Ave dulcissima Maria
Composer: Julian James Wachner
|Recording: not available
play/stop MP3 sample:
Wachner - complete choral music vol.1
Elora Festival Singers, N. Edison
tr13 Ave, Dulcissima Maria (Wachner, J)
|Lyrics: Text: Latin, 12th
|Ave, dulcissima Maria.
Vera spes et vita!
O Maria, flos Virginum.
|Hail, sweetest Mary.
Fount of hope and life!
O Mary, Virgin flower.
|Score / MIDI: not
purchase - Published by E.C. Schirmer Publishing
|Posted on YouTube: Not available at
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references, biography information.
|Grammy-nominated conductor Julian
Wachner is one of North America’s most exciting and versatile musicians,
sought after as conductor, composer, and keyboard artist. Recent and
upcoming engagements include those with the Lincoln Center Festival (The
Blind), BAM Next Wave Festival (Liederabend 2013), Juilliard Opera Theatre
(2013 Mainstage), The Rolling Stones (50th anniversary tour), New York City
Opera (VOX), Hong Kong Philharmonic, TENET (TENEbrae), Portland Baroque
(Messiah), and with Carnegie Hall (Arvo Pärt Passio).
As Director of Music and the Arts at New York’s historic Trinity Wall
Street, Wachner oversees an annual season of over 900 events, including
Trinity’s numerous and varied concert offerings, series and festivals,
museum expositions, dance and theatre performances, poetry and literary
readings, and educational/outreach initiatives in lower Manhattan and
Brooklyn in partnership with New York City’s public school system.
At Trinity Wall Street, Wachner serves as the Principal Conductor of NOVUS
NY (Trinity’s resident contemporary music orchestra), and the Trinity
Baroque Orchestra & Choir of Trinity Wall Street, recently nominated for a
2012 GRAMMY award for its recording of Handel’s complete Israel in Egypt. He
also is the director of Bach at One, Trinity’s weekly performances of the
Cantatas of J. S. Bach. Performances this season with TWS include Bach’s
Matthew Passion, Christmas Oratorio, B-minor Mass, the complete late works
of Igor Stravinsky (April 2013), and the complete non-operatic works of
Benjamin Britten (Fall 2013). To open the 2012-13 Season, Wachner conceived
of and directed Trinity’s Twelve in 12 Festival celebrating the Pulitzer
Prize in music. Of this festival, Steve Smith noted in Time Out that “some
ideas seem so utterly obvious and right at a glance that you wonder why it
took someone so long to hatch them. ‘Twelve in 12’ is that kind of
notion…Mark your calendars, and give thanks.”
Wachner is also Music Director of the Grammy Award-winning Washington
Chorus, with whom he won ASCAP’s Alice Parker award for adventurous
programming in 2011. Wachner has also made memorable guest appearances with
such major organizations as the Philadelphia Orchestra, the Montreal and
Pittsburgh Symphonies, Spoleto Festival USA, the Handel and Haydn Society,
Glimmerglass Opera, Hawaii Opera Theater, New York City Opera and the Boston
Pops. A Baroque specialist, he was the founding Music Director of the Boston
Bach Ensemble and the Bach Académie de Montréal, besides serving as Artistic
Director of International Bach Festivals in Boston and Montreal. In 2011 he
founded New York City’s newest music festival, The Twelfth Night Festival of
Early Music, most recently presented in collaboration with Gotham Early
Music Society (GEMS) and featuring many of New York’s leading baroque and
In 2010, Wachner made New York City Opera history when he was selected as
both conductor and composer at the company’s annual VOX festival of
contemporary opera leading to the invitation to be the sole conductor of
this Festival in 2012. His original music has been variously described as
“jazzy, energetic, and ingenious” (Boston Globe), having “splendor, dignity,
outstanding tone combinations, sophisticated chromatic exploration…a rich
backdrop, wavering between a glimmer and a tingle...” (La Scena Musicale),
being “a compendium of surprises” (Washington Post), and as “bold and
atmospheric”, having “an imaginative flair for allusive text setting” and
noted for “the silken complexities of his harmonies” (New York Times.) The
American Record Guide noted that “Wachner is both an unapologetic modernist
and an open-minded eclectic – his music has something to say.” E. C.
Schirmer publishes his complete catalogue, comprising over 80 titles.
