[UK] Lost Vivaldi concerto found in the National Archives of Scotland

(UK) Lost Vivaldi concerto found in the National Archives of Scotland:
"The discovery of a previously unknown score of a flute concerto by Antonio Vivaldi (1678-1741) in the National Archives of Scotland has been announced. Andrew Woolley, Research Fellow at the University of Southampton, has identified the score of 'Il Gran Mogol' as a lost part of series of four ‘national’ concertos by Vivaldi. The manuscript score (GD40/15/54/2) is in the hand of a copyist, and is among the family papers of the Marquesses of Lothian, an important collection that was purchased by the National Archives of Scotland in 1991."

Aria "Aus Liebe" from Bach St Matthew Passion

49. Arie S (Chor I)
Aus Liebe will mein Heiland sterben,
Von einer Sünde weiß er nichts,
Daß das ewigen Verderben
und die Strafe des Gerichts
Nicht auf meiner Seele bliebe.  

49. Aria S (Chorus I)
Out of love my Savior wants to die,
He knows nothing of a single sin,
so that the eternal destruction
and the punishment of judgment
would not remain upon my soul.

Bach Cantata BWV 94 "Was frag ich nach der Welt"

BWV 94 - "Was frag ich nach der Welt"

Cantata for the Ninth Sunday after Trinity
1. Chor Was frag ich nach der Welt Und allen ihren Schätzen Wenn ich mich nur an dir, Mein Jesu, kann ergötzen! Dich hab ich einzig mir Zur Wollust fürgestellt, Du, du bist meine Ruh: Was frag ich nach der Welt! ("Was frag ich nach der Welt," verse 1)	1. Chorale What should I ask of the world and all its treasures when only in You, My Jesus, can I find delight! You alone have I placed before me for pleasure: You, You are my rest; what should I ask of the world!
2. Arie B Die Welt ist wie ein Rauch und Schatten Der bald verschwindet und vergeht, Weil sie nur kurze Zeit besteht. Wenn aber alles fällt und bricht, Bleibt Jesus meine Zuversicht, An dem sich meine Seele hält. Darum: was frag ich nach der Welt!	2. Aria B The world is like smoke and shadows that quickly dissipate and disappear, since they last only a short time. However, when everything falls and breaks, Jesus remains my security, on which my soul relies. Therefore: what should I ask of the world!
3. Choral und Rezitativ T   Die Welt sucht Ehr und Ruhm   Bei hocherhabnen Leuten. Ein Stolzer baut die prächtigsten Paläste, Er sucht das höchste Ehrenamt, Er kleidet sich aufs beste In Purpur, Gold, in Silber, Seid und Samt. Sein Name soll für allen In jedem Teil der Welt erschallen. Sein Hochmuts-Turm Soll durch die Luft bis an die Wolken dringen, Er trachtet nur nach hohen Dingen   Und denkt nicht einmal dran,   Wie bald doch diese gleiten. Oft bläset eine schale Luft Den stolzen Leib auf einmal in die Gruft, Und da verschwindet alle Pracht, Wormit der arme Erdenwurm Hier in der Welt so grossen Staat gemacht. Ach! solcher eitler Tand Wird weit von mir aus meiner Brust verbannt.   Dies aber, was mein Herz   Vor anderm rühmlich hält, Was Christen wahren Ruhm und rechte Ehre gibet, Und was mein Geist, Der sich der Eitelkeit entreißt, Anstatt der Pracht und Hoffart liebet,   Ist Jesus nur allein,   Und dieser solls auch ewig sein. Gesetzt, daß mich die Welt Darum vor töricht hält: Was frag ich nach der Welt! ("Was frag ich nach der Welt," verse 3)	3. Chorus and Recitative T   The world seeks honor and glory   among highly exalted people. A proud man builds the most opulent palaces, he seeks the highest post of honor, he dresses himself with the best in purple, gold, in silver, silk and velvet. His name shall resound before everyone in every part of the world. His tower of arrogance shall press upward through the air to the clouds, he is occupied only with the highest matters   and never thinks once   how quickly all these pass away. Often a hollow wind blows the proud body at once into the grave, and there all glories disappear, with which the poor earthworm had made so great a position in the world. Alas! Such vain toys shall be banished from my breast.   This however, that my heart   considers glorious above all else, which Christians rightfully honor and truly praise, and what my spirit, torn away from vanity, loves instead of glory and fame,   is Jesus alone,   and this shall be forever. Granted, that the world considers me a fool because of it: what should I ask of the world!
