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BEGIN:VEVENT
DTSTART;TZID=UTC:20251230T193000
DTEND;TZID=UTC:20251230T213000
DTSTAMP:20260416T151743
CREATED:20250413T140006Z
LAST-MODIFIED:20260106T134123Z
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SUMMARY:007 in Concert
DESCRIPTION:Glamorous. Iconic. Double-O-Heaven.\nWho’s on stage\nRoyal Northern Sinfonia are joined by conductor Timothy Redmond and West End stars Oliver Tompsett and Louise Dearman to end 2025 in style. \nWhat they’re playing\nAll your favourite Bond anthems spanning six decades of box office blockbusters\, including Skyfall\, Goldfinger and The World is Not Enough. Prepare to be shaken and stirred. \nWhat you’ll hear\nSkyfall\, Goldfinger\, The World is Not Enough and more… \nWho’s playing it\nTimothy Redmond conductor\nLouise Dearman vocals\nOliver Tompsett vocals\nRoyal Northern Sinfonia \nTake a listen \nThe James Bond theme has to be one of the most iconic pieces in cinema history. Written by Monty Norman for Dr. No in 1962\, it’s been at the top of the film music charts for over 60 years. Remind yourself of its brilliance with this performance from BBC Concert Orchestra in the Royal Albert Hall.
URL:https://blog.alandotchin.com/event/007-in-concert/
CATEGORIES:Classical,Concerts
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BEGIN:VEVENT
DTSTART;TZID=UTC:20250620T193000
DTEND;TZID=UTC:20250620T213000
DTSTAMP:20260416T151743
CREATED:20250413T145838Z
LAST-MODIFIED:20250413T145838Z
UID:17223-1750447800-1750455000@blog.alandotchin.com
SUMMARY:Vivaldi’s Four Seasons
DESCRIPTION:Thursday 19 June – The Fire Station\, Sunderland\nFriday 20 June – Newcastle Cathedral\nSaturday 21 June – Hexham Abbey\nSunday 22 June – Sedbergh Music Festival\nFriday 27 June – Ripon Cathedral\nSaturday 28 June – St George’s Church\, Cullercoats\nSunday 29 June – St Mary’s Church\, Wooler\n\nFresh. Bright. Sounds like summer.\nWho’s on stage\nRoyal Northern Sinfonia\, directed by Artistic Partner Maria Włoszczowska\, in beautiful venues across the North of England. \nWhat they’re playing\nVivaldi’s timeless The Four Seasons sits at the heart of this concert. Energetic\, whirling dances from Greece and Transylvania and Grieg’s Holberg Suite are also on the set list. \nWhat you’ll hear\nSándor Veress Four Transylvanian Dances (15’)\nEdvard Grieg Holberg Suite (21’)\nNikos Skalkottas Five Greek Dances (9‘)\nInterval\nAntonio Vivaldi The Four Seasons (37’) \nWho’s playing it\nMaria Włoszczowska director\nRoyal Northern Sinfonia \nWhat’s happening in the music\nThree centuries after they were composed\, Vivaldi’s The Four Seasons sounds as fresh and tuneful as ever – and there’s still nothing to beat the sensation of hearing these four brilliant concertos performed live in concert. Experience the birdsong of Spring\, the downpours of Summer\, the celebrations of Autumn\, and the icy shiver of Winter. Never mind four seasons in one day\, it’s four seasons in half an hour. \nGrieg’s Holberg Suite – sometimes also known as ‘From Holberg’s Time – Suite in olden style’ – was written to celebrate the 200th birthday of playwright Ludvig Holberg. It takes five dance styles from the 1700s and gives them a 1884 twist\, with some energetic\, some more contemplative. \nThe dances continue with Veress’ Four Transylvanian Dances and Skalkottas’ Five Greek Dances\, which both take traditional folk dances and turn them into delightful\, dizzying whirlwinds for orchestra. \nGet a feel for the music\nHere’s one of the pieces you’ll hear on this concert tour – Grieg’s Holberg Suite. It’s a real favourite of Maria and the orchestra\, this was recorded in Hexham Abbey in December 2023. Expect the same energy and enthusiasm this time too. \n \nEdvard Grieg’s Holberg Suite – Praeludium (Allegro vivace) | Royal Northern Sinfonia in Hexham Abbey
URL:https://blog.alandotchin.com/event/vivaldis-four-seasons/
CATEGORIES:Classical,Concerts
ATTACH;FMTTYPE=image/jpeg:https://blog.alandotchin.com/wp-content/uploads/2025/02/Maria-RNS-900-x-570-768x512-1.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20250525T150000
DTEND;TZID=UTC:20250525T170000
