Koncerter 2013

3. februar 2013

NIKLAS WALENTIN (violin)

ULRIK STÆRK (klaver)

Når vi spiller kammermusik spiller vi mest ældre musik, vi ser ligesom lidt tilbage i tiden. Men hvorfor ikke se frem for en gangs skyld? Hvorfor ikke finde en solist der repræsenterer fremtiden?

Det er det vi har forsøgt denne gang. Niklas Walentin er ikke fyldt 18 år endnu, han står ved starten af en karriere – og dog er han allerede nået langt. Han har spillet fra han var seks år, og han har en grundig uddannelse bag sig. På MGK-kurset i Nykøbing Falster var han elev af Søren Elbæk, og han har senere søgt vejledning hos førende violinlærere i nær og fjern, endda hos en professor i Paris. Otte år gammel bestod han sin MGK-eksamen som den yngste i Danmark.

Man kan sige meget mere om ham, han har været solist i violinkoncerter af Mendelssohn og Max Bruch, og for tiden studerer han på musikkonservatoriet i København.

Sammen med sin medstuderende Elisabeth Holmegaard Nielsen har han dannet DUO VICANTO – og den glæder vi os til at høre denne søndag.

Læs mere om Niklas Walentin her

Entre 150 kr (medlemmer 90 kr, unge under 25 gratis)

Program:

C. Nielsen: ” Preludium e Presto” Op. 52 for soloviolin

C. Nielsen: Sonate No. 2 i g-mol, Op. 35

-pause-

J. Brahms: Sonate No. 2 i a-dur Op. 100

C. Debussy: Sonate i c-mol for violin og klaver

3. marts 2013

LE DAME DI FERRARA

MALENE NORDTORP, ANNE CHRISTINE WESSER INGELS og RIE KOCH (sang)

Præsentation: BO HOLTEN

Vi skruer tiden tilbage denne gang – helt tilbage til 1500-tallet.

Her i renæssancens sidste år opstod en blomstrende tradition i den italienske by Ferrara – noget med syngende og musicerende kvinder. Først var det hoffets damer selv, men på et tidspunkt ansattes en trio af professionelle kvindelige sangere, hvis ry som ”le dame di Ferrara” snart rakte ud over hele Europa. Det resulterede i en strøm af fantastiske kompositioner, som tidens store navne skrev til disse kvinder.

Ambitionen ved denne koncert er ikke blot at tilegne os de mange strålende stykker musik, men også tidens omfattende forsiringsteknik, de blomstrende fioriture som sangerne udsmykkede musikken med. Kostumer, specielt kreeret til lejligheden, fuldbyrder denne genskabelse af renæssancens mest legendariske vokalensemble.

De tre solister er hentet fra Musica Ficta-koret, og de vil demonstrere hvordan det kan have set ud, og hvordan det kan have lydt når musikken klang ved Ferrara-hoffet i 1590-erne.

Læs mere om Le dame di Ferrare her.

Entre 150 kr (medlemmer 90 kr, unge under 25 gratis)

program:

Claudio Monteverdi /Rinuccini: Zefiro torna

(1567-1643)

Giulio Caccini /Guarini: Amarilli, mia bella!

(1551-1618)

Giaches de Wert )/Tansillo: Felice l’alma che per voi respira

(1535-1596)

Cipriano de Rore /d’Avalos: Ancor che col partire

(1515-1565)

Ancor che col partire (instrumental)

Luzzasco Luzzaschi /Guarini: Non sa che sia dolore

(ca.1545-1607)

Luzzasco Luzzaschi/Guarini: O primavera

Claudio Monteverdi: Ohimè dov’è il mio ben/Romanesca

Giovanni Girolamo Kapsberger : Toccata nr. 7 (instrumental)

(ca. 1580-1651)

Carlo Gesualdo : Tu m’uccidi

(1566-1613)

Giaches de Wert/Tasso: Forsennata gridava

Alessandro Piccinini : Passacaglia (instrumental)

(1566-1638)

Claudio Monteverdi/Carlo Milanuzzi: Si dolce è’l tormento

Luzzasco Luzzaschi/Guarini: O dolcezze amarissime d’amore

Giaches de Wert/Tasso: Vezzosi augelli

Medvirkende:

Sang: Malene Nordtorp · Ann-Christine Wesser Ingels · Rie Koch

Lut: Fredrik Bock

Kunstnerisk ledelse og introduktioner: Bo Holten

Koreografi: Deda Cristina Colonna

Kostumer: Eva Sommestad Holten & Leif Persson

7. april 2013

STORSTRØMS KAMMERENSEMBLE

Kammerensemblet har fået den idé at sætte harpen i centrum denne gang. Et instrument som de fleste mennesker elsker at høre. Ikke alle ganske vist – Carl Nielsen sagde engang, at ”en harpe i en symfoni er som et hår i suppen”. Uha. Men han står heldigvis lidt alene med det synspunkt.

