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Louis Joseph Andriessen Bach Brahms Nederlands Blazers Ensemble 1425 1505 1514 1857 1939 1976 2021
Composer: Louis Joseph Andriessen (June 6, 1939 – July 1, 2021) Ensemble: Nederlands Blazers Ensemble conducted by Lucas Vis 00:00 Oboes in hypnotic polyphony (01:59) Brash trombones and horns 02:53 Chorus Entry 1 over a cool mixolydian drive 04:31 A harder drive as the oboes and violas take the melody in a distant calling manner 05:52 The ostinato takes on a more menacing sound below biting clusters growing in intensity 07:52 ...climaxing into a tight funky unison 09:51 An extremely violent and thick texture (10:52) 12:28 ...resolves into warm waves of sound 15:05 The intensity and violence returns 18:57 Choir Entry 2, strict and authoritarian (21:20 great explosive power) (23:19) 26:14 Amazingly sinister texture of different mute sounds coming in and out building to 27:03 29:44 Choir Entry 3, cutting tutti chords 31:05 ...break down into a manic quasi-hocket Score available from Boosey and Hawkes: (http•••) Composer's Note: I wrote De Staat (The Republic) as a contribution to the debate about the relation of music to politics. Many composers view the act of composing as, somehow, above social conditioning. I contest that. How you arrange your musical material, the techniques you use, and the instruments you score for, are largely determined by your own social circumstances and listening experience, and the availability of financial support. I do agree, though, that abstract musical material - pitch, duration, and rhythm - are beyond social conditioning: it is found in nature. However, the moment the musical material is ordered it becomes culture and hence a social entity. I have used passages from Plato to illustrate these points. His text is politically controversial, if not downright negative: Everyone can see the absurdity of Plato's statement that the Mixolydian mode should be banned as it would have a damaging influence on the development of character. My second reason for writing De Staat is a direct contradiction of the first: I deplore the fact that Plato was wrong. If only it were true that musical innovation could change the laws of the State! I could write beautiful symphonic music, but then I'm not doing what I want to do, which is to develop a musical language which has other roots. In De Staat, you will recognize scales and pitches from Indonesian music, for example. Early bop and cool jazz have also influenced me very strongly, much more than Mozart, Bach, and Brahms. De Staat has nothing to do with Greek music, except perhaps for the use of oboes and harps and for the fact that the entire work is based on tetrachords, groups of four notes, which also explains the scoring for groups of four. ((http•••) How I make my videos: (http•••) Program I develop for this channel: (http•••)
Henry Purcell David Thomas Simon Preston Trevor Pinnock John Gostling 1685
They that go down to the sea in ships, anthem for alto, bass, chorus, 2 violins & organ, Z. 57 (1685) Matthew Bright, solo alto David Thomas, solo bass Choir of Christ Church Cathedral, Oxford Simon Preston The English Concert Trevor Pinnock There is a story to go along with this anthem. John Gostling was a famous bass singer in the employ of the Chapel Royal. It happened that King Charles II got himself a new ship, which he nicknamed after his mistress, the Duchess of Portsmouth, the Fubbs. He asked John Gostling to go with him on its first voyage to supply the entertainment. It so happened that a terrible storm blew up and they all were almost killed, or so thought John Gostling. For when he returned, he looked some verses from Psalm 107 which has a lot of storm and ship references, and asked Purcell to set them. This anthem features a prominent bass solo, as well as a countertenor solo voice. And much of the text is about the terrors of the sea. The instrumental introduction has two sections, a slow beginning and a faster triple time second half. The bass opens the vocal music. He begins at the top of the musical line and descends as he sings, "They that go down to the sea in ships." A triple time arioso section begins on "At His words, and the winds ariseth" on upwardly spiralling lines, and the "storm" on stormy melismas. The waves are "lifteth up" to a motive that skips upwards in leaps, and that repeats higher and higher as the waves rise. The music "staggers" and "reels" as the ships are tossed at sea. There is a dramatic mood change for "So When they Cry to Thee, Lord". Rich, chromatic harmonies and angular lines as the bass sings close to the countertenor at the top of his range. The mood is strained, minor, and mournful. The storm ceases as dramatically as it began. The bass and countertenor in imitative entrances sing "So he maketh". They sing in close duet; the storm winds down in a long melisma and the word "still" is treated pictorially. First it is uttered quietly with two rests following, and finally the upper voice sings a long still note as the bass voice continues the single utterances with two rests. All the while Purcell writes a dramatic decrescendo and finally the word "still" is sung on the last bass note and held alone, in piannissimo. After an instrumental ritornello the song continues with "Then they are glad" sung in rich florid polyphony that features a violin solo above the two male voices. The sailors find a "safe haven" and settle gracefully and gently on a dramatic cadence. "O that men" continues polyphonicaly. "That they would exalt" closes the text in rhythmic diminution with a quick syllabic setting as the singers "praise Him" in lively imitation. A final chorus featuring the full choir closes the anthem. Full, sumptuous, and rich, it is a dramatic ending to this wonderful work. [allmusic.com] Art by Abraham Storck
