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About this book
Any opportunity to hear the legendary British male vocal quartet is an event in itself. Having the singers performing not once, but twice during the NMF, subsumed within their current farewell tour, is a remarkable coup for the WSO. Now marking its 40th anniversary, the world-renowned ensemble retires this December after its illustrious 40 years of music-making. Their pure, seamless voices -- and particularly James' otherworldly countertenor -- intoned the ancient prayers of St.
John Chrysostum, with the Winnipeg Singers Yuri Klaz, artistic director providing an antiphonal effect. The artfully crafted, minute work steadily grows in cumulative power until its climax, underscored by stirring brass and beating timpani.
As expected, the crowd of 1, leapt to their feet in a rousing standing ovation -- many were expected back Sunday night for the ensemble's concert recital, including New York's Jim Jarmusch and Phil Kline's opera Tesla in New York. Forty years is a long duration for any musical group. The Hilliard Ensemble has decided to celebrate that milestone by retiring. One civilization that could dwarf this achievement? Not that the concert was a sure thing. Then, after John Schaefer introduced the group at the Met Museum, and they took their spots to sing, there was no light on their music.
After a few minutes and some ad-libbing including their woeful tale of travel , lights lit, and they began to sing. The program blended ancient and contemporary songs, creating a chronological diversity for which the ensemble is known. It began with selections from 13th-century France; the phrasing and seven-syllable rhythms felt as much verse as song. Ah, Gentle Jesu! Sheryngham, ca. By now, many works have been commissioned and written for the quartet.
Alexander Raskatov also wrote Praise for the group in Selections from Armenia included Sharakans by Komitas, with folk music details, and Lord, who made the Spring Run Vache Sharafyan , with dirge-like lower vocals supporting a dancing upper vocal line.
The repertory emphasizes group balance and harmonics, and a reining in of individualism. On occasion, David James' lovely countertenor takes wing and soars above the ensemble, but always returns to blend in.
Hilliard's absence will leave a vacuum. They demonstrated their intrepidness in Heiner Goebbel's fully-staged I went to the house but did not enter White Light Festival , and their depth in a specialty genre of four-voice compositions at the Temple of Dendur. Two monuments in one vast space. On January 21, a frigid Tuesday night, complete with bad weather brewing, the world-renowned Hilliard Ensemble drew in a capacity Duke Chapel crowd. We quickly forgot the weather outside.
Inside, it was all about the music. Duke Chapel audiences may be far more familiar with large choirs and ensembles performing in this gothic space. And while the Chapel's cavernous beauty seems to beg for larger-than-life gestures, the Hilliard Ensemble proved size really doesn't matter here. On Tuesday night, it was all about the incredible musicianship of these seasoned singers.
From the moment they walked out, dressed simply in dark clothing with open-necked shirts the better to free the throat for singing , the concert was about personality, but not that of the individual singers. Instead, each selection became a living organism with a distinct personality, the singers serving as mediums.
Clarity of sound, informed interpretation, beautiful tuning, and attention to detail are among the many reasons the Hilliard Ensemble has been so highly respected for so many years. Founded in and named after the British miniaturist painter Nicholas Hilliard , the Hilliard Ensemble is rightly considered one of the world's finest vocal chamber ensembles, with a truly formidable reputation in the fields of both old and new music.
Medieval and renaissance repertoire forms its heart and soul while modern works, many written specially for the group, show the ensemble's incredible versatility. The program opened with a set of pieces by William Cornysh, a poet, actor, and musician serving as Master of the Chapel Royal during the reign of Henry VIII, followed by the gorgeously nuanced anonymous, strophic piece, " Remember me my dear.
All were given the singers' full energy and laser-like focus. Janequin's "O mal d'aimer" is a particularly rich, gorgeous lament, perfect for this ensemble. If you think otherwise, you have lost your senses. You're dead and that's it: You must die.