Wednesday, October 1
Mid-Peninsula Recorder Orchestra
Regular meeting, for players of recorder, early winds or early strings. Bring your instrument(s) and music stand.
7:30–9:30 PM
Music Room number 060, J.L. Stanford Middle School
480 E. Meadow, Palo Alto.
650-591-3648 or mpro-online.org
Friday, October 3
East Bay Chapter, ARS
Monthly playing session, Hanneke van Proosdij, conductor. New members and guests welcome.
7:30–10 PM
Zion Lutheran Church
5201 Park Blvd., Oakland.
www.symbolicsolutions.com/ebrs/
Magnificat, Warren Stewart Director
Heinrich Schütz, Opus Ultimum aka Der Schwanengesang. Composed during the last years of the composer’s life, Schütz’s Opus Ultimum, or Der Schwanengesang is a setting of three separate texts: the first eleven motets set Psalm 119, a setting of Psalm 100 and the Magnificat Canticle. Der Schwanengesang is set for double choir with continuo, and in his dedicatory comments to the Elector of Saxony, Schütz notes that the work could be performed “by eight good voices with two little organs in the two fine choir lofts that were constructed opposite each other on either side of the altar in your Highness’ Court Chapel.” However, Schütz apparently also asked his colleague at the Dresden Chapel, Constantin Christian Dedekind, to “add instruments.” For these performances Artistic Director Warren Stewart has drawn on his extensive experience with 17th-century music to provide an ‘orchestration’ of Schütz’s masterpiece. With sopranos Clara Rottsolk and Jennifer Paulino, countertenors Andrew Rader and Tim Galloway, tenors David Kurtenbach and Daniel Hutchings, basses Hugh Davies and Peter Becker, The Sex Chordæ Consort of Viols, and the early wind ensemble The Whole Noyse.
8 PM
St. Mark’s Episcopal Church
600 Colorado Avenue, Palo Alto
$35/$32/$12
800-595-4849 or www.magnificatbaroque.tix.com.
Information at Magnificat’s blog and website.
South Bay Recorder Society
Monthly meeting, guest conductor Claudia Gantivar. New members and guests welcome.
7:30–10 PM
First Congregational Church of San Jose
1980 Hamilton Ave (at Leigh), San Jose
408-358-0878 or [email protected]
Saturday, October 4
Janine Johnson, harpsichord
“A Little Bit of Madness” A program of demanding music for both performer and instrument, to celebrate the arrival of fall, with evocations of thunderstorms, drunkenness, Jupiter, Medea, uncertainty, knife sharpening, and vertigo (a few of the program’s madder manifestations). Featured works are the Suite in g/G (book I, 1734) of Michel Corrette; Pieces in c minor (1747) by Antoine Forqueray as transcribed for harpsichord by his son Jean-Baptiste-Antoine Forqueray or possibly by his harpsichordist wife; Pieces in f/F (book III, 1758) by Jacques Duphly; Les Niais de Sologne (simpletons of Sologne, 1724) byJean-Philippe Rameau; and Suite in g/G (book I, 1746) by Joseph-Nicolas-Pancrace Royer.
10:30 AM
House concert, RSVP for address
$15 suggested donation
Reservations: [email protected]
Magnificat, Warren Stewart Director
Heinrich Schütz, Opus Ultimum aka Der Schwanengesang. Composed during the last years of the composer’s life, Schütz’s Opus Ultimum, or Der Schwanengesang is a setting of three separate texts: the first eleven motets set Psalm 119, a setting of Psalm 100 and the Magnificat Canticle. Der Schwanengesang is set for double choir with continuo, and in his dedicatory comments to the Elector of Saxony, Schütz notes that the work could be performed “by eight good voices with two little organs in the two fine choir lofts that were constructed opposite each other on either side of the altar in your Highness’ Court Chapel.” However, Schütz apparently also asked his colleague at the Dresden Chapel, Constantin Christian Dedekind, to “add instruments.” For these performances Artistic Director Warren Stewart has drawn on his extensive experience with 17th-century music to provide an ‘orchestration’ of Schütz’s masterpiece. With sopranos Clara Rottsolk and Jennifer Paulino, countertenors Andrew Rader and Tim Galloway, tenors David Kurtenbach and Daniel Hutchings, basses Hugh Davies and Peter Becker, The Sex Chordæ Consort of Viols, and the early wind ensemble The Whole Noyse.
8 PM
St. Mark’s Episcopal Church
2300 Bancroft Way, Berkeley
$35/$32/$12
800-595-4849 or www.magnificatbaroque.tix.com.
Information at Magnificat’s blog and website.
Sunday, October 5
Janine Johnson, harpsichord
“A Little Bit of Madness” A program of demanding music for both performer and instrument, to celebrate the arrival of fall, with evocations of thunderstorms, drunkenness, Jupiter, Medea, uncertainty, knife sharpening, and vertigo (a few of the program’s madder manifestations). Featured works are the Suite in g/G (book I, 1734) of Michel Corrette; Pieces in c minor (1747) by Antoine Forqueray as transcribed for harpsichord by his son Jean-Baptiste-Antoine Forqueray or possibly by his harpsichordist wife; Pieces in f/F (book III, 1758) by Jacques Duphly; Les Niais de Sologne (simpletons of Sologne, 1724) byJean-Philippe Rameau; and Suite in g/G (book I, 1746) by Joseph-Nicolas-Pancrace Royer.
2:30 PM
House concert, RSVP for address
$15 suggested donation
Reservations: [email protected]
Magnificat, Warren Stewart Director
Heinrich Schütz, Opus Ultimum aka Der Schwanengesang. Composed during the last years of the composer’s life, Schütz’s Opus Ultimum, or Der Schwanengesang is a setting of three separate texts: the first eleven motets set Psalm 119, a setting of Psalm 100 and the Magnificat Canticle. Der Schwanengesang is set for double choir with continuo, and in his dedicatory comments to the Elector of Saxony, Schütz notes that the work could be performed “by eight good voices with two little organs in the two fine choir lofts that were constructed opposite each other on either side of the altar in your Highness’ Court Chapel.” However, Schütz apparently also asked his colleague at the Dresden Chapel, Constantin Christian Dedekind, to “add instruments.” For these performances Artistic Director Warren Stewart has drawn on his extensive experience with 17th-century music to provide an ‘orchestration’ of Schütz’s masterpiece. With sopranos Clara Rottsolk and Jennifer Paulino, countertenors Andrew Rader and Tim Galloway, tenors David Kurtenbach and Daniel Hutchings, basses Hugh Davies and Peter Becker, The Sex Chordæ Consort of Viols, and the early wind ensemble The Whole Noyse.
4 PM
St. Mark’s Lutheran Church
1111 O’Farrell Street, San Francisco
$35/$32/$12
800-595-4849 or www.magnificatbaroque.tix.com.
Information at Magnificat’s blog and website.