DTSTAMP:20260416T151743
CREATED:20250413T150431Z
LAST-MODIFIED:20250413T150500Z
UID:17227-1748185200-1748192400@blog.alandotchin.com
SUMMARY:Piano Greats – Jeneba Kanneh-Mason plays Bach\, Chopin and Debussy
DESCRIPTION:Reflective. Serene. A perfectly balanced afternoon.\nWho’s on stage\nJeneba Kanneh-Mason\, one of the seven Kanneh-Mason siblings who’ve wowed the world with their musical talents. \nWhat they’re playing\nEnjoy music that’s like an old friend\, like Bach’s Partita\, alongside new discoveries including William Grant Still’s beautiful\, hazy\, Summerland. \nWhat you’ll hear\n\nJohann Sebastian Bach Partita No. 5 (15’)\nLudwig van Beethoven Sonata No. 17 (25’)\nFrédéric Chopin Nocturne No. 7 (5’)\nFrédéric Chopin Nocturne No. 8 (6’)\nWilliam Grant Still Summerland (5’)\nClaude Debussy Prèlude Book 1:  La fille aux cheveux de lin (3’)\nClaude Debussy Prèlude Book 2: Bruyères (3’)\nFlorence Price Fantasie Nègre No. 1 (10’) \nWho’s playing it\n\nJeneba Kanneh-Mason piano \n\nWhat’s happening in the music?\n\n\n\n\n\n\nBach’s Partita No.5 is a torrent of gorgeous melody right from the off\, William Grant Still’s nostalgic Summerland takes the afternoon to a moment of reflection\, while Florence Price’s Fantasie Negre both chills and swells the heart\, its blues-inflected harmonies based on the spiritual Sinner Please Don’t Let This Harvest Pass. \n \nA Spiritual Transformed\n\nThat spiritual has been sung by countless singers and musicians. In today’s concert it’s adapted by composer Florence Price\, the first black woman to have composition premiered by a major American orchestra. In this video you’ll hear soprano Yolanda Rhodes sing the spiritual before the pianists take over with Florence Price’s version of it –  described by WQXR’s (a US radio station) James Bennet as ‘at times melancholy\, at others turbulent\, but always heartbreakingly beautiful.’
URL:https://blog.alandotchin.com/event/piano-greats-jeneba-kanneh-mason-plays-bach-chopin-and-debussy/
CATEGORIES:Classical,Concerts
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BEGIN:VEVENT
DTSTART;TZID=UTC:20250509T193000
DTEND;TZID=UTC:20250509T213000
DTSTAMP:20260416T151743
CREATED:20250413T150927Z
LAST-MODIFIED:20250413T150927Z
UID:17232-1746819000-1746826200@blog.alandotchin.com
SUMMARY:Rossini’s Stabat Mater
DESCRIPTION:Wit. Grandeur. An opera in disguise.\nWho’s on stage\nNil Venditti is a real firecracker. So much so\, Royal Northern Sinfonia snapped her up as Principal Guest Conductor after two visits.  Tonight she’s joined on stage by four super soloists\, Royal Northern Sinfonia and Chorus of Royal Northern Sinfonia. \nWhat they’re playing\nIt’s high energy from the start with Rossini’s Overture to The Barber of Seville\, Mozart’s majestic Symphony No. 29 and then Rossini’s Stabat Mater. \nWhat you’ll hear\nGioachino Rossini Overture to The Barber of Seville (8’)\nWolfgang Amadeus Mozart Symphony No. 29 (28’)\nGioachino Rossini Stabat Mater (61’) \nWho’s playing\nNil Venditti conductor\nSalome Jicia soprano\nMarianna Pizzolato mezzo-soprano\nKonu Kim tenor\nDevid Cecconi baritone\nTim Burke chorus director\nChorus of Royal Northern Sinfonia\nRoyal Northern Sinfonia \nWhat’s happening in the music?\nThink of Rossini and you think of comic operas\, impossibly fast-moving songs that are real tongue twisters\, and his trademark chirpy musical demeanour\, music that’s never without a smile. So it’s hard to imagine him writing music for a serious religious text\, but write it he did – managing to combine music that’s heartfelt and serious with his innate musical drama and soaring\, joyous melodies. Having said he’d never write another opera\, perhaps he did… he just called it something different. In this concert it’s accompanied by one of his madcap overtures plus a Mozart Symphony that squeezes drama\, elegance\, majesty and exhilaration into 25 minutes. \n \nThat’s all folks…\nIt’s amazing what you’ll find hidden away in Saturday morning cartoons. Take a trip down memory lane with this Loony Tunes cartoon classic – Bugs Bunny’s own take on Rossini’s overture\, The Rabbit of Seville.
