Gloria

The first thing I ever did with them was in the winter of 1982, winter spring of 1982.

And that was the Poulenc Gloria.

And I hadn't done a lot of recording before getting to those first sessions with John Elliott and the C minor mass.

But While I don't remember the recording sessions as a specific event, I do remember the rehearsals and the performances leading up to the recording.

Yeah.

No, one of the most interesting things I ever got to experience, I did a Baroque workshop at Oberlin about 10 years ago, and they did the Bach B Minor Mass with an octet of singers, and they sang the whole thing.

But for each section, through the Gloria, they had one continuo player.

and then they switched continuo players for the credo, and then they switched continuo players for the sanctus to the end.

So again, this is gonna be an amazing concert, uh, tomorrow night, October 16th at 7:30 PM at the Civic Center Music Hall.

It's the Stravinsky Symphony of Psalms, the Poulenc Gloria, and the Vaughan Williams' Five Mystical Songs.

Now, you know, I don't, we don't, we don't necessarily get too in the weeds, but, you know, I know you mentioned these are all kinda like bucket list pieces for you.

So, um, without, you know, going too in-depth or maybe just a couple sentences on each, but what, what kinda drew you to each of these pieces? I, I know you mentioned the faith aspect of, of, of Stravinsky and Poulenc and, and, uh, um...

I mean, it, it just is such a beautiful connection throughout musical history that he gets us to Britain, and he gets us, you know.

And, uh, it's just the combination of that and the George Herbert texts, to me, it was a no-brainer.

Um, and then the Poulenc Gloria is, it's such, in so many ways, an irreverent [laughs] take on-

[laughs]