The Choir of Royal Holloway: Crucifixus at St John's Smith Square, London on Thursday 9th April 2020

Please note: This concert is in the past and has already taken place.

The Choir of Royal Holloway: Crucifixus

Part of the Holy Week, 2020 Festival

Add to my Calendar 09-04-2020 13:05 09-04-2020 15:05 36 The Choir of Royal Holloway: Crucifixus Full programmeLotti: Crucifixus (a8)Geoffrey Gordon: Crucifixus for double choir & cello (UK premiere)Lotti: Crucifixus (a10)Leighton: Crucifixus pro nobisCaldara: Crucifixus (a16) This programme takes as its starting point the famous 8-part Crucifixus setting by the Italian composer Antonio Lotti, but also includes the more developed 10-part setting before concluding with the richly elaborate 16-part setting by Antonio Caldara – also from Venice but 100 years later. Geoffrey Gordon’s contemporary setting is inspired by Lotti’s masterpiece and creates a vivid soundscape with double choir and the plaintive voice of a solo cello. Kenneth Leighton’s 3-movement Cantata Crucifixus pro nobis breaks away from the liturgical text, setting a more visionary, mystical triptych of poems by the 17th-century writer Patrick Carey. St John's Smith Square, London DD/MM/YYYY

Details

St John's Smith Square
Smith Square
City of Westminster
London
SW1P 3HA
England

Thursday 9th April 2020
1:05 PM

Programme

Antonio Lotti – Crucifixus (trans. Elwood Williams)

Performers

Graham Walker – cello
Rupert Gough – Conductor

Choir of Royal Holloway

Other concerts in this Series (+)

Programme Note

Full programme
Lotti: Crucifixus (a8)
Geoffrey Gordon: Crucifixus for double choir & cello (UK premiere)
Lotti: Crucifixus (a10)
Leighton: Crucifixus pro nobis
Caldara: Crucifixus (a16)

This programme takes as its starting point the famous 8-part Crucifixus setting by the Italian composer Antonio Lotti, but also includes the more developed 10-part setting before concluding with the richly elaborate 16-part setting by Antonio Caldara – also from Venice but 100 years later. Geoffrey Gordon’s contemporary setting is inspired by Lotti’s masterpiece and creates a vivid soundscape with double choir and the plaintive voice of a solo cello. Kenneth Leighton’s 3-movement Cantata Crucifixus pro nobis breaks away from the liturgical text, setting a more visionary, mystical triptych of poems by the 17th-century writer Patrick Carey.

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