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1992-93: Magnificat’s First Season

It is satisfying that the composers featured in our first season: Claudio Monteverdi, Heinrich Schütz, Iacomo Carissimi and Marc-Antoine Charpentier and even some of the same masterpieces, notably Jephte and the Christmas Story, should also be featured in our 20th anniversary season. The genius of these composers, their innovations and  the tremendous influence they had on the music of the 17th century have inspired every program on every season that Magnificat has presented since and at least one has been featured on a program in every Magnificat season. In the years since that first season it has been a privilege to get to know these composers and to share their magnificent music with the many fine musicians who have been a part of Magnificat.

Encouraged by the success of our performance at the inaugural Berkeley Festival and Exhibition in 1990, chamber music performances at various venue – including a notable concert at The Musical Offering, also in 1990, and appearances on the San Francisco Early Music Society and The San Jose Chamber Music Society, Magnificat launched a subscription series in October, 1992. The season included three programs, each of which was performed in San Jose, Berkeley and San Francisco.

The first program was given the title “Heroes, Fools and Nymphs” and used Monteverdi’s  Chi vol’ che m’innamori as a framework for a mixed program of Italian vocal and instrumental gems – culminating in Carissimi’s oratorio Jephte, which will be on our November 11-13 program this season. Earlier in the program we performed Monteverdi’s Introduzione al Ballo, which we will revive in our February 17-19 program this season.

In December 1992 Magnificat joined with the San Francisco Early Music Society in a co-production of Heinrich Schütz’s Christmas Story. Schütz’s delightful setting of the Nativity narrative was placed in the liturgical context for which it was written, Christmas Vespers following the order of the Dresden Court Chapel. This was the first of many liturgical reconstructions that Magnificat has presented. It was also the first appearance with Magnificat of German baritone Martin Hummel in the role of the Evangelist. We will be reviving this program this December, again with SFEMS as we celebrate 20 seasons and SFEMS celebrates their 35th!

The final set of the 1992-1993 season, title “Saints and Buffoons,” focused on another composer that would become so important for Magnificat: Marc-Antoine Charpentier. In the first half of the program we performed sacred works from three genres: the psalm Super flumina Babilonis, the motet Oculi omnium, the histoire sacrée Le Reniement de St. Pierre. After intermission was devoted to incidental music Charpentier wrote for the Commedie française culminating with the uproarious Doctor Scene from Moliére’s La Malade Imaginaire.

Over the course of the season Artistic Directors Susan Harvey and Warren Stewart led ensembles that included Marilyn Boenau, René Boutet, Kenn Chester, John Dornenburg, Elizabeth Engan, Stephen Escher, Gerald Gaul, Nathan Gunn, Richard Van Hessel, Brian Howard, Martin Hummel, Boyd Jarrell, Claire Kelm, McDowell Kenley, Susan Rode Morris, Herbert Myers, Neal Rogers, Michael Sand, Foster Sommerlad, Sanford Stadtfeld, David Tayler, George Thomson, Arizeder Urreiztieta, Nathaniel Watson and Lisa Weiss.

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