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VOX AMA DEUS
 2010-2011 SEASON XXIV
- HOLIDAY CONCERTS! -
 
Vox Ama Deus shares wishes for a Wonderful Holiday Season.  
 MERRY CHRISTMAS!!  HAPPY CHANUKAH!!
 
 
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SEASON XXIV
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  • PGP Foundation
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  • PA Tags and Notary Franchisor
    (Valley Township, PA)
  • In This Issue
    ~UP THIS WEEK - OUR FIRST HOLIDAY CONCERT!
    ~UP NEXT WEEK - MESSIAH!
    ~AND THEN - EVEN MORE!!
    ~GREAT GIFTS!
    ~CHECK OUT THESE CD REVIEWS!
    ~SPOTLIGHT!
    ~Online CD's and Donation's!
     
    Quick Links

    THIS MONTH'S HOLIDAY CONCERTS!
     
    Be sure to brighten the holidays with these three distinctly different concert experiences: Renaissance Noel, Messiah, and Christmas With Mozart!

     
    First up: this Friday, December 3, the Vox Renaissance Consort is offering its very special Renaissance Noel at the beautiful Church of St. Martin-in-the-Fields in Chestnut Hill.

    This concert, which delighted audiences last Christmas season, will also be presented at two more venues: A special appearance on Saturday, December 4 at Longwood Gardens in Kennett Square, PA (a 30-minute program offered free with your Longwood Gardens Admission at 7 pm and again at 8 pm).  And then at the impressive environs of the Thomas Great Hall at Bryn Mawr College (Bryn Mawr, PA) on Sunday, December 5 at 4 pm.

      Vox Renaissance group photo 
      RENAISSANCE NOEL

     
    NEXT WEEK: HANDEL'S MESSIAH!
    Would the Holiday be the same without the magnificence of the incomparable Handel's Messiah

    Come join the AMA DEUS ENSEMBLE as they perform the 1749 Covent Garden version accompanied by an authentic baroque instrument orchestra! 

    First composed in 1741 during a period of a mere twenty-four days, the oratorio Messiah features expressive recitatives, bravura solo arias and magnificent choruses, with the choir playing a major role in conveying the Story of the Season.  The premiere performance took place on April 13, 1742 in Dublin and became an immediate hit.  The all-male choir for that first performance was made up of about 32 men and boys.  The orchestra was comprised of a string ensemble reinforced occasionally by oboes and bassoons, trumpets and timpani. 
    Chorus and orchestra

    HANDEL's MESSIAH

    Distinguishing these December performances of Messiah by Valentin Radu and the Ama Deus Ensemble will be the oratorio's performance on original Baroque instruments and at the Baroque pitch of A-415...a half-step lower than the A-440 used by most American orchestras and choirs.  Under Maestro Radu's direction, the choral and orchestral musicians of the Ama Deus Ensemble will recreate the authentic sound and performance practice as was heard by London's Covent Garden audiences in 1749 when Handel conducted his last live concerts, with King George II in attendance. 

    Tradition informs us that His Majesty rose to his feet during the magnificent Hallelujah Chorus, obliging the rest of the audience to immediately do the same...a practice many audiences observe to this day.  The precise reason why His Majesty rose to his feet has been lost in the mists of time.  Amongst the various explanations, one is that the King was so moved by the glorious music he rose in awe.  Or others have suggested that perhaps gout bothered His Majesty just at this moment and that he needed to take a Royal 7th-inning stretch.  Whatever the reason, this is a tradition that Maestro Radu encourages the audiences of Vox Ama Deus to enthusiastically respect!
     
    AND THIS YEAR AT THE KIMMEL FOR THE HOLIDAYS:
    CHRISTMAS with MOZART!