4. Arie A Betörte Welt, betörte Welt! Auch dein Reichtun, Gut und Geld Ist Betrug und falscher Schein. Du magst den eitlen Mammon zählen, Ich will davor mir Jesum wählen; Jesus, Jesus soll allein Meiner Seele Reichtum sein. Betörte Welt, betörte Welt!	4. Aria A Deluded world, deluded world! Even your riches, goods and money are trickery and counterfeit. You may count your vain Mammon, I will value my Jesus foremost; Jesus, Jesus shall alone be the riches of my soul. Deluded world, deluded world!
5. Choral und Rezitativ B   Die Welt bekümmert sich. Was muß doch wohl der Kummer sein? O Torheit! dieses macht ihr Pein:   Im Fall sie wird verachtet. Welt, schäme dich! Gott hat dich ja so sehr geliebet, Dass er sein eingebornes Kind Vor deine Sünd Zur größten Schmach um dein Ehre gibet, Und du willst nicht um Jesu willen leiden? Die Traurigkeit der Welt ist niemals größer,   Als wenn man ihr mit List   Nach ihren Ehren trachtet. Es ist ja besser,   Ich trage Christi Schmach,   Solang es ihm gefällt. Es ist ja nur ein Leiden dieser Zeit, Ich weiß gewiß, daß mich die Ewigkeit Dafür mit Preis und Ehren krönet; Ob mich die Welt Verspottet und verhöhnet, Ob sie mich gleich verächtlich hält,   Wenn mich mein Jesus ehrt:   Was frag ich nach der Welt! ("Was frag ich nach der Welt," verse 5)	5. Chorale and Recitative B   The world is troubled. What might its trouble be? O foolishness! This causes it pain:   In its downfall it will be scorned. World, shame on you! God has loved you indeed so much, that He gave His only-begotten Son for Your sin to the greatest disgrace for your honor's sake, and you will not suffer for Jesus' sake? The unhappiness of the world is never greater,   Then when with deceit   its honors are threatened. It is truly better,   I bear Christ's shame,   as long as it pleases Him. After all, it is only a suffering in the present time, I know with certainty, that in eternity I will be crowned with praise and honor for it; whether the world mocks and disgraces me, whether it considers me despised,   If my Jesus honors me:   what should I ask of the world!
6. Arie T Die Welt kann ihre Lust und Freud, Das Blendwerk schnöder Eitelkeit, Nicht hoch genug erhöhen.   Sie wühlt, nur gelben Kot zu finden,   Gleich einem Maulwurf in den Gründen   Und läßt dafür den Himmel stehen.	6. Aria T The world cannot exalt its pleasures and joys, the illusion of contemptible vanities, high enough.   It burrows, finding only yellow dung,   just like a mole in the ground   and for this puts heaven aside.
7. Arie S Es halt es mit der blinden Welt, Wer nichts auf seine Seele hält, Mir ekelt vor der Erden.   Ich will nur meinen Jesum lieben   Und mich in Buß und Glauben üben,   So kann ich reich und selig werden.	7. Aria S He can cling to the blind world who cares nothing for his soul; I am sick of the earth.   I only want to love my Jesus   and act in repentance and faith,   then I can be rich and happy.
8. Choral Was frag ich nach der Welt! Im Hui muß sie verchwinden, Ihr Ansehn kann durchaus Den blassen Tod nicht binden. Die Güter müssen fort, Und alle Lust verfällt; Bleibt Jesus nur bei mir: Was frag ich nach der Welt! Was frag ich nach der Welt! Mein Jesus ist mein Leben, Mein Schatz, mein Eigentum, Dem ich mich ganz ergeben, Mein ganzes Himmelreich, Und was mir sonst gefällt. Drum sag ich noch einmal: Was frag ich nach der Welt! ("Was frag ich nach der Welt," verses 7 and 8)	8. Chorale What should I ask of the world! It must vanish in a whoosh, its reputation can't restrain pale death in the least. The good must depart, and all pleasure decays; if Jesus only stays with me: what should I ask of the world! What should I ask of the world! My Jesus is my life, my treasure, my sanctuary, to who I have given myself utterly, my entire heavenly kingdom, and what I would rather delight in. Therefore I say yet again: what should I ask of the world!

