День Рождения Сайта- Воронежский Камерный Хор (1976-1997).

Основатель хора в 1975 году - дирижер Олег Шепель.

 

 

Дамы и господа, коллеги, дорогие друзья,

поздравлем Вас с открытием сайта Воронежского Камерного Хора (1976-1997),

художественный руководитель и дирижер Олег Шепель!

 

Сайт -это уникальная возможность подтверждения существования коллектива сегодня, даже если его рождение было раньше, а активная творческая жизнь была вчера, это не значит, что активность участников коллектива, не может повторится в какой-либо новой форме завтра!

 

 

Желаю и хочу надеяться на новое творческое объединение музыкантов профессионалов и людей любящих хоровую музыку на этом сайте, в любых творческих проектах, которые этот сайт поможет осуществить, где бы они не находились сегодня и завтра!

 

//Ноябрь 2014-

 ИЗ ИСТОРИИ КОЛЛЕКТИВА: статьи, заметки, мнения, разное...

Sergei Taneyev (1856-1915): The Twelve Choruses on poems by Jakov Petrovich Polonski, Op. 27 (1909; Russia), No.10 "Stars"

 

Sergei Rachmaninov (1873-1943): Sacred choral concerto “...in Our Prayers, Ever Vigilant Mother of God” / A cappella (1893)

 

_________________

 

Представленные здесь записи была сделаны в Доме Актера (Воронеж) в 1990 году во время пребывания в России Английского Хора " Финикс" города Рединг под управлением Нормана Мориса. Визит английского хора организовал и осуществил Б. А. Нестеров.

 

Запись1990@Reveal'd©Didier Garçon

________________

 

Запись впервые публично воспроизведена в России 25 апреля 2015 года на конференции «Воронежская музыкальная интеллигенция ХХ века» проходящей в рамках «Недели Российско-Британской Культуры» 20 - 26 апреля 2015 //Личность и Культура / Великобритания-Россия.

Основная тема конференции: Митрополит Сурожский Антоний и Воронежский Камерный Хор (1976-1997) Олега Шепеля.

Англия 1989 - 1990-е годы.

________________________________ 

 

The recording presented here was made in 1990 in the Voronezh House of Actors while the Reading Phoenix Choir, directed by Norman Morris, was visiting Russia.

The visit of the English choir was organized and arranged by B A Nesterov. 

 

Recording1990@ Reveal’d©Didier Garçon

 

The recording was reproduced for the first time in Russia on 25 April 2015 at the “Voronezh Musical Intelligentsia of the Twentieth century” conference held as part of the “Week of the Russian-British culture”, 20-26 April 2015, Personality and Culture / United Kingdom and Russia. 

The main theme of the conference was Metropolitan Anthony of Sourozh and the Voronezh Chamber Choir (1976-1997) of Oleg Shepel, United Kingdom 1989-1991.

 

Stravinsky's "Les Noces" (Svadebka) on Hyperion (Voronezh, New London)

Howard Barnum's blog on art, music, culture, science, public affairs, philosophy, and life

http://winephysicssong.com/2012/01/18/stravinskys-les-noces-svadebka-on-hyperion-voronezh-new-london/

 

Posted on January 18, 2012

I finally listened to my Hyperion CD of a 1990 recording of Stravinsky's "Les Noces" (Svadebka, The Wedding), with the New London Chamber Choir and Ensemble, directed by James Wood, and The Voronezh Chamber Choir, directed by Oleg Shepel. Stunning. I knew this work previously through the Bernstein/English Bach Festival Orchestra and Choir version on Deutsche Grammophon.  In that version, I found it an interesting work, but a bit hard to sit through the whole thing repeatedly.  Bernstein's version emphasized the percussive aspects.  I probably was moved to buy the Hyperion version by composer John Adams' praise for it on his blog, Hellmouth.  The NL/Voronezh version is much more nuanced and for me, balances percussiveness and aggression better with lyricism.  It has superb sound overall, with a fairly realistic, broad and deep soundstage and good hall atmospherics.  I'm not completely sure how naturally it was achieved---there are either drummers on each side of the stage, or the drums were recorded with multiple mikes and mixed with excessive stereo separation of the different drums, but it sounds good overall.  Very sweet and clear instrumental timbres, and extremely good resolution of accompanying instruments allowing subtle details of the piece to be heard.  I found some of the higher female voices to sound a bit thin and perhaps distorted at times (could be my system, or an issue with microphone preamps (distortion) or with mixing or even the actual voices (thinness)).  But overall the quality of the voices and singing, and the recording of them, is excellent.

Musically, the piece sounds like it could have been a predecessor, rather than, as it actually was, a successor, to the Rite of Spring.  It provides a more relaxed, less avant-garde setting than Rite for exploring the folk-music-based modes, and the percussiveness and somewhat dissonant chord extensions, and the occasional use of multiple modal melodies in dissonant counterpoint, that provide a lot of the musical language of Rite.  Even before reading it in the liner notes, you sense that the often arranged, and highly ritualized, Russian peasant weddings being portrayed, are a less extreme analog of the sacrifice in Rite, though with less predictably dire results, from a modern point of view.  And in the hands of this ensemble, the piece's goal of portraying the human drama of such an event (or at least, the version Stravinsky wants us to experience), is fully achieved.  Though similarities to Rite are there, the texture and mood are overall quite different.  I'd earlier not thought Noces to be even nearly on the level of the great triumvirate of Firebird, Petrushka, and the Rite, but on the strength of this recording, I now think it's close.

9.5 overall for this CD on my 10 point scale that goes to 11.

 

 photo:@Reveal'd©Didier Garcon

Norman Morris was the founder of Reading Phoenix Choir and remained its musical director until his passing in April 2009. Just two weeks previously he had been conducting what was to be his final concert: a festival of choirs* with the Reading Male Voice Choir, Reading Bach Choir, Basingstoke Ladies Choir and a children’s choir. In May the planned 40th-season celebratory concert changed into a memorial concert for Norman bringing many ex-Phoenix members back to sing some of Norman’s favourite pieces without a conductor and just a music stand there. Which, as Norman never used one, was most poignant.

Over those forty years the choir maintained its high reputation, mainly thanks to the enthusiasm and dedication of Norman. In parallel with his selfless commitment to Phoenix, he was also a founder member of the Association of British Choral Directors, and Musical Director of Opera at Bearwood for ten years. He ran a “Singing from Scratch” course to encourage everyone to have belief in their own innate musical ability, and latterly became involved with an organisation called “Singing for the Brain”, helping Alzheimer’s sufferers and their carers.

http://www.readingphoenixchoir.com/the-choir/choir-history/

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