Analekta: The Vale of Tears / La Vallée des Pleurs
Latest release for The Theatre of Early Music with Schola Cantorum
September 15 2015
To listen to The Vale of Tears or
to order a CD on line
or download MP3 from Analekta
please click here: Order Now
The Vale of Tears/ La Vallée des Pleurs
1. Praetorius: "Hört auf mit Weinen und Klagen"
Schütz: Musikalische Exequien, Op. 7
2. Concerto in the form of a German Requiem Mass
3. Motet: "Herr, wenn ich nur dich habe"
4. Canticle of B. Simeonis: "Herr, nun lässest Du Deinen Diener"
5. Praetorius: "Mit Fried und Freud ich fahr dahin"
J.S. Bach: O heilige Geist- und Wasserbad, Cantata BWV 165
6. Aria (soprano): "O heilige Geist- und Wasserbad"
7. Recit. (bass): "Die sündige Geburt verdammter Adamserben"
8. Aria (alto): "Jesu, der aus großer Liebe"
9. Recit. (bass): "Ich habe ja, mein Seelenbräutigam"
10. Aria (tenor): "Jesu, meines Todes Tod"
11. Chorale: "Sein Wort, sein Tauf, sein Nachtmahl"
Schola Cantorum and The Theatre of Early Music:
Daniel Taylor, Director
La Scena Musicale, Montreal, November 2015
"It’s clear that Daniel Taylor adores the human voice. He has meticulously chosen the singers he works
with and shepherds these talents with sensitivity and a deep understanding of the music.
This vale of tears turns into a river that flows forth, nearly a century later, into Bach’s Cantata BWV 165.
This baptismal cantata ends in a chorale of limpidity and purity.
This must be the finest performance of this stand-alone work by the great composer. Soul-uplifting and essential."
Theatre of Early Music, Schola Cantorum, Dan Taylor, The Vale of Tears
Article posted on CBC web site by Robert Rowat - Sept 2015
On the heels of their Juno-nominated 2014 album The Heart's Refuge, the Theatre of Early Music, Schola Cantorum and
director Daniel Taylor are back with another exciting release on the Analekta label, The Vale of Tears.
The Theatre of Early Music is Taylor’s collective of early music specialists committed to reconstructing music for historical events,
and that’s exactly what we have in The Vale of Tears. Here, the event in question is a funeral for Heinrich Posthumous Reuß,
a member of the noble class in Dresden where another Heinrich, Schütz, was Kapellmeister.
Schütz composed his Musikalische Exequien in 1635 to honour Reuß, and it is has endured as his most famous work.
It’s complemented on The Vale of Tears by J.S. Bach’s cantata O heilige Geist- und Wasserbad, which draws on some of the same texts and
chorale sources as Schütz’s work and two hymns by Michael Praetorius that were performed at Reuß’s burial service.
It’s a substantial choral program for Schola Cantorum, a vocal ensemble comprised of students from the Univeristy of Toronto’s faculty of music, where Taylor is head of historical performance.
But in the few years since he established the group, it has blossomed into a virtuosic choir capable of tackling the most challenging baroque repertoire.
We reached Taylor by email to find about more about his most recent project.
Music from the early baroque period doesn’t get as much attention as music from the high baroque. Why is that?
It could be said that, aside from Monteverdi, many of the composers from the early baroque period have been neglected. Perhaps until recently, ensembles have not taken risks in their programming, so often it’s Fireworks or the Brandenburgs, in part because of the reduced funding provided by the federal government to the arts.
The Theatre of Early Music made its first effort to remedy that with our Juno-nominated album dedicated to early German composers including Kuhnau and J.C. Bach. Kuhnau was a composer I first brought to the Quebec and Canadian public thanks to Christopher Jackson’s invitation to direct the Choir of the Studio de musique ancienne de Montréal.
In many ways, Christopher proved to be a mentor and inspiration to me and my work that would follow. It’s encouraging to see groups such as Arion now programming Kuhnau, it is a compliment to my musicians and to their dedication as well as to Christopher’s unerring commitment to early music.
This album gives us a faithful representation of the kind of music we’d hear at a solemn occasion in 17th-century Germany. Does this sort of historic immersion drive your projects with the Theatre of Early Music?
Absolutely. My interest in liturgical reconstructions is driven by my belief that the art itself is already perfect in form; this, to be clear, this is not about having a
"brand name" or leaving my own fingerprints all over the scores, but in allowing the original beauty of the work to be shown.