Harpen er nok det ældste musikinstrument vi kender – der er fundet forløbere for den moderne harpe helt tilbage til tre årtusinder før vor tidsregning, og det er da noget. I fransk musik er den blevet flittigt udnyttet, og Ravel skrev et sandt mesterværk hvor Harpen så afgjort spiller hovedrollen. Dette værk – ”Introduktion og allegro” – for fløjte, klarinet, harpe og tre strygere -udgør koncertens højdepunkt.

Men der er selvfølgelig meget andet. Hvad – ja det får vi at høre denne søndag.

Læs mere om Storstrøms Kammerensemble her.

Entre 150 kr (Medlemmer 90 kr, unge un der 25 gratis)

Program:

Albert Roussel (1869-1937)

Trio Op.40

f. fløjte, bratsch og cello

Jaques Ibert (1890-1962)

Trio

I. Allegro tranquillo

II. Andante sostenuto

III. Scherzando con moto

Knudåge Riisager (1897-1974)

Variationer Op.4 (1923)

PAUSE

Joseph Guy Ropartz (1864-1955):

Prélude, Marine et Chansons

I. Prélude

II. Marine

III. Chansons

Maurice Ravel (1875-1937):

Introduction et Allegro

_____________________

Medvirkende musikere:

Svend Melbye, fløjte

Eva Åberg, klarinet

Gunnar Eckhoff, fagot

Mette Franck, harpe

Jakob Westh, klaver

Stéphane Tran Ngoc, violin

Siri Abildgaard

Piotr Zelazny, bratsch

Niels Nullner.

5. maj 2013

TRIO CON BRIO

JENS ELVEKJÆR (klaver)

SOO-JIN HONG (violin)

SOO-KYUNG HONG (cello)

Vi er altid glade når vi kan præsentere nye kunstnere her på Fuglsang. Men det er så sandelig også en glæde når gamle venner dukker op.

Sådan som i dag.

Trio con Brio har nu gæstet os en del gange, og det er nærmest en ære for os at de nu vender tilbage. For næppe har et dansk kammerensemble vakt en sådan international opsigt som denne trio. De har modtaget så mange priser, at det ville fylde flere sider hvis de alle skulle remses op her. Der er ikke noget at sige til det, for de er alle tre store musikere, og som de selv siger: ”Vi kan være hundrede procent ærlige over for hinanden, både når vi prøver og når vi optræder, og vore forskellige kulturelle baggrunde har skabt et usædvanligt perspektiv der påvirker alt hvad vi gør. Det er en proces med at tænke uden begrænsninger og så alligevel forblive i musikkens store traditioner.”

De er også privat tæt forbundne. De to strygere er søstre, og Jens Elvekjær er oven i købet gift med cellisten. De dannede deres trio i Wien i 1999, og vakte opsigt ved at spille alle Beethovens trioer over tre aftener i København. Men det var kun begyndelsen. En Amerika-tourné vakte vild beundring blandt kritikerne – en af dem mente at han aldrig havde hørt bedre kammermusik-spil. Og det er da noget.

Vi kan kun glæde os til et festligt genhør.

Læs mere om Trio con Brio her.

Entre 150 kr (medlemmer 90 kr, unge u nder 25 gratis)

I forbindelse med denne koncert afholder Fuglsang Musikforening sin ordinære generalforsamling kl 13 på Fuglsang

2. juni 2013

DREAMERS CIRKUS

RUNE TONSGAARD SØRENSEN

ALE CARR

NIKOLAJ BUSK

Hvad er nu det – skal vi i cirkus?

Nej. Vi skal høre folkemusik, og det folkemusik på et meget højt plan. Med tre forskellige musikalske baggrunde skaber Rune Tonsgaard Sørensen (violin), Ale Carr (cittern) og Nikolaj Busk (klaver og akkordeon) moderne skandinavisk folkemusik, der tager lytteren med på en rejse af temaer, harmonier og hårdtsvingende grooves. Med stor fleksibilitet leger de med musikken via et cirkus af spontane, kreative og eksplosive arrangementer.

Nikolaj kommer fra en verden af jazz, Rune er klassisk violinist og Ale har baggrund i folkemusikken. Med en utrolig teknik og musikalitet blander de alle dele af deres verdener – der sammen resulterer i store musikalske oplevelser.

Dreamers Cirkus udgav i 2010 deres debut-cd. De tre talenter er hver især respekterede musikere, og deres musikalske møde startede i Konservatoriets Koncertsal i 2009, hvor Dreames Cirkus med Sjællands Symfoniorkester i ryggen fremtryllede en folkemusisk fortolkning af Mozarts 5.violinkoncert med Rune Tonsgaard Sørenden som solist.

