02 September 2018
ROYAL ACADEMY OF MUSIC AT NERESHEIM ABBEY
Reviews
Schönes Stelldichein von Stimmen und Orgelpfeifen by Herbert Kullmann
Translation:
20 singers under the direction of Prof. Patrick Russil presented church music from three centuries on Sunday in the Neresheim Abbey. Alternating on the organ are four organ students (direction Prof. Dr. David Titterington).
"Music from Spain, Scandinavia and England" is on the top of the program. In the Abbey Church of Neresheim, this 'rendez-vous' takes place, in which the Royal Academy of Music is invited (from) London. For 27 years, the Royal Academy has been meeting here for a workshop, enriching the daily liturgy of the monks here in the Abbey with choir and organ music.
Now the final concert. Music from the 16th and 17th centuries is juxtaposed with works from the 20th century. The Neresheim-Positive energetically played Sebastian Aquilera de Heredia's "Salve" – a charming prelude and a lovely reference to the popular ‘Salve Regina’ hymn. Correspondingly atmospheric is the first motet from the choir, directed by Prof. Patrick Russill: "Vidi speciosam", a serene, visionary transfiguration of Our Lady. What stands out is the gentle voices celebrated by the choristers – the clear articulation, the anthemic exaggeration of old texts.
KLANGJUWELEN ERFÜLLEN DIE NERESHEIMER KLOSTERKIRCHE by Johannes Müller
Translation:
SOUND-JEWELS - MEET THE NERESHEIM MONASTERY CHURCH
The concert given by the students of the Royal Academy of Music was a festival of sacred music.
From near and far, music lovers poured into Ulrichsberg on Sunday. The reason: since 1991, Royal Academy of Music students from London have been attracting their annual concerts in the monastery church of Neresheim. "The influx of visitors in all these 27 years has never been so strong as this year," said Abbot Administrator FATHER ALBERT KNEBEL in his greeting.
The visitors, who filled the church to the last seat, enjoyed excellent choir singing and high organ art.
Once again, the well-known leading music educators, Professor Patrick Russill and Professor David Titterington, had selected the best from among their vocal and organ students from around the world for this annual work week.
It was a small, and almost humble, beginning for a grand concert: You had to prick your ears to hear the sound of the mini-organ, a portable instrument called "Neresheimer Positiv". Michael Butterfield, a young (Australian) musician, delighted (the occasion) with a delightful and intimate "Salve Regina" by Spanish composer Sebastian Aguilera de Heredia (1561-1627) - the melody of the well-known Marian hymn surrounded by imaginatively coloured and decorative (musical) garlands. The Spaniards of the Baroque era was devoted to the first part of the program. In terms of context, Marian themes were chosen in close proximity to the Feast of the Nativity of the Blessed Virgin Mary (September 9). Not only did the choral works unfold the splendor of Spanish Baroque music, it also presents the differences of the Baroque sound world, which is commonly-known in German-speaking countries.
While Tomas Luis de Victoria (1548-1611), in his motet "Vidi speciosam", had strong Italian influences and thus a cheerful character, Francisco Guerrero, composing at the same time, preferred strict lines and harsh melodies in his "Virgo sanctissima". The slightly later contemporary Joan Cererols paid tribute in his "Regina caelorum" with Iberisch-coloured harmonies and surprisingly changing rhythms.
The choir worked out these differences clearly and used the extreme acoustic conditions of the abbey church to its own advantage. They were careful not to take tempo too quickly and able to taste the extremely long final chords. Thus they achieved lively dynamics and a fascinating sound effect. Patrick Russill also applied the same pattern to the works of Scandinavian and Baltic masters of modern times.
The Spanish exuberance was followed by impressive simplicity and lyrical intimacy - "Ave maris stella" by Sweden Otto Olssen (1879 to 1964) and in the "Magnificat" of the much mentioned Estonian Arvo Pärt. The work of Dane Niels la Cour (born 1944), who made a filigree "Meditazione" in front of a shrill "Lauda", was impressively presented by Andrzej Malitowski at the great Holzhay organ.
The choir had two climaxes: works by the English composers Herbert Howells (1892-1983), a sumptuous setting of Psalm 42, on the organ accompanied by Jamie Rogers, and Benjamin Britten's (1913 to 1976) phenomenal "Festival Te Deum" - an exalted sphere dance, a highlight of the choir, contrasting with an angel-like soprano solo. After a simple organ piece by Frank Brigde, Britten's composition teacher, the choir impressed the audience with a Grandiose Finale, "God Is Gone Up", an Ascension Hymn by the English composer Gerald Finzi (1901-1956). In both pieces, James Orford glittered on the organ.
