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Choir of Trinity Wall Street & Trinity Baroque Orchestra
May 10, 2017 @ 7:30 pm - 9:30 pm
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Choir of Trinity Wall Street & Trinity Baroque Orchestra
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Monteverdi Masterpiece
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The GRAMMY-nominated ensemble closes our season with one of the most iconic works of early music, the 1610 Vespers by Claudio Monteverdi. Thirty-four voices and an orchestra of 20—all led by conductor Julian Wachner—fill the Cathedral Basilica with the glorious sounds of this innovative and forward-looking work of early Baroque genius.
“Monteverdi’s epic Vespers of 1610 stands alone in the repertoire as a culmination of one time period and the confident heralding of the new. A virtual encyclopedia displaying all that was possible compositionally up until that point, and ushering in the new style that was to reach its zenith in the monumental works of Handel, Bach and Vivaldi!” —Julian Wachner
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Choir of Trinity Wall Street
Trinity Baroque Orchestra
Julian Wachner, Director
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Program
Claudio Monteverdi 1610 Vespers of the Blessed Virgin
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As peerless interpreters of both early and new music, the GRAMMY®-nominated Choir of Trinity Wall Street has changed the realm of 21st-century vocal music, breaking new ground with its artistry described as “blazing with vigour… a choir from heaven” (The Times, London).
This premiere ensemble, under the direction of Julian Wachner, can be heard both in New York City and around the world in performances alternately described as “thrilling” (The New Yorker), “musically top-notch” (The Wall Street Journal), and “simply superb” (The New York Times). The Choir leads the liturgical music on Sundays at Trinity Church and St. Paul’s Chapel, while performing in Bach at One, Compline by Candlelight, and many other concerts and festivals throughout the year, often with the Trinity Baroque Orchestra andNOVUS NY. Critically acclaimed annual performances of Handel’s Messiah are part of its long and storied tradition, and attending the Choir’s performances at Trinity’s annual Twelfth Night Festival has quickly become the holiday tradition of many New Yorkers as well.
The Choir has toured extensively throughout the United States, making appearances at Carnegie Hall, Lincoln Center, the Metropolitan Museum of Art, the Berkeley Early Music Festival, BAM Next Wave Festival, and the Prototype Festival. The Choir is also increasingly in demand internationally, and recent seasons have seen performances at Paris’s Théâtre des Champs-Élysées and London’s Barbican Theatre. The Choir has been featured with the Bang on a Can All-Stars, the New York Philharmonic, and with the Rolling Stones on their 50th anniversary tour.
In addition to their GRAMMY®-nominated Israel in Egypt CD, The Choir of Trinity Wall Street has released several recordings with Naxos, Musica Omnia, VIA Recordings, and Avie Records. Trinity’s long-term commitment to new music is evident in recordings and collaborations with living composers such as Du Yun, Paola Prestini, Ralf Gawlick, Elena Ruehr, and Julia Wolfe, whose 2015 Pulitzer Prize–winning work Anthracite Fields was recorded with The Choir. The 2015-16 season promises to continue The Choir’s long-standing reputation for conferring a “musical blessing” (New York Times) on New York City and beyond.
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Julian Wachner
Grammy-nominated conductor Julian Wachner is one of North America’s most exciting and versatile musicians, sought after as conductor, composer, and keyboard artist. Recent and upcoming engagements include those with the Lincoln Center Festival (The Blind), BAM Next Wave Festival (Liederabend 2013), Juilliard Opera Theatre (2013 Mainstage), The Rolling Stones (50th anniversary tour), New York City Opera (VOX), Hong Kong Philharmonic, TENET (TENEbrae), Portland Baroque (Messiah), and with Carnegie Hall (Arvo Pärt Passio).
As Director of Music and the Arts at New York’s historic Trinity Wall Street, Wachner oversees an annual season of over 900 events, including Trinity’s numerous and varied concert offerings, series and festivals, museum expositions, dance and theatre performances, poetry and literary readings, and educational/outreach initiatives in lower Manhattan and Brooklyn in partnership with New York City’s public school system.
