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November 13, 2015 CONTACTS: Janelle McCoy, Executive Director The Chamber Orchestra of Philadelphia 215.545.5451 Edward McNally, Above The Fold Arts PR 404.281.6419 Audiences Invited to Sing Along as British Conductor James Judd Leads The Chamber Orchestra of Philadelphia in Handel’s Beloved Messiah. The Baroque Holiday Classic Coming to St. Paul’s Episcopal Church in Chestnut Hill (Dec. 5) and The Church of the Holy Trinity at Rittenhouse Square (Dec 6) (Philadelphia) Since the mid-1700s, audience have stood up for the “Hallelujah Chorus” during performances of George Frideric Handel’s Messiah. Over two weekend afternoons this December, guest conductor James Judd leads The Chamber Orchestra of Philadelphia in the beloved Baroque choral masterwork and music lovers from all over the city are invited to sing along. The Chamber Orchestra’s Messiah “Sing In” takes place in two of Philadelphia's most breathtaking sacred spaces--St. Paul’s Episcopal Church in Chestnut Hill (Dec. 5) and The Church of the Holy Trinity at Rittenhouse Square (Dec 6.). Both concerts begin at 4 pm and copies of the score with lyrics will be available to use during the performance. Advance tickets for The Messiah Sing In can be purchased at http://chamberorchestra.org/ The Chamber Orchestra is offering a 20% discount to members of its Classical Fan Group and to members of metro area parishes throughout the Archdiocese of Philadelphia. Members of The German Society of Philadelphia can purchase tickets at an 18% Discount. Chamber Orchestra Executive Director Janelle McCoy believes that "experiencing Handel's Messiah as people sing along with the Chamber Orchestra will be unique and powerful for everyone in the audience. Hearing and feeling hundreds of voices around you, whether or not you are chose to sing yourself, actively draws you into a greater community.” McCoy added, “Building community is really what the Chamber Orchestra is all about. We are artists who live here so we perform great music to support and connect our neighbors all over Philadelphia." British born conductor James Judd is sought after for his passionate musicianship and his charismatic presence both on and off the podium. Known for his extraordinarily communicative style and bold, imaginative programming, James Judd, in his distinguished career, has conducted the Berlin Philharmonic, Rotterdam Philharmonic, and Orchestre National de France, among numerous others. Considered one of the pre-eminent interpreters of British orchestral music and a champion of the works of Gustav Mahler, Judd’s recordings are both highly regarded and highly referenced. He has amassed an extensive discography on the Naxos label, as well as on the Decca, EMI and Philips labels. An accomplished operatic conductor, Judd has appeared with the English National Opera, Wexford Festival and Glyndebourne Opera Festival and served as Artistic Director of the Florida Grand Opera from 1993-1996. Handel’s Messiah “Sing In” with conductor James Judd 4 pm Saturday, December 5 St. Paul’s Episcopal Church in Chestnut Hill 22 E. Chestnut Hill Ave. Philadelphia, PA 19118
1904 Walnut St. Philadelphia, PA 19103
chamberorchestra.org / 215.893.1709 James Judd, conductor An artist of outstanding versatility, British born conductor James Judd is sought after for his passionate musicianship and his charismatic presence both on and off the podium. Known for his extraordinarily communicative style and bold, imaginative programming, James Judd, in his distinguished career, has conducted the Berlin Philharmonic, Rotterdam Philharmonic, and Orchestre National de France, among numerous others. Considered one of the pre-eminent interpreters of British orchestral music and a champion of the works of Gustav Mahler, Judd’s recordings are both highly regarded and highly referenced. He has amassed an extensive discography on the Naxos label, as well as on the Decca, EMI and Philips labels. An accomplished operatic conductor, Judd has appeared with the English National Opera, Wexford Festival and Glyndebourne Opera Festival and served as Artistic Director of the Florida Grand Opera from 1993-1996. A graduate of London’s Trinity College of Music, Mr. Judd came to international attention as the Assistant Conductor of the Cleveland Orchestra, a post he accepted at the invitation of Lorin Maazel. Two years later, he returned to Europe after being appointed