We're in the midst of quite a busy period. Today we head northwest from Bad Salzungen to Knechtsteden for the last concert of this trip to Iceland, Belgium and Germany. Tomorrow we head home for a couple of nights before we fly to Zurich for rehearsals on Thursday with CHAARTS ensemble in advance of five joint concerts in southern Germany and Switzerland, starting on Friday. They will all feature the same programme - the KS will perform on our own an extended group of lively Renaissance works, followed by a set played by CHAARTS. In the second half we will join with the ensemble to perform selections from the Great American Songbook.The last few concerts, by contrast, have featured a large amount of repertoire. In Reykjavik's Harpa Concert Hall we performed a mixed secular programme, including some of Saint-Saens' wonderful part songs. In Skalholt Cathedral we sang our Pater Noster, based on the CD of the same name. In the beautiful Averbode Abbey we sang a new programme framed by Philipe de Monte's parody Mass based on Philippe Verdelot's love song Ultimi miei sospiri. Last night's concert in Bad Salzungen included two of Max Reger's marvellous part songs, Morgengesang and Nachtlied (we sang these underneath an organ which Reger played on many occasions, and now known as the "Reger Organ"). Today in Knechtsteden we sing music by Gesuado, Vasquez and Flecha, and we also give the world premiere of a new work by Bernd Franke, entitled Luther Madrigals. The texts are drawn from the works of Shakespeare, Mosellanus, Dantiscus, and Luther himself. The piece reflects on both Luther's writings and his personality, with Petrus Mosellanus describing him as "medium height, but gaunt, and spent with study". He goes on to say Luther is civil and friendly, and can be "merry and playful" in society, but that his fault is in the "fierceness of his chastisements". It is fascinating to consider the man behind the history, and I'm looking forward to performing this new work. However all this repertoire is keeping us on our toes early in the season!
We're in the midst of quite a busy period. Today we head northwest from Bad Salzungen to Knechtsteden for the last concert of this trip to Iceland, Belgium and Germany. Tomorrow we head home for a couple of nights before we fly to Zurich for rehearsals on Thursday with CHAARTS ensemble in advance of five joint concerts in southern Germany and Switzerland, starting on Friday. They will all feature the same programme - the KS will perform on our own an extended group of lively Renaissance works, followed by a set played by CHAARTS. In the second half we will join with the ensemble to perform selections from the Great American Songbook.The last few concerts, by contrast, have featured a large amount of repertoire. In Reykjavik's Harpa Concert Hall we performed a mixed secular programme, including some of Saint-Saens' wonderful part songs. In Skalholt Cathedral we sang our Pater Noster, based on the CD of the same name. In the beautiful Averbode Abbey we sang a new programme framed by Philipe de Monte's parody Mass based on Philippe Verdelot's love song Ultimi miei sospiri. Last night's concert in Bad Salzungen included two of Max Reger's marvellous part songs, Morgengesang and Nachtlied (we sang these underneath an organ which Reger played on many occasions, and now known as the "Reger Organ"). Today in Knechtsteden we sing music by Gesuado, Vasquez and Flecha, and we also give the world premiere of a new work by Bernd Franke, entitled Luther Madrigals. The texts are drawn from the works of Shakespeare, Mosellanus, Dantiscus, and Luther himself. The piece reflects on both Luther's writings and his personality, with Petrus Mosellanus describing him as "medium height, but gaunt, and spent with study". He goes on to say Luther is civil and friendly, and can be "merry and playful" in society, but that his fault is in the "fierceness of his chastisements". It is fascinating to consider the man behind the history, and I'm looking forward to performing this new work. However all this repertoire is keeping us on our toes early in the season!
