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Super Flumina Babilonis March 2008

Super Flumina Babilonis March 2008

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Published by Consortium Carissmi
March 2008 - Consortium Carissimi concert program
March 2008 - Consortium Carissimi concert program

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Published by: Consortium Carissmi on Apr 14, 2011
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09/05/2014

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20
By the waters of Babylon we sat down and wept,when we remembered you, O Zion.As for our harps, we hung them upon the trees in the midst of that land.
Psalm 137
Book of Common Prayer 
 
C
O N S O R T I U M
C
A R I S S I M I
 
―…squisita musica strumentale ed eccellente musica vocale.‖ Pompilio Totti
Ritratto di Roma 
1638
SUPER FLUMINA BABILONIS
Lenten Motets and Oratories Music of Bonifazio Graziani & Giacomo Carissimi 
 
2
The SingersThe Players
Sopranos I 
Diane Koschak Kathryn HigginsJulie Seykora
Sopranos II 
Carrie Henneman Shaw Bridget HigginsBeth Nunnally 
Altos 
Jerry J. HinksBrian Link Marsha Smith
Cornetto
Scott Hagarty 
Baroque Trombones 
John Tranter,
alto sackbut 
 Dan Bussian,
tenor sackbut 
 
John Weaver,
bass sackbut 
 
Basso Continuo
Thomas E. Walker, Jr.
theorbo
 Mary Virginia Burke,
viola da gamba 
 Steve Germana,
viola da gamba 
 Mark Kausch,
violone 
 Liam Gilson,
fagotto
 
special guest artist 
Annalisa Pappano,
lirone 
 
Organ 
Peter Hendrickson
Direction 
Garrick Comeaux
Tenors 
 
Tim NelsonRobert PontiousSteve Staruch
 
Basses 
 
Garrick ComeauxTim HigginsBen Henry-MorelandDouglas Shambo II
19
Consortium Carissimi 
——— 
Board Members
——– 
 
Robert Pontious, President Beth Nunnally, Treasurer David Seykora, Secretary Consortium Carissimi 
is a
 
a 501(c)(3) non-profit organization
 
P.O. Box 40533Saint Paul, Minnesota 55104Tel. 612.822.1376
And extraordinary gratitude to donors who have provided financial support during this debut season 
Patricia and Mark Bauer Phillip Brunelle Ann and David Buran Patricia Cadwell Garrick Comeaux Elisabeth Comeaux Edna Erickson Rob Foy Dr. Ronald French Bob Hickcox and Jackie Henry Robert and Sigrid Johnson Mark and ???? Kausch Bernhard Marzell Tim and Kathy Nelson Ann Nickoloff Pat and Beth Nunnally 
Martin O’Connell and Mary Fischer 
 Patrick and Kathy Romey David and Julie Seykora Everett Lavern Sutton Dale Talley John Andreasen and Yancey Thrift David and Connie Triplett Lani Willis 
 
