Eine poetische Welt uralter und brandneuer Klänge!
Advents- und Weihnachtsmusik aus Mittelalter, Renaissance und aus dem 20. und 21. Jahrhundert von Benjamin Britten, Philipp Claßen (UA), Harold Darke, Paul Edwards, John Gardner, John Joubert, Boris Ord, John Rutter, William Walton und Peter Warlock
«Und es geschah plötzlich ein Brausen vom Himmel» Festgottesdienst mit Abendmahl, Pfingstsonntag, 24. Mai 2015, 11.00 Uhr
musicmakers | David Christie, Leitung | Christian Döhring, Orgel |
David Hambleton, Orgel | Pfrn. Renate von Ballmoos; Meinrad Furrer, kath. Seelsorger
«Es ist keine schlechte Sache, wenn ein Künstler versucht, allen möglichen Leuten dienlich zu sein. Darum bereitet es mir persönlich Vergnügen, Stücke für besondere Anlässe zu schreiben – Musik für Kinder oder Amateure…»
Der englische Komponist Benjamin Britten (1913–1976) hat seine Aussage immer wieder in die Tat umgesetzt. Am 18. Juni 1958 kam es in der Orford Church in Aldeburgh zur Uraufführung seiner Kirchenoper «Noye’s Fludde», geschrieben im Stil eines mittelalterlichen Mysterienspiels und als pädagogisches Projekt für musikalische Arbeit mit Kindern konzipiert. Mit einfachen Mitteln wird hier die biblische Geschichte der grossen Flut erzählt, wobei agierende Kinder im Mittelpunkt stehen.
Inszenierung | Sabine Appenzeller
Musikalische Leitung | David Christie
Bühne/Ausstattung | Daniel Lienhard
MusikerInnen | SchauspielerInnen
Ulrich Acolas, Antonia Frey, Christian Döhring, Urs Haas, Ramin Kashani, David Aschmann, Renate von Ballmoos, Seán Christie, Severin Hosang, Ivo Mohr, Bettina Rutgers, Silvia Nitschke, Leonie Glave, Jacob Stotz
Kinder und Jugendliche | SängerInnen und InstrumentalistInnen
Solisten und Konzertchor der Jugendmusikschule der Stadt Zürich (Wolfgang Schady)
JMS Winterthur/MS Zollikon (Stefano Lai)
Jugendspiel Langnau/MS Baar (Petra und Ivo Mohr)
Kantonsschule Romanshorn (Matthias Blumer)
In June 2011, three performances of Britten’s “Noye’s Fludde” took place in the Prediger Church in Zurich, under the “inscriptum” banner.
The material here is in German and shows the high degree of professionality of the whole event. To get access to photographs, follow this link.
There was a write up in the Reformed Church newspaper, “reformiert”: here is the link.
“Noël”: Twelve Days of Christmas service in the Reformed Church in Bruggen, SG
Twelve professional singers interpret Christmas music a capella, directed by David Christie.
The service weaves music and text together. Members of the Church, from young to old, read related texts. Carols and Christmas music are interspersed. This post-Christmas gift delightfully brings professionals and amateurs together, in the spirit of Christmas cheer.
Advent service from Great Britain. Twelve professional singers interpret Advent and Christmas music both a capella and with accompaniment. The music is directed by David Christie, assisted by Nicola Cittadin (organ).
The “Nine lessons and carols” service weaves music and text together. Members of the Church, from young to old, read nine bible readings telling the Christmas story. Carols and Christmas music from five centuries in Latin, German, and Old and Modern English, are interspersed. This pre-Christmas gift delightfully combines the Swiss and British cultures, bringing professionals and amateurs together, fully in the spirit of Christmas cheer.
Music and words for Maundy Thursday in the Reformed Church in Hinwil
Modern composers have not neglected Holy Week as a source of inspiration for creating moving music. In “quatre motets pour un temps de pénitence”, Francis Poulenc produced one of his most outstanding sacred works, full of fascinating sounds and effects, seldom heard here in Switzerland.
Francesco Saverio Pedrini, born in Italy in 1973, based his organ fantasia on the Gregorian chant “terra tremuit” (offertorium for Easter Sunday) and thus built a particularly exciting bridge between our time and the middle ages.
Guy Bovet, a Swiss organist and composer born in 1942, is well known around the world for his skilled interpretation on the organ. He wrote the meditative and calm piece “Ricercare” for his own instrument.
The programme is rounded off with two outstanding works from the 16th century. The composer Orlando di Lasso who lived in what is today known as Belgium was a renaissance genius – witty, innovative and far ahead of his time. His six voice motet “timor et tremor” for unaccompanied choir is one of the best-known works from that period, and was also inspiration for Poulenc’s first motet.
The Dutchman Jan Pieterszoon Sweelinck was not only a notable organist of the renaissance and early baroque periods, but was also a prolific composer. One of his well-known organ works was the variation on the German folksong “Mein junges Leben hat ein End”.
The music is linked together by meditative texts on Holy Week and Easter themes read by Rolf Diezi.
Christmas music from Great Britain. Sixteen professional singers interpreted English Christmas music both a capella and with accompaniment. The music was directed by David Christie, assisted by Dora Wenger (organ), Christine Bircher (guitar), and Silvan Hürlimann and Daniel Merki (percussion).
The “Nine lessons and carols” service weaves music and text together. Members of the Church, from young to old, read nine bible readings telling the Christmas story. Carols and Christmas music from five centuries in Latin, Old and Modern English, are interspersed. This pre-Christmas gift delightfully combined the Swiss and British cultures, bringing professionals and amateurs together, fully in the spirit of Christmas cheer.
Collection for charity. In the tradition of Charles Dickens’ well-known Christmas Story, the collection was for the HEKS Project “Development perspectives for temple servants and their children” in the Southern Indian state of Andhra Pradesh. CHF 2612.40 was collected.
NB: Cornelia Wermelinger could not sing in the concert for personal reasons. Her place in the sopranos was taken by Sibylle Fischer. Christiane Jacobi sung alto in place of Sibylle Fischer. The solo in “Balulalow” was sung by Sibylle Fischer as forseen; the soprano solo in „In the bleak mid-winter“ was performed by Janna Scheipers)