Wachner’s performances inspire uncommon praise. The New York Times
pronounced his Trinity Wall Street debut “superbly performed” and, this
season, noted that the ensemble’s annual Lincoln Center presentation of
Handel’s Messiah was “led with both fearsome energy and delicate grace…a
model of what is musically and emotionally possible with this venerable
score.” Of his interpretation of Bach’s St. Matthew Passion, according to
the Boston Globe, “there was genius here and no mistaking it.” Anne Midgette,
of The Washington Post, declared recent Wagner and Verdi performances
“exhilarating,” commenting: “Julian Wachner knows how to draw maximum drama
from a score,” and noted that he was “emphatic and theatrical and so at home
in opera that he could bring out the requisite sense of drama.” Following
his account of the Messiah at the Philadelphia Orchestra, the Inquirer’s
David Patrick Stearns observed: “Few conductors have drawn such focused,
committed, and meticulous music-making as Julian Wachner. … [He] built the
music, line by line, as an architectural edifice, serving both the music’s
emotional and more purely aesthetic elements.” As a result, Stearns
“couldn’t help fantasize that [Wachner] might do an annual Philadelphia
Orchestra festival of Bach and Handel.”
An award-winning organist and improvisateur, Wachner’s solo recital at the
Spoleto Festival USA featured an improvised finale that inspired one
reviewer to conclude: “This stupefying wizardry was the hit of the recital,
and it had to be heard to be believed” (Post and Courier, South Carolina).
As a concert pianist, in his recent Kennedy Center Rachmaninoff performance,
the Washington Post noted “Wachner dazzled with some bravura keyboard work,
both in the rhapsodic accompaniments to the songs and…in the highly
virtuosic transcription of the Dances.”
Wachner’s recordings are with the Chandos, Naxos, Atma Classique, Arsis,
Dorian, Musica Omnia, and Titanic labels.
|Born: 1970 - Boston, USA
The American conductor and composer, Julian (James) Wachner, began his
musical studies with Gerre Hancock at the Choir School of St. Thomas Church
in New York City. He attended Boston University's School for the Arts where
he earned the Doctor of Musical Arts degree in composition and orchestral
conducting. His teachers there included Theodore Antonious, David Hoose,
Marjorie Merryman, and Lukas Foss, who has described him as a "champion of
new music... an enormously talented composer... whose vision and talent will
invigorate the musical world." His additional studies, at Tanglewood and
Sandpoint, have been with George Perle, Donald Erb and Gunther Schuller.
Since his debut with the Boston Bach Ensemble in 1995, Julian Wachner has
risen to become one of New England's leading musical personalities. Names
"one of the most admired conductors of the yeat" by the Boston Globe in
1999, Wachner is currently musical director of The Back Bay Chorale,
artistic director of The Providence Singers, and founding music director of
the Boston Bach Ensemble, a period-instrument baroque orchestra and
professional vocal ensemble. Guest conducting appearances include those with
the Pro Arte Chamber Orchestra, the Handel and Haydn Society, the Brown
University and Boston University Symphony Orchestras, the Young Artists'
Orchestra of the Tanglewood Music Center, the Boston Academy of Music and
ALEA III. In addition to his active conducting life, Wachner is also
professor of sacred music at Boston University's School of Theology and
music director of Boston University's Marsh Chapel, a post he was awarded at
the age of twenty. He also serves as visiting lecturer in music composition
at the Massachusetts Institute of Technology.
A prolific composer, as well, Julian Wachner's original compositions have
been praised for their "unabashed emotionalism and showy orchestration" by
the Boston Globe. As a composer whose idiom clearly lies within the post
modern school, Wachner's music manages to be accessible; and despite the
kaleidoscopic qualitity of its tonality, the listener is always engaged by
the narrative drive of the music and the rhetorical devices that sustain it.
He has been commissioned and performed by numerous organizations throughout
the USA and Europe and is the recipient of many awards and honors including
grants from ASCAP and Meet the Composer Inc. He most recently accepted a
commission from the Boston Cecilia for a thirty-minute work for chorus and
orchestra on a text by poet Carl Phillips.
Julian Wachner is also an active concert organists, award-winning
improvisateur, and Fellow of the American Guild of Organists.
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Page last modified:
May 26, 2013
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