Så det er altså folkemusik der fylder salen på denne sidste koncert i sæsonen.

Entre 150 kr (medlemmer 90 kr, unge under 25 gratis)

BEMÆRK ÆNDRET TIDSPUNKT.

Da det selvfølelig bliver en fortryllende sommeraften er foreningen vært ved et glas bobler i pausen ude på terrassen

4. august 2013

CHRISTIAN IHLE HADLAND

Et møde med en kommende stjerne i Nordens musikliv. Den unge norske pianist fra Stavanger debuterede allerede som 15-årig, og han gjorde det som solist med Oslo-filharmonikerne – Kringkastningsorkestret. Og så tog karriéren fart. Han er i dag en efterspurgt musiker på alle felter, både som solist, kammermusiker og akkompagnatør. Han har været i Danmark før, han har spillet sammen med Radiosymfoniorkestret ved en Torsdagskoncert og nu kommer han til Fuglsang .-finere kan det ikke være.

Christian Ihle Hadland udgav sit første album i 2010 med musik af Schumann og Chopin – indspilningen vakte stor opmærksomhed i pressen, der hyldede ham som ”en unik musiker hvis spill fortjener å bli hørt på alle verdens koncertscener”.

Det bliver spændende at høre ham her hos os. Han spiller Ravels ”Le Tombeau de Couperin”, en klaversuite der hylder den store franske barokkomponist. Og efter endnu en suite – denne gang af russeren Borodin – slutter Hadland af med Schuberts store klaversonate i G-dur. En lang en at komme igennem – men det lønner sig, det er musik af største skønhed.

Vi har al mulig grund til at glæde os.

Læs mere om Christian Ihle Hadland her

Billetsalget starter kl. 14.

Entre 150 kr (medlemmer 100 kr, unge under 25 gratis)

På Fuglsang Kunstmuseum kan der på dagen indtil kl 14 købes en combi-billet til museum og koncert for 175 kr.

Program

W.A.Mozart Fantasi i c-mol KV 475 (1785)

1756 – 1791

W.A.Mozart Sonate i c-mol KV 457 (1784)

– Molto allegro

– Adagio

– Allegro assai

Alexander Borodin Petite Suite. (1885)

(1833 – 1887) – Au couvent

– Intermezzo

– Mazurka i C dur

– Mazurka i Db dur

– Rêverie

– Sérénade

– Nocturne

Pause

Franz Schubert Piano Sonate Nr. 18 i G dur, Op. 78, 1797 – 1828 D. 894 (1826) – Molto moderato e cantabile

– Andante

– Menuetto: Allegro moderato

– Allegretto

1. september 2013

BENJAMIN BRITTEN 100 ÅR

MARIA KONTRA (mezzo-sopran)

MATHIAS HEDEGAARD (tenor)

SØREN PEDERSEN (klaver)

Denne koncert er en hyldest til en stor komponist, en af de største i det tyvende århundrede – englænderen Benjamin Britten. Han ville i år være fyldt hundrede år, så vi synes at der er anledning. De to sangere og pianisten har sammensat et varieret og smukt program med værker af denne fantastiske komponist. Fra de bibelsk inspirerede Canticles over den dramatiske kantate Phaedra til virtuose og humoristiske sange i On this Island, samt en samling charmerende vuggeviser! Programmet indeholder vidunderlige melodier, men rummer samtidig en masse dramatik. En oplagt måde at markere denne betydningsfulde komponist på.

Og så har vi været så heldige at kunne engagere forfatteren Jørgen I. Jensen der vil fortælle os om Benjamin Britten og hans musik. Det er ikke første gang Jørgen I. Jensen gæster os, og han har hver gang vist sig som en spændende og levende foredragsholder.

Altså:

FOREDRAG KL. 13.30

KONCERT KL. 15.00

Læs mere om Benjamin Britten her

Billetsalget starter kl. 14.

Entre 150 kr (medlemmer 100 kr, unge under 25 gratis)

På Fuglsang Kunstmuseum kan der på dagen indtil kl 14 købes en combi-billet til museum og koncert for 175 kr.

