Playing Passions As a Non-Christian 受難曲演出小感

受難曲，是根據新約聖經記載，耶穌被使徒猶大背叛釘上十字架的故事，而所寫成的音樂。

每年復活節前，英國各地大大小小教堂和演奏廳都會上演巴赫聖馬太或聖約翰受難曲，場次之多令人嘆為觀止。身為古樂演奏者我恭逢其盛，從來倫敦第一年復活節在 St John Smith Square 欣賞生平第一場聖馬太受難曲現場演出便深受震撼，到接下來兩年皆有幸參與多場聖馬太和聖約翰受難曲演出，每每在台上感動到熱淚盈眶。

對於非基督徒的我，耶穌生平象徵凡人生平可能發生的各種情感衝突：親情、愛情、忌妒、背叛、憤怒、失去所愛的人和死亡。例如聖馬太受難曲最著名的女高音 (和長笛獨奏 :P) 詠嘆調 Aus Liebe will mein Heiland sterben  對我而言便是失去所愛之人的痛苦。女高音在清唱劇中不飾演特定角色反而給予此詠嘆調無限空間，可以身為母親、愛人、朋友抑或教徒，字字句句撼動人心；長笛獨奏和女高音相互呼應，搭配兩支Oboe da Caccia 近似心跳又似沉重腳步的伴奏，可以想像演唱者來回踱步一邊述說的場景，令人心碎 。


Aus Liebe will mein Heiland sterben By OedipusTyrannus 
 



Christian Fliegner, soloist of the Tölzer Knabenchor, sings the soprano aria "Aus Liebe will mein Heiland sterben". Traverso - Bart Kuijen  (巴赫生前演出形式男童演唱女高音)




"Out of love would my savior die for me,
he who knows nothing of sin,
That eternal ruin,
And the retribution of judgement,
May not weigh upon my soul."

Les Nations Réunies on Vienna Radio Ö1

From Vienna, 2011

My first radio experience - Les Nations Réunies on Vienna Radio Ö1!

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 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

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

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

RCM Baroque Dance Workshop 2009

From Concerts in London, 2009

Musiciens du Louvre - Castor et Pollux by J. Rameau

Julian Bream guitar and lute recital 1968 live audio recording

Julian Bream with Lute

Why is there a guitar beside him.....?

Capriccio Stravagante - Récréation de musique, opus 8 by Jean-Marie Leclair

Violin Concerto in D major RV 564 by A. Vivaldi - Europa Galante in

Le Quarto Stagioni by A. Vivaldi - Europa Galante

Concerto per mandolini RV558 Allegro Molto by A. Vivaldi

Benjamin Britten: War Requiem, op.66 -- Concert Review by Bob Briggs

From Life in London, 2009

Benjamin Britten: War Requiem, op.66 (1961/1962): Monica Bancos (soprano), John McMunn (tenor), James Oldfield ( baritone), RCM Chorus (chorus master: Terry Edwards), RCM Junior Department Children’s Chorus, RCM Symphony Orchestra, Martin André, Andrew Gourlay (chamber orchestra conductor), Amy Bebbington (children’s chorus conductor), Amaryllis Fleming Concert Hall, Royal College of Music, London, 5’3’2009 (BBr)

To inaugurate the new concert hall, after a multi million pound refurbishment, the Royal College chose one of the largest works, and one which would involve most of the student body, of one of its most famous alumni.

Before the show, John Forsbrook, Press and Marketing Manager of the RCM, told me that everyone had their fingers crossed for tonight was the first time they’d had an audience in to hear a big show and, as we all know, it’s the sound the music makes in the presence of an audience which is the proof of a new hall. Nobody need have worried, for this new hall, beautiful in its simplicity, white plaster walls, complete with cherubs, a very large stage, high ceiling, with space for an audience of some 500, fully met all the requirements, and even the biggest climaxes – and the War Requiem has a few, especially in the Sanctus and the Libera Me – were heard to full advantage with clear and well focused sound. But even in the tenderest moments, such as the glorious conclusion which brings all the performers together for the only time in the work, the sound was bright and precise. The hall is a triumph and the RCM can be very proud of it, it was money well spent and it will host many superb concerts in the years to come and I, for one, will always be looking forward to my future visits there.