18
Super flumina Babilonis 
is set for four voices (SSAT) and Basso continuo and the text is based primarily onPsalm 136 in dialogue with sections of Psalm 150. A facsimile of the first page has been placed on theback cover of this concert program. This motet and
Parce heu, pace mi,
(for four voices SSAB and Bassocontinuo) which will be heard later in the program, are
dialogue motets 
that were probably not heard withinany liturgical context, but rather in the para-liturgical atmosphere of the oratory, (San Filippo Neri at theChiesa Nuova and of course the
Santissimo Crocifisso
near
via del Corso
). Fridays in Lent were especially popular for Roman Catholics and these events of great music and fine preaching were considered to be
spiritual exercises 
for the upcoming Holy Week and the Easter Feast.
Carissimi’s Oratorio
Baltazar Assyriorum Rex 
(for five voices SSATB and Basso continuo) is the story of King Belshazzar, his feast, and the unfortunate writing on the wall. The text is based on the story from theBook of the Prophet Daniel (Chapter 5). This theatrical piece sets the listener in the midst of a great feastwith a very simple musical composition form. (It is good theater.) Note the difference in style from hisMotets. The dialogue that ensues between Belshazzar and Daniel prompted me to set the figured bassensemble with a
lirone 
. A
lirone 
is shaped like a
viola da gamba 
and has frets but it has 12 strings and a flatbridge which permits it to play chords between three and five notes. This wonderful instrument wasprimarily used in Italy during the late 16th and early 17th centuries to provide continuo, or harmony forthe accompaniment of vocal music.Tonight, playing the lirone, is Annalisa Pappano who studied at Indiana University's Early Music Institute(Wendy Gillespie) and at Oberlin Conservatory of Music (Catharina Meints). Her playing has beendescribed by critics as "mercurial and enchanting" and "with a sound that is lighter than air with the airy luster of gilding on the mirrors of a rococo drawing room." She has performed throughout Belgium andthe U.S. and has appeared on nationally syndicated radio. Pappano is a member of Baroque Northwest(Seattle), the Oberlin Consort of Viols, and Les Plaisirs Durables (Brussels, Belgium), and has performedwith numerous other ensembles including the Houston Grand Opera, the Cleveland Opera, OperaAtelier (Toronto), American Opera Theater, Cappella Artemisia with Bruce Dickey (Bologna, Italy),
Camerata Pacifica Baroque, La Donna Musicale, Mélomanie, Le Nuove Musiche, and Bella Voce. She has
taught at Viola da Gamba Society of America national conclaves, the Viola da Gamba Society PacificNorthwest and Northeast chapters, the San Diego Early Music Workshop, ViolsWest, the Madison Early Music Workshop, and has been a guest lecturer at numerous universities. Pappano led the CatacousticConsort to win the grand prize in the Naxos / Early Music America Live Recording Competition andrecorded a program of Italian laments on the Naxos label. This season finds Pappano teaching viola dagamba at the University of Cincinnati College-Conservatory of Music and teaching historical performancepractice at Miami University.
L’Oratorio
Filii prodigii 
(for four voices SSTB and Basso continuo) is based on the parable of the Prodigal
Son, found in Luke’s Gospel (15:1
-32).
Sustinuimus pacem 
 
comes from a Seminary Library in Kroměříž in
Moravia of the Czech Republic.
Sustinuimus pacem 
is composed of two
responsorio
texts that come from theOffices for the 1
st
Sunday in November. The rest of the text is a free composition, either on the part of Graziani himself or a Jesuit colleague at
Il Gesù 
, where he was employed, as Maestro di Cappella.We have set up the Roman Oratorio in the midst of a Minnesota winter with
exquisite instrumental music and excellent vocal music 
. The only original element missing in this concert program was the preaching. It wouldseem to be indeed superfluous.
Garrick Comeaux, Artistic Director 
3
SUPER FLUMINA BABILONIS
————— 
An interval of 15 minutes 
————— 
 
Friday, February 29th 2008 ▪ 7:30pm ▪ Trinity Church, Excelsior 
 
Saturday, March 1st 2008 ▪ 7:00pm ▪ St. Mary’s Chapel at St. Paul Seminary, St. Paul 
 
Sunday, March 2nd 2008 ▪ 7:00pm ▪ Hoversten Chapel at Augsburg College, Minneapolis 
 
Bonifazio Graziani
1604 - 1664
Giacomo Carissimi
1605 - 1674
Giacomo Carissimi
L’Oratorio
Adae 
 for four voices and Basso continuoMottetto
 
Super flumina Babilonis 
 for four voices and Basso continuo
L’Oratorio
Baltazar Assyriorum Rex 
 for five voices, two violins and Basso continuo
Giacomo CarissimiBonifazio GrazianiGiacomo Carissimi
Mottetto
Parce heu, parce iam 
 for four voices and Basso continuo
L’Oratorio
Filii prodigii 
for four voices, two violins and Basso continuoMottetto
Sustinuimus pacem 
 for six voices and Basso continuo

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