Program:

Benjamin Britten

Canticle I “My beloved is mine”, opus 40

(1913-1976) Tekst: Francis Quarles (1947)

Phaedra, opus 93, Tekst: Robert Lowell efter Racine’s Phèdre (1975)

1. In May, in brilliant Athens

2. Oh Gods of wrath

3. My time’s too short, your highness

On this Island, opus 11, Tekst: W. H. Auden (1937)

1. Let the florid music praise

2. Now the leaves are falling fast

3. Seascape: Look, stranger

4. Nocturne: Now through night’s caressing grip

5. As it is plenty

PAUSE

Charm of Lullabies, opus 41 (1947)

A Cradle Song (Tekst: William Blake)

The Highland Balou (Tekst: Robert Burns)

Sephestia’s Lullaby (Tekst: Robert Greene)

A Charm (Tekst: Thomas Randolph)

The Nurse’s Song (Tekst: John Phillip)

Canticle II “Abraham and Isaac” for alt og tenor, opus 51

Tekst: 15th century Chester Miracle Play (1952)

*********************************************************************************************************************************************

Tekster:

Canticle I, op. 40 “My beloved is mine”

Ev’n like two little bank-divided brooks,

That wash the pebbles with their wanton streams,

And having rang’d and search’d a thousand nooks,

Meet both at length at silver-breasted Thames,

Where in a greater current they conjoin:

So I my best-beloved’s am; so he is mine.

Ev’n so we met; and after long pursuit,

Ev’n so we joyn’d; we both became entire;

No need for either to renew a suit,

For I was flax and he was flames of fire:

Our firm-united souls did more than twine;

So I my best-beloved’s am; so he is mine.

If all those glitt’ring Monarchs that command

The servile quarters of this earthly ball,

Should tender, in exchange, their shares of land,

I would not change my fortunes for them all:

Their wealth is but a counter to my coin:

The world’s but theirs; but my beloved’s mine.

Nay, more; If the fair Thespian Ladies all

Should heap together their diviner treasure:

That treasure should be deem’d a price too small

To buy a minute’s lease of half my pleasure;

‘Tis not the sacred wealth of all the nine

Can buy my heart from him, or his, from being mine.

Nor Time, nor Place, nor Chance, nor Death can bow

My least desires unto the least remove;

He’s firmly mine by oath; I his by vow;

He’s mine by faith; and I am his by love;

He’s mine by water; I am his by wine,

Thus I my best-beloved’s am; thus he is mine.

He is my Altar; I, his Holy Place;

I am his guest; and he, my living food;

I’m his by penitence; he mine by grace;

I’m his by purchase; he is mine, by blood;

He’s my supporting elm; and I his vine;

Thus I my best beloved’s am; thus he is mine.

He gives me wealth; I give him all my vows:

I give him songs; he gives me length of dayes;

With wreaths of grace he crowns my longing brows,

And I his temples with a crown of Praise,

Which he accepts: an everlasting signe,

That I my best-beloved’s am; that he is mine.

Phaedra, op. 93

PROLOGUE

In May, in brillant Athens, on my marriage day

I turned aside for shelter from the smile of Theseus.

Death was frowning in an aisle – Hippolytus!

I saw his face, turned white!

RECITATIVE

My lost and dazzled eyes saw only night.

Capricious burnings flickered through my bleak, abandoned flesh.

I could not breathe or speak, I faced my flaming executioner; Aphrodite, my mother’s murderer!

I tried to calm her wrath by flowers and praise,

I build her a temple, fretted months and days on decoration.

Alas my hungry open mouth thirsting with adoration, tasted drought. Venus resigned her altar to my new lord.

PRESTO

(to Hippolytus)

You monster! You understood me to well, why do you hang there, speechless, petrified, polite!

My mind whirls.

What have I to hide?

Phaedra, in all her madness stands before you.

I love you. Fool I love you. I adore you.

Do not imagine that my mind approved my first defection, Prince,

Or that I loved your youth, your youth light-heartedly, and fed my treason with cowardly compliance, till I lost my reason.

Alas! My violence to resist you made my face inhuman, hateful.

I was afraid to kiss my husband lest I love his son.

I made you fear me, (this was easily done);

You loathed me more, I ached for you no less.

Misfortune magnified your loveliness.

The wife of Theseus loves Hippolytus, see Prince!

Look, this monster, ravenous for her execution, will not flinch!

I want your sword’s spasmodic, final inch!

RECITATIVE

(To Oenone)

O! Gods of wrath, how far I’ve travelled on my dangerous path.

I go to meet my husband; at his side will stand Hippolytus.

How shall I hide my thick, adulterous passion for this youth, who has rejected me

and knows the truth.

Will he not draw his sword and strike me dead?

Suppose he spares me?

What if nothing said? Can I kiss Theseus with dissembled poise?

The very dust rises to disabuse my husband – to defame me and accuse!

Oenone, I want to die! Death will give me freedom; O it’s nothing not to live, death to the unhappy’s no catastrophe!

LIVELY

(To Theseus)

My time’s to short, your highness.

It was I who lusted for your son with my hot eye.

The flames of Aphrodite maddened me.

Then Oenones tears troubled my mind; she played upon my fears until her pleading forced me to declare I loved your son.

Theseus I stand before you to absolve your noble son.