It is understandable that the "Royals" had just concluded their concert with Finzi, because he not only created a sacred work, but also magnificently glorified the English landscape and folk singing. The unending standing applause was rewarded by the choir with an appreciation of German classical music: "Geistliches Lied" by Johannes Brahms as encore, this time conducted by one of the students.
ROYAL ACADEMY OF MUSIC AT NERESHEIM ABBEY
Reviews
Schönes Stelldichein von Stimmen und Orgelpfeifen by Herbert Kullmann
Translation:
20 singers under the direction of Prof. Patrick Russil presented church music from three centuries on Sunday in the Neresheim Abbey. Alternating on the organ are four organ students (direction Prof. Dr. David Titterington).
"Music from Spain, Scandinavia and England" is on the top of the program. In the Abbey Church of Neresheim, this 'rendez-vous' takes place, in which the Royal Academy of Music is invited (from) London. For 27 years, the Royal Academy has been meeting here for a workshop, enriching the daily liturgy of the monks here in the Abbey with choir and organ music.
Now the final concert. Music from the 16th and 17th centuries is juxtaposed with works from the 20th century. The Neresheim-Positive energetically played Sebastian Aquilera de Heredia's "Salve" – a charming prelude and a lovely reference to the popular ‘Salve Regina’ hymn. Correspondingly atmospheric is the first motet from the choir, directed by Prof. Patrick Russill: "Vidi speciosam", a serene, visionary transfiguration of Our Lady. What stands out is the gentle voices celebrated by the choristers – the clear articulation, the anthemic exaggeration of old texts.
KLANGJUWELEN ERFÜLLEN DIE NERESHEIMER KLOSTERKIRCHE by Johannes Müller
Translation:
SOUND-JEWELS - MEET THE NERESHEIM MONASTERY CHURCH
The concert given by the students of the Royal Academy of Music was a festival of sacred music.
From near and far, music lovers poured into Ulrichsberg on Sunday. The reason: since 1991, Royal Academy of Music students from London have been attracting their annual concerts in the monastery church of Neresheim. "The influx of visitors in all these 27 years has never been so strong as this year," said Abbot Administrator FATHER ALBERT KNEBEL in his greeting.
The visitors, who filled the church to the last seat, enjoyed excellent choir singing and high organ art.
Once again, the well-known leading music educators, Professor Patrick Russill and Professor David Titterington, had selected the best from among their vocal and organ students from around the world for this annual work week.
It was a small, and almost humble, beginning for a grand concert: You had to prick your ears to hear the sound of the mini-organ, a portable instrument called "Neresheimer Positiv". Michael Butterfield, a young (Australian) musician, delighted (the occasion) with a delightful and intimate "Salve Regina" by Spanish composer Sebastian Aguilera de Heredia (1561-1627) - the melody of the well-known Marian hymn surrounded by imaginatively coloured and decorative (musical) garlands. The Spaniards of the Baroque era was devoted to the first part of the program. In terms of context, Marian themes were chosen in close proximity to the Feast of the Nativity of the Blessed Virgin Mary (September 9). Not only did the choral works unfold the splendor of Spanish Baroque music, it also presents the differences of the Baroque sound world, which is commonly-known in German-speaking countries.
While Tomas Luis de Victoria (1548-1611), in his motet "Vidi speciosam", had strong Italian influences and thus a cheerful character, Francisco Guerrero, composing at the same time, preferred strict lines and harsh melodies in his "Virgo sanctissima". The slightly later contemporary Joan Cererols paid tribute in his "Regina caelorum" with Iberisch-coloured harmonies and surprisingly changing rhythms.
The choir worked out these differences clearly and used the extreme acoustic conditions of the abbey church to its own advantage. They were careful not to take tempo too quickly and able to taste the extremely long final chords. Thus they achieved lively dynamics and a fascinating sound effect. Patrick Russill also applied the same pattern to the works of Scandinavian and Baltic masters of modern times.
The Spanish exuberance was followed by impressive simplicity and lyrical intimacy - "Ave maris stella" by Sweden Otto Olssen (1879 to 1964) and in the "Magnificat" of the much mentioned Estonian Arvo Pärt. The work of Dane Niels la Cour (born 1944), who made a filigree "Meditazione" in front of a shrill "Lauda", was impressively presented by Andrzej Malitowski at the great Holzhay organ.
