This was a live performance (programme particulars beneath) with a distinction, happening in Oxford\u2019s well-known cocktail bar to recreate one thing of the drink-fuelled, convivial ambiance during which such musical societies because the Catch Membership, the Madrigal Society, and the Academy of Historical Music would meet in eighteenth century London. They didn’t give public concert events as such; moderately, after they met, it was as an event for his or her members to sing energetic catches and glees, bawdy and ribald songs, or to discover antiquarian repertoire reminiscent of Elizabethan madrigals, or Renaissance church music, therefore the generally weird juxtapositions within the programme chosen for this instalment of the Oxford Lieder Pageant.\u00a0(Freud\u2019s was constructed within the 1830s as a church, and nonetheless has its apse in place, so maybe on this context the sacred music occurred to look not fairly so incongruous because it in any other case might need been.)<\/p>\n With snacks and a glass of one thing at hand, the viewers have been invited to take part in a few catches (\u2018Now we’re met\u2019, and \u2018A drunken outdated sot\u2019) with the 4 singers of the specifically shaped a cappella<\/em> group The Pleasant Harmonists. With some evidently seasoned singers within the viewers grounding every entry securely, these got here off surprisingly properly, regardless of their three- or four-part counterpoint in canon, as additionally the extra severe canon \u2018Non nobis Domine\u2019 during which the three entries are available at totally different pitches.<\/p>\n Below Owen Rees\u2019s route, the 2 dozen or so singers of the Choir of the Queen\u2019s School delivered fairly expansive accounts of the items of sacred polyphony and the secular madrigals on this programme, tending to be radiant and hovering within the former, however too strong for the latter, which might have benefitted from better levity. Caroline Taylor gave a powerful rendition of the solo songs, particularly these by Purcell the place her dramatic characterisations have been astute and convincing. John Bannister\u2019s three settings of Ariel\u2019s Songs from The Tempest <\/em>have been sung with glowing finesse, ending in a model of \u2018The place the bee sucks\u2019 that’s practically as charming as that by Thomas Arne, while the nameless \u2018Begone sweit evening\u2019 acquired an affecting interpretation on account of Taylor\u2019s pure-voiced the Aristocracy that maybe recalled Purcell\u2019s \u2018Night Hymn\u2019,\u00a0written for the opposite finish of the day (not carried out right here however it could have discovered a pure place on this programme).<\/p>\n Christopher Purves offered ethereal assist within the duets, alongside Christopher Bucknall\u2019s\u00a0vibrant\u00a0accompaniment\u00a0on the harpsichord, significantly within the ornamented introduction to \u2018Might the God of Wit encourage\u2019. Purves got here into his personal for an sarcastically stentorian, deadpan account of the 4 ribald songs by Eccles, revelling in varied bodily elements and features, and their indulgences, whose texts usually left little or no to the creativeness. Altogether a tasty and stunning programme, very removed from the standard bourgeois or Biedermeier <\/em>context of a lot music or Lieder repertoire.<\/p>\n Curtis Rogers<\/em><\/strong><\/p>\n Palestrina \u2013 <\/strong>Exaltabo te Domine [ad_2]<\/p>\n","protected":false},"excerpt":{"rendered":" [ad_1] United Kingdom Oxford Lieder Pageant 2022 [2] \u2013 The Catch Membership: Caroline Taylor (soprano), Christopher Purves (baritone), Choir of The Queen\u2019s School, The Pleasant Harmonists, Jonathan Byers (cello) Christopher Bucknall (harpsichord) \/ Owen Rees (conductor). Freud Caf\u00e9 Bar, Oxford 17.10.2022. (CR) This was a live performance (programme particulars beneath) with a distinction, happening in […]<\/p>\n","protected":false},"author":1,"featured_media":2124,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35],"tags":[],"class_list":["post-2122","post","type-post","status-publish","format-standard","has-post-thumbnail","category-theatre"],"_links":{"self":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts\/2122","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/comments?post=2122"}],"version-history":[{"count":0,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts\/2122\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/media\/2124"}],"wp:attachment":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/media?parent=2122"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/categories?post=2122"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/tags?post=2122"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"United](\"https:\/\/seenandheard-international.com\/wp-content\/plugins\/world-flags\/images\/flags\/24\/gb.png\" "\\"United")
United Kingdom<\/span><\/span><\/span> Oxford Lieder Pageant 2022 [2] \u2013 The Catch Membership<\/em>: <\/span><\/strong>Caroline Taylor (soprano), Christopher Purves (baritone), Choir of The Queen\u2019s School, The Pleasant Harmonists, Jonathan Byers (cello) Christopher Bucknall (harpsichord) \/ Owen Rees (conductor). Freud Caf\u00e9 Bar, Oxford 17.10.2022. (CR)<\/p>\n![\"\"](\"https:\/\/seenandheard-international.com\/wp-content\/uploads\/2022\/10\/18_purves_queens-250x250.jpg\")
<\/p>\n
<\/em>Gibbons \u2013 <\/strong>The Silver Swan
<\/em>Samuel Webbe \u2013<\/strong> Now we’re met
<\/em>Purcell \u2013 <\/strong>Expensive Fairly Youth<\/em>; Honest Cloe my breast so alarms<\/em>; My op\u2019ning eyes are purg\u2019d
<\/em>Purcell (attrib) \u2013 <\/strong>Down among the many useless males
<\/em>Lobo \u2013 <\/strong>Audivi vocem
<\/em>Palestrina \u2013 <\/strong>Sicut cervus
<\/em>Byrd (attrib) \u2013 <\/strong>Non nobis Domine
<\/em>Arne \u2013 <\/strong>O ravishing delight
<\/em>Purcell \u2013 <\/strong>Misplaced is my quiet for ever
<\/em>Henry Harington \u2013 <\/strong>I can not sing this catch
<\/em>William Hayes \u2013 <\/strong>Sir Toby reel\u2019d dwelling
<\/em>Edward Johnson \u2013 <\/strong>Eliza is the fairest Queen
<\/em>Purcell \u2013 <\/strong>Might the God of Wit encourage
<\/em>Mary Hudson \u2013 <\/strong>Applaud so nice a visitor
<\/em>John Stafford Smith \u2013 <\/strong>Blest pair of sirens
<\/em>John Bannister \u2013 <\/strong>Ariel\u2019s Songs
Anon \u2013 <\/strong>Begone, sweit evening
<\/em>Farmer \u2013 <\/strong>Honest Phyllis
<\/em>Wilbye \u2013 <\/strong>Flora gave me fairest flowers
<\/em>Eccles \u2013 <\/strong>Upon Port Wine<\/em>; John the Millar<\/em>; My man John, my maid Mary<\/em>; Farting and Belching
<\/em>RJS Stevens \u2013 <\/strong>Ye noticed snakes
<\/em>George Berg \u2013 <\/strong>A drunken outdated sot<\/em><\/p>\n<\/p><\/div>\n