Dartington International Summer School 2010

From Dartington, UK 2010

The Great Hall



Medieval Concert



Harpsichord & Chamber Organ



Baroque Orchestra Rehearsal



Clavichord Concert



Baroque Orchestra & Dance Rehearsal in The Great Hall



Open Air Choir Concert



Open Air Choir Concert

RCM Early Music Competition Winner!

From Life in London, 2010

RCM International Festival of Viols 2010

RCM International Festival of Viols

With Jordi Saval and Christophe Coin
Tuesday 23 and Wednesday 24 November

The Historical Performance department at the Royal College of Music is delighted to announce details for the 4th International Festival of Viols. This year's two-day festival features the wonderful Kessler English viols from the 17th century, as well as masterclasses and recitals by Jordi Savall and Christophe Coin.

Supported by Linda Hill
Programme of Events

TUESDAY 23 NOVEMBER

Viol Masterclass with Jordi Savall
10.00am I Amaryllis Fleming Concert Hall
Tickets: Free but tickets required
Bach and the Viol & La Voix Humaine: the unaccompanied bass viol
2.00pm I Inner Parry Room
Lectures by Richard Boothby and Dr Lucy Robinson
Tickets: Free but tickets required
La Voix Humaine: the unaccompanied bass viol
6.00pm I Amaryllis Fleming Concert Hall
Jordi Savall bass viol
A special solo recital.
Tickets: £5, £8

WEDNESDAY 24 NOVEMBER

Viol Masterclass with Christophe Coin
10.00am I Amaryllis Fleming Concert Hall
Tickets: Free but tickets required
Lectures and classes
2.00pm I Durrington Room
Tickets: Free but tickets required
Recital by Christophe Coin
6.00pm I Amaryllis Fleming Concert Hall
Tickets: £5, £8

24 Violons du Roi - Versaille at RCM, 2010

From Concerts in UK, 2010

Orchestra part.



Sir Roger Norrington



Orchestra Rehearsal at RCM Concert Hall

Orchestra Rehearsal at RCM Concert Hall

Monteclair Cantata Rehearsal

Monteclair Cantata Rehearsal

Baroque Dance Workshop with Lady Kay Norrington

Baroque Dance Workshop with Lady Kay Norrington

Baroque Dance Workshop with Lady Kay Norrington

Royal College of Music NOMINATED PRIZES JULY 2010

Royal College of Music
NOMINATED PRIZES
JULY 2010


The following students have been awarded Prizes for the academic year 2009/2010:


Harold Darke Prize for Organ
Hannah Parry-Ridout

Walford Davies Prize for Organ
Jonathan Bunney

Beatrice Leigh Prize for BMus3 Piano Recital
Tomoka Shigeno

Sarah Mundlak Memorial Prize for Piano
Joao Pereira Bettencourt da Pereira

McCulloch Prize for Opera
Jimmy Holliday

Eric Joseph Shilling Prize for Opera
Lorna Bridge

Stephen Trier Award for Bass Clarinet lessons
Kymia Kermani

Herbert Samuel Memorial Prize for Horn
Katie Woolley

Herbert Samuel Memorial Prize for Trumpet
Shane Brennan

Herbert Samuel Memorial Prize for Trombone
Rupert Whitehead

Herbert Samuel Memorial Prize for B.Trombone
Ross Brennan

Herbert Samuel Memorial Prize for Tuba
Christopher Barrett

McKenna Prize for Baroque Music
Yu-Wei Hu

Sabian Prize for Percussion
Serge Vuille

Joseph Horovitz Prize for Composition for Screen
Martin Batchelar

Cobbett & Hurlstone Prize for Composition
David Rafferty

Adrian Cruft Prize for Composition
Shiva Feshareki

Earl of Dalhousie Award
Eleanor Dennis

Knights of the Round Table Award
Michael Foyle


Professor Colin Lawson
Director

1 July 2010

JS Bach Cantata BWV 9 Es ist das Heil uns kommen her

BWV 9 Es ist das Heil uns kommen her
Sixth Sunday after Trinity.

