KentTritle.com | ConductorKent Tritle is one of America’s leading choral conductors. Called “the brightest star in New York’s choral music world” by The New York Times, he is Director of Cathedral Music and Organist at the Cathedral of St. John the Divine in New York City; Music Director of Musica Sacra, the longest continuously performing professional chorus in New York; and Music Director of the Oratorio Society of New York, the acclaimed 200-voice volunteer chorus. In addition, Kent is Director of Choral Activities at the Manhattan School of Music and is a member of the graduate faculty of The Juilliard School. Also an acclaimed organ virtuoso, Kent Tritle is the organist of the New York Philharmonic and the American Symphony Orchestra and a member of the organ faculty of the Manhattan School of Music.
Tue., October 20, 2020, 7:30 PM
Cathedral of St. John the Divine
New York, NY
MUSICA SACRA
Kent Tritle, conductor
J. S. BACH Komm, Jesu, Komm, BWV 229
JOHANNES BRAHMS Schaffe in mir, Gott
ANTON BRUCKNER Os Justi
JOSEF GABRIEL RHEINBERGER Mass in E‐Flat Major, Op. 109
7 PM―Pre-concert recital by the Newark Boys Chorus School
Tue., November 10, 2020, 8 PM
Carnegie Hall
New York, NY
ORATORIO SOCIETY OF NEW YORK
Kent Tritle, conductor
Soloists to include:
Maeve Hogland, soprano
Raehann Bryce-Davis, mezzo-soprano
Joseph Beutel, bass
PAUL MORAVEC/MARK CAMPBELL A Nation of Others, an oratorio about Ellis Island (World premiere of an OSNY commission)
ROBERT PATERSON Walt Whitman’s America
Tue., March 23, 2021, 7:30 PM
Cathedral of St. John the Divine, New York, NY
CATHEDRAL CHOIR AND ORCHESTRA OF ST. JOHN THE DIVINE
Kent Tritle, conductor
Soloists to include:
Amy Justman, soprano
Kirsten Sollek, contralto
Lawrence Jones, tenor
Peter Stewart, baritone
J. S. BACH St. John Passion
Kent Tritle Stars in WIRED “Masterminds” Episode: What Conductors Are Really Doing
Kent takes a star turn in the latest episode of WIRED “Masterminds,” a new series of online videos from the celebrated platform that explores the intersection of technology and culture. “Masterminds” spotlights experts in various fields who let the viewer inside the finer points of their work; earlier episodes included “Former CIA Operative Explains How Spies Use Disguises” and “Amazing Illusions: Using Human Bodies to Create Shadow Dances.” Watch “What Conductors Are Really Doing” now.
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For today's gift of Bach: "This is the glorious Fugue in F, BWV 540 by J.S. Bach.(Actually it's in F minor, after the fantastic first part of BWV 540, which is the Toccata in F Major). The character is noble yet profound." Here he is again at the organ of Christ the King Episcopal Church in Stone Ridge, NY.
Kent's gift of Bach today: Prelude and Fugue in G Minor, BWV 535.
And, please read!
Dear Friends, I want to share with you a paraphrase of a letter I shared this week with my wonderful chorus, the Oratorio Society of New York:
Dear Chorus,
I recently had someone ask if my optimism for the future in light of this pandemic was misplaced. I have a personal story to share.
One month after I graduated high school I was on my way to lead the marching band (I was first trombone) as they marched for the town centennial (think The Music Man). A van pulled in front of me; I hit it, crashed into the windshield of my car, and made it to the high school in time to march the parade (trombones were in the front and responsible for pacing and linear formation). I then went to Royal, a town 40 minutes away to play for the wedding of our rock band guitarist, and returned to Spirit Lake to play with a country band at the local golf club from 8 pm to midnight.
The next morning I couldn’t get out of bed. Whiplash. I went to the hospital. Short story, a muscle tear eventually created scar tissue which pressed on the brachial nerve, in turn creating a muscle spasm that was debilitating. I ended up at the Mayo Clinic and their advice was to get out of music. I bottomed out personally; friends and family bolstered me, and I’ve gone on to an unimaginable career for which I am eternally grateful. It took over 10 years, all the while in college/conservatory, to work through that spasm and the challenges it presented. Today I’m whole, thanks to an opportune discovery of the Alexander Technique.
All of which is to say that we have to live in hope. This period we are living in is like no other. There is no playbook made for us. We must gather ourselves and make choices right now, and in the days to come. For my part, I know it was my friends and family who made my journey out of a life of pain possible. We, together, are friends and family. It is better for us to come through this together than alone. And it is better to realize that yes, a worst-case scenario may happen, and we may not have a chance to be in a room together for some time. On the other hand, will we atrophy musically as an ensemble, and also as a community, or will we nurture this moment, find our way, even if clumsily, through it?
We will find our way through this. We will remember how we got through this, and others will, too. What choices did we make along the way, collectively and individually? This is an historic moment. I am confident that we will be at the ready to make music when the storm breaks. We need to do this, and society needs for us to do this! For when the light breaks, humanity will need the beauty that choral music provides more than ever.
Spirit and connectedness will triumph. Stay the course!
Kent
And about the Bach: "I love this piece- the prelude is very stylus fantasticus (fantastic style)- reminiscent of Buxtehude with a Victor Borge element thrown in (when will that fast finger work stop moving down the keyboard!). The Fugue is a wonderful tune."
Gramophone magazine recommends the Oratorio Society of New York recording of the Paul Moravec and Mark Campbell oratorio "Sanctuary Road," calling it "a work of compelling intensity. If much of that is due to the subject matter, Moravec sets the text, drawn from Still’s writings by librettist Mark Campbell, with commendable clarity in an attractive score that attains true grandeur of spirit as it proceeds, especially in its extended finale (depicting William Still’s recovery of his records after the war). Much credit for this goes to conductor Kent Tritle and the Oratorio Society of New York, who commissioned the work; their haunting premiere performance, at Carnegie Hall in 2018 with a finely balanced quintet of soloists, forms the basis of this marvellous recording. Recommended."
If you haven't had a listen, you can hear excerpts of the Naxos recording here:
Today's gift of Bach: Fantasia and Fugue in C Minor, BWV 537, recorded Friday in Stone Ridge, NY. Kent says, "I love this piece - the Fantasia starts over a low pedal note and is very expressive and ruminative. The fugue is joyous for its minor key, and one of my favorite subjects!"
And - ! "Hey friends, you may notice my pandemic haircut! I couldn’t take it - got out the clippers, and kept going until it was gone!"
From Kent:
Friends, this link is for a piece created by my friends, composer Paul Moravec and librettist Mark Campbell. I conducted the New York premiere a couple of years ago, after its debut at a memorial event for the Florida Pulse night club victims. They’ve retooled it for THIS moment, and asked 108 opera singers to join in. It’s awesome! Many of these singers are dear friends of mine- several have come through my Oratorio Practicum that I teach at Juilliard and have gone on to major careers at the Metropolitan Opera and other places.
Please enjoy this- and share!!
Love, Kent