But this isn’t Architectural Digest, this is Seen and Heard so what about the music?

The War Requiem is Britten’s biggest non–operatic work and at its première, in Coventry Cathedral in 1962, it was hailed as a towering masterpiece, but time hasn’t been too kind to it. Although there are many fine moments, there are some cringingly embarrassing sections – the duet for the men setting Owen’s The Next War is a poor relation of the Kanonen Song from Die Dreigroschenoper, the Balinese bell sounds at the start of the Sanctus seem precious rather than incantatory, and the rather obvious word painting, such as the music accompanying the line:
The shrill, demented choirs of wailing shells

– but as a whole the work still packs a big emotional punch and tonight’s performance left a capacity audience open mouthed and, literally, dumb struck at the power of the utterance.

In overall control was Martin André, who conducted the huge orchestra and full chorus, joined by the full throated soprano Monica Bancos, in a performance where he let the music speak for itself and its emotion was felt without any extra help from the musicians. Theirs was a superb contribution, and although this is a choral work there is plenty for the band to do. The brass in the Dies Irae was awe inspiring when sounding the final trump, and there were valuable contributions from the winds and lots of, perfectly placed, percussion. If the strings don’t do what they usually do – that is play and sing big melodies – it’s simply because this isn’t that kind of piece.

The chamber orchestra, seated at right angles to, and in front of, the main body, was conducted by student conductor Andrew Gourlay who, together with his male soloists, had the difficult task of bringing Wilfred Owen’s poems to vivid life, and they did it magnificently. This really is a man’s work, that is it is the two male soloists who really carry the argument of the music. Tonight we heard two fabulous young singers – tenor John McMunn and baritone James Oldfield – who breathed new life into this difficult and sometimes harrowing music. McMunn, in particular, displayed a glorious sense of feeling and understanding of his music, never overstating what he sang and employing a wide range of tone colour. Oldfield was no less impressive, he has more argumentative music, and he stamped his own personality on every note he sang. When they came together at the end in the passionate lullaby Let us sleep now, it was almost too much to bear as we realised the full horror of their situation:
I am the enemy you killed, my friend,

I knew you in this dark, for so you frowned

Yesterday through me as you jabbed and killed,

I parried; but my hands were loath and cold.

Special mention be made of the children’s choir, seated in the gallery, whose small, but valuable contribution, was most telling, and the full choir, trained by Terry Edwards, surely this country’s best choral director, was excellent.
A flawed masterpiece, to be sure, but with a performance as assured as this we can only appreciate Britten’s brave attempt at showing us the full horrors of war and the effect it has on mankind. Also, listening to these young musicians I know that the future of the performance of classical music is in very safe hands. Well done, RCM, this was a triumph and long may we be privileged to hear more of this calibre of music making from the same source.

Bob Briggs

Rush Hour Recital in St Stephen's Church

Flute & Guitar Duo Recital

Date: 27 April 2009
Time: 18:30 - 21:30
Location:
St Stephen's Church
Gloucester Road
London SW7 4AL
United Kingdom

Programme:
Jakob Friedrich (1722 – 1794): Sonata in b minor for flute and basso continuo

Mauro Giuliani (1781-1829): Grande Serenade for guitar and flute, Op. 82

Johann Sebastian Bach (1685-1750): Fugue from Violin Sonata No. 1, BWV 1001

Camille Saint-Saëns (1835-1921): Odelette for flute and orchestral accompaniment, Op.162

Astor Piazzolla (1921-1992): Histoire du Tango pour flute et guitar