Associate Music Director of the European Community Youth Orchestra by Claudio Abbado. James Judd served as Music Director of the Florida Philharmonic Orchestra for 14 years. Contemporary programming initiatives, critically acclaimed performances and the development of a hugely successful summer festival marked a period of striking artistic growth and global recognition for the ensemble. The measure of the orchestra’s artistic growth during James Judd’s tenure is best summed up by music critic Tim Smith. Of a performance by Judd and the Philharmonic of Mahler’s Symphony No. 5, Smith wrote: “Making the results doubly satisfying is the fact that the Philharmonic can withstand direct comparison with the San Francisco Symphony, which played Mahler’s Fifth in the same hall three weeks earlier. Not long ago, the Philharmonic’s playing was light-years away from that of a major orchestra like the San Francisco. On Tuesday, that distance could be measured in mere miles.” During his eight years as Music Director of the New Zealand Symphony Orchestra, James Judd brought the ensemble to a new level of visibility and international renown. Previous directorships also include Principal Guest Conductor of the Orchestre Nationale de Lille (France) and Principal Guest Conductor of the Adelaide Symphony (Australia). In 2008, James founded the Miami Music Project in South Florida. Underwritten by a generous grant from the John and James L. Knight Foundation, the Miami Music Project (MMP) provides education, instruction and performance opportunities for hundreds of children from diverse and underserved communities throughout the city. James Judd’s conducting schedule in the upcoming season will include appearances with the Hungarian National Philharmonic Orchestra, the Metropolitan Orchestra of Tokyo, and performances of Britten’s War Requiem at the Bucharest Festival. He makes his home in the US with his wife and daughter. “Messiah” – George Frideric Handel (1685-1759) It is one of the great ironies that the most quintessentially English form of music, the oratorio, was invented by a German composer of Italian opera. An extraordinary musician and entrepreneur, Handel composed music in every genre from English songs and Italian duets to sacred cantatas and anthems to orchestral suites and keyboard concerti. Handel was born in 1685 in Halle, son of a surgeon at the court of the Duke of Saxony. A musical prodigy, Handel rose to increasing acclaim. In 1741, Handel composed Messiah, now his best known and most beloved oratorio, and is undoubtedly the most performed piece of choral music in the world. Messiah is unusual for a Handel oratorio, lacking identifiable characters and a plot line. Rather, it is a narrative oratorio, presenting the historical sweep of man’s redemption through the birth, crucifixion, and resurrection of Jesus with texts selected from the King James Bible and the Book of Common Prayer for the libretto. Like the acts of an opera, Messiah is thus divided into three parts. “Part I” stretches from the prophecies to the birth of Jesus; “Part II,” his death and resurrection; and “Part III,” an extended hymn of thanksgiving. Although Handel intended Messiah for the Easter season, traditionally “Part I,” along with the “Hallelujah Chorus” (actually the last movement in “Part II”), is presented during the Christmas season. Fluent in English, Handel does a masterful job setting the libretto, matching the musical line to the cadences of the text. There are usually two contrasting phrases in each aria or chorus, one more legato and the other more energetic and filled with melisma, wherein one syllable is stretched over many notes. This produces music of unusual clarity, as individual phrases are readily recognizable despite juxtaposition. Because there are no characters or dialogues in Messiah, more of the music is carried by the chorus. A solo aria is preceded by a recitative (in which the text is set in a natural speaking pattern) and the chorus follows. Handel also deftly employs word painting. In the opening tenor aria “Ev’ry valley,” for example, the melodic line rises when the valleys “are exalted” and drops when “the mountains and hills are made low.” These effects flow naturally out of the musical line’s contours and shapes. Likewise, he extracts what drama he can from the text. The narrative of the angels appearing to the shepherds is given to the soprano in four short, consecutive recitatives, alternating