Program - gaudium

PRAGUE CHORAL FESTIVAL
Smetana Hall / Smetanova síň
Municipal House / Obecní dům
Prague 1 / Praha 1
12. 7. 2016
7.30 pm, 19.30 hod.
Dear Friends,
it is a joy to welcome you at Prague
Choral Festival 2016, which celebrates its
10th year of existence this year.
Coincidently tonight’s performance –
among other works - includes Carmina
Burana, a beloved work, with which we
opened our festival in 2006. Over this
past decade we have had the honor
to work with some of the finest
conductors, chorus masters, singers and
instrumentalists from all over the world.
Some of the finest Czech orchestras
including Czech National Symphony
Orchestra and Czech National Opera
Orchestra joined us.
I would like to take the opportunity to thank all singers who participate at this
year’s festival and who arrived to Prague from every corner of Bohemia and
Moravia and also from many states of the USA. Especially, I would like to
thank all participating choral directors and conductors who have worked
very hard to prepare music for tonight’s concert: Ludmila Bajerová, Ryan
Board, Helena Kaločová, Joshua Maize, Matthew Mehaffey, Jeremy Mims,
Andrew Morgan, Vít Novotný, Jakub Gabriel Rajnoch, Libor Sládek, Zdena
Součková, Andrea Svobodová, Olga Ubrová.
My gratitude also belongs to all members of the Prague Choral Festival
organizational team, which has done terrific job in putting all puzzle pieces
together. I am grateful to Lenka Bartoníčková, Kateřina Daňová, Jana
Karfusová, Lucie Kratochvílová, Jana Peláková, Dana, Radim, Barbora a Václav
Sedmidubských, Tomáš Svoboda a Michaela Šedivá. I also want to express my
grattitude to Katka "A" for all graphic design.
Enjoy tonight’s performance. We hope to see you again!
Dr. Jiří Kratochvíl, D.A., director
2
Vážení a milí hosté,
dovolte mi, abych Vás co nejsrdečněji
přivítal na galakoncertě Prague Choral
Festivalu, který letos slaví už deset let
svého trvání. Shodou okolností zazní
dnes večer kromě jiných děl právě
Carmina Burana, jíž jsme před deseti lety
festival zahájili. Od té doby jste s námi
měli možnost slyšet vynikající mezinárodní sbory, sólisty a orchestry.
I v letošním ročníku zazní skladby světové sborové literatury v podání špičkových sborů z USA, Čech a Moravy. Věřím,
že se máte se na co těšit!
Chtěl bych při této příležitosti poděkovat všem, bez nichž by se dnešní
festivalový koncert neobešel. Jsou to zpěváci, kteří se sjeli do Prahy
z nejrůznějších míst USA a České republiky, a jejich sbormistři Ludmila
Bajerová, Ryan Board, Helena Kaločová, Joshua Maize, Matthew Mehaffey,
Jeremy Mims, Andrew Morgan, Vít Novotný, Jakub Gabriel Rajnoch, Libor
Sládek, Zdena Součková, Andrea Svobodová, Olga Ubrová. Rád bych ocenil
i všechny ostatní hudebníky, kteří se dnes večer představí.
Mé poděkování patří rovněž festivalovému výboru a dalším, kteří se na
přípravě letošního ročníku podíleli. Jsou to: Lenka Bartoníčková, Kateřina
Daňová, Jana Karfusová, Lucie Kratochvílová, Jana Peláková, Dana, Radim,
Barbora a Václav Sedmidubských, Tomáš Svoboda a Michaela Šedivá. Rovněž
velice děkuji Katce "A" za veškerý grafický design.
Přeji vám krásné umělecké zážitky!
Dr. Jiří Kratochvíl, D.A., ředitel
3
Smetana Hall / Smetanova síň
Municipal House / Obecní dům
Prague 1 / Praha 1 | 12. 7. 2016 | 7.30 pm, 19.30 hod.
