|3||Baroque Music for the Peace of Utrecht (1713)
Bechyně, Czech Republic, Thursday 8 - Sunday 18 August 2013
Places available for:
- some more singers in all vocal groups, especially tenors and basses
- some more baroque strings in all groups
- one more baroque oboe
- a baroque bassoon
- two more experienced baroque dancers
Week programme and daily schedule
There is room for up to experienced 20 singers. To qualify you must meet the following requirements:
- You are a good sight reader or able to study parts independently.
- You are experienced with ensembles for early music in small ensembles (quartet, quintet).
- You have a trained voice suitable for ensemble and solo singing.
- You are interested in historical performance practice, tuning systems and ornamentation.
Tonny Visser: 'I like the luxury of having passionate musicians around all the time. There is no need to tire yourself trying to plan dates. You just start playing or singing. For me, La Pellegrina has become the perfect basis for a rich musical life!'
The maximum instrumental group size is 20. For instruments we can place baroque strings (including viola da gamba), 2 recorders/transverse flutes, 2 baroque oboes, 1 baroque bassoon, 2 baroque trumpets, harpsichord, organ, theorbo. Requirements for participation:
- You are used to playing period instruments. Modern string players please play on gut strings and with a baroque bow. It is possible to borrow baroque bows via La Pellegrina. The tuning pitch is 415 Hz.
- You are experienced in playing in small ensembles.
Lea Schuiling: Nice of course, such a work for choir, soloists and orchestra. But what an asset is the chamber music! Singers and instrumentalists, one to a part, with coaching by all teachers ... Something you rarely get the opportunity to! And that the teachers sometimes contradict each other, .. well, .. that gives space.
Baroque dance is part of the course. Experience in dance (eg ballet), and affinity with baroque dance are required. There is room for six to twelve dancers, working with specialist Dorothée Wortelboer.
This year’s central theme is the music from the time of the Peace of Utrecht (1713). This peace treaty had a profound influence on life everywhere in Europe, and also on music. The virtuoso Italian style, the French taste for 'sweetness' and the more melancholy English manner had enormous influence on German and Czech baroque music. Central works in this course are Handel's Utrecht Te Deum and Jubilate and Rameau's Deus noster refugium, both composed to celebrate the occasion of the Peace Treaty.
George Frideric Handel
Handel’s Utrecht Te Deum and Jubilate
Handel’s Utrecht Te Deum and Jubilate is a sacred work in two parts, written to celebrate the Peace of Utrecht in 1713. It was Handel’s first commission by the English Royal family, which established his career in London. It was also his first major sacred work on English texts. Handel followed the models of Henry Purcell's 1694 Te Deum and Jubilate with strings and trumpets, which was regularly performed for official functions in St Paul's even after the composer's death, and a 1709 setting by William Croft. As in these models, Handel composed a combination of two liturgical texts, the Ambrosian Hymn Te Deum, We praise thee, O God, and a setting of Psalm 100, O be joyful in the Lord, all ye lands, which is a regular canticle of the Anglican Morning Prayer. Handel's work was first performed in a public dress rehearsal on 5 March 1713 in St Paul's Cathedral. The official premiere took place after the tedious peace negotiations had finished, in a solemn thanksgiving service on 13 July 1713.The work is festively scored for six soloists (two sopranos, two altos, tenor and bass), mixed choir, two trumpets, flute, two oboes, bassoon, strings (three violins, viola, cello), and basso continuo. The choir is in five parts (SSATB) for most of the movements, but occasionally alto and tenor are divided; the final doxology begins in eight parts. Almost all movements are set for solo singers and chorus; there are no real arias. Handel could rely on the trained musicians of the Chapel Royal who were able to sing both solo and choir. The choir is divided in a double choir for Day by day we magnify thee and divided in eight parts for the homophonic Glory be to the Father.