    On everyone's list of favorite chamber orchestra groups is the CAMERATA AMA DEUS. The past three seasons brought you the Baroque Christmas tradition of Camerata concerts. This season brings a different flavor - Mozart, the Viennese master, with four popular gems: a "mini" symphony serenade, a "maxi" symphony, and two concerti - horn and piano. The horn concerto features Paul Rosenberg, and the piano concerto features Maestro Radu playing and conducting from the magnificent Steinway. A truly festive evening!baroque christmas montage

    CHRISTMAS WITH MOZART

    Tickets $20 - $60. Secure your seats today!


    Introducing some GREAT HOLIDAY GIFTS: CD Collection Gift Satchels!
    Vox Ama Deus now offers these music collections for sale at all of our December concert venues! You can also order them by phone at (610) 688-2800 -- and soon to be available online at www.voxamadeus.org. Each collection comes packaged in an elegant gift satchel.
      
    Noel Set:
    $25 (regular price $35)  
     
    Baroque Set:
    Handel's Messiah
    $25 (regular price $35)  
       
    European Set:
    European Christmas
    $25 (regular price $35)

    Brahms Collection:
    Handel's Messiah
    $35 (regular price $50) 
     
    Holiday Mix Collection:  
    $35 (regular price $55) 
     
    $45 (regular price $65)


    Available now by phone: (610) 688-2800.
    Soon to be available online at www.voxamadeus.org

    Take advantage of these great deals while you can! They make great stocking stuffers!

     
    See what Amazon.com customers are saying about MESSIAH, and JUDAS MACCABAEUS!

    amazon.com
    Excerpted Amazon customer reviews:



    [Handel's Messiah, Ama Deus Ensemble] Magnificent, March 28, 2000

    By 

    Andre Donnell(Ohaupo, Waikato New Zealand)   


    The Messiah has been a favourite of mine for over 20 years. I decided to try this recording on the basis of the first reviewer's comments, and I was not disappointed. The choral singing is crisp and clear throughout, as is the orchestral accompaniment, and the soloists are great. The exceptional clarity and attack of the chorus and orchestra means the music is delivered with unusual verve and dramatic power. For me, this is most evident in 22 (Surely he hath borne) and 23 (And with his stripes). Yet the gentler tracks are delivered with matching sensitivity too. Radu has produced a credible, coherent and unified interpretation.


    [Handel's Messiah, Ama Deus Ensemble] Energy, voices, text, May 28, 2008

    By 

    12_tone_lizzie(UK)

    In general I'd just like to echo Mr. Zinkl's spot-on review. I'm so tired of Handel's vision being far too much for weedy voices with mangled, precious diction. Here we have vibrant, present voices that sing the words with passion. Why haven't I heard of tenor David Price? (Probably because I live in the UK, the Land Without Tenors.) Just sample his "Thou Shalt Break Them" - great.




     

    [Handel's Messiah, Ama Deus Ensemble] One of the GREATEST performances of the Messiah ever!, December 15, 2002

    By 

    Ryan(Orient, Iowa)

    I would classify this as one of the greatest Messiah's ever, on a piece by piece basis.


    The Overture-Masterfully executed...thought the first reviewer thought the orchestra too small...I believe this is exactly what Handel had in mind. "Comfort Ye" and "Every Valley"- Mr. Price executes these pieces masterfully, and the harpsichord work is amazing!


    "And the Glory"-this first taste of the choir is absolutely immaculate! gives away just enough of the power of the choir to make you wait for the later choruses Ms. Lane's performance of "But who may abide", "Behold a Virgin" and "O though that tellest" are absolutely hair raising the "Unto us a child is born" strikes the balance between choir and orchestra, which is crucial in this piece, better than any I know of. The alto/soprano transition in "He shall feed" is stark, amazing in it's contrast...just as I believe Master Handel would have had it the violin opening to "Behold the Lamb", followed by the almost ghostly rising vocals makes one nearly fall to his knees then and there...and we still have 50 minutes until the "Halleluia" chorus!


