February 6, 2000,
Rehovot Cultural Center

  


This concert was part of a series of ancient music concerts by professional ensembles which was produced in Rehovot through the 1999-2000 season.
The Rehovot Culture center does not have a special concert hall; rather, the concerts were given in the center's main gallery, where we were encircled by an art exhibition as well as more than 130 people (probably the record for that place...).

 
program   photos      

 

program:

• Eco – Orlando di-Lasso
• Jesu, Meine Freude – J.S. Bach
• O Felix – Johannes Ciconia
• Grave Pensier – Cypriano de-Rore
• Blaude Loquimini – Jean de-Castro
• A Round of Three Country Dances in One – Thomas Ravencroft
• Ave Verum – William Byrd
• Super Flumina Babilonis – Orlando di-Lasso
• 2 madrigals: Anima Mia, Che se tu sei il cor mio – Claudio Monteverdi
• Tutto lo di – Orlando di-Lasso
• It was a Lover and his Lass - Thomas Morley

 

photos:

We started the concert with Lasso's "Eco". The choir is calling its echo (a quartet) and a cute dialog (dia-monolog ?) develops as the two groups "converse".
Here is the echo (Michal Steinberg, Dan Dunkelblum, Yael Magnes, Uri Smilanski) who stood on the balcony:

  The Echo  

The center-piece of this concert was definitely Bach's masterpiece motet "Jesu, Meine Freude".
This motet is considered by many as one of the major masterpieces for choral literature and includes 11 parts arranged in a highly symmetric structure (for example, the 6 odd-numbered parts are chorals).
Before we sang the whole piece, Conductor Gila Brill gave the audience some explanations about the piece, with demonstration of the main themes:

 

Gila giving the audience some explanations During the performance

 

 

 

  

The choir now took a break while Uri and Aviad (recorders) accompanied Asif (counter-tenor) in
three short pieces:

  Asif, Uri & Aviad  

We marched back onstage marching and singing Ravenscroft's "A Round of Three Country Dances in One". We had a full choreography for this piece: Yifat played the drum, as each voice came in its turn with another kind of walk: first the bases stomped in, then the altos strode in, to be joined by the tenors and only then by the sopranos. Finally, we all sang together.

  "sing after fellows as you hear me..."  

 

 

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