URL:https://blog.alandotchin.com/event/rossinis-stabat-mater/
CATEGORIES:Classical,Concerts
ATTACH;FMTTYPE=image/jpeg:https://blog.alandotchin.com/wp-content/uploads/2025/05/240524-RNS-22-1-Nil-Maria-768x486-1.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20250504T140000
DTEND;TZID=UTC:20250504T153000
DTSTAMP:20260416T151743
CREATED:20250413T151548Z
LAST-MODIFIED:20250504T105511Z
UID:17234-1746367200-1746372600@blog.alandotchin.com
SUMMARY:The Music of Star Wars
DESCRIPTION:Spectacular. Iconic. Bring your lightsaber.\nWho’s on stage\nOur very own Royal Northern Sinfonia and Chorus of Royal Northern Sinfonia conducted by life-long film buff Stephen Bell. \nWhat they’re playing\nSome of the most extraordinary pieces of music ever written for cinema\, John Williams’ epic scores for Star Wars. \nNeed to know\nPrice: £13 – £49 \nRunning time: 2 hours\, with a 20 minute interval. \nAge: Children under 14 must be accompanied by \nMay the fourth be with you…\nCelebrate Star Wars day with a concert experience that’ll whisk you off to a galaxy far\, far away with all your favourite music from the series. If you think it sounds good in the cinema\, wait till you hear it played live! \nRecord breaker \nThe soundtrack to the original film (1977) is the best-selling symphonic album of all time. And it’s one of only a handful of scores that won every award going – Oscar\, Golden Globe\, Grammy and BAFTA – in it’s release year. \nJoin in the fun \nRoyal Northern Sinfonia love a bit of dressing up. You’ll spot Sith Lords\, Jedi\, and maybe even a Wookie in the orchestra\, join in the fun and dress up as your favourite character too.
URL:https://blog.alandotchin.com/event/the-music-of-star-wars/
CATEGORIES:Classical,Concerts
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BEGIN:VEVENT
DTSTART;TZID=UTC:20250419T190000
DTEND;TZID=UTC:20250419T210000
DTSTAMP:20260416T151743
CREATED:20250413T152603Z
LAST-MODIFIED:20250413T152603Z
UID:17242-1745089200-1745096400@blog.alandotchin.com
SUMMARY:Ravel’s Tzigane
DESCRIPTION:Passionate. Sensual. An evening of intimate rarities.\nWho’s on stage\nMaria Włoszczowska directs harpist Oliver Wass and musicians from Royal Northern Sinfonia. \nWhat they’re playing\nBe transported to Paris in the 1920s with music by the leading composers of the day\, Maurice Ravel and Claude Debussy. \nWhat you’ll hear\nMaurice Ravel Introduction and Allegro (11’)\nClaude Debussy Syrinx (3.5’)\nMaurice Ravel Sonata for Violin and Cello (20’)\nClaude Debussy Danse sacrée et profane (9’)\nClaude Debussy Sonata for Flute\, Viola and Harp (17’)\nMaurice Ravel Tzigane (10’)\nMaurice Ravel arr Tim Mulleman La valse (13’) \nWho’s playing it\nMaria Włoszczowska director\nOliver Wass harp\nRoyal Northern Sinfonia \nWhat’s happening in the music?\nRavel’s fiery Tzigane for violin and piano is at the heart of this concert. Passionate\, fierce and full of breathless virtuosity\, it’s a show-stopper from start to finish. His Sonata for violin and cello has a similarly Hungarian flavour to it\, and was written as a tribute to Debussy\, whose sensual work for harp closes the evening. \nRavel vs Debussy\nThe two composers often get lumped together because they lived at the same time in the same city and admired each others music\, plus its true that there are similarities between their musical styles\, with it being what might be called ‘musical impressionism’. Their differences are pretty stark though. Debussy was much more of an innovator\, whereas Ravel worked within more traditional forms. Ravel was brilliant at taking melodies (sometimes other peoples) and transforming them into something magical for the full orchestra (for example Mussorgsky’s Pictures at an Exhibition\, which you can hear on 21 February)\, whereas Debussy always originated his own melodies. They were both top-rank composers in their own right\, and a programme of their music is a total treat.
