The Fox Cabaret | Map
Charles Daniels, tenor; Alexander Weimann, harpsichord
“Weimann, by all accounts a musician of wide and varied interests and experiences,… plays with the utmost passion, vigour and virtuosity.” Early Music
“Charles Daniels…a transcendent vocal virtuosity.” The Guardian
Charles Daniels is one of the most respected tenors of his generation. He has made over 100 recordings as a soloist including Handel’s Messiah with the Gabrieli Consort for Deutsche Grammophon and more than twenty discs of Purcell’s music, mostly with The King’s Consort. In this intimate recital of English song he is joined by renowned harpsichordist and conductor Alexander Weimann.
Presented in cooperation with Music on Main. Generously sponsored by Sharon E. Kahn.
[First half: with harpsichord]
William Lawes O my Clarissa
John Jenkins See see the bright light shine
Henry Lawes A Dream
Henry Lawes In quel gelato core
John Blow It is not that I love you less
Henry Purcell The Sparrow and the gentle Dove
Henry Purcell Lucinda is bewitching fair
Henry Purcell When lovely Phyllis thou art kind
John Blow If mighty Wealth
Harpsichord solo : John Blow Chaconne in G
John Blow Grant me, ye gods
Henry Purcell Music for a while
Henry Purcell ‘Tis nature’s voice
Henry Purcell Blow Boreas Blow
Senior Baptist Where art thou, god of Dreams
John Blow It grieves me
Henry Purcell Charon the peacefull Shade invites
* * * * * * *
[Second half with piano]
Henry Purcell/Arthur Somervell Draw near you lovers that complain
Ivor Gurney Sleep
Frank Bridge When you are old and gray
Karelsje van Danneels Death, be not proud
Carlo Danieli Oh, to vex me
Alexander Weimann improvisation on a poetic theme: Gurney’s “Midnight” (poem below)
Benjamin Britten, From Winter Words:
At day-close in November
Midnight on the Great Western
The little old table
At the railway station, Upway
Before life and after
To be added soon…
“Midnight” by Ivor Gurney
There is no sound within the cottage now,
But my pen and the sound of long rain
Heavy and musical, I must think again
To find so sweet a noise, and cannot anyhow.
The soothingness and deep-toned tinkle, soft
Happenings of night, in pain there’s nothing better.
Save tobacco, or long most looked for letter.
The different roof-sounds. House, shed, loft and scullery.
Charles Daniels, tenor
The tenor Charles Daniels’ repertoire extends 1150 years from the ninth century to the present day. Born in Salisbury, he received his musical training at King’s College, Cambridge, and the Royal College of Music in London where he studied under Edward Brooks.
He has made over ninety recordings as a soloist, the most recent Western Wind with the Taverner Choir & Players (Andrew Parrott) on Avie, winning the 2016 Gramophone Award for Early Music – further recordings include Evangelist St John Passion with Portland Baroque, Handel’s Messiah with the Gabrieli Consort for Deutsche Grammophon, Dowland Songs for EMI, Handel’s Alexander Balus with The King’s Consort for Hyperion, The Beggar’s Opera for Hyperion, Schütz’ Christmas Story for Deutsche Grammophon, Haydn’s St Cecilia Mass with the Gulbenkian Choir and Orchestra, Bach’s Easter Oratorio with the Taverner Consort for EMI, Airs de Cour with Catherine King and Jacob Heringman, Handel Occasional Songs with Emma Kirkby for SOMM records and more than twenty discs of Purcell’s music, mostly with The King’s Consort.
