"The Audience Was Enthused"

[LaFoto]

First online article on the concert my choir sang last Friday night that I can find (found it just now).
I expect the other one (of the other paper) any time soon now, too.

http://www.kreiszeitung.de/scheesselmeldungen/00_20081110003117_Das_Publikum_war_begeistert.html

I'm afraid it is written in German, though.
I am in that photo, by the way. Not easy to find me... but I am there. I sang along !

 

[SCguy]

Cool! Im in a choir too. We are going on tour to SC, VA, and PA in early December.

RD

 

[LaFoto]

"Tour" ... wow, sounds like a dream. Unfortunately, our choirmaster once was too disappointed with his whole choir when he planned (and even paid a large deposit) on a tour to north France, and in the end only a handful of people were really willing to go along. Now he no longer plans anything like that for us any more.

 

[Puscas]

hey, that's great!
my guess is you are the third from the right, front row. (it's a really small picture, so I'm probably wrong...)

edit: third from the LEFT, front row






pascal

 

[Battou]

SCHEESSEL (hu) the pc. - Lucas church in Scheeßel was re-designed on past Friday to the concert hall. Under the musical direction of Andreas's winter owner the Kantorei of the pc. presented - Lucas church, the musicians of the chamber symphony Bremen, Dorothea Voßmeier (Sopran), Karin customer (alto), Niels Kruse (tenor), Matthias Repovs (bass) and Sylvia close-yielded (organ) a “Sinfoni concert” of first quality.

The “Ave Verum”, one of the last religious works of Wolfgang Amadeus Mozart, made the beginning. The probably most well-known and most frequently specified Vertonung of the text from the Middle Ages was composed by Mozart for choir, Streicher and organ scarcely a half year before its death. The Mozarts Kirchensonate in D major and one of its three Salzburger symphonies, those in D major, followed. It was composed 1772 in the parts of Allegro, Andante and Presto by only the 16-jährigen Mozart. The “Missa in Angustiis” (fair in the distress), also “Nelson fair” mentioned, was composed by Joseph Haydn (1732-1809) in the year 1798 for his client and patron of many years prince Esterhazy. The fair developed in the very difficult time of the napoleonischen wars. That shows up also in the fact that this is the only fair Haydns, which is written in a Moll Tonart (kind of basic clay/tone D-moll). Instrument valley occupation is: Streicher, trumpets, organ and bass drums. Trumpets, because the prince dismisses his Holzbläser had. The Nelson fair covers Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei. The first sentence, the “Kyrie”, is among other things coined/shaped by the strong Koloraturen of the solo Soprans. The “Gloria” is a constant change between soloists and choir. The songful and in-usual Melodik gives the sentence an unencumbered Gepräge. A substantial component “Credo” and “Sanctus” is a zweistimmiger canon between Sopran/tenor and alto/bass. Central meaning comes to the “Benedictus” with its lyric beginning and his dramatic development up to the trumpet signals. After the hold back-intimate “Agnus” the fair is terminated with a virtuosen, the “Dona spoken by choir and orchestra nobis pacem”. For the outstanding participants there was long continuing applause of the enthusiastic public. • 10.11.2008

I tried.......


And I tried again but the picture is too small, I can't find LaFoto

 

[LaFoto]

edit: third from the LEFT, front row

You are GOOD!
The photo is tiny, indeed, but yes: that's me.

And Battou, brave attempt at having a machine translator help you understand the text, I wonder if you now do?!?!?!

The translation of the last names of persons has me in hysterics here, like that of our choirmaster, Andreas WinterOwner lol: ), or that of the organ player (who was bad, by the way ... ), Sylvia CloseYielded biglaugh: ). "Missa in angustiis" ... fair in distress ... has me in stitches here :lmao: !

On the other hand, despite the fact that I am a translator by profession ... a-hem ... I am too lazy just now to really translate that text for you :er: :meh: ... sorry. Maybe later today. Let's see...

 

[Battou]

And Battou, brave attempt at having a machine translator help you understand the text, I wonder if you now do?!?!?!

