4월의 마지막 주말인 27일 저녁에
독일의 두 위대한 작곡가 슈베르트와 브람스의 주옥같은 작품을
에드먼턴 심포니 오케스트라, 그리고 4명의 독창자들과 함께 무대에 올려집니다.
아래는 오늘 아침 에드먼튼 저널 신문에 이 공연에 관한 기사를
참고로 모셔 왔습니다.
Richard Eaton Singers to introduce to Edmonton
three works championed by conductor
Mark Morris
The Richard Eaton Singers with their conductor Leonard Ratzlaff, who will be
performing Brahms and Schubert with the Edmonton Symphony Orchestra
on Friday April 27 in the Winspear.
The Richard Eaton Singers have built up an enviable reputation
over the last 67 years for their large-scale choral concerts.
Edmonton’s major symphonic choir (currently with 115 singers)
has regularly presented the great blockbuster choral work such as the Bach Passions,
Elgar’s Dream of Gerontius, Britten’s War Requiem and Beethoven’s Missa Solemnis,
as well as commissioning new Canadian works.
For their concert with the Edmonton Symphony Orchestra in the Winspear on Friday,
however, conductor Leonard Ratzlaff has decided to present lesser known choral works
by two very well-known composers. They are works he has long wanted to champion,
and to introduce to both the choir and to Edmonton audiences.
The first is Schubert’s Mass No. 5 in A flat major, D. 678, completed in 1822 a
nd revised in 1826, but never performed in the composer’s lifetime.
Schubert is, of course, best known for his symphonies,
his wonderfully lyrical chamber music and his marvelous songs.
But he started his public musical life as a choirboy,
and his first public success came with the first of his six Mass settings.
The Mass No. 5, written for a quartet of soloists, chorus and orchestra,
will come as a surprise to those who don’t know Schubert’s choral music.
It’s intense, as vivacious as a Mozart mass, fast-moving, often dramatic
and yet with all the composer’s skill at word setting and melodic invention.
Ratzlaff is pretty sure this will be the first time
the work will have been heard in Edmonton.
Leonard Ratzlaff will be conducting the Richard Eaton Singers and the Edmonton Symphony Orchestra
in three of his favourite works by Schubert and Brahms
at the Winspear on Friday, April 27.
“I’ve wanted to do this Schubert Mass all my lifetime,” says Ratzlaff.
“We did Schubert’s E flat Mass some 20 years ago, but in this piece,
Schubert’s melodic instincts come through in so many places.
Then there are his dramatic responses to certain passages.
It breaks ground in so many ways — I hope I can convince audiences!”
Brahms has also been central to Ratzlaff’s career.
His first big orchestral conducting experience was with the Brahms Deutsche Requiem
for the University of Alberta’s 75th anniversary,
and it’s a work he has performed with the Richard Eaton Singers.
He describes the Brahms motets, which he has also performed with the choir,
as “elemental to my own feelings and experience.”
Brahms was one of the first composers to realize the importance of Friedrich Hölderlin’s poetry,
and one of the first to set his verse to music. Schicksalslied, Op. 54 (Song of Destiny)
for chorus and orchestra describes the hero’s rapture in the heavens
(with echoes of the Deutsche Requiem in the orchestral opening),
contrasting it with humankind down below, suffering and finding no resting place.
Brahms’ Nänie for chorus and orchestra, Op. 82, opens with what Ratzlaff describes
as “one of the most beautiful melodies Brahms had ever written,”
setting the words “Even the beautiful must die.”
The poet Friedrich Schiller then describes three such deaths from Greek mythology:
Orpheus having to leave behind Eurydice in the Underworld;
the goddess Aphrodite mourning her lover Aphrodite, killed by a wild boar;
and the famous Greek warrior Achilles being lamented by his mother
after being shot in his heel at Troy.
The choir have been working on the background to these stories,
and have, says Ratzlaff, “really bought into the mythology.”
He — and the choir themselves — have also noticed “a huge difference”
following an innovation a couple of years ago:
the hiring of four experienced professional singers
to act as leaders in each section of the amateur chorus.
He hopes they will soon be able to double that number.
The four soloists in the Schubert are also well-known to Edmonton audiences.
Soprano Sherry Steele currently teaches voice at the University of Alberta.
Calgary-based mezzo-soprano Sara Staples has sung with the Richard Eaton Singers before,
while tenor John Tessier needs little introduction,
and was most recently seen in Edmonton Opera’s Don Giovanni.
Bass Paul Grindlay is currently artistic director of the Calgary Boys Choir,
and has sung all over Canada, including an appearance with Pro Coro.