It must be like the feeling of revelation that they had when they restored the frescoes of the Sistine Chapel, this is very much a sacred process guided by the musicians.
You’ve been directing U of T’s Schola Cantorum for three years now. What are the challenges you face making music at a professional level with a student ensemble?
There is a moment that I usually wait for in each rehearsal, that moment during which I see the students singing with joy (priority number 1!) suddenly realize that I am going to make very specific professional artistic demands of them, they are, after all (as one of the reviewers noted recently) an ensemble of the elite singers in this country, and with opportunity comes tremendous discipline and very, very hard work.
Their first concert was with the greatest choir in the world, the Tallis Scholars, and since then they have appeared with members of the Monteverdi Choir, the Gabrieli Consort and the Kammerchor Stuttgart. Combined with the rich array of courses offered through the University of Toronto’s choral program developed by Dr. Hilary Apfelstadt, our program is unrivaled in Canada.
Tell us what the recording sessions were like.
Recording sessions were intense and yet the singers and I found them to be greatly rewarding. For some of these young people,
this was their first professional recording yet instead of hearing doubt or hesitation, you can hear their excitement.
To be sure, the Musikalische Exequien is a complex piece and there were certainly times when I asked myself why I had set such a monumental
task before all of us. However, they answered this challenge by lifting the music to a higher level.
Juno Nomination for The Heart's Refuge!
Jan 26th 2015: Daniel Taylor writes:
" What an accomplishment for our students at the University of Toronto Faculty of Music in Historical Performance and
Voice in partnership with the Choir and Orchestra of the Theatre of Early Music! "
Here is the list of Juno nominations for 2015 :
CLASSICAL ALBUM OF THE YEAR: VOCAL OR CHORAL PERFORMANCE:
Schubert: Winterreise Gerald Finley & Julius Drake (Hyperion) (WINNER IN CATEGORY 2015)
Handel & Porpora: The London Years Julie Boulianne, Clavecin en concert & Luc Beauséjour (Analekta)
Mozart: Opera & Concert Arias Karina Gauvin, Les Violons du Roy & Bernard Labadie (Audiogram)
Terra Tremuit Studio de musique ancienne de Montréal (ATMA)
The Heart's Refuge Theatre of Early Music, Schola Cantorum & Daniel Taylor (Analekta)
To see all Juno Awards for 2015 click here: Juno Awards
September 9 2014
#1 on the Classical Soundscan
Canada WholeNote Magazine
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 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
Dripping with beauty and style, they establish their seriousness from the off - Buxtehude's passacaglia meditating on
Christ's sacrifice and continue it through Johann Christoph Bach's aching strophic death aria.
The choir shows its youth in a light and pleasing sound. This snapshot of 17th-century German sacred music is a heartwarming and worthy one.
Gramophone February 2015
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
Heavy and happy is the music that crowns a king
PETER ROBB, Ottawa Citizen
November 26, 2014
Since the coronation of William the Conqueror at Westminster Abbey in 1066, every British monarch has been crowned in a service full of glorious music. Ottawa-native counter tenor Daniel Taylor tells Peter Robb a little bit about the service and a performance of the music he is delivering on Dec. 3.
Q. What an interesting project. Where/when did the idea germinate?
A. The coronation of the Queen took place 60 years ago on June 2, 1953, when Queen Elizabeth II was crowned at Westminster Abbey. The Diamond Jubilee marked the 60th anniversary of the Queen’s accession to the throne. On the BBC, a shining example of what the CBC could be with proper management and effective government support, 30 million British citizens tuned in to watch a Coronation Festival. Last year, at the residence of the governor general, I was awarded the Queen’s Medal in recognition for my work in the arts. A few days later, I listened to the Gabrieli Consort’s Venetian Coronation and days later to the King Consort’s stunning rendition of Parry’s I Was Glad- it reminded me how much music can move us. In our current political climate, in a time when there still exists inequality in our society, when child poverty continues to go unnoticed by our ruling government, as our population ages I feel more and more the need to bring music to people.
Q. Please tell me about how you researched the music and the ceremony?
A. I traveled to Westminster Abbey, to St. George’s Chapel in Windsor and to the Chapel Royal. I spoke at length with the well-known British Period-Orchestra conductors Paul McCreesh and Robert King. We know that there are no indisputable documents that detail a specific order of service for the Coronations. We can be sure that the Clerk of the Cheque’s account of the service is fairly accurate in indicating that there was an introductory anthem as well as a setting of a work by Orlando Gibbons and Thomas Tallis confirming the tradition of returning to compositions of the past composers with works found in the music library of the Chapel Royal. Thus this concert/ceremony honors the ‘old’ music and music from the greatest of the English composers in a reconstruction of the pageant.