• LITANIES
Jehan Alain (1911-1940)
• PRAGUE TE DEUM 1989
Petr Eben (1929-2007)
• POSTLUDIUM
Leoš Janáček (1854-1928)
• NÄNIE
Johannes Brahms (1833-1897)
Daniela Kosinová, organ / varhany
Daniela Kosinová, organ / varhany
Prague Percussion Players / Pražští perkusionisté
Ryan Board, conductor / dirigent
Daniela Kosinová, organ / varhany
Jeremy Mims & Sharon Jensen, piano / klavír
Ryan Board, conductor / dirigent
United American Choirs / Spojené americké sbory:
Pepperdine University - Ryan Board, director / sbormistr; Clarke University Jeremy Mims, director / sbormistr; Hendrix University - Andrew Morgan,
director / sbormistr; University of Minnesota and Oratorio Society of
Minnesota - Matthew Mehaffey, director / sbormistr
Intermission / Přestávka
4
• CARMINA BURANA
Carl Orff (1895-1982)
Fortuna Imperatrix Mundi
O Fortuna
Fortune plango vulnera
I. Primo vere
Veris leta facies
Omnia sol temperat
Ecce gratum
Uf dem anger
Tanz
Floret silva
Chramer, gip die varwe mir
Reie
Swaz hie gat umbe
Were diu werlt alle min
II. In taberna
Estuans interius
Olim lacus colueram
Ego sum abbas
In taberna quando sumus
III. Cour d’amours
Amor volat undique
Dies, nox et omnia
Stetit puella
Circa mea pectora
Si puer cum puellula
Veni, veni, venias
In trutina
Tempus et iocundum
Dulcissime
Blanziflor et Helena
Ave formosissima
Fortuna Imperatrix Mundi
O Fortuna
Linh Kauffman, soprano / soprán
Gary Ruschman, tenor / tenor
Philip Zawisza, baritone / baryton
Jeremy Mims & Sharon Jensen, piano / klavír
Prague Percussion Players / Pražští perkusionisté
Matthew Mehaffey, conductor / dirigent
United American and Czech Choirs / Spojené americké a české sbory:
Pueri Gaudentes – boys choir / chlapecký sbor; Libor Sládek, director /
sbormistr; Pueri Gaudentes – men’s choir / mužský sbor; Libor Sládek,
director / sbormistr; Gaudium Praha - Zdena Součková, director /
sbormistryně; Besharmonie - Libor Sládek, director / sbormistr; Bohemiachor
- Vít Novotný, director / sbormistr; Garrendo - Jakub Gabriel Rajnoch,
director / sbormistr; Harmonie - Olga Ubrová and Andrea Svobodová,
directors / sbormistryně; Hekal - Helena Kaločová, director / sbormistryně;
L’Asenzio - Ludmila Bajerová, director / sbormistryně; Pepperdine University Ryan Board, director / sbormistr; Clarke University - Jeremy Mims, director /
sbormistr; Hendrix University - Andrew Morgan, director / sbormistr;
University of Minnesota and Oratorio Society of Minnesota - Matthew
Mehaffey, director / sbormistr
5
LITANIES
(Litanie) Jehan Alain was born into a family
of musicians. His father was an organist, composer and organ builder, his
younger brother was an organist and pianist and his younger sister was an
organist as well. Alain attended Paris conservatory and studied with André
Bloch, Marcel Dupré and Paul Dukas. As a skilled motorcyclist he was assigned
as dispatch rider for the French Army. On June 20, 1940 e ncountered
a group of German soldiers and engaged in a fight killing 16 German soldiers
before being killed himself. He was buried by Germans with honors.
A manuscript of Litaniess, a piece now familiar to organists all over the world,
gives the date of completion as the 15th of August 1937. Alain confided to his
friend Bernard Gavoty: “Prayer is not a complaint but a blast of wind that
sweeps all before it. It is also an obsession... “. The obsessive nature of the
great theme in the mode of D transposed into E flat is apparent from the
start, pounded out to an irregular beat: 3+5+2+4+2. Alain was looking for
music with “magical power” and Litaniess are intended to be spellbinding. The
composer also includes passages from Fantasmagorie, written a few years
earlier in a train with its irregular movement inspiring the rhythmically
contrasted second theme.
Jehan Alain se narodil v rodině hudebníků. Jeho otec byl varhaník
a varhanář, jeho mladší bratr byl varhaník a klavírista a jeho mladší sestra
byla rovněž varhanice. Alain studoval na Pařížské konzervatoři, kde jeho
učiteli byli André Bloch, Marcel Dupré and Paul Dukas. Jeho krátký život
skončil tragicky, když se jako voják francouzské armády ve druhé světové
válce střetl na motorce se skupinou německých nepřátel. Poté co jich sám
šestnáct zastřelil, byl sám nakonec v přestřelce zabit.