Sire, only this resolve upheld me, and made me throw down my knife I’ve chosen a slower way to end my life – Medeas poison;

Chills already darts along my boiling veins and squeeze my heart,

A cold composure I have never known gives me a moment’s poise.

I stand alone and seem to see my outraged husband fade and waver into death’s dissolving shade.

My eyes at last give up their light, and see the day they’ve soiled resume its purity.

On this Island, op. 11

Let the Florid Music Praise

Let the florid music praise,

The flute and the trumpet,

Beauty’s conquest of your face:

In that land of flesh and bone,

Where from citadels on high

Her imperial standards fly,

Let the hot sun

Shine on, shine on.

O but the unlov’d have had power,

The weeping and striking,

Always; time will bring their hour:

Their secretive children walk

Through your vigilance of breath

To unpardonable death,

And my vows break

Before his look.

Now the Leaves are Falling Fast

Now the leaves are falling fast,

Nurse’s flowers will not last;

Nurses to the graves are gone,

And the prams go rolling on.

Whisp’ring neighbours, left and right,

Pluck us from the real delight;

And the active hands must freeze

Lonely on the sep’rate knees.

Dead in hundreds at the back

Follow wooden in our track,

Arms raised stiffly to reprove

In false attitudes of love.

Starving through the leafless wood

Trolls run scolding for their food;

And the nightingale is dumb,

And the angel will not come.

Cold, impossible, ahead

Lifts the mountain’s lovely head

Whose white waterfall could bless

Travellers in their last distress.

Seascape

Look, stranger, at this island now

The leaping light for your delight discovers,

Stand stable here

And silent be,

That through the channels of the ear

May wander like a river

The swaying sound of the sea.

Here at the small field’s ending pause

Where the chalk wall falls to the foam, and its tall ledges

Oppose the pluck

And knock of the tide,

And the shingle scrambles after the sucking surf, and the gull lodges

A moment on its sheer side.

Far off like floating seeds the ships

Diverge on urgent voluntary errands;

And the full view

Indeed may enter

And move in memory as now these clouds do,

That pass the harbour mirror

And all the summer through the water saunter.

Nocturne

Now through night’s caressing grip

Earth and all her oceans slip,

Capes of China slide away

From her fingers into day

And th’ Americas incline

Coasts towards her shadow line.

Now the ragged vagrants creep

Into crooked holes to sleep:

Just and unjust, worst and best,

Change their places as they rest:

Awkward lovers like in fields

Where disdainful beauty yields:

While the splendid and the proud

Naked stand before the crowd

And the losing gambler gains

And the beggar entertains:

May sleep’s healing power extend

Through these hours to our friend.

Unpursued by hostile force,

Traction engine, bull or horse

Or revolting succubus;

Calmly till the morning break

Let him lie, then gently wake.

As it is, plenty

As it is, plenty;

As it’s admitted

The children happy

And the car, the car

That goes so far

And the wife devoted:

To this as it is,

To the work and the banks

Let his thinning hair

And his hauteur

Give thanks, give thanks.

All that was thought

As like as not, is not

When nothing was enough

But love, but love

And the rough future

Of an intransigent nature

And the betraying smile,

Betraying, but a smile:

That that is not, is not;

Forget, forget.

Let him not cease to praise

Then his spacious days;

Yes, and the success

Let him bless, let him bless:

Let him see in this

The profits larger

And the sins venal,

Lest he see as it is

The loss as major

And final, final.

A Charm of Lullabies

A Cradle Song

Sleep, sleep, beauty bright,

Dreaming o’er the joys of night;

Sleep, sleep, in thy sleep

Little sorrows sit and weep.

Sweet babe, in thy face

Soft desires I can trace,

Secret joys and secret smiles,

Little pretty infant wiles.

O! the cunning wiles that creep

In thy little heart asleep.

When thy little heart does wake

Then the dreadful lightnings break,

From thy cheek and from thy eye,

O’er the youthful harvests nigh.

Infant wiles and infant smiles

Heaven and Earth of peace beguiles.

The Highland Balou

Hee Balou, my sweet wee Donald,

Picture o’ the great Clanronald!

Brawlie kens our wanton Chief

What gat my young Highland thief.

(Hee Balou!)

Leeze me on thy bonnie craigie!

And thou live, thou’ll steal a naigie,

Travel the country thro’ and thro’ ,

and bring hame a Carlisle cow!

Thro’ the Lawlands, o’er the Border,

Weel, my babie, may thou furder!

Herry the louns o’ the laigh Countrie,

Syne to the Highlands hame to me!

Sephestia’s Lullaby

Weep not, my wanton, smile upon my knee;

When thou art old there’s grief enough for thee.

Mother’s wag, pretty boy,

Father’s sorrow, father’s joy;

When thy father first did see

Such a boy by him and me,

He was glad, I was woe;

Fortune changed made him so,

When he left his pretty boy,

Last his sorrow, first his joy.