URL:https://blog.alandotchin.com/event/ravels-tzigane/
CATEGORIES:Classical,Concerts
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BEGIN:VEVENT
DTSTART;TZID=UTC:20250404T193000
DTEND;TZID=UTC:20250404T213000
DTSTAMP:20260416T151743
CREATED:20250413T153825Z
LAST-MODIFIED:20250413T153825Z
UID:17250-1743795000-1743802200@blog.alandotchin.com
SUMMARY:Dvořák’s New World Symphony
DESCRIPTION:Heroic. Gripping. Music with the ‘wow’ factor.\nWho’s on stage\nConductor Stephanie Childress and pianist Piotr Anderszewski (whose performance The Guardian recently described as ‘raw and astonishing’) are the guest stars for this evening’s concert with Royal Northern Sinfonia. \nWhat they’re playing\nOnly one of the greatest symphonies ever written – Anton Dvořák’s Symphony No. 9\, better known as the New World Symphony. Plus North East composer Benn Lunn’s Sonnet and Beethoven’s bold and exuberant Piano Concerto No.1. \nWhat’s happening in the music?\nIf you had to put together a list of the top 10 symphonies ever composed\, Anton Dvořák’s (pronounced vor-jacques in case you wondered) New World Symphony would almost certainly be it. Yes\, it’s grand and powerful and all the usual adjectives you’d use for big symphonic music\, but more than anything it’s just absolutely packed with great tunes. Even if it’s not yet on your playlists\, you’re more than likely to recognise it through films\, TV and adverts. Of course\, it’s also got a very particular slant\, with his symphony being influenced and inspired by indigenous music of North America\, inspiring him to write music that remains a favourite right to this day. \nEven Sir Ridley Scott is a fan!\nOne of the UK’s most beloved adverts of all time\, the Hovis advert\, featured Dvořák’s New World Symphony. The original advert was directed by Sir Ridley Scott (luxury directing or what?!) and featured the Ashington Colliery Brass Band. \n \nDvořák: The Symphony No. 9 “From the New World” \n \nBeethoven: Piano Concerto No. 1 | Margarita Höhenrieder\, Staatskapelle Dresden & Fabio Luisi
URL:https://blog.alandotchin.com/event/dvoraks-new-world-symphony/
CATEGORIES:Classical,Concerts
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BEGIN:VEVENT
DTSTART;TZID=UTC:20250321T193000
DTEND;TZID=UTC:20250321T213000
DTSTAMP:20260416T151743
CREATED:20250413T154218Z
LAST-MODIFIED:20250413T154218Z
UID:17252-1742585400-1742592600@blog.alandotchin.com
SUMMARY:Bach Violin Concertos
DESCRIPTION:Bright. Direct. Take a refreshing musical shower.\nWho’s on stage\nMaria Włoszczowska has incredible energy and passion as both a violinist and director. Tonight she leads Royal Northern Sinfonia in a new role as Artistic Partner. \nWhat you’ll hear\nJohann Sebastian Bach Sinfonia from Cantata No. 174 (5’)\nJohann Sebastian Bach Sinfonia from Cantata No. 4 (1’30”)\nJohann Sebastian Bach Violin Concerto No. 2 (16’)\nJohann Sebastian Bach Sinfonia from Cantata No. 21 (3’)\nJohann Sebastian Bach Sinfonia in D major (6’)\nJohann Sebastian Bach Violin Concerto No. 1 (14’)\nJohann Sebastian Bach Chaconne from D Minor solo partita (12’)\nJohann Sebastian Bach Orchestral Suite No. 3 (20’) \nWho’s playing\nMaria Włoszczowska director/violin\nRoyal Northern Sinfonia \nWhat’s happening in the music?\nIt’s astounding to think that something written 300 or so years ago can still speak to us today with amazing directness. Bach’s Violin Concertos do that\, and are a total treat; bright\, zesty\, and full of melodies that almost tumble over themselves to be heard – it’s like taking a shower the morning after a big night out\, you feel like a new person afterward! His orchestral suite is a different affair\, stately and grand\, unlike the spare beauty of his concertos\, and of course\, you may remember one of its movements as the signature music from a famous brand of cigar adverts from the 1980s… \nWe are family\nLike the Jacksons\, the Strauss’ and the Beach Boys\, Bach came from a family that wasn’t just good at music\, they pretty much were music. His father was an organist and two of his brothers were musicians too. Of his family\, JS might be the superstar\, but CPE (his son) Bach was the bad boy\, not afraid to challenge convention. JCF Bach (another son) was a virtuoso on the keyboard and also a composer and JC Bach (yet another son) became a composer for London’s West End. If you’re thinking that Bach seemed to have quite a few kids you’d be right – he had 20! \nBach for more?\nThat’s the last of our Bach puns\, promise. Anyway\, if you love his music\, check out our concert on 4 October when we’re playing his Brandenburg Concerto No.5. \nhttps://youtu.be/2Zhr3uv6o1o \nBach Violin Concertos with Maria Włoszczowska | Live from The Glasshouse: Royal Northern Sinfonia \n 
