News
28 February 2019
TIER 1 EXCEPTIONAL TALENT VISA
After months and months of process and waiting, I have finally received my new BRP! I am now a Tier 1 Talent Migrant for the next 5 years!
Goodbye study life, freelancer-life HERE I COME!
TIER 1 EXCEPTIONAL TALENT VISA
After months and months of process and waiting, I have finally received my new BRP! I am now a Tier 1 Talent Migrant for the next 5 years!
Goodbye study life, freelancer-life HERE I COME!
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.
