Posts Tagged ‘classical-music’

Coffee Cantata and other tasty treats! (Double Esspresso)

Stefano Pozzi (1699 Rome 1768), Wandversiering, 1758, Fresco, Palazzo Colonna, Rome

There used to be a time when coffee was the drink that was the corruption of all youth, and yet was the favoured drink of artists and those who lived on the dangerous side of life! The drink has been immortalised by the Coffee Cantata (BWV 211) by J.S. Bach, who writes this great music set to the story of a girl who is obsessed about her new found love for this drink… and the father who completely dissaproves of this new-fangled distraction! It is an interesting setting, as the cantata setting is normally one that is used for settings of religious texts for the weekly church service themes.

@musicapoetica will present this Coffee cantata along with some other little trinkets from the Baroque era, including a new composition by our Musical Director (Jorn Boysen), a Chaconne which will be accompanied by Baroque dance as well.

This is part of our ongoing series of concerts at the The National Theatre (Koniklijke Schouwburg) in Den Haag (The Hague), where we present short concerts that bring out an unexpected and interesting facet of Baroque music history, combining the arts of music, acting, rhetoric and dance.

Tickets can be found [here](https://www.hnt.nl/voorstellingen/1996/Musica_Poetica/Double_Espresso/?fbclid=IwAR2esPBjCXCf7xXiP4DyG-elHDhV8C9CnQfoqL9L1XUtQZmU0zYFiRwHoME).

Venue: Paul Steenbergenfoyer – Koninklijke Schouwburg, Den Haag
Date : Sunday 3 feb 2019 (11:00-12:00)

#

Double Espresso

> Musica Poetica tracteert u op de koffiecantate van Bach (Schweigt stille, plaudert nicht, BWV 211) en zijn Franse pendant Le Caffé van Nicolas Bernier op een ochtend―een dubbele espresso dus. Beide werken ontstonden in de tijd van de grote boom van koffiehuizen die overal in Europa openden. Tenminste Bach’s cantate werd dan ook in het Kaffehaus Zimmermann uitgevoerd waar Bach regelmatig optredens organiseerde. Omdat Bach’s stuk over Liesgen, de koffieverslaafde dochter van de heer Schlendrian uit Leipzig, tot de liefelingsstuk van het hedendaagse publiek hoort, bieden we de koffieliefhebbers met Bernier’s typisch Franse Caffé een vooralsnog helemaal nieuwe smaakrichting aan.

Let Musica Poetica treat you to the Coffee Cantata of Bach (Schweigt silent, plague niece, BWV 211) and his French counterpart Le Caffé by Nicolas Bernier in the morning-a double espresso if you will! Both works originated at the time of the large trend of coffee houses that opened in Europe. Bach’s cantata was performed at the Kaffehaus Zimmermann where Bach regularly organized performances. Bach’s piece is about Liesgen, the coffee-addicted daughter of Mr. Schlendrian from Leipzig, was one of the favorite pieces of the contemporary public, which we offer the coffee and music lovers along with with Bernier’s typical French Caffé, a new taste for the time.

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Orchestral rehearsals for weekend cantata!

We begin our 2019 year with the glorious BWV 32 Cantata by JS Bach at the Maranathakerk in Den Haag on Sunday 27th of January. The Maranathakerk has been our little home for the past few years as we have a nice arrangement to provide good quality music for some of their services (in keeping with the Protestant topic of the Sunday) in exchange for the use of the church for our other projects! In fact, it is a nice win-win situation as we get a great rehearsal space whilst giving our best performance of great music for the service!

The orchestral rehearsal was today (the singers were earlier in the week… they are little bit slower than instrumentalists!) in our usual position in the organ loft. Actually, it is quite apt as it was where Bach had his musicians during his tenure at the Thomaskirche in Leipzig, and it does solve many problem of balance if we adopt a similar situation to that which the piece was written for!

Anyway, this is a pre-rehearsal photo… when the rehearsal was in progress, I had other things to attend to! The rehearsal was quite smooth, and we have some absolutely stunning arias to present. Namely the opening aria for Oboe solo (and singer…), the second aria for Solo Violin (and some singer…) and a great comforting and joyful duet to close!

What can be better than performing great music with friendly and skillful colleagues in a nice acoustic?

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Moscow Premiere of the St. Marcus Passion!