No, I had a very hard time with it, hence my saying I tried.

Not trying to take credit for the translation but understanding it. Even the parts I could read where so scrambled in relation to the way I am accustomed to reading I got lost quickly.

 

[LaFoto]

Well, then this is just for you, Battou:

The Audience was Enthused

Works by Mozart and “Nelson Mass” by Haydn in St Lucas Church in Scheeßel

SCHEESSEL (hu) Last Friday night St Lucas Church in Scheeßel changed into a concert hall. Under the direction of Andreas Winterhalter the St Lucas Choir, the musicians of Kammer-Sinfonie Bremen, Dorothea Vossmeier (soprano), Karin Kunde (alto), Niels Kruse (tenor), Matthias Repovs (bass) and Sylvia Engwicht (organ) offered a first class symphonic concert.

The first piece to be performed was “Ave verum”, one of the last sacred works of Wolfgang Amadeus Mozart. This certainly best known and most often performed musical version of the medieval text was written by Mozart only about six months before he died, a piece for choir, strings and organ. His church sonata in D major and one of his three Salzburg Symphonies, the one also in D major, followed. The latter was composed in 1772 in three movements, allegro, andante and presto, by 16-year old Mozart. The “Missa in angustiis” (Mass in fear), also known as “Nelson Mass”, was composed by Joseph Haydn (1732-1809) in 1798 for his employer of many years, Prince Esterházy. It was written in the difficult times of the Napoleonic wars. These difficulties are represented by the chosen key of d-minor. The instrumentation is for strings, trumpets, drum and organ. Trumpets and organ since the Prince had made his wood wind players redudant. The Nelson Mass comprises Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei. The first movement, the “Kyrie” is characterised by the forceful colorations of the solo soprano. The “Gloria” presents a constant change between soloists and choir. The song-like, catchy melody let the movement appear to be easy-going and light-hearted. Major part of both “Credo” and “Sanctus” is a two-voiced canon between soprano/tenor and alto/bass. “Benedictus” plays a central part in this mass with its lyrical beginning and dramatic development up to the trumpet signals. After the restrained but heartfelt “Agnus Dei”, a virtuous “Dona nobis pacem” by choir and orchestra end the mass. The brilliant performers were honoured with a lot of applause by an enthusiastic audience.

My translation of the text.
The more closely I read it the more obvious it became to me that the author knows next to nothing about music. He's one of those wanna-be pros in the world of cultural critics who tries and tries but ... oh well.

Let's see if the other paper have come out with their article as yet and what that one's like. Hang on.

 

[Battou]

Well, then this is just for you, Battou:



My translation of the text.
The more closely I read it the more obvious it became to me that the author knows next to nothing about music. He's one of those wanna-be pros in the world of cultural critics who tries and tries but ... oh well.

Let's see if the other paper have come out with their article as yet and what that one's like. Hang on.

lol I agree, I admit I know nothing about music, but even I can see the despiration research tonality in that.

And thank you for the re-translation.

 

[Puscas]

You are GOOD!
The photo is tiny, indeed, but yes: that's me.

YES! I win...



don't worry about the writing of this critic; any publicity is good publicity right?



pascal

 

[LaFoto]

Yes, I guess you are right, Pascal ... and what would you expect of a cultural event critic of a place like this - those who were here for the North Germany Meet-Up in May know how rural it is around here, we're basically at the back of beyond. I wonder when the other paper's going to issue their article?

 

[Mitica100]

Well... Music critics are like a necessary evil. For most, it's just a living, you know...

Speaking about the critics, I have a funny story to tell (sorry for the short hijacking):

Famous (or less so) composer Max Reger, who wrote music in Bach's style without much success, had a work for orchestra performed in a big city in Germany. The next day, the reviewer panned Reger, deeming his music as boring (which is mostly true, mind you...). Max Reger replied with a letter which said:

"Dear Sir,

I sit in the smallest room of my house and I have your review in front of me. Soon shall be behind me!

Regards,

Max Reger"

Congrats on a successful concert!