- We praise Thee, O God (Adagio, SATB)
- To Thee all Angels cry aloud (Largo e staccato, 2 altos, TB unison)
- To Thee Cherubin and Seraphim (Andante, 2 sopranos, SSATB)
- The glorious Company of the Apostles (Andante - Adagio - Allegro- adagio - Allegro, tenor, bass, two sopranos, SSATB)
- When thou took’st upon thee to deliver man (Adagio - allegro - adagio - Allegro, SSATB)
- We believe that thou shalt come to be our judge (Largo, soprano, alto, tenor, bass, SATB)
- Day by day we magnify thee (Allegro, double choir: SST AATB)
- And we worship thy name (SSATB)
- Vouchsafe, O Lord (Adagio, SSAATB)
- Lord, in thee have I trusted (Allegro, SSATB)
- O be joyful in the Lord, all ye lands (alto, SATB)
- Serve the Lord with gladness (SSATB)
- Be ye sure that the Lord he is God (duet: alto, bass, violin, oboe)
- go your way into his gates (SATB, strings)
- For the Lord is gracious (Adagio: 2 altos, bass, oboes, violins)
- Glory be to the Father (SSAATTBB)
- As it was in the beginning (SSATB)
Rameau's Deus noster refugium
Jean-Philippe Rameau (1683 - 1764) was not only an organist, harpsichordist and music educator, but is considered a very important music theorist whose influence can be felt up to the present day.
In 1713 we find Rameau as organist in Lyon. In 1715 he moved to Clermont-Ferrand and was organist there until he finally left for Paris in 1722. Most of his secular and sacred choral music originated in his Lyon and Clermont-Ferrand period, including the grand motet Deus noster refugium, that was destined for a festive church service on the occasion of the conclusion of the Peace of Utrecht.
The motet is written for soloists SSATTB, SSATB chorus, flute, 2 oboes, strings and continuo.
The Baroque dance in this summer's programme will focus on notated choreographies by Pecour and L’Abbé and especially on those dances that have a close connection to instrumental and/or vocal pieces from Baroque operas. Thus students will work on dances (danses à deux and solos) which will then be incorporated into beautiful small theatrical units together with singers and the orchestra.
Martin van Tulder A great extra benifit were Dorothée's instructions for the singers how to assume baroque poses
A few examples of these are the Marche des Matelots, the aria Amants malheureux and the Entrée de Matelot, all to the same music in Marais’ Alcione; the Forlana and Menuet plus arias in the Italian part of Campra’s L'Europe Galante; and, to music from the Turkish part in the same musical source, L’Abbé’s wonderful trio of choreographies called ‘Turk’.
In order for students to enjoy an ensemble piece as well, Dorothée Wortelboer will create a choreography to movements from Handel's Water Music. A choice of these dance scenes will be made for the final presentation, which will be performed ‘semi-staged’ in the Vokův sál, Bechyně castle's splendid historic hall.
- Thursday 8 August at 18.00 h: arrival in Bechyně, course opening with dinner
- First rehearsal on Thursday evening
- Monday evening: tutors' concert in the refectory
- Tuesday: 'free day'
- Friday evening: participants' chamber music concert
- Saturday evening 17 August: final concert at the castle
- Sunday morning: departure after breakfast
Annelies Jans: each morning two rehearsals, each afternoon two rehearsals, and what we do on our free evenings? Right, make music as much as possible....!
double reed quartet
- 8.00 breakfast
- 9.30-12.30 rehearsals in small ensembles; the dancers work on technique and style
- 13.00 lunch
- 14.00 group rehearsals: choir, orchestra, soloists, dancers
- 15.15 tea break
- 15.45 tutti rehearsal
- 17.00 drinks & dinner
- Evening off, enough time for playing more chamber music. Sometimes special sessions such as lectures about the music and a dance workshop for all
Petra Jager: 'Lots of people continue to play until long after dinner. I love to wander through the halls of the monastery in the evenings and hear their music behind all those doors.'
after party at the camp fire
Read more about Bechyně, the place where the course will be held:
In order to register, please fill out this form and pay a deposit of EUR EUR 200 (which is of course refundable in case you could not be placed).