Burden Gavin Bryars Buxtehude Sheppard 2020 2021 2022
Make or renew your donation today to be part of the story behind “one of the bravest ensembles around”! (http•••) Video footage of The Song Company's Principal, Associate, and Guest Artists in action with Artistic Director Antony Pitts and guest choreographer/dancer Thomas E.S. Kelly from Karul Projects. ALWAYS UNEXPECTED – ALWAYS MOVING The past 12 months have seen perhaps the biggest upheaval in the arts and creative environments in recent history. In a year that was marked out by cancellations, lockdowns, empty theatres and an increasingly insular society, we also witnessed resilience, the embracing of technologies and a realisation of just how important the creative arts are to the well-being of society. DONATE NOW: (http•••) OUR SUPPORTERS Great art is supported by people who love great art. The Song Company’s ambitious and innovative programming would not exist without our audiences and our donors. In 2020, the company was humbled by the number of ticket buyers who became donors for the first time, when they offered to return cancelled tickets, due to COVID, back to the company. Read on to find out exactly how your support enables The Song Company to bring the power and beauty of the human voice into your life. YOUR COMPANY ★★★★★ “Demonstrated the excellence, precision and mastery of all singers involved.” Daily Review March 2020 The Song Company is Australia’s only national professional vocal ensemble. Our artists are leaders in their fields – singing, teaching, composing and conducting in their home towns across the country. When we come together to perform, the warmth and clarity of our sound is unmistakeable. EXPECT THE UNEXPECTED ★★★★★ “This is the country’s pre-eminent choir and a-cappella ensemble.” Daily Review March 2020 The Song Company performs the widest range of repertoire of any ensemble in Australia. When you attend a performance by The Song Company, you are trusting us to present an incredible range of music, much of which you may not be familiar with. And if we are performing a piece that you do know, you can always expect that it will be done in a new way – based both on scholarship and performance practice of the highest calibre, as well as creative and often radical reinvention and of course, excellent singing from the incredible vocal artists that make up our ensemble. FROM PEN TO STAGE Support the entire ecosystem of composers and performers when you donate to The Song Company. The Song Company’s proud tradition of commissioning and new work creation continues in 2021 with all our MainStage productions built on substantial new works. Burden of Truth in May and June 2021 sees the presentation of two new major large-scale works in three cities. English composer Gavin Bryars wrote his iconic reflection on homelessness and hope, Jesus’ Blood Never Failed Me Yet, 50 years ago. He has created a new 32-part vocal arrangement, of which The Song Company give the world première performances. Now rescheduled for 2022, Arms of Love will feature a major new work, I pray the sea, by Australian composer Chris Williams intertwined by one of the marvels of the baroque period, Membra Jesu Nostri by Buxtehude. Throw away any expectations you may have about the old and the new – this project promises to be one of the most exciting and original fusion of chamber music, dance from Karul Projects' Thomas E.S. Kelly, and incredible vocalism from The Song Company's Artists. Songs From The Heart is an significant new project, entirely curated by two important Indigenous voices in Australian composition, Elizabeth Sheppard and Sonya Holowell. Elizabeth and Sonya are creating an original vocal response to the Uluru Statement, employing the full range of vocal possibilities from a seven-voice ensemble. INVESTING IN THE NEXT GENERATION “A fantastic cathartic experience” Limelight Magazine March 2021 The Song Company’s Ensemble Artist Program is the country’s only early career professional development program for aspiring classical and ensemble singers. Only 18 months old, it is already drawing praise for the calibre of the artists involved. ALWAYS MOVING “A thoroughly enthralling experience with superb singing throughout” ClassikON December 2020 The power of the human voice, the magic of singing in harmony, the moment when individual lines come together in a single chord – this is The Song Company. Lose yourself in the intricacies of 16th-century polyphony. Marvel as a multi-voice work unfolds layer by layer. Feel the connection between light and hope; darkness and despair; optimism after sacrifice. Leave the everyday world behind when you experience your national vocal ensemble. DONATE TODAY: (http•••)
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