Litanies je dnes známa varhaníkům po celém světě a je to nejpopulárnější
dílo autora. Skladba je zamýšlena jako naléhavá modlitba, ale zároveň jako
posedost, což autor vyjádřil strhujícím tempem a dynamikou stejně jako
nepravidelným rytmem a neobvyklými modulačními postupy.
6
PRAGUE
TE DEUM 1989 Petr Eben is one of the
best known Czech composers of the twentieth century. From 1955-1990, Eben
taught at the department of musical science at Charles University after which
he became a designated professor of composition at the Academy of
Performing Arts. Eben’s compositions have been heard throughout the
world, and he composed for some of the finest orchestras and venues. He
composed in all genres, but as a devout Catholic, his religious music offers
a particularly poignant repertory of expression and ingenuity. He was also
a renown pianist and organist having given concerts abroad in Paris (Notre
Dame), London (Royal Festival Hall and Westminster Cathedral), as well as at
the festivals of Melbourne, and the USA. However Eben’s core activity was
composing.
It is especially significant that Eben composed the jubilant Prague Te Deum,
1989, immediately following the Czechoslovak “Velvet Revolution” of 1989, which
originated in Prague where Eben lived. As he himself put it: “I composed this
work from my personal need to thank for the events we have been waiting
for so long.” Eben sets the first choral entrance to the notes of the original
Te Deum Gregorian chant and uses it as primary material, which is
abandoned and then returned to throughout the work. Eben utilizes a fresh
musical and rhythmic language in support of this original chant thereby
creating a unique juxtaposition of old and new ideas. Originally scored for
SATB choir, brass, and percussion, tonight’s performance presents Eben’s
alternate version for choir, organ, and percussion.
Petra Ebena není třeba českému publiku představovat; bezpochyby patří
mezi nejznámější skladatele české provenience 20. století. Pražské Te Deum
1989 koncipoval jako “poděkování za události, na které jsme tak dlouho
čekali”. Tak jak je pro Ebena typické, jako hlavní stavební materiál využívá
gregoriánského chorálu, který se ozve už v prvních taktech skladby a ke
kterému se v průběhu díla vrací . Původní instrumentace díla je pro sbor,
žestě a bicí. Dnes večer zazní autorova verze pro sbor, varhany a bicí
nástroje.
POSTLUDIUM
Next to Smetana and Dvořák, by whom he was
also influenced, Janáček is considered the most important Czech composer.
Janáček was a prolific composer, organ player and director of an organ
school. He was also a tireless “speech tune” collector, which later defined his
unique compositional style.
7
Postludium was written by Leoš Janáček much sooner than Glagolitic Mass,
from which it is known. Janáček composed it as a solo intermezzo in a style
of passacaglia and named it "Organ solo". This short but extremely difficult
composition shows author´s original and highly expressive style. Much later
Janáček used it as a seventh part of his mass, one of his most important
choral-orchestral works.
Virtuózní Postludium ve stylu pasacaglie napsal Leoš Janáček původně jako
sólovou skladbu pro varhany s titulem Organ solo. Naprostá výjimečnost
této krátké, avšak orignální a vysoce expresivní skladby přiměla později
autora, aby ji zařadil do sedmé části své Glagolské mše.
NÄNIE
This touching elegy was written by Schiller in 1799, and while it
is unclear in whose memory it was written, when Brahms set it to music in
1880-1881, he was memorializing his dear friend and contemporary painter,
Anselm Feuerbach (1829-1880).
Brahms brilliantly represents the dramatic imagery of Schiller’s poem. Much
of Nänie is set in a slow, lilting, 6 / 4 time signature. Each time one of the
characters dies and fulfills his or her fate, Brahms sets the text to a dramatic
musical descent in pitch wherein the measure is divided into three beats
instead of two (a hemiola). The end of the piece brings us back to
a reflection on those who are memorialized with the profound utterance, “Tis
glory to be a song of lament on the lips of loved ones.”
Skladba Nänie (v latině znamená “nenia” pohřební píseň) Johannese Brahmse
nezaznívá na našich pódiích často. Přesto jde o vrcholné sborové dílo autora.
Brahms použil jako předlohu báseň Friedricha Schillera se stejnojmenným
názvem, ve které autor rozjímá nad nevyhnutelností smrti. Brahms zhudebnil
Schillerův text v roce 1881 jako hold svému zemřelému příteli Anselmu
Feuerbachovi.
