Word: cantata
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Dates: during 2000-2009
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...Jones, director of the University Choir, opened the second half of the concert with Johann Sebastian Bach’s Cantata No. 140, “Wachet auf, ruft uns die Stimme.” The rich sound of the choir, accompanied by the baroque bass lines of the orchestra, filled Sanders Theatre with the graceful and light mood of the first movement...
...portrayed Bach’s duet between Christ and the Soul. The sustained notes were especially rich and skillfully conveyed a spiritual sense of love and longing. The charming two-note slurs of the oboe solo in the fourth movement complemented the well-phrased vocal lines with grace. The cantata culminated in a grand finale as the full voices of the choir soared above the orchestra...
...felt like watching a condensed version of their rehearsals. Producer Joshua H. Billings ’07, stage director Matthew M. Spellberg ’09 and musical director Julia S. Carey ’08 presented four of Louis-Nicholas Clérambault’s 18th century cantatas, last weekend at the Agassiz Theatre. Although the performance started off shaky—both in narrative and accessibility—as the evening progressed, all its problems were resolved and the last two cantatas proved to be perfectly executed. According to the program, though the four cantatas performed were...
...These were not really of a performance genre in origin,” says Spellberg of the cantatas. Clerambault, who is regarded as the master of the “French cantata,” may have written these with a living-room performance among friends in mind...
...late father's R.A.A.F. greatcoat in preparation for fighting in Vietnam; in Elsewhere, a Blue Mountains father grieves for his lost daughter by reading poetry dedicated to her at her Sydney wake; a composer watches in wonder as his wife sings his music to life in The Domestic Cantata. These are consummations of the soul...