William Candidus Vídeos
cantante de ópera estadounidense
- tenor
- Estados Unidos, Imperio alemán
- cantante, cantante de ópera, actor, actor de teatro
Última actualización
2024-05-21
Actualizar
Johannes Brahms Candidus Ortega 2022
Transcripted for Violoncello & Piano by Carl Candidus Guillem Gràcia, Violoncello Miguel Ángel Ortega Chavaldas, Piano Auditorio Sony, 27 of April 2022
Emmanuel Music Johann Sebastian Bach John Harbison Turner Krol Reich Bellini Hite Rockland Osgood Hildebrand Candidus Beattie 1430 1516 1989 1994
I wrote this chorus while improvising at the organ in 1989, whereupon I devised a text which expressed a meaningful thought rhetorically and syllabically fitting the subjects I had improvised, and composed it out over the course of several days, premiering it with an amateur madrigal group the next week. In 1994, the late Craig Smith heard me play this at the former organ at Boston’s renowned Emmanuel Church, and led this performance there, in service, on 1 May 1994, with some of Boston’s then most renowned Bach singers among the chorus. The work subsequently won praise from renowned composer John Harbison and others. I have just for the first time requested and received permission from Emmanuel Music to publish this performance, for which I am deeply grateful, to Ryan Turner and Pat Krol in particular. I treasure the performance and recording as the greatest honor I have received in my life. Emmanuel Music, founded by Craig Smith, is the Boston area's preeminent Bach performance ensemble, who for 50 years have been performing his sacred cantatas in service at Emmanuel Church. See (http•••). The original text in Bach-Luther language actually expresses a Christologically subversive thought, that sacrifice and giving earn a path to Grace and Redemption. The underlying sentiment, “Salvation by works” differs from the “Salvation by faith” and Universal Grace of Lutheran theology, yet it underlies, for example, the Beatitudes (compare the “law of karma”). The initial subject of the first line is fugued upon, the subject starting on the third being unusual but less so in an accompanied fugue. The second subject, “shall through Grace...” enjoys a counterexposition in tenths at m. 43. The idea of “sein Reich erlangen” (achieve His Kingdom) is painted by rising scales in the bass that drive the climax of the work at the half-diminished 9-7-5 “crunch” chord (BDFAC) at the downbeat of m. 66, after the two subjects have been counterposed. The image of Christ carrying the Cross is by an unknown artist from the school of Giovanni Bellini (?1430-1516), and resides in the Isabella Stewart Gardner Museum here in Boston. A downloadable score of a later-orchestrated version is at (http•••) with more commentary. Of performers whom I recorded later in that day, there were Pam Murray, Marilyn Bulli, Margaret Johnson, Gail Abbey, soprano, Gloria Raymond, Mary Westbrook-Geha, K. Kamala Soprankar, alto, William Hite, Rockland Osgood, tenor, Don Wilkinson, Herman Hildebrand, Paul Guttry, Ed Candidus bass. Michael Beattie played continuo organ. The chorus was about 25 strong. Don and Ed are deceased. This is the best I’ve managed to do to date (by everyone's assessment, including mine). I have not yet managed to do better, but my attempts are right here. If you’d like to perform this work with a real chorus, I’d be delighted: please let me know. This seems to be the only time that the Thomaskantor really -riß den Himmel auf- and guided my hands and feet. All glory and honor to Johann Sebastian Bach, from whom my blessings flow.
o
- cronología: Cantantes líricos (Europa).
- Índices (por orden alfabético): C...