8
CARMINA
BURANA In the early 19th century, as
a condition of the new alliance of Napoleon with Elector Maximilian IV Joseph,
all Bavarian monasteries were secularized and the contents of their vast
libraries ceded to the Court Library in Munich. One of the many treasures in
these holdings was a collection of some three hundred mostly anonymous
poems from the thirteenth century, all on illuminated parchment manuscript.
While this collection was bound together, these poems were written by
a variety of poets from a wide geographic area over a period of 200 years.
In the middle of the 19th century, the court librarian, Johann Andreas
Schmeller, published a modern edition of this poetry.
German composer Carl Orff, most often known for his work with children’s
music education in Germany, came across Schmeller’s modern edition of the
Carmina Burana in the early 20th century and assembled 24 of the poems
into a libretto. Although recent research offers significant information with
regard to the original melodies of these poems, Orff had no knowledge of
the original music, so he set to work in writing completely new music for
these medieval poems. Orff admired the music of Igor Stravinsky, and as
with Stravinsky’s Rite of Spring, one is immediately struck by the driving
rhythmic force of Orff’s Carmina Burana. There is a primal and visceral
simplicity to much the music which suits the themes of the poetry. The work
is constructed in three sections: In the Springtime and On the Green, In the
Tavern and The Court of Love.
The poetry of these sections present Orff the opportunity to create a vast
display of color and drama. At several points in the score, Orff pays tribute
the primary musical medium of the Middle Ages by setting the music to chant.
Floret silva, where one can hear the horse of the wayward lover riding off
into the distance, and In taberna where by the end we discover that
everyone from the nurse maid to the priest is in tavern drinking, are quite
humorous both in text and in choral and orchestral display. The love songs
present us with tender, provocative, and somewhat lascivious texts, and Orff
responds in kind, carefully crafting the music to showcase the particular
emotional content. Carmina Burana is a grand spectacle filled with
breathtaking contrasts.
The entire work begins and ends with the forceful and dramatic Imperatrix
Mundi: O Fortuna, which has been used in countless films, commercials, video
games, and is arguably the most popular piece of classical music written in
the twentieth century.
9
CARMINA
BURANA Carl Orff pocházel z hudby milovné
mnichovské rodiny. Od útlého dětství se učil hře na klavír a později i na
varhany a violoncello. Absolvoval gymnázium a v roce 1914 zahájil studia na
mnichovské Akademii der Tonkunst. V roce 1924 založil v Mnichově společně
s Dorotheou Güntherovou školu tance, gymnastiky a hudby, kde si
experimentálně ověřoval nové možnosti hudební výchovy dětí. Tak vznikl
Orffem prosazený pojem Schulwerk jakožto systematická metoda, v níž jsou
žáci pomocí soustavy cvičení podle melodických a rytmických modelů vedeni
k vlastní improvizaci. Orff také vydával a upravoval starou hudbu. Dokonale
tak poznal základní prvky, které romantická evropská tradice později
eliminovala (např. bordun, ostinato, repetici, recitaci, pentatoniku, psalmodický
způsob přednesu). Z těchto prvků pak vyrostlo i Orffovo osobitě
formulované vlastní dílo, v němž skladatel využívá jednoduchých expresivních
melodií a působivé, často rafinovaně komplikované rytmiky.
Nejvýznamnějším Orffovým dílem, jež dnes patří také k nejoblíbenějším dílům
světové hudební literatury, je jedna z částí triptychu Trionfi - Carmina Burana
(další dvě části nesou názvy Catulli Carmina a Trionfo di Afrodite). Vlastní
obsah kompozice Carmina Burana, jež byla poprvé provedena v roce 1937 ve
Frankfurtu nad Mohanem, tvoří zhudebněné texty středověkých potulných
básníků a hudebníků, jež byly objeveny v klášteře Beurum. Původní texty
užívají několika jazyků (mj. staroněmčinu, latinu, starofrancouzštinu a italštinu).
Formálním členěním představují Carmina Burana kantátu, rozdělenou do
několika tematických celků podle obsahu: písně pijácké, milostné, písně o jaru,
o štěstí aj. V orchestrální partituře předepisuje skladatel neobvykle velké
množství bicích nástrojů. Dnes večer zazní dílo v Orffově úpravě pro bicí
nástroje a dva klavíry, tedy v provedení, které ještě více umocní strhující
rytmiku díla.