The choir had two climaxes: works by the English composers Herbert Howells (1892-1983), a sumptuous setting of Psalm 42, on the organ accompanied by Jamie Rogers, and Benjamin Britten's (1913 to 1976) phenomenal "Festival Te Deum" - an exalted sphere dance, a highlight of the choir, contrasting with an angel-like soprano solo. After a simple organ piece by Frank Brigde, Britten's composition teacher, the choir impressed the audience with a Grandiose Finale, "God Is Gone Up", an Ascension Hymn by the English composer Gerald Finzi (1901-1956). In both pieces, James Orford glittered on the organ.
It is understandable that the "Royals" had just concluded their concert with Finzi, because he not only created a sacred work, but also magnificently glorified the English landscape and folk singing. The unending standing applause was rewarded by the choir with an appreciation of German classical music: "Geistliches Lied" by Johannes Brahms as encore, this time conducted by one of the students.
29 JANUARY 2018
THE 5TH AEGEAN ARTS INTERNATIONAL FESTIVAL, CRETE
Absolutely delighted to announce that my friend and colleague Leona Crasi and I are invited to perform as part of the 5th Aegean Arts International Festival in Crete. We will be giving a 45-minute recital in the beginning of July 2018. The audience comes from all walks of life - villagers, children, educators and musicians. Our mission is to promote classical music, to introduce opera and art songs to children and families who participate in the festival!
More updates on date, location and programme will be posted on the 'DIARY - Upcoming Events' page.
THE 5TH AEGEAN ARTS INTERNATIONAL FESTIVAL, CRETE
Absolutely delighted to announce that my friend and colleague Leona Crasi and I are invited to perform as part of the 5th Aegean Arts International Festival in Crete. We will be giving a 45-minute recital in the beginning of July 2018. The audience comes from all walks of life - villagers, children, educators and musicians. Our mission is to promote classical music, to introduce opera and art songs to children and families who participate in the festival!
More updates on date, location and programme will be posted on the 'DIARY - Upcoming Events' page.
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06 JUNE 2017
ON RADIO: Winners of the 13th Hungarian Music Festival "THE WINNER OF THIS YEAR'S FESTIVAL IS A ROMANIAN-HONG KONG COUPLE, members of the Royal Academy of Music in London, singer Waimay Yau and Pianist Leona Crasi!" Bucharest Radio, to listen to the recording, click the link below: http://www.bukarestiradio.ro/2017/06/06/magyar-zene-fesztival-bukarestben-tizenharmadszorra/ Translation: “ The Balassi Institute in Bucharest has organized the Hungarian Music Festival for the 13th time. This year's edition of the festival, which is a major event of the Romanian music scene, became a trademark of the Hungarian institute. The aim of the competition festival is to discover young classical music talents and to promote the works of Hungarian composers worldwide. The winner of this year's festival was a Romanian-Hong Kong couple, members of the London Royal Academy of Music, Waimay Yau Singer and Leona Crasi. The duo will hold a prize concert at the Collegium Hungaricum in Vienna. We broadcast our recordings during the Award Ceremony. “ |
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22 MAY 2017
BY AGENTIA DE CARTE.RO
Title: Sonorităţi noi, la ediţia a XIII-a a Festivalului Muzicii Maghiare "New sounds at the 13th edition of the Hungarian Music Festival"
www.agentiadecarte.ro/2017/05/sonoritati-noi-la-editia-a-xiii-a-a-festivalului-muzicii-maghiare/
Translation:
"In the history of over a decade of this Festival, this is the second time that the 1st Prize is offered by the jury to a Singer. Students at the Royal Academy of Music in London, soprano Waimay Yau and pianist Leona Crasi convinced the jury with their sensitivity and technique in the interpretation of the eight Hungarian folksongs by Bartók Béla and three Debussy melodies. The very well-formed duo will give a recital in the autumn of this year at the Collegium Hungaricum in Vienna, the opera city. "
BY AGENTIA DE CARTE.RO