Weep not, my wanton, smile upon my knee;

When thou art old there’s grief enough for thee.

The wanton smiled, father wept,

Mother cried, baby leapt;

More he crow’d, more we cried,

Nature could not sorrow hide:

He must go, he must kiss

Child and mother, baby bliss,

For he left his pretty boy,

Father’s sorrow, father’s joy.

Weep not, my wanton, smile upon my knee,

When thou art old there ’s grief enough for thee.

A Charm

Quiet!

Sleep! or I will make

Erinnys whip thee with a snake,

And cruel Rhadamanthus take

Thy body to the boiling lake,

Where fire and brimstones never slake;

Thy heart shall burn, thy head shall ache,

And ev’ry joint about thee quake;

And therefore dare not yet to wake!

Quiet, sleep!

Quiet!

Sleep! Or thou shalt see

The horrid hags of Tartary,

Whose tresses ugly serpents be,

And Cerberus shall bark at thee,

And all the Furies that are three

The worst is called Tisiphone,

Shall lash thee to eternity;

And therefore sleep thou peacefully

Quiet, sleep!

Quiet!

The Nurse’s Song

Lullaby baby,

Thy nurse will tend thee as duly as may be.

Lullaby baby!

Be still, my sweett sweeting, no longer do cry;

Sing lullaby baby, lullaby baby.

Let dolours be fleeting, I fancy thee, I …

To rock and to lull thee I will not delay me.

Lullaby baby,

Lullabylabylaby baby,

Thy nurse will tend thee as duly as may be

Lullabylabylaby baby

The gods be thy shield and comfort in need!

Sing Lullaby baby,

Lullabylaby baby

They give thee good fortune and well for to speed,

And this to desire … I will not delay me.

This to desire … I will not delay me.

Lullaby lullabylaby baby,

Thy nurse will tend thee as duly as may be.

Lullabylabylabylaby baby.

Canticle II “Abraham and Isaac”

God speaks:

Abraham, my servant, Abraham,

Take Isaac, thy son by name,

That thou lovest the best of all,

And in sacrifice offer him to me

Upon that hill there besides thee.

Abraham, I will that so it be,

For aught that may befall.

Abraham:

My Lord, to Thee is mine intent

Ever to be obedient.

That son that Thou to me hast sent

Offer I will to Thee.

Thy bidding done shall be.

(Here Abraham, turning him to his son Isaac, saith:)

Make thee ready, my dear darling,

For we must do a little thing.

This woodë do on thy back it bring,

We may no longer abide.

A sword and fire that I will take,

For sacrifice behoves me to make;

God’s bidding will I not forsake,

But ever obedient be.

(Here Isaac speaketh to his father, and taketh a bundle of

sticks and beareth after his father, and saith:)

Isaac:

Father, I am all ready

To do your bidding most meekely,

And to bear this wood full bayn am I,

As you commanded me.

(Here they both go to the place to do sacrifice)

Abraham:

Now, Isaac son, go we our way

To yonder mount if that we may.

Isaac:

My dear father, I will essay

To follow you full fain.

(Abraham being minded to slay his son Isaac, lifts up his

hands, and saith the following:)

Abraham:

O! My heart will break in three,

To hear thy words I have pitye;

As Thou wilt, Lord, so must it be,

To Thee I will be bayn.

Lay down thy faggot, my own son dear.

Isaac:

All ready, father, lo it is here.

But why make you such heavy cheer?

Are you anything adread?

Abraham:

Ah! Dear God! That me is woe!

Isaac:

Father, if it be your will,

Where is the beast that we shall kill?

Abraham:

Thereof, son, is none upon this hill.

Isaac:

Father, I am full sore affeared

To see you bear that drawnë sword.

Abraham:

Isaac, son, peace, I pray thee,

Thou breakest my heart even in three.

Isaac:

I pray you, father, layn nothing from me,

But tell me what you think.

Abraham:

Ah! Isaac, Isaac, I must thee kill!

Isaac:

Alas! Father, is that your will,

Your owne child for to spill

Upon this hilles brink?

If I have trespassed in any degree

With a yard you may beat me;

Put up your sword, if your will be,

For I am but a child.

Would God my mother were here with me!

She would kneel down upon her knee,

Praying you, father, if it may be,

For to save my life.

Abraham:

O Isaac, son, to thee I say

God hath commanded me today

Sacrifice, this is no nay,

To make of thy bodye.

Isaac:

Is it God’s will I shall be slain?

Abraham:

Yea, son, it is not for to layn.

(Here Isaac asketh his father’s blessing on his knees, and saith:)

Isaac:

Father, seeing you mustë needs do so,

Let it pass lightly and over go;

Kneeling on my knees two,

Your blessing on me spread.

