At Justin Doyle turns in these weeks to Georg Friedrich Handel. Together with Robin Ticciati, the DSO and his RIAS chamber choir, he worked in the middle of December a staged performance of Handel’s “Messiah” in the Philharmonic, and also at the new year’s concert of the composer’s works are now back on the program. “I have compiled a kind of Playlist, as you know from streaming services such as Spotify,” says the 42-year-old conductor. But no hit came out of it, but a journey of discovery: Because it is mainly lesser-known pieces, which wants to introduce Doyle to the audience.
Because George Frideric Handel had mastered every conceivable style levels and emotional States, deeply Sad and dance Cheerful, archaic, old-Fashioned and pompous Festive, shaped the dramaturgy of the Evening of contrasts. The notes of the 18 numbers has designed Doyle on the floor in his living room and then moved against each other, until it appeared to him the arc of tension stringently. “My wife had to muster a lot of patience,” said Justin Doyle, and smiles at the Gentleman.
at All he is very british, this island-Intellectuals with the fun of lightning-fast ironic Volte, as it is known also by Simon Rattle. On the question of whether he would nationalize the in Halle an der Saale born Handel in the loved one subsequently, and to the most famous british composer to explain, he replies: “Well, maybe behind Felix Mendelssohn-Bartholdy.”
Doyle is deeply rooted in the British choral tradition
the British May not be blessed abundantly with our own composer, genius, in terms of choral singing to none of them. Deeply rooted in this Tradition, the Lancaster-born Justin Doyle: He was a choir boy at Westminster Cathedral in London, was a Choral Scholar and later to King’s College, Cambridge, was awarded a Conductor Fellowship with the BBC Singers, was in charge of the choir of the University of Manchester, as well as Festivals in Ryedale and Swaledale, was chief of the Manchester Chamber Choir and Director of music at St. Paul’s Church in Knightsbridge, London.
in addition to the vocal ensembles Doyle has passed but always orchestra – what comes to him in his Berlin Position he has held since the fall of 2016. When the great choral Symphony is listed, it is allowed to prepare the choir Director usually his singers only, and must hand over the management to the respective chief of the involved orchestra, the evening is in the spotlight. Because of the 35 members of the Rias chamber choir, however, asks due to its size, rare for these works, he is in the fortunate position to be able to 80 percent of the projects yourself toast. Choir Director Bernhard Heß committed so special ensembles such as the Akademie für Alte Musik, or the Capella de la Torre, Justin Doyle, then forwards along with his choir at the concerts.
Targeted Commissions should close a repertoire gap
he would like to lead the lines, which have developed in the now-70-year history of the Formation. Since the romantic Repertoire in which the choir, with its warm, homogeneous, and highly transparent sound can Shine. A further pillar is the contemporary music. “In this area, we want to close by targeted commissions, a repertoire gap between the short, A Cappella pieces, and the large choral-symphonic works,” explains Doyle. At the anniversary concert in October, the world premiere of Roderick Williams acted as a “programmatic anchor”, as the chief conductor. Other new plants have been ordered in the case of Lera Auerbach, and Torsten Rasch.
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the New chief conductor of the Rias chamber choir Justin Doyle makes it as the magpie
Ulrich penis
From the public on the most loved and celebrated but the Rias chamber choir as a performer of Baroque music. The “radio in the American sector” in 1948, was financially so strapped that he could only afford the establishment of a chamber choir, was in hindsight a stroke of luck. Because a professional created ensemble, which soon became one of the pioneers of historical performance practice. While the orchestral choirs, the Lushness paid homage to a sound ideal, worked with Uwe Gronostay from 1972 to the choir music to “sound speech”, rhythmically flexible, and and of interpretation to a maximum of vitality. Later leaders, such as Marcus Creed, and Hans-Christoph Rademann have been working in this field consistently and Justin Doyle provides an ideal base from which to set their own accents. For example, at the new year’s concert with his self-created Handel-Pasticcio.
Philharmonie, 1. January, 20 at, for more information www.rias-kammerchor.de
