Name: Hannes Minnaar and the Groot Omroepkoor: Brahms and Martin
Start: 2023-10-06T00:00:00.000Z
End: 2023-10-06T00:00:00.000Z
Location: TivoliVredenburg

Organization

Conductor

Florian Helgath

Chorus master

Pianist

Hannes Minnaar

Piano

Others

Groot Omroepkoor

Omroep Muziek

Singer

Varvara Tishina

Soprano Soloist

Cellist

Anton Spronk

Cello

Hannes Minnaar and the Groot Omroepkoor: Brahms and Martin

Utrecht

Netherlands

Tivoli Vredenburg

TivoliVredenburg

Grote Zaal

Hannes Minnaar and the Groot Omroepkoor: Brahms and Martin: Four quartets, Op. 92 Brahms (+8 More)

Public

Private

Four quartets, op. 92

Five Songs, op. 104

7 Fantaisies, Op. 116

Drei Gesänge, Op. 42 (3 Gesänge Op. 42)

Three Intermezzi

Geistliches Lied in E-flat major, Op.30 (Lass dich nur nichts nicht dauern)

A Memory of the Ocean

Mass for double choir

Approved

A special program with the Groot Omroepkoor conducted by Florian Helgath and Hannes Minnaar. Before intermission choral songs by Brahms and a Dutch premiere by Mason; after intermission Martin's Mass for double choir.

Choral songs by Brahms
A concert focusing on the Great Broadcasting Choir. Led by German choral conductor Florian Helgath and accompanied by artist in residence Hannes Minnaar, the choir will sing a "Brahmsiade," a brilliant selection from the rich oeuvre of choral songs Brahms wrote in his lifetime. Before intermission, also choral music by Grace-Eveline Mason. This frequently lauded English composer won first prize in the 2018 composer competition of the Royal Philharmonic Society. In a joint commission by this organization and the AVROTROS Vrijdagconcert, she composed a new work for solo piano, choir and cello, which has its Dutch premiere in this program.

The double-choir Mass by Frank Martin
Frank Martin composed his Mass for double choir as early as 1921, but did not have it performed for the first time until 1963. "I saw it as a matter between God and myself," he gave as the reason for this reticence. He therefore did not experience his composition as a solemn setting of an ancient liturgical text, but as a purely personal approach that had to have its place not in the celebration but in the concert hall. There, since that memorable first performance, it has made an indelible impression on listeners. For conductor Florian Helgath a beloved work that he has made sound with various choirs in recent years.

English

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