The top ten posts – chosen by reader views – from the Saturday Soundtrack series in 2021.
In a Holy Week overlaid with the heartache of a pandemic, lamentations through the centuries can help provide solace.
The top ten posts – chosen by reader views – from the Saturday Soundtrack series in 2020.
December is for “Best of…” lists. To celebrate 2020 here are the top 10 posts based on reader views.
Advent may not have as many well-known carols as Christmas, but there are lovely seasonal tunes to explore nonetheless.
A special edition Soundtrack for the premier of Andrew Bearden Brown’s lovely “Dream & Escape” program.
I was fortunate in my earlier life to sing Baroque and Renaissance music as part of the Shenandoah Valley group Canticum Novum. Custer LaRue, one of the eight-to-twelve singers depending on the gig, was definitely our ringer. I’ve seldom heard such a pure soprano voice. Along with a number of recordings and other highlights in her career, Custer was the “singing voice” of Reese Witherspoon in the movie Vanity Fair. (Custer also sang a solo at our twins’ baptismal service, accompanied by yours truly on guitar. While I doubt it made her musical resume, it was definitely a highlight of my musical career.) The other ringer was Carol Taylor. An award-winning choral director at McGill University, Carol fell in love with the sound of tracker organs and then fell in love with George Taylor, who happens to build world-class tracker organs (with his partner John Boody) in little Staunton, Virginia. I count myself very fortunate to have had the opportunity to sing with Custer, and with Debbie Hunter, Lucy Ivey, Shari Shull, Kay Buchannan, Constance …
Last evening a sold-out Georgetown crowd was treated to a sumptuous musical feast of the season by the English-based VOCES8 ensemble. The “impeccable quality of tone and balance” that has been recognized by Gramophone and many others was on full display in the splendid acoustics of historic St. John’s Episcopal Church. The program was varied, reaching back to the music of Tómas Luis de Victoria, Michael Praetorius, Giovanni Pierluigi da Palestrina, and Benjamin Britten, while also reaching forward to contemporary composers Jonathan Rathbone, Jonathan Dove, and David Pickthall, among others. For me, the evening’s highlight was the moving Philip Stopford setting of the Coventry Carol, the traditional English carol dating from the 16th century. Stopford’s Lully, Lulla, Lullay—filmed by VOCES8 earlier this year in St. Stephen’s Walbrook Church, London—is as haunting and beautiful on film as it was in the live performance last evening. Soprano Eleonore Cockerham’s soft, clear, yet ethereal voice is a treasure. The subject of the carol—the massacre of the innocent male children of Bethlehem by King Herod’s army following the birth …
Today is bittersweet, as our Andrew prepares to leave tonight for London and his graduate studies at conservatory. Over the past month, we’ve been savoring both his presence and his music. When we were in California in August, we had the chance to attend the final concert in San Francisco’s 2018 American Bach Soloists’ Summer Bach Festival, the stirring Mass in B Minor. Andrew joined three other musicians for the Benedictus. This tenor aria comes near the end of the mass, and Andrew’s beautiful singing was supported by just a flute, cello, and double bass. Then just this past weekend, Andrew had a call to sing the state funeral for U.S. Senator John McCain at the Washington National Cathedral. He had turned in his badge and music at the cathedral, where he most recently was one of the tenors in the men’s choir. But his replacement had not arrived from out-of-town so Andrew had the chance to sing his third state funeral (Reagan and Ford, while a boy chorister, were the others) to go along …
At yesterday’s service on the First Sunday in Lent at the Washington National Cathedral, Andrew — a tenor in the men’s choir — was the soloist for the Lenten Litany. This particular version of the litany was arranged by Canon Michael McCarthy, the Director of Music at the National Cathedral. It is a moving seven minutes of music, to help bring the faithful into an observance of the holy season of Lent. The solo begins around the 13 minute mark. With blessings for whatever practice you bring to the season. More to come… DJB Image: Central Tower of the Washington National Cathedral