a return to the Boston Early Music Festival to portay the role of Amore in both L’Incoronazione di Poppea and Il Ritorno di Ulisse both by Claudio Monteverdi.

Renowned as an interpreter of Iberian Early music, Nell has been invited to coach and select repertoire for many leading Early Music Ensembles including The Trinity Wall Street Choir, Piffaro and The Rose Ensemble as well as serve on the faculty of the New York Continuo Collective and at the Madison Early Music Festival, where she will return this summer to make her directorial debut of the baroque zarzuela “La Púrpura de la Rosa”.

Nell has was featured on CBC radio as one of the leading interpreters of Spanish Renaissance/Sephardic song and has recorded for Sony Classical, Sono Luminus, Koch International and Dorian. Recent projects include collaborations as soloist/co-director with: Apollo’s Fire: The Cleveland Baroque Orchestra in “Sephardic Journey” (which debuted at #5 on the Classical Billboard chart), The Bishops’s Band “Codex Trujillo del Perú” with Tom Zajac (Trinity Wall St. 12th Night Festival) Bach Collegium San Diego’s program of music from 18th century Latin America. Nell is the co-artistic director of GEMAS, a concert series in NYC devoted to the early music and musicians of the Americas and sponsored by Americas Society and GEMS. http://www.nellsnaidas.com Nell is thrilled to reunite with James Richman and the Dallas Bach Society for this concert of music that is so close to her heart.