Title: Sonorităţi noi, la ediţia a XIII-a a Festivalului Muzicii Maghiare "New sounds at the 13th edition of the Hungarian Music Festival"
www.agentiadecarte.ro/2017/05/sonoritati-noi-la-editia-a-xiii-a-a-festivalului-muzicii-maghiare/
Translation:
"In the history of over a decade of this Festival, this is the second time that the 1st Prize is offered by the jury to a Singer. Students at the Royal Academy of Music in London, soprano Waimay Yau and pianist Leona Crasi convinced the jury with their sensitivity and technique in the interpretation of the eight Hungarian folksongs by Bartók Béla and three Debussy melodies. The very well-formed duo will give a recital in the autumn of this year at the Collegium Hungaricum in Vienna, the opera city. "
19 MAY 2017
LATEST NEWS FROM MA.HU:
Román-hongkongi páros nyerte a bukaresti Magyar Zene Fesztivált
(Romanian-Hong Kong winner won the Bucharest Hungarian Music Festival)
Translation:
At the London Royal Academy of Music III. Waimay Yau and her classmate in Hong Kong, pianist Leona Crasi from Transylvania won the 13th Hungarian Music Festival in Bucharest, which held the awards ceremony on Friday. - 2017.05.19 21:28
http://www.ma.hu/kulturport.hu/300952/Romanhongkongi_paros_nyerte_a_bukaresti_Magyar_Zene_Fesztivalt
LATEST NEWS FROM MA.HU:
Román-hongkongi páros nyerte a bukaresti Magyar Zene Fesztivált
(Romanian-Hong Kong winner won the Bucharest Hungarian Music Festival)
Translation:
At the London Royal Academy of Music III. Waimay Yau and her classmate in Hong Kong, pianist Leona Crasi from Transylvania won the 13th Hungarian Music Festival in Bucharest, which held the awards ceremony on Friday. - 2017.05.19 21:28
http://www.ma.hu/kulturport.hu/300952/Romanhongkongi_paros_nyerte_a_bukaresti_Magyar_Zene_Fesztivalt
22 MAY 2017
Talent Unlimited: WAIMAY YAU IS MADE FEATURED ARTIST OF THE MONTH
HTTP://WWW.TALENT-UNLIMITED.ORG.UK
Talent Unlimited: WAIMAY YAU IS MADE FEATURED ARTIST OF THE MONTH
HTTP://WWW.TALENT-UNLIMITED.ORG.UK
19 MAY 2017
THE HONGKONG-ROMANIAN PAIR WON THE 13TH BUCHAREST HUNGARIAN MUSIC FESTIVAL:
Link to news article: http://hirek.ma/hirek/romanhongkongi-paros-nyerte-a-bukaresti-magyar-zene-fesztivalt
THE HONGKONG-ROMANIAN PAIR WON THE 13TH BUCHAREST HUNGARIAN MUSIC FESTIVAL:
Link to news article: http://hirek.ma/hirek/romanhongkongi-paros-nyerte-a-bukaresti-magyar-zene-fesztivalt
A londoni Királyi Zeneakadémián III. éves énekszakos hongkongi Waimay Yau és évfolyamtársa, az erdélyi Leona Crasi zongorista nyerte meg a bukaresti 13. Magyar Zene Fesztivált, amelynek pénteken tartották a díjkiosztó gáláját. A duóként fellépő két versenyző Bartók Béla Nyolc magyar népdalával és három Debussy-dallal győzte meg a Balassi Intézet bukaresti központja által szervezett fesztivál zenekritikusok, zeneszerzők és kamaramuzsikusok alkotta zsűrijét és kapta meg az első díjat. A kiváló ének-, illetve zongoratechnikával rendelkező, fiatalsága ellenére jól összeforrott duót a bécsi Collegium Hungaricum látja majd vendégül jutalomkoncertje megtartására.
Translation:
On their 3rd year at Royal Academy of Music, singer Waimay Yau, and her classmate, pianist Leona Crasi from Transylvania, won the 13th Hungarian Music Festival in Bucharest, in which the awards ceremony was held on Friday (19 May 2017). The two contestants performed as a duo Béla Bartók's Eight Hungarian Folksongs and 3 Debussy songs, and won over the jury contained of music critics, composers and chamber musicians at the Balassi Institute, and received the First Prize. With the excellent vocal and piano technique, this duo will join the Collegium Hungaricum in Vienna where they will be hosting their prize concert.
On their 3rd year at Royal Academy of Music, singer Waimay Yau, and her classmate, pianist Leona Crasi from Transylvania, won the 13th Hungarian Music Festival in Bucharest, in which the awards ceremony was held on Friday (19 May 2017). The two contestants performed as a duo Béla Bartók's Eight Hungarian Folksongs and 3 Debussy songs, and won over the jury contained of music critics, composers and chamber musicians at the Balassi Institute, and received the First Prize. With the excellent vocal and piano technique, this duo will join the Collegium Hungaricum in Vienna where they will be hosting their prize concert.