Operatic roles have included Le Dieu de Sommeil in Lully’s Atys for the Opéra de Paris and Purcell’s Fairy Queen in the Aix-en-Provence Festival. Concert engagements have included regular appearances at the BBC Promenade Concerts, the Edinburgh International Festival, London Handel Festival, Spitalfields Festival and appearances with The Sixteen, Academy of Ancient Music, The King’s Consort, English Concert and Gabrieli Consort. Engagements outside the UK include regular appearances throughout Canada where he works with Les Voix Baroques, Les Voix Humaines, Toronto Consort and Tafelmusik and appears regularly with Early Music Vancouver and at the Montreal Baroque Festival. Charles also works regularly with De Nederlandse Bach Vereniging (Netherlands Bach Society) and has made guest appearances withInstant Pluriel (Bach Profane Cantatas), Symphonieorchester des Bayerischen Rundfunks (Mass in B Minor), Netherlands Philharmonic with Sir Colin Davis (St Matthew Passion), Il Complesso Barocco (Dido & Aeneas, Guilty Night), Collegium Musicum Bergen (Messiah) and Warsaw Philharmonic (Wojciech Kilar’s Missa Pro Pace). Recent engagements include King Arthur with Tafelmusik in Toronto, Athalia with Kammerorchester Basel, L’Allegro, Il Penseroso ed il Moderato in St Gallen with Rudolf Lutz, a recording of St Matthew Passion with Choir & Orchester of the J.S. Bach Foundation, St John Passion in Wroclaw, Purcell concerts with Gabrieli Consort, Gli Amori d’Apollo e di Dafne for Toronto Consort, Biber Requiem with RIAS Kammerchor, Dido & Aeneas with The King’s Consort and a series of Bach concerts in The Netherlands with Musica Amphion. Recent engagements include Messiah in Japan with Bach Collegium Japan and St John Passion with Tafelmusik, Canada.
Career highlights have included Luigi Nono’s Canti di Vita e Amore (Edinburgh International Festival), Handel’s Esther (sung in Hebrew) in New York, Monteverdi Vespers with the Gabrieli Consort in Venice with Paul McCreesh, Handel’s Belshazzar at the Théâtre de Champs Elysées in Paris and Messiah at the Musikverein, Vienna with Harnoncourt.
Recent engagements included Dream of Gerontius in Wroclaw, a tour of L’Allegro, Il Penseroso ed il Moderato (J.S. Bach Stiftung) with Rudolf Lutz, Purcell at the Wigmore Hall (The King’s Consort), Vespers in Vancouver & Seattle, a series of Bach Christmas Concerts with NBV, Bach Secular Cantatas with Bach Collegium Japan, St Matthew Passion with NBV, Vespers with Toronto Consort, Schütz with Dresdner Kammerchor, Vespers with The King’s Consort at the Rheingau Festival, a semi-staged Fairy Queen with the AAM at the Barbican Hall, Mass in B Minor with the BBC Singers and Messiah in Australia with Melbourne Symphony and Queensland Symphony Orchestras.
Engagements in 2017 include a series of Purcell Programmes with Holland Baroque Society, Purcell at the Wigmore Hall (The King’s Consort), St Matthew Passion at The Sage, Gateshead and at King’s Place, St John Passion at Bath Abbey, Chandos Anthems at the London Handel Festival, Vespers with the Academy of Ancient Music, a series of concerts at Oregon Bach Festival and Bach Cantatas in St Gallen. Subsequent engagements include his return to Toronto for Mass in B Minor.
Alexander Weimann, harpsichord
Alexander Weimann is one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation. After travelling the world with ensembles such as Tragicomedia, Cantus Cölln, the Freiburger Barockorchester, Gesualdo Consort and Tafelmusik, he now focuses on his activities as Music Director of the Pacific Baroque Orchestra in Vancouver, Music Director of the Seattle Baroque Orchestra, and regular guest conductor of ensembles including the Victoria Symphony, Symphony Nova Scotia, Arion Baroque Orchestra in Montreal and the Portland Baroque Orchestra.
Alex was born in Munich, where he studied the organ, church music, musicology (with a summa con laude thesis on Bach’s secco recitatives), theatre, mediæval Latin, and jazz piano, supported by a variety of federal scholarships. From 1990 to 1995, he taught music theory, improvisation, and Jazz at the Munich Musikhochschule. Since 1998, he has been giving master classes in harpsichord and historical performance practice at institutions such as Lunds University in Malmö, the Bremen Musikhochschule, the University of California (Berkeley), Dartmouth College (New Hampshire), McGill University, Université de Montréal, and Mount Allison (New Brunswick). He now teaches at the University of British Columbia and directs the Baroque Orchestra Mentorship Programme there. He has received several JUNO and GRAMMY Award nominations – most recently, for the album Nuit Blanches with the Pacific Baroque Orchestra and Karina Gauvin.