One of King George I’s last acts before his death on June 11, 1727 was to sign an act of naturalization of George Frederick Handel. Handel’s first subsequent commission was to write music for the coronation of King George II which took place on Oct. 11, 1727. To celebrate the ascension to the throne, a magnificent service full of pomp and ceremony was planned. The commissioning of new music was usually entrusted to the Composer and Organist of the Royal Chapel, however with the unexpected death of William Croft, the King appointed "Mr. Handel, the famous composer to the opera."
We will be playing Handel’s coronation anthems Zadok the Priest and The King Shall Rejoice. Their festive character brought the works great popularity, the performances being hugely successful and have been played ever since, Handel re-used excerpts notably in Deborah and Ester. Zadok the Priest has been sung at every subsequent coronation and was traditionally performed, as it will be in our concert, during the anointment of the King. (At Queen Elizabeth’s coronation in 1953 music by Gibbons, Purcell, Tallis and Handel, including Zadok the Priest, was played.)
Q. Any interesting stories to tell about the coronation music that you uncovered?
A. It is to some extent that we owe some thanks to Sir Frederick Bridge for his decision to shed a light on the best of the British composers.
Bridge, the English composer and organist, became known to historians for organizing great state occasions including Queen Victoria’s
jubilee in 1887, the Coronation of King Edward VII in 1902 and the Coronation of George V in 1902. On receiving his commission as Director
Music, Bridge courageously decided to make a coronation a celebration of 400 years of English music including works by Orlando Gibbons,
Henry Purcell and Thomas Tallis alongside compositions of the day. New works commissioned included Hubert Parry’s setting of Psalm 122, I Was Glad, which has been used at every subsequent coronation, it was made famous in modern times when it was performed at the wedding of Prince Charles and Lady Diana.
Q. Tell me about your upcoming performance.
A. The concert is played on period instruments and combines choristers from the Theatre of Early Music, the University of Toronto Schola Cantorum and the York University Chamber Choir. Just as Choirs were combined for the major events, so do we bring together 60 young choristers and musicians. We open with the tolling of the bells, a trumpet fanfare and cries of Vivat either side of the procession of the drums — it’s fantastic stuff.
A regal affair with Daniel Taylor, Lisette Canton and the Theatre of Early Music
Performed at Christ Church Cathedral, Ottawa
Reviewed Wednesday night, Dec 3rd 2014 by Natasha Gauthier, the Ottawa Citizen
Royal pomp was on offer Wednesday evening at Christ Church Cathedral - complete with trumpets, drums, a jowly bishop and a boy king - as Daniel Taylor and Lisette Canton co-conducted the Theatre of Early Music and assorted guests in a program of music fit for a coronation.
The TEM choir was augmented by members of University of Toronto’s Schola Cantorum, which Taylor directs, and the York University Chamber Choir, led by Ottawa’s Lisette Canton.
Presented as a mock crowning ceremony, the concert opened with a sonata for two violins by French Baroque composer Jean-Marie Leclair. It was jauntily played by Cynthia Roberts and Adrian Butterfield...
After a drum procession and a trumpet fanfare the performance began in earnest with Hubert Parry’s soul-shaking anthem I Was Glad, directed by Taylor. He conducts from a deeply spiritual place and coaxed a fresh, mentholated sound out of the largely student choirs, with crisp if not entirely Westminster diction. Organist Matthew Larkin provided grand, spacious accompaniment.
Canton took over to direct Handel’s Coronation Anthem, The King Shall Rejoice. Canton’s style is quite different from Taylor’s: more extroverted and rhythmically driven; clearer to follow perhaps, but also less obsessive about details in the text.
Gibbon’s stunningly simple, open-hearted anthem Drop, Drop Slow Tears and Elizabeth Poston’s lovely carol Jesus Christ the Apple Tree, both conducted by Taylor, were the emotional and musical highlights of the concert, crystalline in their transparency and softly glowing with humility. The singers showed admirable focus despite loudly popping speakers and hacking audience members.
The coronation on Queen Street concluded with two kingly Handel works. Taylor took Zadok the Priest - the most famous of the four Coronation Anthems - at a more sedate tempo than many early music specialists. It had nobility........they rallied to crown the concert with a golden chord at the very end.