Abraham:

My blessing, dear son, give I thee

And thy mother’s with heart free.

The blessing of the Trinity,

My dear Son, on thee light.

(Here Isaac riseth and cometh to his father, and he taketh him,

and bindeth and layeth him upon the altar to sacrifice him, and saith:)

Come hither, my child, thou art so sweet,

Thou must be bound both hands and feet.

Isaac:

Father, do with me as you will,

I must obey, and that is skill,

Godës commandment to fulfil,

For needs so it must be.

Abraham:

Isaac, Isaac, blessed must thou be.

Isaac:

Father, greet well my brethren ying,

And pray my mother of her blessing,

I come no more under her wing,

Farewell for ever and aye.

Abraham:

Farewell, my sweetë son of grace!

(Here Abraham doth kiss his son Isaac, and binds a kerchief about his head.)

Isaac:

I pray you, father, turn down my face,

For I am sore adread.

Abraham:

Lord, full loth were I him to kill!

Isaac:

Ah, mercy, father, why tarry you so?

Abraham:

Jesu! On me have pity,

That I have most in mind.

Isaac:

Now, father, I see that I shall die:

Almighty God in majesty!

My soul I offer unto Thee!

Abraham:

To do this deed I am sorrye.

(Here let Abraham make a sign as tho’ he would cut off his son

Isaac’s head with his sword; then…)

God speaks:

Abraham, my servant dear,

Lay not thy sword in no manner

On Isaac, thy dear darling.

For thou dreadest me, well wot I,

That of thy son has no mercy,

To fulfil my bidding.

Abraham:

Ah, Lord of heaven and King of bliss,

Thy bidding shall be done, i-wiss!

A horned wether here I see,

Among the briars tied is he,

To Thee offered shall he be

Anon right in this place.

(Then let Abraham take the lamb and kill him.)

Sacrifice here sent me is,

And all, Lord, through Thy grace.

Envoi:

Such obedience grant us, O Lord!

Ever to Thy most holy word.

That in the same we may accord

At this Abraham was bayn;

And then altogether shall we

That worthy King in heaven see,

And dwell with Him in great glorye

For ever and ever. Amen.

6. oktober 2013

CONCERTO COPENHAGEN

DIRIGENT. LARS ULRIK MORTENSEN

Det drejer sig om familiesammenføring denne gang – det er i hvert fald hvad orkestret selv mener om deres program. Vi skal nemlig høre musik af Faderen, Sønnen – og Gudfaderen. Med andre ord: musik af Johan Sebastian Bach, af hans søn Carl Philipp Bach – og hele tre solokoncerter af Telemann. Sidsnævnte var en nær ven af den gamle Bach, så meget, at han blev gudfar til Carl Philipp.

Telemann var en genial og underholdende komponist, der i vore dage er besynderlig undervurderet. Besynderligt, for i sin samtid var han regnet for at være Bachs overmand! Vi skal høre hans koncerter, hvor blokfløjter, oboer og violiner er i centrum.

Lars Ulrik Morternsen er solist i en af Bachs cembalokoncerter, og det er efterhånden sjældent at høre ham i den rolle, nu hvor han mere og mere koncentrerer sig om at dirigere. Og med triosonaten ”Sanguinius & Melancholicus” vil han vise hvilken fremragende komponist Bachs søn var.

Altså – det bliver i familien denne søndag på Fuglsang.

Læs mere om

AFLYST:PÅ GRUND AF PLUDSELIG OPSTÅET SYGDOM ER KONCERTEN AFLYST.

3. november 2013

GURO KLEVEN HAGEN (violin)

HÅVARD GIMSE (klaver)

Musikforeningen har haft besøg af Vilde Frang og af Fanny Clamagirand, to violinister af virtuost tilsnit. Men her kommer en ganske ung pige der måske er deres overmand – eller rettere overkvinde. Guro Kleven Hagen er norsk, og med sine bare nitten år er hun nået ufatteligt langt. Hun er for længst en etableret international kunstner på højeste plan der har været solist med de store orkestre. Og hun har vundet alle de priser der er værd at vinde.

Det samme gælder den pianist hun har med til koncerten her på Fuglsang. Håvard Gimse er ligeledes norsk, og han er én af Skandinaviens mest efterspurgte akkompagnatører – og meget mere. Han har indspillet en svimlende række af klaverkoncerter, han har optrådt i mange af verdens mest prestigefyldte koncertsale – Wigmore Hall, Carnegie Hall, Concertgebouw for bare at nævne nogen. Og så er han professor i Oslo og sidder i bestyrelsen for Oslo Kammermusikfestival.

Vi skal høre en Mozartsonate, Chaussons smukke Poéme og Griegs sonate for violin og klaver – og måske kan vi lokke Håvard Gimse til at spille småstykker af sidstnævnte komponist, et felt hvor han er den store specialist.