We're in the midst of quite a busy period. Today we head northwest from Bad Salzungen to Knechtsteden for the last concert of this trip to Iceland, Belgium and Germany. Tomorrow we head home for a couple of nights before we fly to Zurich for rehearsals on Thursday with CHAARTS ensemble in advance of five joint concerts in southern Germany and Switzerland, starting on Friday. They will all feature the same programme - the KS will perform on our own an extended group of lively Renaissance works, followed by a set played by CHAARTS. In the second half we will join with the ensemble to perform selections from the Great American Songbook.The last few concerts, by contrast, have featured a large amount of repertoire. In Reykjavik's Harpa Concert Hall we performed a mixed secular programme, including some of Saint-Saens' wonderful part songs. In Skalholt Cathedral we sang our Pater Noster, based on the CD of the same name. In the beautiful Averbode Abbey we sang a new programme framed by Philipe de Monte's parody Mass based on Philippe Verdelot's love song Ultimi miei sospiri. Last night's concert in Bad Salzungen included two of Max Reger's marvellous part songs, Morgengesang and Nachtlied (we sang these underneath an organ which Reger played on many occasions, and now known as the "Reger Organ"). Today in Knechtsteden we sing music by Gesuado, Vasquez and Flecha, and we also give the world premiere of a new work by Bernd Franke, entitled Luther Madrigals. The texts are drawn from the works of Shakespeare, Mosellanus, Dantiscus, and Luther himself. The piece reflects on both Luther's writings and his personality, with Petrus Mosellanus describing him as "medium height, but gaunt, and spent with study". He goes on to say Luther is civil and friendly, and can be "merry and playful" in society, but that his fault is in the "fierceness of his chastisements". It is fascinating to consider the man behind the history, and I'm looking forward to performing this new work. However all this repertoire is keeping us on our toes early in the season!
We're in the midst of quite a busy period. Today we head northwest from Bad Salzungen to Knechtsteden for the last concert of this trip to Iceland, Belgium and Germany. Tomorrow we head home for a couple of nights before we fly to Zurich for rehearsals on Thursday with CHAARTS ensemble in advance of five joint concerts in southern Germany and Switzerland, starting on Friday. They will all feature the same programme - the KS will perform on our own an extended group of lively Renaissance works, followed by a set played by CHAARTS. In the second half we will join with the ensemble to perform selections from the Great American Songbook.The last few concerts, by contrast, have featured a large amount of repertoire. In Reykjavik's Harpa Concert Hall we performed a mixed secular programme, including some of Saint-Saens' wonderful part songs. In Skalholt Cathedral we sang our Pater Noster, based on the CD of the same name. In the beautiful Averbode Abbey we sang a new programme framed by Philipe de Monte's parody Mass based on Philippe Verdelot's love song Ultimi miei sospiri. Last night's concert in Bad Salzungen included two of Max Reger's marvellous part songs, Morgengesang and Nachtlied (we sang these underneath an organ which Reger played on many occasions, and now known as the "Reger Organ"). Today in Knechtsteden we sing music by Gesuado, Vasquez and Flecha, and we also give the world premiere of a new work by Bernd Franke, entitled Luther Madrigals. The texts are drawn from the works of Shakespeare, Mosellanus, Dantiscus, and Luther himself. The piece reflects on both Luther's writings and his personality, with Petrus Mosellanus describing him as "medium height, but gaunt, and spent with study". He goes on to say Luther is civil and friendly, and can be "merry and playful" in society, but that his fault is in the "fierceness of his chastisements". It is fascinating to consider the man behind the history, and I'm looking forward to performing this new work. However all this repertoire is keeping us on our toes early in the season!
We're in the midst of quite a busy period. Today we head northwest from Bad Salzungen to Knechtsteden for the last concert of this trip to Iceland, Belgium and Germany. Tomorrow we head home for a couple of nights before we fly to Zurich for rehearsals on Thursday with CHAARTS ensemble in advance of five joint concerts in southern Germany and Switzerland, starting on Friday. They will all feature the same programme - the KS will perform on our own an extended group of lively Renaissance works, followed by a set played by CHAARTS. In the second half we will join with the ensemble to perform selections from the Great American Songbook.The last few concerts, by contrast, have featured a large amount of repertoire. In Reykjavik's Harpa Concert Hall we performed a mixed secular programme, including some of Saint-Saens' wonderful part songs. In Skalholt Cathedral we sang our Pater Noster, based on the CD of the same name. In the beautiful Averbode Abbey we sang a new programme framed by Philipe de Monte's parody Mass based on Philippe Verdelot's love song Ultimi miei sospiri. Last night's concert in Bad Salzungen included two of Max Reger's marvellous part songs, Morgengesang and Nachtlied (we sang these underneath an organ which Reger played on many occasions, and now known as the "Reger Organ"). Today in Knechtsteden we sing music by Gesuado, Vasquez and Flecha, and we also give the world premiere of a new work by Bernd Franke, entitled Luther Madrigals. The texts are drawn from the works of Shakespeare, Mosellanus, Dantiscus, and Luther himself. The piece reflects on both Luther's writings and his personality, with Petrus Mosellanus describing him as "medium height, but gaunt, and spent with study". He goes on to say Luther is civil and friendly, and can be "merry and playful" in society, but that his fault is in the "fierceness of his chastisements". It is fascinating to consider the man behind the history, and I'm looking forward to performing this new work. However all this repertoire is keeping us on our toes early in the season!
