Benefit Concert For The Historical Performance Area
Faculty of Music, University of Toronto
Friday, October 24th
7:30 pm in Trinity College Chapel.....don't miss it
Händel Love Duets Presented by the Faculty of Music of the University of Toronto,
Friday, October 24th at 7:30 pm
Trinity College Chapel
University of Toronto
6 Hoskin Avenue
Suzie Leblanc, Soprano
Daniel Taylor, Countertenor and Director
Adrian Butterfield, Violin solo
John Leberg, Narrator
Accompanied by the musicians of the Theatre of Early Music,
the Faculty of Music's
led by the brilliant UK violinist Adrian Butterfield.
Early Italian works from Monteverdi and Cavalli compliment Händel’s famous works.
University of Toronto, Faculty of Music Events - Brochure & Calendar
Regular Tickets : $40, $25 senior, $10 student
Royal Conservatory of Music
or call 416-408-0208
(serviced by the Weston Family Box Office at the TELUS Centre)
This event's donations will be dedicated to support the studies
of the students enrolled in the Historical Performance Area.
For information on donations, VIP seating and reception with the
artists please contact :
Bruce Blandford, Director of Advancement : 416-946-3145
Theatre of Early Music - Latest Release
September 9 2014
The Heart’s Refuge / Le Refuge du cœur
1. Buxtehude, Dietrich (1637 - 1707)
Jesu, meines Lebens, BuxWV 62 (Aria)
2. Bach, Johann Cristoph (1642 - 1703)
Es ist nun aus mit menem Leben (Aria)
3. Schmelzer, Johann Heinrich (1680)
Harmonia a 5
4. Kuhnau, Johann (1660 - 1722)
Gott, sei mir gnädig nach diener
5. Bruhns, Nicolaus (1665 - 1697)
Ich Liege und schlafe mit Frieden
Schola Cantorum and The Theatre of Early Music:
Daniel Taylor, Director
To listen to The Heart’s Refuge or to order a CD on line
or download MP3 from Analekta please click here: Order Now
The most recent recording of the Theatre of Early Music (TEM) and the Schola Cantorum entitled The refuge of heart,
published by Analekta, offers images of peace and serenity like many pearls on a unlikely necklace.
Of course, great baroque music is made up of a large and varied repertoire and perhaps we should not be surprised
to hear such beautiful interpretations. But what sets this album apart from many others is the care taken by the
conductor and artistic director of the Theatre of Early Music Daniel Taylor and his research and selection of composers and works.
This may be first time on one recording that the well-known figures of Dietrich Buxtehude and Johann Christoph Bach
(cousin of the father of Johann Sebastian Bach) are paired with rare compositions by lesser-known composers Johann Kuhnau,
Johann Heinrich Schmelzer and Nicolaus Bruhns.
The purity and depth of what is offered to the listener is made even better by the impressive cast of soloists:
the mezzo-soprano Rebecca Claborn, countertenor Kyle Guilfoyle, tenor Isaiah Bell and bass Alexander Dobson deliver
inspired performances and the impression of a contagious spirituality.
In perfect harmony with the chorus and soloists, musicians of the TEM show guided restraint required
for this type of repertoire in which the voice and text must occupy the largest share of the listeners focus -
the particular sound of old instruments is offered here in all its flavour. The thoughtful, unhurried work
immediately transports us elsewhere and for quite sometime. Such music, such purity!
Thank you Mr. Taylor!
Whether one is a believer or not, it’s always with an attitude of deep meditation that we surrender to
listening to the music of the German masters of the Baroque era. With a new album from the Analekta catalog,
entitled Refuge of the Heart, featuring the Theatre of Early Music (TEM) and Schola Cantorum under the direction of
Daniel Taylor, we dive a little deeper inside the heart and soul of contemporaries of one of the most turbulent times in
history, that of the 30 Years War (seventeenth century). True to its mission to rediscover old music,
TEM and its founder and artistic director, Daniel Taylor, revealing here five gorgeous cantatas by German
composers of the Baroque era, all together in one album. Dietrich Buxtehude (1637 - 1707), Johann Christoph Bach (1642 - 1703),
Johann Heinrich Schmelzer (1623 - 1680), Johann Kuhnau (1660 - 1722) and Nicolaus Bruhns (1665-1697).
These German cantatas were constantly renewed by the great Italian masters of the Baroque.
The ensemble’s distinctive style, coupled with the expertise and enthusiasm of Taylor, leads to
exciting and authentic readings of these works in a musical testimony of agony, torment,
but also offering consolation for this century’s torn repression and internal conflict.
This repertoire covers a breadth in time of 4 centuries. Between 1618 and 1648,
a series of devastating wars decimated half the population of Europe. If believers found refuge in their faith and their
hope for a better world, the composers of the time found an endless source of inspiration. During the seventeenth century,
Lutheran musicians created a magnificent repertoire of sacred music. The texts emphasize Christ’s message in an original and
varied way. Death and deliverance ... the suffering of Jesus ... the distress of the soul are shown by ingenious methods of
musical imagery: motifs are repeated to emphasise their message in the mind of the believer;
very simple melodies have been refined to create a deep sense of peace and harmony ; a rapid succession of contrasts;
voices change from soprano to bass successively to evoke the descent into the tomb..
All this reflects the emotional landscape for those that were brought face to face with the horrors of war and destruction.
A non-profit organization, the TEM's mission is to allow early music to shine in all its glory.