    That great chorus, the "Halleluia" is perhaps the only downfall on this CD. it feels some how rushed, and seems to jerk through several speed changes between "HALLELUIA!" and "FOR THE LORD GOD OMNIPOTENT REIGNETH" to the "FOREVER! AND EVER!" section. Following this great climaxis, there are a set of pieces which are rather less than great (excluding "The trumpet shall sound")...though I attribute this more to Mr. Handel than to any performance group.


    After the shattering melody of Ms. Baird's "If God be for us" we are left emotionally tattered, and more than vulnerable to what follows. The great ringing opening "WORTHY IS THE LAMB" is one of the preeminent pieces in all of music, and this is perhaps one of the great recordings of it. It is followed by the "Amen", and I do not for a moment hesitate to call this THE greatest recording of the closing "Amen", I only wish it was on it's own track.
    -Thank You.




    [Judas Maccabaeus, Ama Deus Ensemble] Another Superb Period Instrument Oratorio Recording from Lyrichord, November 18, 2009

    By 

    John X. Pena(danbury, CT)



    At a time when American record labels are either in drastic retrenchment mode or have folded their tents altogether, this adventurous smaller label is somehow managing to turn out fine new product.  

    In the case of Lyrichord's recent Haydn Seasons, the sponsoring organization appears to have been its excellent community chorus whose members, one presumes, banded together and made it happen. The label's more recent oratorio recording, Handel's brilliant Judas Maccabaeus, features what are almost certainly all fully professional performing forces. There is a crack period-instrument orchestra; the choristers---no matter how wonderfully trained (and they are here)---cannot possibly be volunteer singers. Just have a listen to those rich male voices, especially the tenors, and the gorgeous sound of the women.

    Anyhow, whatever angel (or angels) made this CD set possible is/are blessed. The CD profits from its "live" recording: conductor Valentin Radu evinces energy and verve throughout, but also finds charming lyricism too. The [Perelman] hall at the new Kimmel Center on Broad Street is appropriately chamber-sized, just right for a baroque approach, and nowhere do audience noises intrude on the proceedings. In a bunch of places, though, you can sense them wanting to explode into applause. This is, after all, the musical source of "See, the conquering hero comes" and any number of grand arias, duets and choruses.

    Mr. Radu's Judas, Timothy Bentch, offers a heroic blend of ardent, trumpet-like airs, tender quiet moments and impressive coloratura. He's as fine a tenor Judas as I've heard, avoiding the effete approach of some better-known British tenors, yet stylish too. His singing alone is worth the price of the set.

    So, hats off to the Lyrichord people and this fine Philadelphia group---they are called Ama Deus!!---for keeping our American listening market alive and very well, thank you. A worthy effort. Handel well-served.



    SPOTLIGHT on...
     
    Period Instruments and the Oratorio:
     

    Explaining The Lesser Known Musical Instruments Featured During

    Vox Renaissance Consort Performances

     

    The Harpsichord is a forerunner of the modern piano and like the piano it is played by means of a keyboard.  The piano produces sound when the player's fingers depress any of the 88 keys on its one keyboard to activate padded "hammers" which "strike" tuned strings.  The smaller harpsichord usually has between 56 to 60 keys, but may have one or two keyboards.  "Flemish" harpsichords have one keyboard; their "French" cousins have two.  In comparison to the piano, the harpsichord produces a delicate, distinctive tinkling sound when a "quill" attached to the key mechanism "plucks" a string when the key is pressed.  The harpsichord was widely used in late Renaissance and Baroque music, and even into the time of Mozart (ca. the late 1700s).  However, during the late 18th century it gradually disappeared from the musical scene with the rise of the louder, stronger and more expressive piano.  The enhanced keyboard mechanism of the piano permitted the performer to play a wide range of dynamics-from soft (piano) to loud (forte).  The mechanics of the harpsichord did not offer this dynamic flexibility.  In the 20th century the harpsichord experienced a renaissance of its own and was employed in historically informed performances of older music, in new classical compositions and in popular music, such as in Beatles songs!