Poet unknown.

1. Paul Speratus, verse 1 of the hymn, 1524 (Wackernagel, III, #55); 2. based freely on verses 2, 3, and the beginning of 4; 4. based freely on verses 5-7; 5. based freely on verse 8; 6. based freely on verses 9 and 11; 7. verse 12 of the hymn.

1732-1735, Leipzig.

BG 1; NBA I/17.


1. Chorus [Verse 1] (S, A, T, B)

Now is to us salvation come
By grace and purest favor.
Our works, they help us not at all,
They offer no protection.
But faith shall Jesus Christ behold,
Who hath enough done for us all
He is our intercessor.(1)

2. Recit. (B)

God gave to us a law, but we were far too weak
That we could ever hope to keep it.
We followed but the call of sin,
No man could be called godly;
The soul remained to flesh adherent
And ventured not to stand against it.
We were within the law to walk
And there as if within a mirror see
How yet our nature was undisciplined;
And just the same we clung to it.
Of his own strength none had the power
His sinful rudeness to abandon,
E'en though he all his strength might strive to gather.

3. Aria (T)

We were ere then too deeply fallen,
The chasm sucked us fully down,

The deep then threatened us with death,
And even still in such distress
There was no hand to lend us help.
4. Recit. (B)

But somehow was the law to have fulfillment;
And for this came to earth salvation,
The Highest's Son hath it himself fulfilled
And his own Father's wrath made still.
Through his own guiltless dying
He let us win salvation.
Who now in him doth trust
And on his passion build,
He walketh not in peril.
And heaven is for him appointed
Who with true faith himself shall bring
And firmly Jesus' arms embrace.

5. Aria (S, A)

Lord, thou look'st past our good labors
To the heart's believing power,
Nought but faith dost thou accept.

Nought but faith shall justify,
Ev'ry labor seems too slight
E'er to bring us any help.
6. Recit. (B)

When we our sin within the law acknowledge,
Our conscience is most sorely stricken;
Yet can we reckon to our comfort
That we within the Gospel's word
Shall soon again
Be glad and joyful:
This gives to our belief new power.
We therefore wait the day
Which God's own graciousness
To us hath firmly pledged,
E'en though, in truth, with purpose wise,
The hour is not told us.
But still we wait with full assurance,
He knoweth when our time is come
And worketh no deceit
On us; we may depend upon him,
And him alone be trustin.

7. Choral [Verse 12] (S, A, T, B)

Though it should seem he were opposed,
Be thou by this not frightened;
For where he is at best with thee,
His wont is not to show it.
His word take thou more certain still,
And though thy heart say only "No,"
Yet let thyself not shudder.

Solomon by Handel in St Albans Cathedral

From Concerts in UK, 2010

RCM Historical Performance Concert in Cobbie Collection, Hatchlands Park

From Concerts in UK, 2010

RCM Historical Performance Concert in Cobbie Collection, Hatchlands Park

Pergolesi Concerto in G major for flute and two violin
Vivaldi Cantata All’ombra di sospetto
A.Scarlatti Sonata IX in A minor
Pergolesi Salve Regina





Read more:
Cobbe Collection of Keyboard

Bach Cantata BWV 34 English Translation

1. Chorus SATB: 3 tpts, timps, 2 obs, bsn, strings, cont
2. Recit Tenor: cont – Tyler Clarke
3. Aria, A: 2 flutes, strings, cont – Audrey Kessedjian
4. Recit B: cont – Jimmy Holliday
5. Chorus SATB: 3 tpts, timps, 2 obs, bsn, strings, cont

1. Chorus (S, A, T, B)
O fire everlasting, O fountain of loving,
Enkindle our hearts now and consecrate them.
Let heavenly flames now envelop and flood them,
We wish now, O Highest, thy temple to be,
Ah, let thee our spirits in faith ever please thee.