10
JEREMY MIMS, piano / klavír
Dr. Jeremy Mims is Assistant Professor
of Music at Clarke University, where he
conducts the choirs and string orchestra
and will serve as chair of the music
department starting this fall. He is also
the Associate Conductor of the Dubuque
Chorale and the director of the Chancel
Choir at St. Luke’s UMC. Previously he
headed the choral and orchestral
ensembles at Whitman College in Walla
Walla, WA. In addition, Dr. Mims was the
conductor of the Walla Walla Symphony
Youth Orchestra, Pioneer United
Methodist Church Choir, and the Oregon
East Symphony Chorale, as well as a guest conductor with the Walla Walla
Symphony and Walla Walla Choral Society. His ensembles have performed for
various conventions and he is a frequent clinician for area honor choirs.
Dr. Mims has served as musical director, chorus master, and accompanist of
shows for various professional, collegiate and local theatres and opera
companies. A musician of multiple talents and diversity, Jeremy has
appeared on national and international concert and opera stages as
a conductor, collaborative pianist, violinist, and a tenor chorister. As an active
collaborative pianist, Mims has served as accompanist for numerous high
school all-region and all-state choirs, as well for professional and university
choruses. This is his second time to serve as accompanist at the Prague
Choral Festival.
Dr. Mims se vrací na Prague Choral Festival letos již podruhé. Jeremy je
profesorem na Clarke University v USA, kde působí jako sbormistr. Od
podzimu letošního roku byl jmenován ředitelem hudební katedry. Mims se
uplatňuje rovněž jako dirigent, houslista a zpěvák.
11
SHARON JENSEN, piano / klavír
Sharon Jensen holds music degrees
from Calvin College, University of Texas
and University of Michigan. As the
recipient of a Rotary Fellowship, she
studied at the Hochschule fϋr Musik in
Vienna, Austria where she received the
Artist’s Diploma. She has performed
recitals and with orchestras throughout
the Midwest of the USA, including the
Quad Cities Mozart Festival orchestra.
In 2007 she made her solo debut with the
Dubuque Symphony. In March 2010 Dr.
Jensen made her debut at Carnegie’s
Weill Recital Hall and performed there
for four consecutive years with flautist Peg Cornils Luke. She has also been
heard on NPR’s Live from Landmark Center, Live from the Chazen and
Chicago’s Dame Myra Hess Series. Sharon performs regularly in the Tri-State
area as a soloist, collaborative musician and as pianist for the Dubuque
Chorale.
Dr. Jensen was chair of keyboard studies at Augustana College (Rock Island,
IL) from 1986-1993 where she was also a member of the Augustana Trio. She is
currently Assistant Professor of Music at Clarke University where she
teaches piano, music history and keyboard skills. In 2015 she was honored as
the Nationally Certified Teacher of the Year from the state of Iowa.
Sharon Jensen se v Praze letos představí poprvé. Vystudovala na Calvin
College a University of Texas. Vyučuje hru na klavír a hudební historii na
Clarke University ve státě Iowa.
12
DANIELA VALTOVÁ KOSINOVÁ, organ / varhany
Organist Daniela Valtová Kosinová
graduated form the Conservatory of
Music in Pardubice and Music Faculty od
Academy of Performing Arts in Prague. In
2001 / 2002 she received a scholarship
and has studied also at the Hochschule
für Music und Theater in Hamburg. She
gives concerts in the Czech republic as
well as abroad; she is a soloist and also
a head of keyboard instruments section
of the Prague Symphony Orchestra FOK.
As a soloist she appears also with other
orchestras and ensembles. Last year
she took the solo organ part
of L. Janáček´s Glagolitic Mass with the Czech Philharmonic under Jiří
Bělohlávek in Musikverein in Vienna. With this superb orchestra and
Bělohlávek she also visited the USA in 2014 and has played in famous concert
halls, including Carnegie Hall in New York.
Daniela Valtová Kosinová je přední česká varhanice. Koncertuje po celé
Evropě; v roce 2003 reprezentovala ČR na koncertě nových členských zemí
EU v Madridu. V únoru 2007 debutovala sólovým recitálem v lipském
Gewandhausu; v květnu téhož roku vystoupila spolu s fenomenální anglickou
trumpetistkou Alison Balsom na společném recitálu v rámci Pražského jara
v Dvořákově síni Rudolfina. Od roku 2006 zastává funkci vedoucí klávesových
nástrojů v Symfonickém orchestru hl. m. Prahy FOK, kde vystupuje také
sólově. V roce 2015 vystoupila s Českou filharmonií pod taktovkou Jiřího
Bělohlávka jako sólistka v Janáčkově Glagolské mši v koncertní síni
Musikverein ve Vídni; s tímto orchestrem také navštívila v roce 2014 USA, kde
v rámci turné hrála např. v newyorské Carnegie Hall.