    A member of the "lute" family and predecessor of the guitar, the Theorbo is a string instrument that is plucked or strummed by the player's fingers.  Throughout Europe it was also known as the chitarrone (Italian for large guitar).  Visually, it is distinguished by its very long neck and 14 to 18 strings.  Theorobos were developed during the late 1500s in response to a demand by composers for an instru-ment that had a deeper bass range than was generally available.  This was especially useful in the "pit orchestras" (to use a modern term) that accompanied the "new" art form of "opera."  The long neck of the therobo, and the long strings on it, created the lower notes composers craved...such as its lowest "G" that was used as a sustained note called a "drone."

    The Recorder is a hollow woodwind instrument of the flute family and was popular at least since the Middle Ages.  Unlike the recorder's well known descendant, the transverse flute (the flute we see in bands and orchestras), the mouthpiece of the recorder is placed into the performer's mouth, similar to playing a clarinet.  Next the player blows air into the recorder.  The air goes down the hollowed-out wooden shaft of the recorder and out its open bottom.  To play the different notes of a melody the player places her/his fingers over a combination of seven holes that are drilled through the wood.  During the 18th century, the soft and sweet sound produced by the recorder declined in popularity for use as an orchestral instrument.

    So ...What Is An Oratorio?
     
    Harvard Dictionary of Music (2nd edition, 8th printing) defines an Oratorio as, "A composition with a long libretto (e.g. book or text) of religious or contemplative character that is performed in a concert hall or church without scenery, costumes, or action, by solo voices, chorus and orchestra.  This definition applies to most but not all oratorios."  The origin of the word "oratorio" itself (according to the Oxford University Press) is derived from Italian, and specifically from the musical services that were held in the Church of the Oratory of St. Philip Neri in Rome.  An "oratory" is defined as a room or small building that is used for private prayer or worship.

    There are famous examples of such presentations even today.  But now back to Handel..."Royal Fireworks" or "Water Music" orchestral suites, or his oratorio Messiah, and/or the totally misunderstood aria from his opera Serse, "Ombra mai fù" (a.k.a. The Largo).  Probably many of his devotees are not aware that Handel was a tremendously important composer of Italian operas...42 being an accepted number.
     
    Handel was born on February 23, 1685, in Halle, Germany.  At about age 20, Handel sojourned in sunny Italy.  There he soaked in the artistic atmosphere and successfully composed for the operatic stage.  In 1710, he moved to England, permanently.  In London, Handel composed and mounted (sans super titles) new Italian operas for London's predominantly non-Italian speaking high society...proving that some things never change.  But in time this elite public's appetite for Handel's lyrically beautiful, but dramatically rather stagnant operas, waned.  Handel went bankrupt as an opera producer, and by the late 1730s, he "turned mainly to oratorio writing after becoming dissatisfied with opera" (H.D.M., but emphasis is this writer's; I'd have chosen blunter phraseology).

    The English language librettos for many of his oratorios contained vivid depictions of life and death struggles, some with contemporary relevance to Handel's audience...like Judas Maccabæus (which Vox Ama Deus performed and recorded last season).  Fascinatingly, the thrust and energy of the librettos for these "religious" works often were far more theatrically dramatic than those for his operas!  And the paying public, which included members of less-than-high society, loved them.

    Thus it was that a German immigrant to England, whose command of the "King's English" until his dying day on April 14, 1759, was far from fluent, created the English oratorio.  For as long as great music is played in this world, arguably Handel will be remembered, honored and regarded by many as a most quintessential English composer!  More than a century later when Sir Arthur S. Sullivan needed music that resonated with deep-rooted English pomp and circumstance, he often paid homage to Handel by emulating an unmistakable Handelian style that his Victorian audiences instantly comprehended.
     
    -This month's Spotlight written by Richard Shapp, Vox Ama Deus Director of Public Relations
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