2. Recit. (T)
Lord: Truth and Right thy Word imparts,
Upholding all our hearts.
To mortals now Thy favour show,
And by Thy Grace divine,
Make Thou our hearts Thy shrine.
A sanctuary honoured so,
With glory bright must glow.

3. Aria (A)
Rejoice, all ye, the chosen spirits,
Whom God his dwelling did elect.
Who can a greater bliss be wanting?
Who can his blessings; number reckon?
And this is by the Lord fulfilled.

4. Recit. (B)
Our God has chosen as His dwelling
The hearts of all mankind;
SO must He ever bless with joy excelling,
The sacred Place where He is thus enshrined.
And o’er the Portal of that Hallowed House,
This Blessed Motto stands:

5. Chorus (S, A, T, B)
Peace be over Israel.
Thank the lofty hands of wonder,
Thank, God hath you in his heart.
Yea, his blessing works with might,
Peace be over Israel,
Peace upon you all he sendeth.


German Original:
1. (Coro)
O ewiges Feuer, o Ursprung der Liebe,
Entzünde die Herzen und weihe sie ein.
Laß himmlische Flammen durchdringen und wallen,
Wir wünschen, o Höchster, dein Tempel zu sein,
Ach, lass dir die Seelen im Glauben gefallen.

2. Recitativo (tenor)
Herr, unsre Herzen halten dir
Dein Wort der Wahrheit für:
Du willst bei Menschen gerne sein,
Drum sei das Herze dein;
Herr, ziehe gnädig ein.
Ein solch erwähltes Heiligtum
Hat selbst den größten Ruhm.

3. Aria (altus)
Wohl euch, ihr auserwählten Seelen,
Die Gott zur Wohnung ausersehn.
Wer kann ein größer Heil erwählen?
Wer kann des Segens Menge zählen?
Und dieses ist vom Herrn geschehn.

4. Recitativo (bass)
Erwählt sich Gott die heilgen Hütten,
Die er mit Heil bewohnt,
So muss er auch den Segen auf sie schütten,
So wird der Sitz des Heiligtums belohnt.
Der Herr ruft über sein geweihtes Haus
Das Wort des Segens aus:

5. Coro
Friede über Israel.
Dankt den höchsten Wunderhänden,
Dankt, Gott hat an euch gedacht.
Ja, sein Segen wirkt mit Macht,
Friede über Israel,
Friede über euch zu senden.

Bach Cantata BWV 39 English Translation

Cantata BWV 39
1. Chorus SATB: 2 recs, 2 obs, strings cont -
2. Recit Bass: cont – Jimmy Holliday
3. Aria A: ob 1, vln solo, cont – Philip Jones
4. Recit B: cont – Ed Grint
5. Aria S: recs, cont – Robyn Parton
6. Recit A: strings, cont – Emily Kenway
7. Choral: SATB + instruments

First Part
1. Chorus [Dictum] (S, A, T, B)
Break with hungry men thy bread and those who in want are found take in thy house! If thou dost a man see naked, then cover him and withdraw thyself not from thy flesh.
And then shall thy light through all break forth like the rosy morning, and thy recovery shall wax quickly, and thine own righteousness shall go forth before thee, and the majesty of the Lord God shall receive thee.

2. Recit. (B)
The bounteous God casts his abundant store
On us, those who without him were not even breathing.
His is all that we are; he gives us but the use,
But not that us alone should these his treasures comfort.
They as a touchstone serve by which he hath revealed
That he to poor men also need hath freely given,
And hath with open hand, whate'er the poor require, to us so richly proffered.
We are required for all the wealth he lends
No interest into his barns to carry;
But mercy which is to one's neighbour shown
Can more than any gift be to his heart compelling.

3. Aria (A)
Life is but a paltry measure
But a foretaste of the treasure,
We with Him will one day share;
Who His love is here expressing,
Sow the seeds of future blessing
Which we harvest with Him There.

