Today is St Cecilia’s Day, the patron saint of music. It’s also the day Benjamin Britten was born. One of his compositions, the ‘Ode To Saint Cecilia’ (from whence comes the title of this blog post), is a setting for unaccompanied choir of a poem that his friend WH Auden dedicated to him. We sang it in New Dublin Voices a couple of years ago and it is included on our CD, ‘Something Beginning With B’.
(The album is available to buy from the website, newdublinvoices.com, or on iTunes…)
Tonight I’m going to attend the rehearsal of the Goethe-Institut Choir. Hopefully they’ll let me sing with them in their forthcoming concert on 5 December in The National Concert Hall. They’ll be singing Bach’s setting of the Magnificat, which I fell in love with as a student in university. In the first term we (the fifty or so students in the first and second years of the BMus course) did the piece in a scratch performance just for ourselves. Our tutors told us about the various little compositional signals that Bach uses in his setting of the words of Mary’s song, and I’ll blog more about it another time. Right now I have to go and get ready. Have to make a good impression if I’m to convince them I’m up to the task!
Oh yes, and I found this charming video by the Anderson & Roe piano duo (whom I’ve written about before on this blog). Vivaldi was a near contemporary of Bach and would have probably *loved* to play a grand piano, had it been invented. Anderson & Roe achieve a delicate sound, more akin to the Baroque keyboard instrument sound, by dampening the strings of Ms Roe’s piano. Mr Anderson’s uneffected (but wonderfully affected) playing allows the piano to sing the melody as only a grand piano can. A beautiful effect from a continually interesting musical partnership.