Daniel Taylor - The Voice of Bach - Now available
Followers of Daniel Taylor and The Theatre Of Early Music are encouraged to order their Voice of Bach CDs directly from the
Office of The Theatre Of Early Music ($20.00 each with Free postage in Canada)
Please note these CDs will be available at our Montreal Concert Venue on December 10th at Chapelle Notre-Dame-de-Bon-Secours.
Purchase 5 Discs And Receive A 6th Cd Free
This Disc Will Make An Excellent Christmas gift!
On Line Purchases Available Very Soon
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RCA RED SEAL
88697290312
October 2008
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Daniel Taylor - The Voice of Bach
J S Bach:
Billboard Soundscan Top Ten
5 Star BBC Music Magazine Title
Gramophone Featured Choice
BBC 10 Out Of 10
Classical Music Magazine Recommended
1. Sinfonia from Cantata BWV 4 ‘Christ lag in Todesbanden’
2. Alto Aria ‘Erbarme Dich’ from St Matthew Passion BWV 244;
3. Duet ‘Wir eilen mit Schwachen’ from ’Jesu, der du meine Seele’ BWV 78
4. Motet from Cantata BWV 118b ‘O Jesu Christ meines Lebens Licht’
5. Sinfonia from Cantata BWV 12 ‘Weinen, Klagen, Sorgen, Zagen’
6. Alto Aria ’Es ist vollbracht‘ from St John Passion BWV 245
7. Duet from Cantata BWV 23 ‘Du wahrer Gott und Davids Sohn’
8. Chorale ‘Vor deinen Thron tret ich hiermit’ BWV 668
9. Alto Aria ‘Schliesse meine Herze, dies selige Wunder’
Christmas Oratorio BWV 248
10. Sinfonia from Cantata BWV 21 ‘Ich hatte viel Bekuemmernis’
11. Aria ‘Bereite Dich, Zion’ from Christmas Oratorio BWV 248
Agnes Zsigovics, soprano
Daniel Taylor, countertenor
The Choir & Orchestra of The Theatre of early Music
Daniel Taylor, Director
Extract:
Track ‘O Jesu Christ meines Lebens Licht’
Extract:
Track 7 ‘Du wahrer Gott und Davids Sohn’
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Daniel Taylor receives another “stunning” review in Wroclaw Gazeta, Poland:
A Master's Recital
“The Oratorium Marianum was certainly not large enough for all these people who wanted to hear on Tuesday the Wroclaw Baroque Orchestra and the excellent countertenor Daniel Taylor. In the program there were offered a selection of Handel arias from the operas. The not so successful overture played by the orchestra was quickly forgotten when the phenomenal Daniel Taylor, countertenor, appeared - - this is the artist we had already seen and heard on Saturday in Ostrow Tumski in the open air concert for 8,000 !
With him the orchestra was revived! A man of great knowledge (aside from music, his studies included philosophy, literature, and religious studies) Daniel Taylor has the ability to charm those people who would otherwise declare their dislike to the so called "serious" "classical" music; and to his concerts are streaming the masses.
When he is singing we are feeling with him every word of the text. The voice of this countertenor is able to break down all barriers. Taylor's charisma, humour and the talent of dramatic art had a profound effect on the listeners.
The public was extraordinarily enthusiastic and called for several encores. The thoughtful Daniel Taylor acknowledged them with pleasure and, looking discreetly at a piece of paper, he gave thanks in Polish, to those in audience, for coming to this memorable concert.
”.
Wroclaw gazeta from Sept.11th,'08 - Translation from the the culture-page
The Choir Of The Theatre Of Early Music - A Journey Into The Heavens
“The Path to Paradise” - Daniel Tayor conducts the Choir of the Theatre of Early Music
Quebec City, Sacred Music Festival, October 23rd, 2008
“The public of the Quebec Sacred Music Festival were floating on clouds as they exited the opening concert
offered by countertenor Daniel Taylor and his Choir of the Theatre of Early Music.
Before intermission, listening to the 20 pure angelic voices had already moved many to tears.
It was at this Festival two years ago that the TEM Choir officially launched their career.
I was not present, but I can now say that the quality of what we heard last night places this choir with the finest,
perhaps if not with the best choral ensembles I have heard. The mix of light but exact timbres conserves a texture
that is lithe yet at times sumptuous. The text is sustained and respects the music of the language.
The English Renaissance music of Tallis and Purcell dominated the first half. Clear intonation and balance
were in evidence: unity and cohesion particularly strong in the polyphony of Palestrina.
A most attractive work, that of Nicolas Gombert with unusual harmonies in which we find sections
quasi-modern, ended the first part of the program.
Daniel Taylor directs as he sings, this is to say with a an ease and economy of gestures.
The result is a most moving ensemble that could not be more supple, more pleasing.
In executing a few short unaccompanied solos during regular intervals all through the concert, the
Conductor-Singer established an intimate atmosphere of peace, relaxation and meditation.
Every moment spoke to the audience and answered perfectly, providing it seemed what the audience was searching for.
