Walter Bitner

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In Dulci Jubilo

InDulciJubilo

the opening of In dulci jubilo, Piæ Cantiones, 1582

Part of a series of articles on
Preparing a School Winter Solstice Performance

In dulci jubilo is a famous medieval Christmas carol. It is a macaronic carol (i.e. the text is in a mixture of languages): the original text alternates between German and Latin. The words are attributed to the German mystic (and student of Meister Eckhart) Heinrich Seuse (1295 – 1366), and describes his vision of singing angels dancing with him.

It is one of our oldest, loveliest, and most important carols. The lilting, singsongy, exuberant melody and the relative ease with which they were able to learn it made it popular with my students of all ages – from elementary through high school. Although not a piece I included as an annual repeating feature of Winter Solstice performances, I would program In dulci jubilo every few years, and most of my students sang or played it in a Winter Solstice production at some point.

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The Lute Society of America Summer Seminar West, 1996

masterclass with Paul O'Dette, Lute Society of America Summer Seminar West, Vancouver Early Music Festival 1996

masterclass with Paul O’Dette, Lute Society of America Summer Seminar West, Vancouver Early Music Festival 1996

The Lute Appendix iii

In the summer of 1996, I attended The Lute Society of America‘s Summer Seminar West in Vancouver, BC. The event took place from July 29 – August 2, 1996 at the Vancouver Early Music Festival held at The University of British Columbia.

Earlier this month the LSA held the 2016 summer seminar at Case Western Reserve University in Cleveland, and as my FaceBook feed was briefly inundated with photos and videos that attendees posted on the LSA FaceBook Group, I found myself reminiscing about my experience in Vancouver twenty years ago. It was one of the most memorable weeks of my life.

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Introducing the Nashville Concerto Orchestra

from my instagram feed: Roger Wiesmeyer plays Mozart, 14th annual Mozart's Birthday Concert, January 31, 2016, Edgehill United Methodist Church, Nashville

from my instagram feed: Roger Wiesmeyer plays Mozart, 14th annual Mozart’s Birthday Concert, January 31, 2016, Edgehill United Methodist Church, Nashville

Coming Soon

Roger Wiesmeyer’s multi-faceted role in the Nashville classical music scene has long been a important presence in our community. Born in Nashville, Roger grew up here and attended Hillsboro High School and Blair School of Music before going away to school at Curtis Institute and on to positions in the Pittsburgh, San Francisco and Honolulu symphonies. He returned to Nashville in 2001 to become the Nashville Symphony’s english horn player. In addition to his work as an oboist and english horn player, Roger is an accomplished pianist, and he has presented annual concerts to celebrate Mozart’s birthday every year since 2003.

This month Roger is launching a new project – and gift – to Music City: the Nashville Concerto Orchestra.

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BACHanalia 2016

our friend Sebastian

our friend Sebastian

Next Friday, April 15, from 5 – 11 pm, more than 100 Nashville musicians align efforts to perform the 10th Annual BACHanalia at Christ Church Cathedral, 900 Broadway in downtown Nashville. This unique, beloved event is a continuous, six hour concert of our friend Sebastian’s music presented once a year as a gift to the community. Click here for the church’s official announcement of the event.

In past years I have brought student ensembles to perform in this event, and this year I am fortunate to be performing myself. I was also very lucky, and was leaked a sneak peak at BACHanalia 2016‘s performers and selections, which I am now going to share with you here, dear readers of Off The Podium. Warning: Spoilers Ahead!

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Meet Telemann

Telemannwide

To his 18th century contemporaries, Georg Philipp Telemann was the most famous, influential, and highly-regarded German musician of the day. Four years older than his friends J.S. Bach and Händel – both of whose reputations have now eclipsed his – Telemann was more prolific than either, wrote sacred and secular, vocal and instrumental music in virtually every genre, published on a nearly unprecedented scale, and did more than any other musician of his time to break down barriers that kept music a separate and elite component of civic, court, and church ceremony to elevate the role of music in the life of the middle class.

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Music City Baroque & Vox Grata: Music from the Venetian Ospedali

Music City Baroque & Vox Grata perform music from the Venetian Ospedale, January 24, 2016, Westminster Presbyterian Church, Nashville

Music City Baroque & Vox Grata perform music from the Venetian Ospedali, January 24, 2016, Westminster Presbyterian Church, Nashville ~ photo by George Riordan

Like much of this part of the country, last week Nashville was hit by a record snow storm – the largest snowfall recorded here in the last 28 years. Between 5 and 10 inches fell on Friday and Saturday, depending on what part of town you live in (8 inches was the official recorded snowfall at Nashville International Airport).

