St Albans: ‘Messiah Preludes’
Identifieur interne : 000E32 ( Istex/Corpus ); précédent : 000E31; suivant : 000E33St Albans: ‘Messiah Preludes’
Auteurs : Jill BarlowSource :
- Tempo [ 0040-2982 ] ; 2004-04.
Abstract
The idea of commissioning modern preludes to preface well established pillars of the classical repertoire has apparently been done a few years ago with soft new sounds gracing the air as audiences picnicked as a lead up to performances of Mozart's operas at Glyndebourne. Conversely one hears of The Departure of the Queen of Sheba, and other novelties. However, when conductor George Vass, musical director of the Presteigne Festival, commissioned three modern preludes to Handel's Messiah, to celebrate his tenth anniversary at the festival (2002), this must qualify as a ‘first’, and his brainchild. The Presteigne Festival is well known for its commitment to contemporary classical music. This was an ideal opportunity to commission three major British composers, to make their own 21st century ‘commentaries’ on Messiah, using the same instrumental forces available to Handel. As he also directs St Albans Choral Society, they put on the Messiah 25 October 2003, at St Albans Cathedral, prefaced by the three new preludes in the presence of two of the composers, Cecilia McDowall and David Matthews, using Orchestra Nova from the Presteigne Festival.
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DOI: 10.1017/S0040298204310156
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Conversely one hears of The Departure of the Queen of Sheba, and other novelties. However, when conductor George Vass, musical director of the Presteigne Festival, commissioned three modern preludes to Handel's Messiah, to celebrate his tenth anniversary at the festival (2002), this must qualify as a ‘first’, and his brainchild. The Presteigne Festival is well known for its commitment to contemporary classical music. This was an ideal opportunity to commission three major British composers, to make their own 21st century ‘commentaries’ on Messiah, using the same instrumental forces available to Handel. 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Conversely one hears of The Departure of the Queen of Sheba, and other novelties. However, when conductor George Vass, musical director of the Presteigne Festival, commissioned three modern preludes to Handel's Messiah, to celebrate his tenth anniversary at the festival (2002), this must qualify as a ‘first’, and his brainchild. The Presteigne Festival is well known for its commitment to contemporary classical music. This was an ideal opportunity to commission three major British composers, to make their own 21st century ‘commentaries’ on Messiah, using the same instrumental forces available to Handel. As he also directs St Albans Choral Society, they put on the Messiah 25 October 2003, at St Albans Cathedral, prefaced by the three new preludes in the presence of two of the composers, Cecilia McDowall and David Matthews, using Orchestra Nova from the Presteigne Festival.</p></abstract></profileDesc><revisionDesc><change when="2004-05-19">Created</change><change when="2004-04">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-09-5">References added</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version='1.0' encoding='UTF-8'</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD JATS (Z39.96) Journal Publishing DTD v1.0 20120330//EN" URI="JATS-journalpublishing1.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="1.0" article-type="book-review"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title-group><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title></journal-title-group><issn pub-type="epub">1478-2286</issn><issn pub-type="ppub">0040-2982</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="pii">S0040298204310156</article-id><article-id pub-id-type="doi">10.1017/S0040298204310156</article-id><article-categories><subj-group subj-group-type="heading"><subject>FIRST PERFORMANCES</subject></subj-group></article-categories><title-group><article-title>St Albans: ‘Messiah Preludes’</article-title></title-group><contrib-group><contrib><name><surname>Barlow</surname><given-names>Jill</given-names></name></contrib></contrib-group><pub-date pub-type="epub"><day>19</day><month>5</month><year>2004</year></pub-date><pub-date pub-type="ppub"><month>4</month><year>2004</year></pub-date><volume>58</volume><issue>228</issue><fpage>70</fpage><lpage>70</lpage><permissions><copyright-statement>© Cambridge University Press 2004</copyright-statement></permissions><abstract abstract-type="text-abstract"><p>The idea of commissioning modern preludes to preface well established pillars of the classical repertoire has apparently been done a few years ago with soft new sounds gracing the air as audiences picnicked as a lead up to performances of Mozart's operas at Glyndebourne. 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As he also directs St Albans Choral Society, they put on the Messiah 25 October 2003, at St Albans Cathedral, prefaced by the three new preludes in the presence of two of the composers, Cecilia McDowall and David Matthews, using Orchestra Nova from the Presteigne Festival.</p></abstract><counts><page-count count="1"></page-count></counts><custom-meta-group><custom-meta><meta-name>pdf</meta-name><meta-value>S0040298204310156a.pdf</meta-value></custom-meta></custom-meta-group></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>St Albans: ‘Messiah Preludes’</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>St Albans: ‘Messiah Preludes’</title></titleInfo><name type="personal"><namePart type="given">Jill</namePart><namePart type="family">Barlow</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="book-reviews" displayLabel="book-review" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-PBH5VBM9-4">book-reviews</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">2004-04</dateIssued><dateCreated encoding="w3cdtf">2004-05-19</dateCreated><copyrightDate encoding="w3cdtf">2004</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">The idea of commissioning modern preludes to preface well established pillars of the classical repertoire has apparently been done a few years ago with soft new sounds gracing the air as audiences picnicked as a lead up to performances of Mozart's operas at Glyndebourne. Conversely one hears of The Departure of the Queen of Sheba, and other novelties. However, when conductor George Vass, musical director of the Presteigne Festival, commissioned three modern preludes to Handel's Messiah, to celebrate his tenth anniversary at the festival (2002), this must qualify as a ‘first’, and his brainchild. The Presteigne Festival is well known for its commitment to contemporary classical music. This was an ideal opportunity to commission three major British composers, to make their own 21st century ‘commentaries’ on Messiah, using the same instrumental forces available to Handel. As he also directs St Albans Choral Society, they put on the Messiah 25 October 2003, at St Albans Cathedral, prefaced by the three new preludes in the presence of two of the composers, Cecilia McDowall and David Matthews, using Orchestra Nova from the Presteigne Festival.</abstract><relatedItem type="host"><titleInfo><title>Tempo</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0040-2982</identifier><identifier type="eISSN">1478-2286</identifier><identifier type="PublisherID">TEM</identifier><part><date>2004</date><detail type="volume"><caption>vol.</caption><number>58</number></detail><detail type="issue"><caption>no.</caption><number>228</number></detail><extent unit="pages"><start>70</start><end>70</end><total>1</total></extent></part></relatedItem><identifier type="istex">9EDF77296F618E4946019E6364A23E91832EB7FA</identifier><identifier type="ark">ark:/67375/6GQ-40KTTLQZ-6</identifier><identifier type="DOI">10.1017/S0040298204310156</identifier><identifier type="PII">S0040298204310156</identifier><accessCondition type="use and reproduction" contentType="copyright">© Cambridge University Press 2004</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>© Cambridge University Press 2004</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/9EDF77296F618E4946019E6364A23E91832EB7FA/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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