Od útlého věku se zabývá také kompozicí. Její skladby zazněly na vlnách
amerického rádia WPRB Princeton New Jersey, nizozemského rádia Mona Lisa
Amsterodam, Českého rozhlasu a na četných koncertech doma i v zahraničí.
13
LINH KAUFFMAN, soprano / soprán
American soprano Linh Kauffman enjoys
an active international career in opera,
oratorio, and recital. She made her Latin
American
debut
as
Melia
in
Mozart’s Apollo et Hyacinthus at the
Teatro Nacional de Panamá and this past
season returned for Handel’s Acis and
Galatea for Antiqva Panamá and
Purcell's Dido and Aeneas for Festival
Musica Antigua Panamá. She recently
debuted at the Festival Musique en l'Île in
Paris in Purcell opera excerpts and
toured Germany with Helmuth Rilling and
the Festivalensemble Stuttgart. Other
recent performances include Mahler Symphony No. 2 with the Minnesota
Orchestra, Mahler Symphony No. 4 with the Metropolitan Symphony, Euridice
in Gluck’s Orfeo for the Twin Cities Early Music Festival, and the title role in
Handel’s Esther with Lyra Baroque Orchestra.
Americká sopranistka Linh Kauffman se stále více prosazuje na mezinárodní
scéně, a to jak na poli opery, tak i oratoria a recitálu. Její hlas měli možnost
slyšet posluchači v Severní a Jižní Americe i v Evropě. V Národním divadle
v Panamě se například představila v Händelově opeře Acis a Galatea či
v Purcellově opeře Dido a Aeneas. V Paříži debutovala na festivalu Musique
en l'Île a v Německu zpívala pod taktovkou Helmutha Rillinga na
Festivalensemble. Mimo jiné se představila také na Oregon Bach Festival,
s Pittsburgh Symphony Orchestra, Rochester Philarmonic a se Saint Paul
Chamber Orchestra.
14
GARY RUSHMAN, tenor / tenor
Hailed by the San Francisco Chronicle
as 'funny and fresh-voiced', Gary
Ruschman has appeared with major and
regional
orchestras,
ensembles,
presenters, and opera companies
across the U.S. and abroad, including the
Boston Pops, Minnesota Orchestra, Saint
Paul Chamber Orchestra, Consortium
Carissimi, Portland Opera, American
Bach Soloists, Royal Opera House Oman,
San Francisco Opera Center, Ballet San
Jose, Birdland, and in concert alongside
jazz legends Doc Severinsen and Bobby
McFerrin.
The tenor's recent highlights include the world premiere of Hagen and
Freeh's dance opera Test Pilot, Metamorphosis Opera Theatre's concert
presentation of Alcina, and Handel's Esther with Lyra Baroque Orchestra.
Rushman also recently premiered Edie Hill's Rincon de Cielo for Saint Paul's
Schubert Club, and performed Bach's Cantata 131 with Minnesota Bach
Ensemble.
An active choral conductor and clinician, Gary serves as Director of Music at
St. Timothy Lutheran Church in Saint Paul, MN, and is an ASCAP award-winning
composer / arranger. He earned degrees with honors from Northern
Kentucky University and the San Francisco Conservatory of Music.
Gary Rushman je mezinárodně uznávaný tenorista. Je známý posluchačům
po celých Spojených státech, ale prosadil se i v mnoha evropských zemích.
V USA zpíval například s Boston Pops, Minnesota Orchestra, Saint Paul
Chamber Orchestra, Consortium Carissimi, Portland Opera, American Bach
Soloists, Royal Opera House Oman, San Francisco Opera Center, Ballet San
Jose, Birdland a zazpíval si i na koncertě po boku jazzových legend - Doca
Severinsena a Bobbyho McFerrina. Rushman nahrával pro mnoho televizních
a rozhlasových společností, například Yomuri Television Japan, European
Broadcast Union, NPR's Tiny Desk Concerts, University of California Television
a další. Gary Rushman je rovněž činný jako sbormistr a skladatel.