between secco (accompanied only by continuo) and accompanied by the orchestra. The chorus of “angels” enters, singing “Glory to God in the highest,” with the high note of the melody on the word “highest.” Varied in form with musical lines revealing both textual meaning and feeling, the Messiah truly is stunning. Since the mid-1700s, tradition obliges the audience to stand for the “Hallelujah Chorus.” The practice is both charming and apocryphal—while composing Messiah, Handel wrote to a friend, “I did think I did see all Heaven before me.” 2015-2016 – 51st Season Schedule of Concerts THE CHAMBER ORCHESTRA OF PHILADELPHIA Dirk Brossé, Music Director The Perelman Theater at The Kimmel Center for the Performing Arts 300 S. Broad St., Philadelphia, PA 19102 www.chamberorchestra.org 215.893.1709 September 20 & 21, 2015 DELIBES / TAO / SAINT-SAËNS Dirk Brossé, conductor Conrad Tao, piano and iPad Delibes: Le roi s'amuse: Airs de Danse le Style Ancien Tao: Piano Concerto (World Premiere) Saint-Saëns: Piano Concerto No. 2 in G minor, Op.22
Vivaldi: Le Quattro Stagioni, Op.8, Nos.1-4 (The Four Seasons)
Beethoven: Piano Concerto No. 5 in E-flat major (“Emperor”) Beethoven: Symphony No. 2 in D major, Op.36
Richter: On the Nature of Daylight Arnold: Flute Concerto, Op.45 Bartók: Rumanian Folk Dances Bloch: Suite Modale Glass: Company Herrmann: Suite from Psycho
Mendelssohn: Symphony No. 3 in A minor, Op.56 May 15 & 16, 2016 MENDELSSOHN / BROSSÉ / MOZART Dirk Brossé, conductor Lana Trotovsek, violin Di Vittorio: Venus and Adonis Mendelssohn: Violin Concerto in E minor, Op.64 Brossé: Echoes of Silent Voices Mozart: Symphony No.35 in D major, K.385 (Haffner) # # # The Chamber Orchestra of Philadelphia A founding resident company of The Kimmel Center for the Performing Arts, The Chamber Orchestra of Philadelphia is a 33-member professional ensemble led by Music Director Dirk Brossé, a conductor and composer of international acclaim. For half a century, the Chamber Orchestra has earned a sterling reputation around the world for distinguished performances of repertoire from the Baroque period through the 21st century. The Chamber Orchestra of Philadelphia has commissioned and premiered over 70 new works and has performed with such internationally acclaimed artists as Plácido Domingo, Luciano Pavarotti, Mstislav Rostropovich, Issac Stern, Rudolf Serkin, The Eroica Trio, Jean-Pierre Rampal Julie Andrews, Bernadette Peters, Elvis Costello, and Sylvia McNair, among others. In the fall of 2014, the Chamber Orchestra completed a successful national tour with Branford Marsalis. The Chamber Orchestra performs from September through May in the Kimmel Center's intimate, 600-seat Perelman Theater and performs one concert program each year in the Kimmel Center's Verizon Hall as well as selected concert programs at Lincoln University. The Chamber Orchestra also performs with other musical ensembles throughout the region and travels regularly across the United States, Europe, and Israel. Chamber Orchestra Music Director Dirk Brossé has made more than 60 CD recordings and has conducted in numerous world-famous concert halls, such as the Concertgebouw in Amsterdam, the Royal Festival Hall, the Barbican Centre and the Royal Albert Hall in London, the Victoria Hall in Geneva, the Seoul Arts Center, the Tokyo Forum and the Concert Hall Shanghai. “The Chamber Orchestra always walks a fine line between creating an experience that’s different from what goes on elsewhere in the Kimmel Center and something that won’t alienate mainstream audiences. Music Director Dirk Brossé is so singular that, regardless of an individual concert’s success, it won’t be like anything else around.” - The Philadelphia Inquirer Dirk Brossé – Music Director Sir Dirk Brossé, born in Ghent, Belgium, in 1960, is a multi-faceted composer and a respected conductor on the international music scene. He is currently Music Director of The Chamber Orchestra of Philadelphia, Music Director of the Filmfestival Ghent and Music Director and principal conductor of the Star Wars: In Concert World Tour. Brossé began his music studies at the Music Conservatories of Ghent and Brussels. He subsequently specialized in conducting, which he studied in Maastricht, Vienna and Cologne. Alongside his many guest professorships, he is currently Professor of Composition and Conducting at the Royal Conservatory of Music in Ghent. Dirk Brossé has conducted all the leading