URL:https://blog.alandotchin.com/event/bach-violin-concertos/
CATEGORIES:Classical,Concerts
ATTACH;FMTTYPE=image/jpeg:https://blog.alandotchin.com/wp-content/uploads/2025/03/270723-RNSHeadshots-20-1-Maria-768x486-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20250316T150000
DTEND;TZID=UTC:20250316T170000
DTSTAMP:20260416T151743
CREATED:20250413T154453Z
LAST-MODIFIED:20250413T154453Z
UID:17254-1742137200-1742144400@blog.alandotchin.com
SUMMARY:London Philharmonic Orchestra Mahler’s Fifth Symphony
DESCRIPTION:Epic. Joyous. The marmite of music.\nWho’s on stage\nLondon Philharmonic Orchestra sold out Sage One last time they visited\, so we fully expect they’ll do the same again. This time they’re joined by conductor Robin Ticciati and pianist Francesco Piemontesi. \nWhat they’re playing\nRobert Schumann’s one and only Piano Concerto opens the show\, Gustav Mahler’s legendary Fifth Symphony closes it. \nWhat’s happening in the music?\nThere are a few composers that reliably split opinion. Some people are devoted fans of their music\, even obsessive about it. Other people can’t stand it. Mahler is one of those\, maybe because his style is so distinctive\, unlike anything else written. His Fifth Symphony probably gets respect even from the haters though. Written during a period of happiness and success for the composer\, it contains moments of joy and beauty that contrast with episodes of simply ferocious music\, and then there’s the famous Adagietto – music that is like fragile velvet; irresistibly beautiful. \nLike Marmite\nWe mentioned that people have strong reactions to Mahler. But why? \nWe’ve trawled the recesses of the internet (ok\, Reddit) and the most often given reasons for not liking him include the sheer length of some of his pieces\, there being something ‘monolithic’ about his music\, a feeling that the music never quite reaches a climax (but see below…)\, and being ‘too romantic’. The favourite comment we found was ‘I HATE Mahler. My husband loves him and it honestly makes me love him a little less’. \nWhat about the fans? The kind of obsessive love some people have for his music is summed up by this comment: ‘Mahler’s symphonies are sacred to me\, I’m kind of afraid to even talk about them.’ \nMore specifically\, people love the emotional intensity of the music and the huge climaxes (that according to others don’t exist). His music is described as being ‘transformative’ and ‘hitting that sweet spot between romanticism and experimentalism’. \nTake a listen\n \nHere’s that famous Adagietto from Mahler’s Fifth Symphony\, performed by the Vienna Philharmonic with legendary conductor Leonard Bernstein at the helm.
URL:https://blog.alandotchin.com/event/london-philharmonic-orchestra-mahlers-fifth-symphony/
CATEGORIES:Classical,Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20250314T194500
DTEND;TZID=UTC:20250314T214500
DTSTAMP:20260416T151743
CREATED:20250413T154835Z
LAST-MODIFIED:20250413T154835Z
UID:17256-1741981500-1741988700@blog.alandotchin.com
SUMMARY:Vivaldi’s Gloria Magnificat and Handel’s Dixit Dominus\, Newcastle Cathedral
DESCRIPTION:Antonio Vivaldi and George Frideric Handel were two of the most prominent Baroque composers\, each leaving an indelible mark on sacred music. Their choral masterpieces\, Gloria and Magnificat (Vivaldi) and Dixit Dominus (Handel)\, exemplify the grandeur\, complexity\, and spiritual depth of Baroque liturgical compositions. These works\, rooted in biblical texts and composed for religious services\, remain celebrated for their intricate choral writing\, dynamic contrasts\, and expressive melodic lines. This analysis explores the historical context\, musical structure\, and stylistic elements of these compositions\, highlighting their significance in the Baroque era. \nVivaldi’s Gloria (RV 589)\nVivaldi’s Gloria is one of the most well-known and frequently performed sacred works of the Baroque period. Composed around 1715 for the Ospedale della Pietà in Venice\, a charitable institution for orphaned and illegitimate girls\, the work reflects Vivaldi’s expertise in choral and orchestral writing. The Gloria (Latin for “Glory”) is a setting of the Gloria in excelsis Deo\, a traditional hymn of praise used in the Catholic Mass. \n\n\n \n\n\nStructure and Musical Elements\nThe Gloria is divided into twelve movements\, each highlighting different textual and musical aspects: \n\nGloria in excelsis Deo – A bright and jubilant opening featuring a full choral and orchestral texture.