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PHILIP ZAWISZA, baritone / baryton
A native of Niles, Michigan and a graduate of the Interlochen Arts Academy,
Philip Zawisza completed his Master's
Degree at Indiana University with Nicola
Rossi-Lemeni. He began his solo career
with the Santa Fe Opera and the Lyric
Opera of Chicago on radio and
television PBS broadcasts. Philip sang
alongside Carlo Bergonzi for his farewell
performances in L'elisir D'amore at the
Baltimore Opera in 1993.
Zawisza started in Europe with the
National Theatre in Mannheim where he developed roles such as Germont
(La Traviata), Enrico (Lucia di Lammermoor), Posa (Don Carlos), Escamillo
(Carmen) Wolfram (Tannhäuser) and Papageno (Die Zauberflöte). In 1995, he
was awarded the Arnold Peterson Prize as an outstanding performing artist.
Zawisza recorded the world-premiere of Blarr's Jerusalem Symphony with
Jun Markl and sang Orff's Carmina Burana and Manuel de
Fallas' Altantida with conductor Miguel Gómez Martínez. He has worked with
the Radio symphony orchestras of Madrid, Munich, Koblenz, Frankfurt, and
Nuremburg. As a Bach singer in Salzburg, he has performed with Howard
Armen and Ivor Bolton.
Along with his engagements as an opera singer, Zawisza is a recognized
song recitalist. Currently, Philip Zawisza teaches at the University
of Minnesota where he is an Assistant Professor of voice.
Philip Zawisza se narodil v americkém státě Michigan, kde vystudoval
Interlochen Arts Academy. Titul magistr získal na Indiana University. Jeho
sólová kariéra začala v Santa Fe Opera a the Lyric Opera of Chicago.
Zawisza zahájil evropskou kariéru s Národním divadlem v Mannheimu, kde
ztvárnil role Germonta (La Traviata), Enrica (Lucia di Lammermoor), Posy (Don
Carlos), Escamilla (Carmen) Wolframa (Tannhäuser) a Papagena (Die
Zauberflöte). V roce 1995 mu byla udělena cena Arnolda Petersona. Zawisza
nahrál světovou premiéru Blarrovy Jerusalem Symphony pod taktovkou Juna
Markla. K jeho rolím patří dále například Figaro (Barbiere di Siviglia), Golaud
(Pelleas et Melisande ) a Gerard (Andrea Chénier). Zawisza je činný rovněž
jako pedagog na University of Minnesota.
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JOSHUA MAIZE, assistant conductor / asistent dirigenta
Joshua Maize is working on a Doctor of
Musical Arts degree in conducting under
Robert Bode at the Conservatory of
Music and Dance at the University of
Missouri - Kansas City and is an active
vocalist, organist, and musicologist. He
holds degrees from the University
of Kansas (M.M. – musicology and church
music) and UMKC (B.M.E. – choral music
education). Josh specializes in music of
the Renaissance and Baroque periods,
with a focus on musical rhetoric in early
German Baroque vocal repertoire.
He is the founder / conductor of Schütz Projekt Vocal Artists, a Kansas Citybased ensemble dedicated to the performance of works by Heinrich Schütz
and his contemporaries. Recent performances include Schütz’s Matthäuspassion (2015) and Auferstehungshistorie (2016) in collaboration with
instrumentalists from Indiana University’s Historical Performance Institute. In
addition to his study of the German Baroque, he is continuing research on
early French and Franco-Flemish sacred music.
As a vocalist, Josh is recognized as a lyric baritone with a unique and
beautiful sound, especially fitting for early music. Currently, he sings with Te
Deum Chamber Choir and Te Deum Antiqua, where he also serves as Artistic
Associate. He has been a member of a number of ensembles including Simon
Carrington Chamber Singers, Norfolk Chamber Choir, Spire Chamber
Ensemble, and KC Collegium Vocale. He is currently Choirmaster for Grace
Episcopal Church having previously served as Choral Scholar for Grace
Episcopal Cathedral and Choral Intern for Village Presbyterian Church.
Joshua Maize v současné době dokončuje doktorská studia na University of
Missouri v Kansas City. Na pódiích v USA se představuje nejen jako lyrický
baryton, ale také jako varhaník, dirigent a sbormistr. Jako zpěvák vystupoval
s renomovanými soubory jako například Simon Carrington Chamber Singers,
Norfolk Chamber Choir, Spire Chamber Ensemble a KC Collegium Vocale.
