The Street Requiem was composed as a memorial for all who have died on the streets, including those who are homeless. Anchored in the structure of the traditional Requiem Mass, it utilizes a variety of indigenous and contemporary genres and instrumentations reflecting the multicultural and multi-faith traditions of modern cities. This August 25, 2018 […]
In 1897, my grandmother, Charlotte Demuth Williams, a seventeen-year-old young woman from a small town in Ohio, who had not begun her study of violin until she was twelve, was given the singular honor of playing the Mendelssohn Violin Concerto at the 50th anniversary of the composer’s death.
Music Director: Ming Luke; Margaret Martin, Apprentice Conductor Works: Mendelssohn, St. Paul Oratorio Soloists: YoonGeong Lee, soprano; Katherine Trimble, mezzo-soprano; Derek Jackenheimer, tenor; André Chiang, baritone Venue: Hertz Hall, UC Berkeley Stories about this season:
In preparing to sing Mendelssohn’s St. Paul Oratorio, I embarked upon a project to read the story of St. Paul’s life and his letters, beginning with “Acts” in my King James version of the Bible. I was struck by the sudden and overwhelming moment of Paul’s conversion on the road to Damascus.
Mendelssohn, in bringing this God down to earth, participated in the romantic artists’ urge for contact with the sublime, the supra-earthly, the larger than life, his sublime music celebrating that ineffable moment of contact.