\nEt in terra pax – A more subdued movement emphasizing peace through expressive harmonic shifts.\nLaudamus te – A lively soprano duet showcasing intricate vocal interplay.\nGratias agimus tibi – A homophonic choral passage with a solemn tone.\nPropter magnam gloriam – A continuation of the grandeur\, featuring rhythmic vitality.\nDomine Deus – A lyrical and expressive soprano aria with delicate instrumental accompaniment.\nDomine Fili unigenite – A dynamic choral movement emphasizing Christ’s divine nature.\nDomine Deus\, Agnus Dei – A poignant alto aria\, later taken up by the chorus.\nQui tollis peccata mundi – A deeply expressive section with dramatic harmonic shifts.\nQui sedes ad dexteram Patris – A lively alto aria with dance-like rhythms.\nQuoniam tu solus sanctus – An energetic chorus building toward the final movement.\nCum Sancto Spiritu – A magnificent fugue concluding the work with exuberance.\n\nThe Gloria exhibits Vivaldi’s signature style\, characterized by rhythmic drive\, harmonic clarity\, and a balance between homophony and counterpoint. The alternation of solo arias\, duets\, and full choral sections provides contrast and dramatic effect\, ensuring the work’s enduring popularity. \nVivaldi’s Magnificat (RV 610)\nThe Magnificat (Latin for “My soul magnifies the Lord”) is a canticle from the Gospel of Luke\, traditionally sung at Vespers. Vivaldi composed his setting for the Ospedale della Pietà\, likely intended for performance by the institution’s talented female musicians. \n\n\n \n\n\nStructure and Musical Highlights\nVivaldi’s Magnificat is divided into several movements\, each corresponding to different verses of the biblical text: \n\nMagnificat anima mea – A dramatic opening with bold orchestral chords and choral statements.\nEt exsultavit spiritus meus – A lively and joyful movement expressing personal exaltation.\nQuia respexit humilitatem – A more contemplative section highlighting humility.\nQuia fecit mihi magna – A triumphant passage celebrating God’s greatness.\nEt misericordia eius – A moving duet with expressive chromaticism.\nFecit potentiam – A forceful and rhythmically driven choral movement.\nDeposuit potentes – A dramatic contrast depicting the reversal of fortunes.\nEsurientes implevit bonis – A lyrical section featuring delicate vocal lines.\nSuscepit Israel – A warm and expressive choral movement.\nSicut locutus est – A final grand fugue\, reminiscent of the Gloria’s conclusion.\n\nThe Magnificat showcases Vivaldi’s ability to blend theatrical drama with sacred text setting\, utilizing varied textures and dynamic contrasts to bring the text to life. \nHandel’s Dixit Dominus (HWV 232)\nHandel composed Dixit Dominus in 1707 while in Italy\, specifically for the Carmelite Vespers in Rome. Based on Psalm 110 (Psalm 109 in the Latin Vulgate)\, the work is a strikingly ambitious setting for five-part chorus\, soloists\, and orchestra. Dixit Dominus is widely regarded as one of Handel’s most virtuosic and dramatic choral works. \n\n\n \n\n\nStructure and Musical Characteristics\nThe work is divided into several distinct movements\, each emphasizing different aspects of the psalm’s text: \n\nDixit Dominus Domino meo – A bold and aggressive opening featuring rapid melismatic passages and intense harmonies.\nVirgam virtutis tuae – A lyrical yet rhythmically precise choral passage.\nTecum principium – A serene and elegant soprano solo.\nJuravit Dominus – A dramatic movement underscored by shifting harmonies.\nTu es sacerdos – A stately declaration with rich counterpoint.\nDominus a dextris tuis – A fiery and rhythmically complex section.\nJudicabit in nationibus – A vigorous choral movement with rapid fugato passages.\nDe torrente in via bibet – A quiet and mysterious setting.\nGloria Patri – A grand double fugue serving as a triumphant conclusion.\n\nStylistic Analysis\nHandel’s Dixit Dominus is marked by its relentless energy\, elaborate counterpoint\, and dramatic text painting. The choral writing is exceptionally demanding\, requiring agility\, precision\, and dynamic control. Unlike Vivaldi’s more straightforward approach\, Handel’s use of chromaticism\, dissonance\, and extended melismas reflects the influence of Italian polyphony and opera. \nComparative Analysis\nWhile Vivaldi’s Gloria and Magnificat and Handel’s Dixit Dominus share common Baroque stylistic traits\, they also exhibit distinct national characteristics: \n\nVivaldi’s music is inherently Venetian\, emphasizing clarity\, rhythmic drive\, and lyrical beauty. His choral works balance homophonic grandeur with moments of intricate counterpoint.