Belgian orchestras, among them, the Brussels Philharmonic, the Royal Flemish Philharmonic, the Orchestra of the Flemish Opera and the National Orchestra of Belgium. Outside his native Belgium, he has conducted the London Symphony Orchestra, the London Philharmonic Orchestra, The Royal Philharmonic Orchestra London, l'Orchestre de la Suisse Romande, the Philharmonic Orchestra of Shanghai, the Vancouver Opera, the KBS Symphony Orchestra of South Korea, l' Orchestra de l'Opéra de Lyon, the World Symphony Orchestra (Japan), The Chamber Orchestra of Philadelphia, the Ulster Symphony Orchestra of Northern Ireland, the Camerata St. Petersburg, the Hong Kong Philharmonic, the Rotterdam Philharmonic Orchestra and the National Orchestras of Venezuela and Ecuador. Dirk Brossé is a versatile and prolific composer. He has written some 200 works, including concerti, oratorios, lieder, chamber music and symphonic works, that have been performed all over the world and have been recorded in more than 40 countries. His most important works are La Soledad de América Latina, written in collaboration with the Nobel Prize winner Gabriel Garcia Marquez, Artesia, a universal symphony for orchestra and ethnic instruments, the ethno-classical symphony The Birth of Music, the oratorio Juanelo, the lieder cycles Landuyt Cycle and La vida es un Sueño, the War Concerto for clarinet and orchestra, and the violin concertos Black, White & Between, Sophia and Echoes of Silent Voices. In 2010, at the request of the Hong Kong Chinese Orchestra, he wrote The Hallow-e'en Dances. This Halloween-inspired work is specially written for age-old, traditional Chinese instruments. He is currently working on a guitar concerto. Besides this, Dirk Brossé has composed for the theatre and the cinema on numerous occasions. His best-known soundtracks are Koko Flanel, Licht, Stijn Coninx's de Kavijaks and Daens (Academy Award Nominee, 1993), Marian Handwerker's Marie, Martin Koolhoven's Knetter, and Jaques Feyder's 1925 silent film Visages d'Enfants. He wrote the scores for the musicals Sacco & Vanzetti, The Prince of Africa, Tintin — The Temple of the Sun (based on Hergé's world-famous cartoon character Tintin), Rembrandt The Musical, and Musical Daens, each time in close collaboration with Frank Van Laecke. In 2007 Dirk Brossé made his debut in the Royal Albert Hall, conducting the London Symphony Orchestra in A Night of Music from the Movies, featuring the music of Patrick Doyle, with guest appearances by such renowned actors as Emma Thompson and Kenneth Branagh. Dirk Brossé has made more than 60 CD recordings and has conducted in numerous world-famous concert halls, such as the Concertgebouw in Amsterdam, the Royal Festival Hall, the Barbican Centre and the Royal Albert Hall in London, la Monnaie in Brussels, the Victoria Hall in Geneva, the Seoul Arts Center, the Tokyo Forum and the Concert Hall Shanghai. He has collaborated with world-class artists such as José Van Dam, Philip Webb, Barbara Hendricks, Claron McFadden, Julia Migenes, Derek Lee Ragin, Sabine Meyer, Julian Lloyd Webber, Daniel Blumenthal, Salvatore Accardo and, on a broader musical platform, with John Williams, Toots Thielemans, Hans Zimmer, Elmer Bernstein, Emma Thompson, Kenneth Branagh, Randy Crawford, Lisa Gerrard, Mel Brooks, Maurane, Sinead O' Connor, Viktor Lazlo, Maurice Jarre and Youssou N'Dour. Dirk Brossé has been awarded the title "Cultural Ambassador of Flanders." He has received numerous prizes, among them, the Flemish Government's "Gouden Erepenning" award for merit and the prestigious Achiel Van Acker Award. He is an Advisory Board Member of the independent think tank "Itinera Institute." Since 2010, Dirk Brossé has been a Freeman of the town of Destelbergen. In late 2010, EMI Classics released the 6 CD Box Set Dirk Brossé, A Portrait in Music. All the music of Dirk Brossé is available on CD. For more information, please visit www.dirkbrosse.be. # # # The Chamber Orchestra of Philadelphia 51st Season 2015-16 DELIBES / TAO / SAINT-SAËNS| September 20 & 21, 2015 THE FOUR SEASONS | October 18 & 19, 2015 ALL BEETHOVEN | November 8 & 9, 2015 HANDEL’S MESSIAH | December 5 & 6, 2015 ARNOLD FLUTE CONCERTO | February 28 & 29, 2016 BARTÓK / MENDELSSOHN | April 3 & 4, 2016 MENDELSSOHN / BROSSÉ / MOZART | May 15 & 16, 2016 Perelman Theater at The Kimmel Center for the Performing Arts 300 S. Broad St. Philadelphia, PA 19102 chamberorchestra.org / 215.893.1709 # # # |