At a concert entitled “The Path to Paradise”, apparently, many had found their path.”
Richard Boisvert
Le Soleil October 24th 2008
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Daniel Taylor In Flight - La Scena Musicale, November 2008,
Ottawa native and Montreal resident Daniel Taylor has just
released his debut CD on the Sony Classical BMG Label. The
38-year-old hopes that this new exclusive contract will reach
out to new audiences all over the world. But being Canada’s most
sought-after countertenor is only one part of Taylor’s life, and now he
wants to make a difference. Whether in music education, the Ottawa
Chamber Music Festival, board governance, government funding,
political advocacy or his latest passion for choral conducting,
Taylor is ready to take a stand.
No stranger to the recording studio, Taylor already has an extensive catalogue
of more than 70 discs on all the major labels but this release marks
Taylor’s choral conducting debut. “It’s the most pleasure I have making
music,” said Taylor. “When I’m in front of a choir, I am inspired by the ideas
and commitment that comes from the individuals.” Taylor started choral
conducting two years ago, when he founded the Choir to complement his
baroque ensemble,Theatre of Early Music (TEM). At the time, Taylor brought
together 18 choral singers (both professionals and students) from Ottawa,
Montreal and Toronto to the Festival des musiques sacrées in Quebec City.
“The result was remarkable,” he says. From the Studio de musique ancienne
de Montréal he invited Marie-Claude Arpin, Josée Lalonde, Michel Léonard
and Normand Richard to lead the sections. “They are the best choral
singers/soloists in the city and the students learn from and are guided by
them.” Taylor also credits his mentor Christopher Jackson for the high standards
he has set in choral music in Montreal. Eventually, Taylor dreams of
touring the TEM choir in Cathedrals across North America and Europe.
Although Taylor had always conducted the TEM, going from 14 musicians
to 34 musicians and singers has meant more responsibilities. Invitations
from other North American choirs and orchestras to conduct has inspired
Taylor to take private conducting lessons. “I see my role devoted to certain
repertoire, music that speaks to us,” he says. “We have to stay focused on
the words, the emotional intent and the stories we are telling, and then the
voices will blend together.”
TEM
In the summer of 2001 Taylor brought together soprano Nancy Argenta
and a few of his instrumental friends for a concert at the Ottawa Chamber
Music Festival. The idea was create an ensemble where the musical interpretation
would be a collaborative effort. At the time he was singing 20 recitals a year.
“I found it difficult going to a different city and negotiating the interpretation
with a new orchestra; it was time-consuming and it felt like business rather than
music making,” he says. “The sense of sacred was missing from the music.”
The group’s following concert took place on September 12, 2001, at La Scena Musicale’s
5th Anniversary Benefit Gala. Shortly after, they formalized the ensemble with the name
Theatre of Early Music.
TEM now involves instrumentalists from all over the world and singers
such as Emma Kirkby, Suzie Leblanc, Carolyn Sampson, Karina Gauvin,
Charles Daniels, Benjamin Butterfield and Daniel Lichti, performing 30 times a
year, including a 4-concert series in Montreal.
Taylor, however, is disappointed by the way government agencies fund arts organizations,
especially newer groups. TEM desperately needs an office and a full-time staff to answer
calls, make bookings and organize projects. Until now, TEM has managed to balance its books,
but that may change. This year the Conseil des arts et des lettres du Québec (CALQ)
changed its funding scheme to prioritize stable 3-year grants, which favours
more established organizations. CALQ’s August 2008 press release proudly states
that it is funding 20 per cent more organizations than in 2005, including many new groups.
However, Taylor sees it differently. “We used to be able to apply for funding for
3 projects/concerts, but now, as a young organization, we are only allowed to receive
funding for one concert,” he says. This has caused TEM to cancel one concert this year
and will put the group in deficit for the year. TEM is increasing its fundraising
efforts to make up the loss.
Taylor feels that there is real inequality in funding. “Larger, older organizations
receive the greatest amounts from corporations, foundations and donors. According to
the most recent studies prepared by fundraising consultants from the Canada Council,
approximately 90 per cent of the largest donations are given to the groups that have
already received the highest level of funding from the government,” he says.
“My concern is that new groups have trouble getting off their feet and cannot attract
help from the likes of Hydro-Quebec and Power Corporation. The government could make
a slight reduction in the funding of the largest organizations, and use this to nourish
the younger groups, such as the dynamic Masques ensemble.” Taylor’s concern goes further
to the federal minority government’s attempt to marginalize the arts. “Stephen Harper’s
view that ordinary Canadians do not care about the arts showed how little he understands
about our society, especially his lack of understanding of Quebec culture.”
Education
When LSM last featured Taylor (December 2000), he was just starting to give masterclasses
at the University of Ottawa. Singing over 100 concerts a year didn’t seem to leave him much
time for teaching. Nevertheless, when McGill conductor Julian Wachner asked Taylor two years
ago to help prepare the school’s students for its production of Purcell’s Dido and Aeneas,
he became hooked. Wachner described Taylor as a “huge hit with the students”,
admiring Taylor’s ability to improve a student’s vocalism by focusing on vowel placement
and underlining the dramatic requirements of emotional intent. ”As a successful
international artist, he models the current trends and expectations of the field of
historical performance and early music,” said Wachner.