\nHandel’s composition reflects the grandeur of Roman sacred music\, incorporating more complex fugues and virtuosic vocal writing.\nText setting varies\, with Vivaldi often focusing on contrast between light and shade\, while Handel employs more continuous dramatic tension.\nInstrumental writing in Vivaldi’s works is idiomatic and supportive\, whereas Handel integrates instrumental lines more deeply into the choral texture.\n\nConclusion\nVivaldi’s Gloria and Magnificat and Handel’s Dixit Dominus remain masterworks of the Baroque sacred repertoire. Each showcases the composers’ ingenuity in text setting\, harmonic richness\, and expressive depth. While Vivaldi’s works exemplify the warmth and clarity of Venetian sacred music\, Handel’s Dixit Dominus represents a more dramatic\, contrapuntal approach influenced by Italian polyphony. Together\, these compositions offer a profound insight into the spiritual and artistic sensibilities of the Baroque era\, continuing to captivate audiences and performers alike. \nOrganiser\nEnquiries: theatre.manager@durham.ac.uk \nPhone Number: 0191 334 1419 \nWe are thrilled to welcome Durham University Choral Society\, praised by The Guardian for their “gloriously warm and finely balanced sound” at their recent concert at The Glasshouse International Centre for Music. \nUnder the baton of conductor John Forsyth MBE\, the choir will present an energetic programme of Baroque masterpieces in the magnificent surroundings of our Cathedral. \nFeaturing showpieces such as Vivaldi’s ever-popular ‘Gloria’ alongside Handel’s ‘Dixit Dominus’\, this concert promises unremitting energy and dramatic intensity from one of the finest choirs in the region. \nPlease note: \n\nAn external organisation hosts this concert\, and booking fees may apply.\nFor ticket enquiries\, please email theatre.manager@durham.ac.uk or call 0191 334 1419.\nCarer tickets are available via the ticketing booking website.\nRefreshments will be available during an interval from the Friends of Nicholas\, a group dedicated to supporting and promoting the heritage of Newcastle Cathedral.\n\nEvents such as this help raise funds to maintain this beautiful building\, continue our charitable work and keep our doors open for all. \nVivaldi – Dixit Dominus
URL:https://blog.alandotchin.com/event/vivaldis-gloria-magnificat-and-handels-dixit-dominus-newcastle-cathedral/
CATEGORIES:Classical,Concerts
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DTSTART;TZID=UTC:20250216T193000
DTEND;TZID=UTC:20250216T213000
DTSTAMP:20260416T151743
CREATED:20250413T161122Z
LAST-MODIFIED:20250413T161122Z
UID:17268-1739734200-1739741400@blog.alandotchin.com
SUMMARY:Fauré’s Requiem
DESCRIPTION:Peace. Serenity. Simply Divine.\nWho’s on stage\nRoyal Northern Sinfonia and the Chorus of Royal Northern Sinfonia are headed up by choral specialist conductor Sofi Jeannin. \nWhat they’re playing\nA feast of Fauré\, with his ever-popular Requiem alongside the melancholy Pavane\, the suite from his opera Pelléas et Mélisande and Cantique de Jean Racine. \nWhat’s happening in the music?\nUnlike other Requiems\, Fauré’s isn’t about hell\, retribution and damnation. It’s more about comfort and serenity in the face of death rather than about the terror of judgement. It’s a piece full of powerful choral melodies and simply beautiful solos\, not least the famous Pie Jesu (pious Jesus). Fauré was also a church organist and listening to the piece you can easily conjure up the atmosphere of an ancient\, tranquil\, incense filled cathedral. Unmissable. \nPresenter – Alexander Armstrong \nThe Faure concert on Sunday 16th Feb is going to be sublime. A 3pm start and beautiful mellow programme. The Cantique de Jean Racine\, the entire Requiem (it’s a relatively short Requiem and yet packs in so many glorious tunes) and then the Pavane and Pelléas et Mélisande Suite. A really spoiling feast of Faure. Fabulous soloists too. I’d travel a long way to hear Roddy Williams and Hilary Cronin! \n\n\n \n\n\nGrab a cuppa\, hop in your favourite comfy chair\, sit back and relax with a performance of Fauré’s Pavane with none other than conductor Sir Simon Rattle and Berliner Philharmoniker.