When snow falls here the city shuts down. Not only do schools and businesses close, but it’s simply not safe to be on the roads. We have few plows and they only attempt to clear main roads, leaving most neighborhoods treacherous and ice-bound. My family did not leave our house on Friday or Saturday, except on foot to walk the dog or to scout out the state of neighboring streets.

So by Sunday afternoon, when the city had begun to thaw out, I was happy to make my way across town to hear an afternoon concert of old music performed in collaboration by two local ensembles.

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Matthew Halls on J.S. Bach and the Oregon Bach Festival

Part 2 of 3

Continued from An Interview with Matthew Halls (Part 1)

Matt-Halls-31

I asked Matthew Halls what he felt about dramatizations of the Bach Passions – for example, the stagings of the St. Matthew and St. John Passions by Peter Sellars with the Berlin Philharmonic.

Matthew Halls: I have many different feelings on this. The work that Peter Sellars did with the Berlin Philharmonic is wonderful – it’s inspiring, it gives you a new insight. I also saw an incredible realization by Deborah Warner (with the English National Opera), and Katie Mitchell’s done some work in this field as well. There seems to have been a trend in recent years to give dramatic presentations of Bach’s great sacred works.

Fundamentally, I have nothing against this. Any way we can present music from the distant past in a way which is going to make the presentation of the ideas more vivid for someone coming to see the piece for the first time: that gets a big gold star in my book! That a wonderful way of helping and reinterpreting the music of the past.

I think that it comes with the acknowledgement that I’m not quite sure what Bach would have made of it. But at the same time – this is the 21st century and we face different challenges. As long as the integrity of the music survives then I’m really interested and excited by all sorts of approaches to the music.

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An Interview with Matthew Halls

Matthew Halls (photo credit Eric Richmond)

Matthew Halls (photo credit Eric Richmond)

Part 1 of 3

This week Matthew Halls is in Nashville to conduct the Nashville Symphony in four performances of Johann Sebastian Bach’s six Brandenburg Concertos, complete in one concert. The performances will be held October 22-25 and feature Mark Niehaus, trumpet, and Jun Iwasaki, violin. Tickets are available here.

British conductor Matthew Halls is one of the most versatile musicians in classical music today.  In the early years of his career he worked as a keyboard player and early music conductor but he is known today for his dynamic work in music of all periods. Matthew Halls is Artistic Director of the Oregon Bach Festival, and conducts symphony orchestras and opera all over the world.

I was very fortunate to have the opportunity to sit down with Matthew and talk about music and his career for an hour this week before rehearsals began – here follows a transcript from our conversation.

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The Brandenburg Concertos

disputed portrait of our friend Sebastian by Johann Ernst Rentsch the Elder (d. 1723) painted c. 1715, which would make him 30 years old here. Sebastian wrote the Brandenburgs in his early to mid thirties and submitted them to the Margrave in 1721

disputed portrait of Sebastian by Johann Ernst Rentsch the Elder (d. 1723) painted c. 1715, which would make him 30 years old here. Sebastian wrote the Brandenburgs in his early- to mid-thirties and submitted them to the Margrave in 1721

Johann Sebastian Bach’s Brandenburg Concertos are in the front rank of the masterpieces of Western music, and are his most-performed and best-known works. Ironically, these remarkable pieces are not simply the best or most popular works from a large number of similar efforts, as for instance is the case of Vivaldi’s The Four Seasons – they are unique in Sebastian’s oeuvre in almost every way.  The Brandenburgs are not representative of Sebastian’s output except in the masterful manner of their composition and in the virtuosic forces needed to perform them.

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Nashville Early Music Festival 2015: Saturday

Part 2 of 2

This is the conclusion of the story I began in Nashville Early Music Festival 2015: Prelude & Friday

Participants Chorus - Mareike Sattler is not pictured as she was taking the photo

Participants Chorus – Mareike Sattler is not pictured as she was taking the photo

Saturday

On Saturday morning I made it back to Lipscomb before the 9 am voice masterclass in Ward Hall with Margaret Carpenter.  Brooke sang first and worked with Margaret for a half hour, followed by countertenor Patrick Dailey, who sang Thomas Campion’s Never Weather-Beaten Saile: another lute song, which I also accompanied.  Margaret had many helpful suggestions for each singer – mostly focusing on expression – and the hour went by quickly.  I ended up staying in the room for the next session as well – Participants Chorus with Terri Richter and Mareike Sattler – and served as impromptu accompanist as we sight read sections of Vivaldi’s Gloria.

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