At Trinity Wall Street, Wachner serves as the Principal Conductor of NOVUS NY (Trinity’s resident contemporary music orchestra), and the Trinity Baroque Orchestra & Choir of Trinity Wall Street, recently nominated for a 2012 GRAMMY award for its recording of Handel’s complete Israel in Egypt. He also is the director of Bach at One, Trinity’s weekly performances of the Cantatas of J. S. Bach. Performances this season with TWS include Bach’s Matthew Passion, Christmas Oratorio, B-minor Mass, the complete late works of Igor Stravinsky (April 2013), and the complete non-operatic works of Benjamin Britten (Fall 2013). To open the 2012-13 Season, Wachner conceived of and directed Trinity’s Twelve in 12 Festival celebrating the Pulitzer Prize in music. Of this festival, Steve Smith noted in Time Out that “some ideas seem so utterly obvious and right at a glance that you wonder why it took someone so long to hatch them. ‘Twelve in 12’ is that kind of notion…Mark your calendars, and give thanks.”
Wachner is also Music Director of the Grammy Award-winning Washington Chorus, with whom he won ASCAP’s Alice Parker award for adventurous programming in 2011. Wachner has also made memorable guest appearances with such major organizations as the Philadelphia Orchestra, the Montreal and Pittsburgh Symphonies, Spoleto Festival USA, the Handel and Haydn Society, Glimmerglass Opera, Hawaii Opera Theater, New York City Opera and the Boston Pops. A Baroque specialist, he was the founding Music Director of the Boston Bach Ensemble and the Bach Académie de Montréal, besides serving as Artistic Director of International Bach Festivals in Boston and Montreal. In 2011 he founded New York City’s newest music festival, The Twelfth Night Festival of Early Music, most recently presented in collaboration with Gotham Early Music Society (GEMS) and featuring many of New York’s leading baroque and renaissance ensembles.
In 2010, Wachner made New York City Opera history when he was selected as both conductor and composer at the company’s annual VOX festival of contemporary opera leading to the invitation to be the sole conductor of this Festival in 2012. His original music has been variously described as “jazzy, energetic, and ingenious” (Boston Globe), having “splendor, dignity, outstanding tone combinations, sophisticated chromatic exploration…a rich backdrop, wavering between a glimmer and a tingle…” (La Scena Musicale), being “a compendium of surprises” (Washington Post), and as “bold and atmospheric”, having “an imaginative flair for allusive text setting” and noted for “the silken complexities of his harmonies” (New York Times.) The American Record Guide noted that “Wachner is both an unapologetic modernist and an open-minded eclectic – his music has something to say.” E. C. Schirmer publishes his complete catalogue, comprising over 80 titles.
Wachner’s performances inspire uncommon praise. The New York Times pronounced his Trinity Wall Street debut “superbly performed” and, this season, noted that the ensemble’s annual Lincoln Center presentation of Handel’s Messiah was “led with both fearsome energy and delicate grace…a model of what is musically and emotionally possible with this venerable score.” Of his interpretation of Bach’s St. Matthew Passion, according to the Boston Globe, “there was genius here and no mistaking it.” Anne Midgette, of The Washington Post, declared recent Wagner and Verdi performances “exhilarating,” commenting: “Julian Wachner knows how to draw maximum drama from a score,” and noted that he was “emphatic and theatrical and so at home in opera that he could bring out the requisite sense of drama.” Following his account of the Messiah at the Philadelphia Orchestra, the Inquirer’s David Patrick Stearns observed: “Few conductors have drawn such focused, committed, and meticulous music-making as Julian Wachner. … [He] built the music, line by line, as an architectural edifice, serving both the music’s emotional and more purely aesthetic elements.” As a result, Stearns “couldn’t help fantasize that [Wachner] might do an annual Philadelphia Orchestra festival of Bach and Handel.”
An award-winning organist and improvisateur, Wachner’s solo recital at the Spoleto Festival USA featured an improvised finale that inspired one reviewer to conclude: “This stupefying wizardry was the hit of the recital, and it had to be heard to be believed” (Post and Courier, South Carolina). As a concert pianist, in his recent Kennedy Center Rachmaninoff performance, the Washington Post noted “Wachner dazzled with some bravura keyboard work, both in the rhapsodic accompaniments to the songs and…in the highly virtuosic transcription of the Dances.”
Wachner’s recordings are with the Chandos, Naxos, Atma Classique, Arsis, Dorian, Musica Omnia, and Titanic labels.
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