Eric Milnes

Biography

Born: 1960; Huntington, NY  
Eric J. Milnes' national and international reputation is as a harpsichordist, organist, and conductor in early music, particularly in the period instruments movement.

He was brought up on Long Island, and obtained undergraduate and graduate degrees in music at Columbia University and the Juilliard School of Music in New York. Since 1982, he has been the Director of Music at St. John's of Lattingtown, an Episcopal church. Under his
Read more direction, the St. John's Choir has become one of the most highly regarded performing organizations in the New York area, known for upholding a tradition of Anglican church music of all eras. He has played at the Boston Baroque Music Festival, the Connecticut Early Music Festival, the New England Bach Festival, the Passau Festival in Austria, the Santa Fe Festival, the Utrecht Festival, the Bergen (Norway) Festival, the Berkeley Festival, Tanglewood, and the Portland Baroque Festival. He has conducted in Germany, Austria, Britain, Belgium, the Netherlands, Switzerland, Norway, and Poland. He is the director of New York Baroque and the artistic consultant to the New York Collegium and has been the director of Toronto's Musica Divina.

His frequent appearances with the Portland Baroque Orchestra led to the creation of a new ensemble. It was his controversial decision to present Handel's Messiah with 50 voices (Portland had gotten used to the sound of 24 Baroque specialist singers in PBO performances of the masterpiece); that was the first step to the founding of the Trinity Consort. The performance was resoundingly received, not as a return to the Romantic thickness and heaviness that was long associated with Messiah, but as a large-scale choral-orchestral performance with a seemingly genuine Baroque sound. John Strege, director of music for Portland's Trinity Cathedral, heard Milnes' rehearsals. Milnes created a similar experience the next year, with Bach's St. Matthew Passion. Strege asked Milnes to write down the personnel of his "Baroque dream orchestra." Strege then surprised Milnes, by committing to raising the money to assemble this musical dream team, bringing in top players from the early music movement's centers in Europe, the San Francisco area, the Pacific Northwest, and the East Coast. Milnes planned to concentrate on large-scale, usually religious, choral-orchestral works of the Baroque and Classical periods, and thus complement, rather than compete with, the long-established Portland Baroque Orchestra (which is more oriented towards secular instrumental music).

In addition to his conducting, Milnes plays harpsichord and organ as a soloist and is a member of the period instrumental quartet Les Boreades of Montreal. Milnes is active in recording and has appeared on the Dorian, PGM, Newport Classics, Koch International, and Atma labels. He has presented concerts on the American NPR radio network and on several European broadcasting organizations. He has taught at the Juilliard School, Hofstra University, the State University of New York at Stony Brook, the State Conservatory of Oslo, Norway, and the Bergen Conservatory, Norway. Read less

Biography

Born: 1960; Huntington, NY  
Eric J. Milnes' national and international reputation is as a harpsichordist, organist, and conductor in early music, particularly in the period instruments movement.

He was brought up on Long Island, and obtained undergraduate and graduate degrees in music at Columbia University and the Juilliard School of Music in New York. Since 1982, he has been the Director of Music at St. John's of Lattingtown, an Episcopal church. Under his
Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Aria: Jesus schlaft, was soll ich hoffen? (Alto)
Recitative: Herr! warum trittest du so ferne? (Tenor)
Aria: Die schaumenden Wellen von Belials Bachen (Tenor)
Arioso: Ihr Kleinglaubigen, warum seid ihr so furchtsam? (Bass)
Aria: Schweig, aufgeturmtes Meer! (Bass)
Recitative: Wohl mir, mein Jesus spricht ein Wort (Alto)
Chorale: Unter deinen Schirmen (Chorus)
Alles nur nach Gottes Willen (Chorus)
Recitative: O selger Christ - Aria: Mit allem, was ich hab und bin(Alto)
Recitative: So glaube nun! (Bass)
Aria: Mein Jesus will es tun (Soprano)
Chorale: Was mein Gott will, das gescheh allzeit (Chorus)
Sinfonia
Aria with Chorale: Ich steh mit einem Fuss im Grabe (Alto, Soprano)
Recitative: Mein Angst und Not (Bass)
Aria: Herr, was du willt, soll mir gefallen (Alto)
Recitative: Und willst du, dass ich nicht soll kranken (Bass)
Chorale: Herr, wie du willt, so schicks mit mir (Chorus)
Recitative: Mein Gott, wie lang, ach lange? (Soprano)
Aria: Du musst glauben, du musst hoffen (Alto, Tenor)
Recitative: So sei, o Seele, sei zufrieden! (Bass)
Aria: Wirf, mein Herze, wirf dich noch (Soprano)
Chorale: Ob sichs anliess, als wollt er nicht (Chorus)
I. Allegro (after J.S. Bach's O ewiges Feuer, o Ursprung der Liebe, BWV 34: O ewiges Feuer, o Ursprung der Liebe for orchestra)
II. Adagio (after J.S. Bach's Nach dir, Herr, verlanget mich, BWV 150: Sinfonia for orchestra)
III. Allegro (after J.S. Bach's Der Himmel lacht, die Erde jubilieret, BWV 31: Sonata for orchestra)
I. Allegro (after J.S. Bach's Wer mich liebet, der wird mein Wort halten, BWV 74: Nichts kann mich erretten for orchestra)
II. Affettuoso (after J.S. Bach's Was Gott tut, das ist wohlgetan, BWV 99: Wenn des Kreuzes Bitterkeiten for orchestra)
III. Allegro (after J.S. Bach's Sie werden aus Saba alle kommen, BWV 65: Nimm mich dir zu eigen hin for orchestra)
I. Allegro (after J.S. Bach's Ascension Oratorio: Lobet Gott in seinen Reichen, BWV 11: Lobet Gott in seinen Reichen for orchestra)
II. Adagio - Allegro (after J.S. Bach's O ewiges Feuer, o Ursprung der Liebe, BWV 34: Friede uber Israe for orchestra)
I. Andante (after J.S. Bach's Mass in G minor, BWV 235: Kyrie for orchestra)
II. Allegro (after J.S. Bach's Jesu, der du meine Seele, BWV 78: Wir eilen mit schwachen, doch emsigen Schritten for orchestra)
III. Presto (after J.S. Bach's Mass in G minor, BWV 235: Cum Sancto Spiritu for orchestra)
I. Allegro (after J.S. Bach's Geist und Seele wird verwirret, BWV 35: Concerto for orchestra)
II. Adagio (after J.S. Bach's Concerto for 3 Keyboards in D minor, BWV 1063: II. Alla siciliana for orchestra)
III. Allegro (after J.S. Bach's Geist und Seele wird verwirret, BWV 35: Sinfonia)
I. Allegro (after J.S. Bach's Nur jedem das Seine, BWV 163: Lass mein Herz die Munze sein for orchestra)
II. Andante (after J.S. Bach's Ein feste Burg ist unser Gott, BWV 80: Wie selig sind doch die, die Gott im Munde tragen for orchestra)
III. Allegro (after J.S. Bach's Gleichwie der Regen und Schnee vom Himmel fallt, BWV 18: Sinfonia for orchestra)


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