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MATTHEW MEHAFFEY, conductor / dirigent
American conductor and educator
Matthew Mehaffey is crafting an
international reputation in the field of
choral/orchestral music through his
engaging artistry, collaborative spirit,
affirming pedagogical style, and
entrepreneurial approach to concert
programming.
As a conductor, each week he leads
over 200 passionate amateur and
professional singers in Pittsburgh and St.
Paul in the development of concert
programs that both celebrate the
standard choral/orchestral repertoire and push the boundaries of a traditional choral concert. Recent notable professional engagements include
work with Washington National Opera, Saint Paul Chamber Orchestra,
Minnesota Orchestra, Czech National Symphony Orchestra, Prague Proms,
Lyra Baroque Orchestra, Vocal Essence, Minnesota Chorale, Singers in
Accord, and Turner Network Television.
As a teacher, Dr. Mehaffey is Associate Professor of Music at the University
of Minnesota, where he conducts the University Singers and Men's Chorus,
teaches graduate and undergraduate courses in conducting and music
literature, and is the 2015 recipient of the Arthur "Red" Motley Exemplary
Teaching Award. Dr. Mehaffey possesses degrees in music from Bucknell
University, Westminster Choir College, and the University of Arizona.
Americký dirigent a sbormistr Matthew Mehaffey se prosazuje na
mezinárodní scéně v oblasti sborové a orchestrální literatury a je stejně
úspěšný na poli pedogogiky a hudební vědy. V roli dirigenta vede na 200
amatérských a profesionálnách zpěváků v Pittsburghu a St. Paul, s nimiž
provádí díla ze světové orchetrálně-sborové literatury, ale i díla, která si
teprve hledají cestu na hudební pódia. Spolupracoval například s Washington
National Opera, Saint Paul Chamber Orchestra, Minnesota Orchestra, Czech
National Symphony Orchestra, Prague Proms, Lyra Baroque Orchestra, Vocal
Essence, Minnesota Chorale, Singers in Accord, and Turner Network
Television. Dr. Mehaffey vystudoval Buckness University, Westminster Choir
College and the University of Arizona. Jeho hlavními mentory byli William
Payn, Kay Payn, James Jordan, Joseph Flummerfelt, Maurice Skones, and
Bruce Chamberlain.
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RYAN BOARD, conductor / dirigent
Ryan Board, continues to garner
international attention as a conductor,
choral artist, teacher, singer, and
clinician. In his role as director of choral
activities at Pepperdine, Dr. Board
directs the Pepperdine Concert Choir
and the Pepperdine Chamber Choir and
teaches courses in conducting, music
history, and music education. His
research interests focus on rhetoric and
affections in the sacred vocal music of
the Baroque Era. He maintains an active
schedule as a professional singer and
conductor. For five years he directed
the renowned Kansas City Collegium
Vocale and was previously the director
of Armonia Early Music Ensemble.
He is currently principal conductor for the Prague Choral Festival and is also
an avid conductor of choral-orchestral literature having conducted works
ranging from J. S. Bach’s St. John Passion to Arnold Schoenberg’s A Survivor
from Warsaw. Choirs under Board’s direction have been invited to perform
at prestigious venues for state, regional, national, and international events
including the national convention of the American Choral Directors
Association, the Prague Choral Festival, and the Piccolo Spoleto Festival’s
spotlight Series.
Early in his career, Board taught choral music in the public schools of Idaho,
and served as associate music director for the World Vision Youth
Ambassador Program for which he performed and conducted in more than
18 countries in Europe, Asia, and the Americas. He has performed as
a vocalist with notable early music ensembles including Fuma Sacra and the
Choral Scholars, both of Princeton, New Jersey, and also with the Simon
Carrington Chamber Singers.
Ryan Board je vedoucím katerdy sborového dirigování na Pepperdine
University v USA, kde vede Pepperdine University Choir a Pepperdine
Chamber Choir. Dr. Board vyučuje dirigování, hudební teorii, historii a hudební
výchovu. Centrem jeho hudebněvědeckého výzkumu je období baroka.
Dr. Board se věnuje nejen dirigování, pedagogice a hudební vědě, ale je
rovněž činný jako zpěvák. Pět let vedl dnes již proslulý sbor Armonia. Na
Prague Choral Festival se v roli dirigenta vrací podruhé.
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© PRAGUE CHORAL FESTIVAL 2016