SCO closes 2008/09 with Haydn’s The Seasons

By -

The Scottish Chamber Orchestra’s 2008/09 season comes to a grand close on Friday 15 May at Glasgow City Halls with a performance of Haydn’s oratorio, The Seasons under SCO Principal Guest Conductor, Olari Elts. The Orchestra and Chorus will be joined by esteemed soloists soprano Elizabeth Watts (winner of the Song Prize at Cardiff Singer of the World 2007), tenor John Mark Ainsley and baritone Roderick Williams.

A natural sequel to The Creation, Haydn brings the passing of the seasons vividly to life in this great choral masterpiece, which will be sung in German.

The Edinburgh performance of The Seasons, scheduled for Thursday 14 May at the Usher Hall, has been cancelled due to delays in the redevelopment of the venue. Unfortunately, in this instance, it proved impossible for the SCO to find an available alternative venue for the performance and the Orchestra, therefore, took the decision to cancel. Bookers were offered a complete refund for their tickets, or an exchange for a ticket and courtesy coach travel for the performance of The Seasons at Glasgow’s City Hall.

The Orchestra’s summer schedule of Scottish rural touring begins on 27 May with a tour to the South of Scotland, taking in Langholm, Duns, Castle Douglas and Selkirk. The Orchestra heads to the Highlands in June for two tours, the second of which will be conducted by SCO Principal Conductor Designate, Robin Ticciati a few months before he takes up his official post (4-6 June: Stirling, Kingussie, Ullapool; and 26-28 June: Strathpeffer, Findhorn, Pitlochry). In July, the Orchestra splits so that the Strings visit the Western Isles (23-25 July) and the Winds and Brass tour Birnam, Oban and Crear (24-26 July). The final rural tour in September takes in towns in the central belt – Hamilton, Falkirk, Helensburgh and Haddington (9-12 September).

The Orchestra returns to Glasgow, Edinburgh, Aberdeen and St Andrews in October to present the 2009/10 Season.

HAYDN The Seasons
Friday 15 May, 7:30pm Glasgow City Halls

Tickets: £11-£24, concessions available
Glasgow’s Concert Halls Box Office 0141 353 8000

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more