URL:https://blog.alandotchin.com/event/faures-requiem/
CATEGORIES:Classical,Concerts
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DTSTART;TZID=UTC:20250202T150000
DTEND;TZID=UTC:20250202T163000
DTSTAMP:20260416T151743
CREATED:20250413T162108Z
LAST-MODIFIED:20250413T162108Z
UID:17272-1738508400-1738513800@blog.alandotchin.com
SUMMARY:Piano Greats – Elisabeth Leonskaja plays Beethoven
DESCRIPTION:Mysterious. Transcendent. Songfully\, with utmost feeling. \nWho’s on stage\nLegendary pianist Elisabeth Leonskaja. She wowed us with Beethoven’s ‘Emperor’ piano concerto alongside Royal Northern Sinfonia in September 2023. We’re ecstatic she’s back. \nWhat they’re playing\nBeethoven’s final three sonatas for piano. An unmissable trio. \nWhat you’ll hear\n\nLudwig van Beethoven Sonata No. 30 (21′)\nLudwig van Beethoven Sonata No. 31 (20′)\nLudwig van Beethoven Sonata No. 32 (27′) \nWho’s playing it\n\nElisabeth Leonskaja piano \n\nWhat’s happening in the music?\n\n\n\n\n\n\nThese pieces were written in a frenzy of creativity\, each an experiment. ranging from the tender and transcendent to the enigmatic and quirky. On the surface No.30 is calm\, but peek beyond that surface and it’s dark and brooding. No.31 is tender and transcendent\, while Beethoven’s very last Sonata\, No.32\, is something of an enigma. Turning convention on its head\, it only has 2 movements\, and contains music that’s serene\, angst-ridden and quirky\, with a lopsided rhythm in one spot that almost sounds like jazz \n \nA legend\n\nHere’s Elisabeth Leonskaja in action\, playing exactly the same line up you’ll enjoy in Gateshead. YouTubers are definitely fans\, describing her performance as ‘Spellbinding’\, ‘Sublime’ and describing her as ‘a Legend!!!!’\, though we don’t escape one of the staples of grumpy audience members\, with one person describing someone coughing as ‘a crime against humanity and music’. Bit over the top maybe? \n\n\n\n\n\n\n\n\n\n\n \n\n\n 
URL:https://blog.alandotchin.com/event/piano-greats-elisabeth-leonskaja-plays-beethoven/
CATEGORIES:Classical,Concerts
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DTSTART;TZID=UTC:20250130T193000
DTEND;TZID=UTC:20250130T213000
DTSTAMP:20260416T151743
CREATED:20250413T162502Z
LAST-MODIFIED:20250413T162538Z
UID:17276-1738265400-1738272600@blog.alandotchin.com
SUMMARY:The Sound of Space: Sci-fi Film Soundtracks
DESCRIPTION:Dramatic. Hypnotic. Out of this world.\nWho’s on stage?\nThe galactic talents of our home orchestra Royal Northern Sinfonia and guest conductor Robert Ames. \nWhat they’re playing\nA shining supernova of songs and music from your favourite sci-fi film music. \nWhat you’ll hear\n\nSteven Price Gravity (7′)\nMica Levi Under the Skin: “Love” (8′)\nClint Mansell Moon Suite (8′)\nMichael Nyman Gattaca for Orchestra (17′)\nJohn Murphy Sunshine: Adagio in D minor (5′)\nBear McCreary Foundation (10′)\nMax Richter On the Nature of Daylight (6′)\nHarry Gregson Williams The Martian: “Crossing Mars” (5′)\nJohánn Johánnsson Arrival Suite No. 1 (10′)\nJerry Goldsmith Alien: Main Title (4′)\nHans Zimmer Interstellar Symphonic Suite (8′)\n\nWatch our friends at the Imperial Orchestra’s take on Hans Zimmer’s Interstellar.
URL:https://blog.alandotchin.com/event/the-sound-of-space-sci-fi-film-soundtracks/
CATEGORIES:Classical,Concerts
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DTSTART;TZID=UTC:20250118T193000
DTEND;TZID=UTC:20250118T213000
DTSTAMP:20260416T151743
CREATED:20250413T162753Z
LAST-MODIFIED:20250413T162753Z
UID:17278-1737228600-1737235800@blog.alandotchin.com
SUMMARY:Schubert’s Fifth Symphony
DESCRIPTION:Refreshing. Delicate. A dram of Schubert.\nWho’s on stage\nOur home orchestra Royal Northern Sinfonia with Artistic Partner Maria Włoszczowska directing from the violin. \nWhat they’re playing\nSchubert’s exquisite Symphony No. 5 in an intimate performance with just 19 musicians.
URL:https://blog.alandotchin.com/event/schuberts-fifth-symphony/
CATEGORIES:Classical,Concerts
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