We're in the midst of quite a busy period. Today we head northwest from Bad Salzungen to Knechtsteden for the last concert of this trip to Iceland, Belgium and Germany. Tomorrow we head home for a couple of nights before we fly to Zurich for rehearsals on Thursday with CHAARTS ensemble in advance of five joint concerts in southern Germany and Switzerland, starting on Friday. They will all feature the same programme - the KS will perform on our own an extended group of lively Renaissance works, followed by a set played by CHAARTS. In the second half we will join with the ensemble to perform selections from the Great American Songbook.The last few concerts, by contrast, have featured a large amount of repertoire. In Reykjavik's Harpa Concert Hall we performed a mixed secular programme, including some of Saint-Saens' wonderful part songs. In Skalholt Cathedral we sang our Pater Noster, based on the CD of the same name. In the beautiful Averbode Abbey we sang a new programme framed by Philipe de Monte's parody Mass based on Philippe Verdelot's love song Ultimi miei sospiri. Last night's concert in Bad Salzungen included two of Max Reger's marvellous part songs, Morgengesang and Nachtlied (we sang these underneath an organ which Reger played on many occasions, and now known as the "Reger Organ"). Today in Knechtsteden we sing music by Gesuado, Vasquez and Flecha, and we also give the world premiere of a new work by Bernd Franke, entitled Luther Madrigals. The texts are drawn from the works of Shakespeare, Mosellanus, Dantiscus, and Luther himself. The piece reflects on both Luther's writings and his personality, with Petrus Mosellanus describing him as "medium height, but gaunt, and spent with study". He goes on to say Luther is civil and friendly, and can be "merry and playful" in society, but that his fault is in the "fierceness of his chastisements". It is fascinating to consider the man behind the history, and I'm looking forward to performing this new work. However all this repertoire is keeping us on our toes early in the season!
We're in the midst of quite a busy period. Today we head northwest from Bad Salzungen to Knechtsteden for the last concert of this trip to Iceland, Belgium and Germany. Tomorrow we head home for a couple of nights before we fly to Zurich for rehearsals on Thursday with CHAARTS ensemble in advance of five joint concerts in southern Germany and Switzerland, starting on Friday. They will all feature the same programme - the KS will perform on our own an extended group of lively Renaissance works, followed by a set played by CHAARTS. In the second half we will join with the ensemble to perform selections from the Great American Songbook.The last few concerts, by contrast, have featured a large amount of repertoire. In Reykjavik's Harpa Concert Hall we performed a mixed secular programme, including some of Saint-Saens' wonderful part songs. In Skalholt Cathedral we sang our Pater Noster, based on the CD of the same name. In the beautiful Averbode Abbey we sang a new programme framed by Philipe de Monte's parody Mass based on Philippe Verdelot's love song Ultimi miei sospiri. Last night's concert in Bad Salzungen included two of Max Reger's marvellous part songs, Morgengesang and Nachtlied (we sang these underneath an organ which Reger played on many occasions, and now known as the "Reger Organ"). Today in Knechtsteden we sing music by Gesuado, Vasquez and Flecha, and we also give the world premiere of a new work by Bernd Franke, entitled Luther Madrigals. The texts are drawn from the works of Shakespeare, Mosellanus, Dantiscus, and Luther himself. The piece reflects on both Luther's writings and his personality, with Petrus Mosellanus describing him as "medium height, but gaunt, and spent with study". He goes on to say Luther is civil and friendly, and can be "merry and playful" in society, but that his fault is in the "fierceness of his chastisements". It is fascinating to consider the man behind the history, and I'm looking forward to performing this new work. However all this repertoire is keeping us on our toes early in the season!