Taylor has now accepted teaching positions at the University of Ottawa, joining a
faculty led by Ingemar Korjus, including mezzo Sandra Graham and soprano Donna Brown,
the University of Toronto, and the Banff Centre for the Arts. Taylor thinks that
“universities should be a model for high ideals, serious creativity and a place where
lifelong friendships begin.”
Taylor believes that schools should also provide opportunities for students to study
with experienced professionals. “Unfortunately, some institutions let politics or budget
override the needs of students,” he says. He lauds the Banff Centre for encouraging
students to structure their own study path, and the University of Ottawa for their
open-minded Voice Faculty. He also admires the University of Toronto’s vision for
their early music program (up to Master’s level) with the Tafelmusik Baroque Orchestra
led by Jeanne Lamon. “If U of T turns its attention to early music voice, it will pose
a particular challenge to McGill,” says Taylor. “Wouldn’t it be wonderful if McGill
involved Christopher Jackson and the SMAM.”
Although he is listed as an adjunct professor at McGill, his alma mater,
Taylor is not involved in this year’s activities. McGill is the only school in
Canada with an Early Music program in voice, and although Taylor believes that led by
Dean Don MacLean and Chair Douglas McNabney, McGill boasts some of North America’s finest
educators, he is concerned by the lack of enrollment in that program. “My name doesn’t
seem to be on the list of choices for students, but in a city where such artists as
Marie-Nicole Lemieux, Suzie Leblanc, Nathaniel Watson and Karina Gauvin live, one
wonders why McGill has not offered students the experience of these remarkable artists
and fulfilled its potential among the premiere locales for early music voice instruction
in North America,” he says. Taylor hopes the addition of Sanford Sylvan will help resurrect
the program.
Last summer, Taylor noticed a gap in the summer educational and performance activities
for students in Montreal, so he decided to start a program in the city, including providing
scholarships. The faculty included Donna Brown, Mary Morrison, Michael Meraw and Daniel Lichti.
At the end of the program, Taylor arranged concerts for students at Festival Saint-Sauveur and
at the Ottawa Chamber Music Festival. Plans for a second program are under way.
Ottawa Chamber Music Festival
Taylor is equally passionate about the uncertainty at the Ottawa Chamber Music Festival since
founder Julian Armour resigned two years ago. “I, along with supporters of the festival,
including Angela Hewitt, were given assurances by previous Board president Colin Cooke
that they would have discussions to bring back Julian,” says Taylor, who is upset that
no significant efforts at talks have actually taken place. As an Ottawa native, Taylor
is concerned about decreasing audiences and lagging participation by Ottawa-based musicians
at the festival. “When I spoke out about this at the concerts at this year’s festival,
the audience cheered. They also want Julian back,” Taylor mentions. In a sense, Taylor’s
new deal with Sony, one of the major labels, is a culmination of his prolific recording career.
“When I was invited to join their artists, like Yo-Yo Ma and Joshua Bell, I was in a state
of disbelief,” Taylor says. “The arts are key to our culture, our well-being and to the
future of our society. We need to bring a focus back to our history and our humanity.
There are neglected masterpieces that we are seeking to reveal and rediscover with our
audience.” For Taylor, it is now a worldwide audience.
Looking Forward
Daniel Taylor looks forward to his debut this season with the New York Philharmonic,
the Madrid Symphony and the Israel Philharmonic. He will return to the San Francisco and
St. Louis symphonies, to Gothenburg, Lisbon and London’s Wigmore Hall, and tour across Canada.
This year, he will record Handel for Deutsche Gramophon and Bach for Hyperion and he continues his exclusive solo contract
with SONY/BMG.
The latest release from the Bach Cantata Pilgrimage is now available.
Bach Cantata Pilgrimage
- SDG 147 Volume 5 (2 cds) contains:
Cantatas for the Eighth Sunday after Trinity
BWV 178 - Wo Gott der Herr nicht bei uns hält
BWV 136 - Erforsche mich, Gott, und erfahre mein Herz
BWV 45 - Es ist dir gesagt, Mensch, was gut ist
(recorded: 13/08/2000 Christkirche, Rendsburg)
Soloists: Robin Tyson, Christoph Genz, Brindley Sherratt
Cantatas for the Tenth Sunday after Trinity
BWV 46 - Schauet doch und sehet, ob irgendein Schmerz sei
BWV 101 - Nimm von uns Herr, du treuer Gott
BWV 102 - Herr, deine Augen sehen nach dem Glauben!
(recorded: 27/08/2000 Braunschweig Cathedral)
Soloists: Joanne Lunn , Daniel Taylor, Christoph Genz, Gotthold Schwarz
- The Monteverdi Choir
- The English Baroque Soloists
- John Eliot Gardiner
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