Well, it has been a while since we’ve posted! However, it is great to be able to open up the new year with an announcement that the Boysen completion of the JS Bach “Marcus Passion” will have it’s Moscow premiere at the impressive [Zaryadye Hall](https://zaryadyehall.com/afisha/barokko/bakh-strasti-po-marku-/).

As you might have already realised from our past posts, our Artistic Director (Jorn Boysen), is also an accomplished composer. One of his greatest compositions to date is the completion of the fragmented “Markus Passion” by JS Bach. You can hear many parts of this completion on previous posts on our Steem account or on other social media.

Unfortunately, the orchestra is not going along with Jorn for this performance. He will be conducting and directing the performance, but with a local Ensemble and Choir. Namely:

Dilara Idrisova, soprano
Polina Shamaeva, mezzo-soprano
Benjamin Glaubitz, tenor
Julian Redlin, bass
Intrada Vocal Ensemble
and Pratum Integrum Baroque Orchestra

[Ticket sales](https://zaryadyehall.com/afisha/barokko/bakh-strasti-po-marku-/) have just begun, and we wish Jorn the best of luck for the big day on the 12th of April, 2019!

Running an ensemble is a rewarding but time consuming job. Chasing after grants and sponsorship is the often overlooked but important aspect of a musician’s life. If our post has passed the reward period, please consider a donation. We also accept tokens of support at the following addresses:

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The classical music community at #classical-music and [Discord](https://discord.gg/ppVmmgt).
Follow our community accounts @classical-music and @classical-radio.
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Finalising a programme for Sligo Baroque Festival.

 

At any point in time, we have certain set programmes that we have current and can easily bring to performance level in a relatively short time. These are programmes that we have performed before and that we know work well, both with the performers and the audience reception. Normally, we have a few of these programmes of varying length, ensemble size and musical focus. Naturally, the longer the programme or the more musicians that are used, the more expensive the programme is for the concert organiser. As we aim to target a large variety of concert venues of diverse funding, we have to be able to present a concert menu that might have something of interest for podiums of all sizes and tastes.

Sometimes, a concert organiser would like to tweak one of our set concerts. This is normally not a difficult task if the number and types of musicians doesn’t change. However, if the makeup of the ensemble changes drastically, then it can be a much trickier proposition, as often the concert organiser would like the same price that was offered for the non-altered programme.

Other times, we work together with the concert organiser to produce a completely new and interesting (hopefully!) programme that is tailor made for the festival. There will be a request for certain themes or instrumentation, and we will do our best to research and discover works that fit the requests. This research can often be quite time consuming, both in time and potentially travel (to libraries that hold manuscripts throughout Europe), in addition, there will be a great deal of “back and forth” emails and phone calls to make sure that every last piece is just right for the concert (both for us, and the the concert organiser!).


Earlier in the year (or was it last year!), we were invited to give the opening concert for the Sligo Festival of Baroque Music. There was a special request for a concert that included winds that focused upon music that would have been performed in mid-18th century Dublin and Dresden. It was a pretty interesting request, and these sorts of things are catnip to our Artistic Leader, the thought of being able to research and discover interesting connections and compositions that linked Dublin and Dresden was quite enticing.

In the 18th century, Dresden was a hotbed of musicians (and composers, the two professions were the same at that time). Famous performers such as Hasse, Graun, Heinichen and Pisendel made their home there and contributed enormously to the production and performance of music in the famous city. To this day, there is still an important archive of music in Dresden that has survived the ravages of time (although, much of it was lost in the World Wars of the 20th century).

So, with the research and discovery phase well underway, there was also the problem of logistics. Our group normally has a core of mostly string players and some singers/actors, and so a wind programme (with strings) would require additional players to be brought on board whilst staying withing the budget that was available. To minimise the travel/accomdation costs, we settled on a solution of having the bulk of our rehearsals with wind musicians that were local to us, and then having a short rehearsal period in Sligo with a string section that was augmented with local string players (local to Sligo).

… and so, that is where we stand now for a concert later this year. The behind the scenes planning of the programme and logistics has taken around a year, for a concert that will be about an hour long! This is the side of the performances that the audience will never get to see!

Running an ensemble is a rewarding but time consuming job. Chasing after grants and sponsorship is the often overlooked but important aspect of a musician’s life. If our post has passed the reward period, please consider a donation. We also accept tokens of support at the following addresses:

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Musica Poetica