Billetsalget starter kl. 14.

Entre 150 kr (medlemmer 100 kr, unge under 25 gratis)

På Fuglsang Kunstmuseum kan der på dagen indtil kl 14 købes en combi-billet til museum og koncert for 175 kr.

Program

W. A. Mozart Violin Sonate Nr. 27 i G dur, KV. 379

(1756 – 1791) -Adagio – Allegro

-Theme and Variations: Andantino cantabile

Ernest Chausson Poeme, Op. 25

(1855 – 1899)

Pause

I pausen kan der købes varme og kolde drikke i spisesalen

Johann Svendsen Romance, Op. 26

(1840 – 1911)

Edvard Grieg Du fatter ej bølgernes evige gang (1890)

(1843 – 1907) Fra Klaverstykker etter egne sanger, Op.52,3

Edvard Grieg Ensom Vandrer (1886)

Fra Lyriske Stykker Op. 43, Nr. 4

Edvard Grieg Troldtog Op. 54 Nr. 3. (1889)

Edvard Grieg Violin Sonate Nr. 2 i G dur, Op. 13 (1867)

– Lento doloroso: Allegro vivace

– Allegretto tranquillo

– Allegro animato

1. december 2013

STORSTRØMS KAMMERENSEMBLE

GÆST. GORDON HUNT (obo)

December er knap nok begyndt, og der er længe længe til Jul. Men alligevel – det her er vores julekoncert. Og i år er det så Storstrøms Kammerensemble der ringer højtiden ind på Fuglsang. De er ikke alene – de medbringer en fornem gæst. Gordon Hunt er simpelthen en af Europas bedste oboister, han er solooboist i Philharmonia-orkestret i London. Og han blæser sit fine instrument overalt hvor han kan komme til det, først og fremmest som kammermusiker og som gæst i de store orkestre, endda i Berlinerfilharmonikerne. At han tillige komponerer og er en efterspurgt dirigent, ja det skal også lige nævnes.

Ensemblets pianist og ankermand – Jakob Westh – har med sikker hånd skræddersyer et arrangement for Gordon Hunt. Det drejer sig om en helt ny version af Carl Nielsens Fantasistykker for obo. Hvad der ellers er på programmet vides ikke i skrivende stund, men ensemblet lover os festlig julemusik, og mon ikke de formår at tænde små julelys i vore øjne?

Læs mere om Storstrøms Kammerensemble her

Billetsalget starter kl. 14.

Entre 150 kr (medlemmer 100 kr, unge under 25 gratis)

På Fuglsang Kunstmuseum kan der på dagen indtil kl 14 købes en combi-billet til museum og koncert for 175 kr.

Program:

P. I. Tjajkovskij (1840-93) (arr. Jakob Westh):

Ouverture Miniature fra ”Nøddeknækkeren” (1892)

Georg Philip Telemann (1681-1767):

Triosonate g-mol

I. Siciliana

II. Allegro

III. Adagio

IV. Allegro assai

Gunner Møller Pedersen (f.1943):

fra Juletrio (2002)

I.ROSEN

(En rose så jeg skyde, Lad det klinge sødt i sky)

II. ENGLENE

(Julen har englelyd, Guds engle i flok, Velkommen igen Guds engle

små, Fra himlen højt kom budskab her)

Fællessang: En Rose så jeg skyde

(se tekst på bagsiden af program)

Wolfgang Amadeus Mozart (1756-91):

Obokvartet F-dur KV 370 (1781)

I. Allegro

II. Adagio

III. Rondeau. Allegro

—– PAUSE —–

Benjamin Britten (1913-76):

Interlude fra ”A Ceremony of Carols”(1942)

Carl Nielsen (1865-1931) (arr. Jakob Westh)

Fantasistykker op. 2 (1889)

I. Romance

II. Humoresque

Edvard Grieg (1843-1907) (arr. Jakob Westh):

Hemmelighed op.57 nr.4 (1893)

Bryllupsdag på Troldhaugen op.65 nr.6 (1896)

Wolfgang Amadeus Mozart (1756-91):

Adagio & Rondo c-mol KV 617 (1791)

Tomaso Albinoni (1671-1751):

Adagio fra Obokoncert d-mol Op.9 nr.2 (1722)

Leroy Anderson (1908-75) (arr. Hans Poulsen)

Sleigh Ride

_____________________

Medvirkende musikere:

Gordon Hunt, obo

Svend Melbye, fløjte

Eva Åberg, klarinet

Gunnar Eckhoff, fagot

Mette Franck, harpe

Jakob Westh, klaver

Stéphane Tran Ngoc, violin

Piotr Zelazny, bratsch

Carl Oscar Østerlind, cello