The excellent musicians share their passion alongside prestigious guests, through their series of
concerts in Canada and through touring nationally and internationally (France, Argentina, Brazil,
England and Asia in particular). Under the baton of Taylor, the Schola Cantorum of the
University of Toronto - the elite of students of all levels - are guided by a desire to make known early music in
its original version, joining the TEM to offer us a brilliant and authentic presentation. Restoring the
works of great masters so that they regain lustre in our eyes, Daniel Taylor and musicians from TEM are
meticulous in their work, this is an offering that reveals every dimension of humanity.
Listen to this album, it is like rediscovering an old world in a new light.
Translation from french of Marie-Josée Boucher : original : info-culture.biz
TEM well received at the 61st Tilford Bach Festival in Surrey, England
61st Tilford Bach Festival
Sunday, 26th May, 2013
All Saintsí Church
Tilford, Surrey, England
The London Handel Orchestra
Conductor Adrian Butterfield
Choir of the Theatre of Early Music
J.S. Bach Cantatas for Trinity Sunday:
Cantata BWV 165 O heilges Geist- und Wasserbad
Cantata BWV 129 Gelobet sei der Herr, mein Gott
Magnificat in D major BWV 243
The final concert of each festival has traditionally been choral works by JS Bach and this year was no exception.
This yearís programme started quietly with the cantata BWV165 O heilges Geist - und Wasserbad (O holy font of Spirit and Water), a cantata for Trinity Sunday, being performed on that day. The London Handel Orchestra, under the direction of TBS Musical Director Adrian Butterfield, together with the choir and soloists from the Choir of the Theatre of Early Music (visiting from Toronto), delivered a warmly appreciated rendition of this piece.
The second piece was also a cantata for Trinity Sunday, written in 1726, one year later than the previous work and using a larger orchestra and larger chorus. The audience had its first taste of percussion and brass with the arrival of three natural trumpets.
Bachís selective use of trumpets greatly enhances their impact when they are deployed and, at this concert, the effect was very stimulating during the remainder of the concert.
The second cantata, BWV 165 Gelobet sei der Herr, mein Gott (Praise be the Lord, my God) was a more powerful piece and introduced the audience to more of the soloists from Toronto whose interpretation and delivery was excellent throughout.
The interval allowed the audience to enjoy their drinks outside in sunny weather with a growing feeling of expectancy for a second half that promised much.
Bachís Magnificat BWV 243 is demanding and extremely well known to TBS regulars. As the full visiting choir entered the small church, the audience tensed in anticipation of hearing one of their favourite works performed by a relatively unknown assembly of musicians led by their new(ish) Musical Director, Adrian Butterfield.
There was no disappointment. The singers and orchestra delivered an excellent performance that shook the foundations of the small village church. There was good attack in the choruses and excellent solo singing.
The final chorus Gloria Patri was everything the audience were then hoping for with, once again, superb trumpets that didnít falter with all performers stretched to their limits. Adrian Butterfield has now delivered two excellent festivals for local music lovers.
Handel’s Anthems beautifully handled by skilled musicians
By Richard Todd, The Ottawa Citizen, December 10, 2012
Handel’s Coronation Anthems
Theatre of Early Music and Schola Cantorum
Daniel Taylor, conductor
Knox Presbyterian Church - Saturday December 8th
Handel’s four Coronation Anthems are not in any sense Christmas music, but they sound so celebratory that with different words
they might pass readily as music of the season. They were the backbone of a concert given Saturday evening at Knox Presbyterian
Church by Daniel Taylor’s Theatre of Early Music and a choir made up mainly of members of Toronto’s Schola Cantorum.
The all-Handel program began with the Overture to the Water Music played conductorless by the TEM’s superb baroque orchestra.
The quality of the playing and idiomatic styling were to be the rule for the entire program. Although itís unfair to everyone
else, in a way, the beautiful oboe playing of Matthew Jennejohn and Geoffrey Burgess needs to be singled out.
The first of the Anthems was perhaps the most familiar, Zadok the Priest. After several measures of orchestral introduction,
the chorus came in with a most impressive double-forte, especially remarkable for an ensemble of 25 voices.
The singing that followed was uniformly excellent, boasting all of the core technical values including balance, blend, precision and intonation.
Next came How beautiful are the feet of them who preach the Gospel of peace from Messiah, nicely sung by soprano Agnes Zsigovics.
Zsigovics is familiar to most followers of vocal music in these parts, and her rendition on Saturday did not disappoint.
Then there was the anthem The King Shall Rejoice sung by the chorus. Once again the performance was entirely apt and beautiful.
The second half of the program began with tenor Michiel Schrey singing an aria from Handel’s oratorio Israel in Egypt,
The Enemy Said. Like Zsigovics, Schrey has sung here frequently and hasnít even begun to wear out his welcome.
In fact, if you want a hint as to why the chorus was so good, you have only to look at its roster, which includes not
only the likes of Schrey and Zsigovics, but also bass-baritone Alexander Dobson, whose rendition of The Trumpet Shall
Sound was one of the evening’s highlights. His singing wasn’t all that made it special though, the fellow who sounded
the baroque trumpet, Alexis Basque, was superb as well.
The final anthem, My Heart is Inditing, was the most elaborate of the four. In the first place it has
four movements, making it the longest of them. Also, it is the only one to employ chorus and soloists.
It integrates them well and made for an especially pleasing conclusion to the concert.