Second Part

4. Aria [Dictum] (B)
To do good and share your blessings forget ye not; for these are off'rings well-pleasing to God.

5. Aria (S)
Master, all my living
Follows from Thy giving.
Let my little all suffice
If I restore Three,
When I come before Thee,
Let this be my sacrifice

6. Recit. (A)
I’ve naught here of my own
To give Thee but my soul,
The opportunity
TO serve my neighbours’ needs,
His poverty to relieve, his sorrow to console,
And when it pleases Thee,
A grave to lay me in.
I bring Thee what I can;
Lord, let it be Thy pleasure
That I may then obtain
My promised heav’nly treasure
7. Chorale (S, A, T, B)
Blessed those who through compassion
Bear the weight of others' woe,
Who with pity for the wretched
Pray steadfast for them to God.
They who helpful are in word,
And if possible in deed,
Shall in turn receive thy succour
And themselves obtain compassion.



German Original:
Erster Teil (first part)
1. (Coro)
Brich dem Hungrigen dein Brot
und die, so in Elend sind,
führe ins Haus!
So du einen nackend siehest,
so kleide ihn
und entzeuch dich nicht
von deinem Fleisch.
Alsdenn wird dein Licht herfürbrechen
wie die Morgenröte,
und deine Besserung
wird schnell wachsen,
und deine Gerechtigkeit
wird für dir hergehen,
und die Herrlichkeit des Herrn
wird dich zu sich nehmen.

2. Recitativo (bass)
Der reiche Gott wirft seinen Überfluss
Auf uns, die wir ohn ihn auch nicht den Odem haben.
Sein ist es, was wir sind; er gibt nur den Genuss,
Doch nicht, dass uns allein
Nur seine Schätze laben.
Sie sind der Probestein,
Wodurch er macht bekannt,
Dass er der Armut auch die Notdurft ausgespendet,
Als er mit milder Hand,
Was jener nötig ist, uns reichlich zugewendet.
Wir sollen ihm für sein gelehntes Gut
Die Zinsen nicht in seine Scheuren bringen;
Barmherzigkeit, die auf dem Nächsten ruht,
Kann mehr als alle Gab ihm an das Herze dringen.

3. Aria (altus)
Seinem Schöpfer noch auf Erden
Nur im Schatten ähnlich werden,
Ist im Vorschmack selig sein.
Sein Erbarmen nachzuahmen,
Streuet hier des Segens Samen,
Den wir dorten bringen ein.

Zweiter Teil (second part)
4. (Aria) (bass)
Wohlzutun und mitzuteilen vergesset nicht;
denn solche Opfer gefallen Gott wohl.


5. Aria (soprano)
Höchster, was ich habe,
Ist nur deine Gabe.
Wenn vor deinem Angesicht
Ich schon mit dem meinen
Dankbar wollt erscheinen,
Willt du doch kein Opfer nicht.

6. Recitativo (altus)
Wie soll ich dir, o Herr, denn sattsamlich vergelten,
Was du an Leib und Seel mir hast zugutgetan?
Ja, was ich noch empfang, und solches gar nicht selten,
Weil ich mich jede Stund noch deiner rühmen kann?
Ich hab nichts als den Geist, dir eigen zu ergeben,
Dem Nächsten die Begierd, dass ich ihm dienstbar werd,
Der Armut, was du mir gegönnt in diesem Leben,
Und, wenn es dir gefällt, den schwachen Leib der Erd.
Ich bringe, was ich kann, Herr, lass es dir behagen,
Dass ich, was du versprichst, auch einst davon mög tragen.

7. Chorale
Selig sind, die aus Erbarmen
Sich annehmen fremder Not,
Sind mitleidig mit den Armen,
Bitten treulich für sie Gott.
Die behülflich sind mit Rat,
Auch, womöglich, mit der Tat,
Werden wieder Hülf empfangen
Und Barmherzigkeit erlangen.

Lunchtime Concert in St Martin in the Fields, London

From Concerts in UK, 2010

St John Passion by JS Bach in St Mary's Church, Bury St Edmunds

From Concerts in UK, 2010

Stylus & Phantasticus Concert, 2010

Photos with Baroque flute

2010 雙燕音樂學術出國獎勵學金

Baroque Dance Folies d'Espagne plus Sarabande variations - Le Belle Danse