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Seattle Pro Musica Johannes Brahms Picard 2014
Here's a clip from our first rehearsal with the orchestra in St. James Cathedral for our performances this weekend of Brahms' Ein deutsches Requiem. Enjoy the thunderous ending of movement 6, "Denn wir haben hie keine bleibende Statt." Reserve your passes for our May 17 and 18 concerts at (http•••) Seattle Pro Musica presents Brahms - Ein deutsches Requiem Saturday, May 17 and Sunday, May 18, 2014 - 8:00pm St. James Cathedral, 9th & Marion, Seattle "Now I have surmounted obstacles I thought I could never overcome, and I feel like an eagle, soaring ever higher and higher." So wrote Johannes Brahms, after completing his monumental German Requiem for choir, orchestra and soloists. It is a masterwork of great humanity with melting moments of compassion, a balm in troubled times. Hear this masterwork with full orchestra in the brilliant acoustic of St. James Cathedral. Program notes and texts available here. Featuring Alexandra Picard, soprano, and Charles Robert Austin, baritone. Reserved passes available through Brown Paper Tickets, or by calling 206-781-2766. For up-to-the-minute information regarding all Seattle Pro Musica events, please visit our Facebook page - facebook.com/seattlepromusica
Seattle Pro Musica Handel Stephens Hauck Schlesinger Handel Festival 2011
Handel's Dixit Dominus and Chandos Anthem No. 8 marks Seattle Pro Musica's first appearance at the celebrated American Handel Festival, which attracts scholars and performers from around the world. The concert features three important works by Georg Friedrich Handel for choir, orchestra, and soloists: Dixit Dominus from his Italian period-- a brilliant work filled with vocal virtuosity and resplendent color-- as well as his Chandos Anthem No. 8 and Utrecht Jubilate Deo. Seattle Pro Musica is joined by four outstanding soloists: Charles Robert Stephens, baritone; Ross Hauck, tenor; Joseph Schlesinger, countertenor; and Madeline Bersamina, soprano. The orchestra for these performances features some of the finest Baroque players in the area. concert page for more details. Saturday, March 19, and Sunday, March 20, 2011 • 8:00 pm St. James Cathedral • 9th & Marion, Seattle
Seattle Pro Musica Shaffer 2019
Provided to YouTube by CDBaby Hymn of the Nativity · Seattle Pro Musica · Kayleigh Shaffer · Karen P. Thomas · Richard Crashaw Silent Night ℗ 2019 Seattle Pro Musica Released on: 2019-11-24 Auto-generated by YouTube.
Sanders Raine Seattle Pro Musica Philharmonia Baroque Orchestra Baroque Orchestra 2006 2007 2021 2022
Threshold of Night by Tarik O'Regan Soloists: Liz Reed Hawk, Elizabeth Sanders, Kaelee Bolme, Danny Szydlo, Audra Anderson, Miriam Gnagy, Jacob Bernado. Conductor: Karen P. Thomas Seattle Pro Musica Recorded live at St. James Cathedral, Seattle, on May 20, 2022 Join us for our virtual concert event "The Way Home: Music of Refuge" on Friday, June 3 @ 7:30pm; seattlepromusica.org/the-way-home for more information and tickets. / Born in London, Tarik O’Regan’s recent works have been influenced by his dual Arab and Irish heritages. As of the 2021/22 season, Tarik is the Composer-in-Residence with Philharmonia Baroque Orchestra. His music, recognized with two GRAMMY nominations and two British Composer Awards, has been recorded on over 40 albums. Threshold of Night (setting one of Kathleen Raine’s Three Poems of Incarnation) was commissioned by St John’s College, Cambridge, and won the 2007 Liturgical award in the British Composer Awards. The composer writes: “Written for Advent, the work aims to highlight the yearning that all societies have, in their time of need, for guidance from beyond their community. By coincidence, however, this composition was completed on the eve of 29th August 2006, one year after Hurricane Katrina, one of the deadliest in the history of the United States, made landfall in Louisiana. Looking at Raine’s words in this context (‘Go back, my child, to the rain and storm’, ‘I will not go back for sorrow or pain’), the poem can be seen to echo the conflicted and anguished thoughts of displaced New Orleanians. The original Advent sense of desired guidance takes on a specific, if unintentional, significance with regards to the tragic outcome of that hurricane; this is emphasized by the blues inflected harmonies found throughout Threshold of Night.” Threshold of Night Who stands at my door in the storm and rain On the threshold of being? One who waits till you call him in From the empty night. Are you a stranger, out in the storm, Or has my enemy found me out On the edge of being? I am no stranger who stands at the door Nor enemy come in the secret night, I am your child, in darkness and fear On the verge of being. Go back, my child, to the rain and storm, For in this house there is sorrow and pain In the lonely night. I will not go back for sorrow or pain, For my true love weeps within And waits for my coming. Go back, my babe, to the vacant night For in this house dwell sin and hate On the verge of being. I will not go back for hate or sin, I will not go back for sorrow or pain, For my true love mourns within On the threshold of night.
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