The finalists of the The Bruce Haynes International for the rhetorical singing of the music of J.S. Bach posted their excerpts on the CBC website. Listen to their beautiful voices and let us know who is your favorite artist! The jury will announce the winners mid-March. Enjoy!
The Montreal Baroque Festival would like to thank all the contestants at the THE BRUCE HAYNES INTERNATIONAL COMPETITION for the rhetorical singing of the music of JOHANN SEBASTIAN BACH. The jury had the pleasure to hear more than 40 artists coming from 3 continents.
Drum roll! Here are the names of the 12 finalists:
Winners will be announced in early March. Stay tuned!
THE MONTREAL BAROQUE FESTIVAL with ATMA CLASSIQUE and THE CBC/MCGILL SERIES announce THE BRUCE HAYNES INTERNATIONAL COMPETITION for the rhetorical singing of the music of JOHANN SEBASTIAN BACH
The Montreal Baroque Festival is engaged in the recording of Sacred Cantatas of J. S. Bach for the Montreal label ATMAClassique. The project is committed to the ideals and principals of historically informed performance, and to the presentation of the Cantatas with one voice per part. The Festival seeks the four vocalists (soprano, alto, tenor, bass) who will participate in the next series of performances and recording, scheduled for June 2014. All singers are invited to apply who share a dedicated commitment to period stylistic discovery and a rhetorical, dramatic manner of expression, as exemplified by the life work of musician-scholar Bruce Haynes. Both male and female soprano and alto voices are welcome. There is no age requirement.
Winners will be invited to perform next season's program of Bach Cantatas at
The Tage für Alte Musik Festival, Regensburg, Germany, Monday, June 9th 2014 Broadcast by 'Bayerischer Rundfunk' Radio in Germany and CBC Radio 2 in Canada
The Montreal Baroque Festival, Thursday, June 19th 2014 and to record the program for ATMA Classique in Montreal, June 23rd - 25th 2014
An Honorarium of $3000 CAD will be awarded
A rehearsal week (TBD) in Montreal during May 2014 will be obligatory
The Program Christ lag in Todesbanden (BWV 4) Es ist das Heil uns kommen her (BWV 9) Gleichwie der Regen und Schnee vom Himmel fällt (BWV 18) Gottes Zeit ist die allerbeste Zeit (BWV 106) Leichtgesinnte Flattergeister (BWV 181)
The 2014 Selection Committee Susie Napper, Artistic Director, Montreal Baroque Festival Eric Milnes, Conductor, La Bande Montreal Baroque Johanne Goyette, Director and Producer, ATMA Classique Scott Tresham, Producer, CBC Charles Daniels, Tenor
EXTENSION: All materials must be submitted before February 1st, 2014
Singers are invited to submit a recording (audio or video) of one Recitative and one Aria from the Bach Cantatas of the singer's choosing. A relevant curriculum vitae will be appreciated.
Application Processing Fee : $100CAD
mail to: Montreal Baroque Festival 1097 Saint-Alexandre St, b.408 Montreal (Quebec) H2Z 1P8
If preferred, CD or DVD materials and CV may be mailed via post to the Festival address above.
Candidates who advance to the final round will be notified promptly after February 1st..
Finalist candidates will be invited to create a CBC Music Artist Page (CBCMusic.ca/ArtistSignUp) and submit the following required excerpts (audio or video) before March 1st 2014. The Artist Pages will be featured on CBCMusic.ca/Classical
SOPRANO BWV 4, Versus 6, Duet BWV 18, Movement 3, Aria BWV 181, Movement 4, Recitative
ALTO BWV 106, Movement 3, Aria BWV 181, Movement 2, Recitative and Arioso
TENOR BWV 9, Movement 3, Aria BWV 18, Movement 2, Tenor Recitative Sections
BASS BWV 181, Movement 1, Aria BWV 18, Movement 1, Bass Recitative Sections
In 2011 the musical community mourned the loss of Bruce Haynes, hautboy player and author of some ofthe most influential research on the oboe published. Bruce will be remembered for his pioneering work in the revival of the early oboe, his thoroughly documented history of the hautboy's first century in The Eloquent Oboe, research on pitch (The Story of A) and contributions to the Grove Dictionary and Yale Musical Instrument Series, as well as provocative writings on musical aesthetics, notably The End of Early Music. His final book on rhetorical interpretation and affects, The Pathetick Musician, was left in a virtually complete state that will be published by Oxford University Press.
No other musician in the twentieth century embraced the hautboy with the same pioneering spirit, and built such a legendary reputation as inspirational performer and teacher, and provocative scholar. The stream of Haynes' influence will last for many years. To some, it is the emotional intensity of his playing that stands out, to others his copious writing - as informative as it is thought provoking, as critical as it is inspiring - that constitutes his most significant contribution. Bruce's playing, research and teaching all reflected a keen interest in making sense of music: a doubly appropriate metaphor for his chosen baroque repertoire with its rich rhetorical implications. As he wrote in The End of Early Music,
'A subject like music beckons us on, inviting us to keep trying, though we know we will end up with more questions than answers. I am delighted to share these thoughts with you. With luck they may inspire you, too, to write down your own.'
Bruce was continually drawn to probe the mysteries of music and performance, to search for answers. At best, he left us with a sense of achievement - or as he put it, "'happiness' - that is mixed, momentary, and provisional." But anyone who knew him will attest that the happiness he gave was unmixed: he was utterly and unforgettably intelligent and caring as parent, teacher, and colleague. For a projected monograph that did not proceed past a rough sketch, Paradigm Lost: Reconstructing the Eloquent Voice, Bruce allocated the following motto quotation from Shakespeare that epitomizes his thoughtful meditation on the musical experience:
Spite of Fashion let some few be found Who value Sense above an empty sound.
(article excerpted from Bruce Haynes : A Biographical Tribute by Geoffrey Burgess)