The Richard Eaton Singers will end their season May 6 at the Winspear,
when they will be appearing with the Edmonton Youth Orchestra.
The program includes Michael Massey’s Tom Pinch Ride,
setting several scenes from Charles Dickens’s Martin Chuzzlewit.
They have also announced one of their major concerts for next season,
for Remembrance Day on the 100th anniversary of the end of the First World War.
They will be giving the Alberta premiere of Allan Bevan’s Last Light Above the World
(Edmontonians may remember EdMetro’s performance of Bevan’s best-known work,
Nou Goth Sonne Under Wode, in 2016).
This new work was co-commissioned with choirs in ontario,
where it has already been performed for the anniversary of Vimy Ridge,
and judging by the excerpt on YouTube, promises to be quite an event.
In the meantime, there are those three surprising and powerful choral works
to encounter at this Friday’s concert.
Preview
Richard Eaton Singers
Organization: Richard Eaton Singers
Orchestra: Edmonton Symphony Orchestra
Conductor: Leonard Ratzlaff
Soloists: Paul Grindlay, Sara Staples, Sherry Steele and John Tessier
Where: Winspear Centre
When: April 27, 7:30 p.m.
Tickets: $50 (http://richardeatonsingers.com/)
From Edmonton Journal
공연 1부의 레파토리는
프란즈 슈베르트가 작곡한 미사곡(Mass No. 5),
그리고 2부에는 브람스가 심오한 삶의 진리를 묘사한
두 독일 작가의 작품을 가사로 선택해서 작곡한
Schicsalslied 와 Nänie가 무대에서 아름답게 펼쳐질 예정이다.
Schicksalslied by Brahms
Text (Friedrich Hölderlin) Ihr wandelt droben im Licht Auf weichem Boden selige Genien! Glänzende Götterlüfte Rühren Euch leicht, Wie die Finger der Künstlerin Heilige Saiten. Schicksallos, wie der Schlafende Säugling, atmen die Himmlischen; Keusch bewahrt, In bescheidener Knospe Blühet ewig Ihnen der Geist, Und die seligen Augen Blicken in stiller Ewiger Klarheit Doch uns ist gegeben Auf keiner Stätte zu ruh’n; Es schwinden, es fallen Die leidenden Menschen Blindlings von einer Stunde zur andern, Wie Wasser von Klippe Zu Klippe geworfen Jahrlang in's Ungewisse hinab. | Translation (Edwin Evans) Ye wander gladly in light Through goodly mansions, dwellers in Spiritland! Luminous heaven-breezes Touching you soft, Like as fingers when skillfully Wakening harp-strings. Fearlessly, like the slumbering Infant, abide the Beatified; Pure retained, Like unopened blossoms, Flowering ever, Joyful their soul And their heavenly vision Gifted with placid Never-ceasing clearness. To us is allotted No restful haven to find; They falter, they perish, Poor suffering mortals Blindly as moment Follows to moment, Like water from mountain to mountain impelled, Destined to disappearance below. |
Auch das Schöne muß sterben! Das Menschen und Götter bezwinget, Nicht die eherne Brust rührt es des stygischen Zeus. Einmal nur erweichte die Liebe den Schattenbeherrscher, Und an der Schwelle noch, streng, rief er zurück sein Geschenk. Nicht stillt Aphrodite dem schönen Knaben die Wunde, Die in den zierlichen Leib grausam der Eber geritzt. Nicht errettet den göttlichen Held die unsterbliche Mutter, Wann er, am skäischen Tor fallend, sein Schicksal erfüllt. Aber sie steigt aus dem Meer mit allen Töchtern des Nereus, Und die Klage hebt an um den verherrlichten Sohn. Siehe! Da weinen die Götter, es weinen die Göttinnen alle, Daß das Schöne vergeht, daß das Vollkommene stirbt. Auch ein Klaglied zu sein im Mund der Geliebten, ist herrlich; Denn das Gemeine geht klanglos zum Orkus hinab. | Even the beautiful must perish! That which overcomes gods and men Moves not the armored heart of the Stygian Zeus. Only once did love come to soften the Lord of the Shadows, And just at the threshold he sternly took back his gift. Neither can Aphrodite heal the wounds of the beautiful youth That the boar had savagely torn in his delicate body. Nor can the deathless mother rescue the divine hero When, at the Scaean gate now falling, he fulfills his fate. But she ascends from the sea with all the daughters of Nereus, And she raises a plaint here for her glorious son. Behold! The gods weep, all the goddesses weep, That the beautiful perishes, that the most perfect passes away. But a lament on the lips of loved ones is glorious, For the ignoble goes down to Orcus in silence. |
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