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2024-05-02
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Boulanger Lili Boulanger Barbour Scharf Hollander Ebert Nowacki Dessoff Choirs 2017
The Dessoff Choirs joined us in our studios to perform Lili Boulanger's "Hymne au soleil." Take a 360 look and listen to this performance. Malcolm J. Merriweather, music director Steven Ryan, pianist Sopranos: Kristen Bloom Jessica Barbour Kathy Wolf Julie Siegmund Erika Rorhbach Altos: Christina Peter Cynthia Socci Barbara Scharf Schamest Martha Hollander Susan Bradley Tenors: Tarsal Arnas Christopher Ebert Bass: Steve Winn Christopher Platt Francis Menton Video: Kim Nowacki Audio Engineer: Irene Trudel WQXR 2017
00:00 Missa De Beata Virgine: Kyrie - Gloria - Credo - Sanctus - Agnus Dei 36:56 Psalm 92 'Dominus Regnavit' 42:58 Hymn 'Ave Christe Immolate' 52:51 Motet 'Tulerunt Dominum Meum' The Dessoff Choirs - Paul Boepple, conductor Of Josquin des Pres, Luther, his contemporary, wrote that "He is the supreme master of the notes, which must express whatever he wants them to. Other composers can only do what the notes want." Luther, a born musician and an untrammelled thinker in musical matters, may have missed the final point here, for Josquin's supreme mastery of the "notes" is in appearance so effortless that they actually seem to do what they want to! In many ways he was a Renaissance Mozart and Beethoven rolled into one. Few musicians familiar with his music will contest this. Josquin, much like Beethoven, was modern to his time, anticipating things that were to be anticipated only a generation or two later. Many features of imitative counterpoint and of fugal staggering of voices were largely due to him. His quasi-orchestral treatment of the chorus and his ability to achieve stunning dynamic climates remained unsurpassed for a century. Such a man could also have easily thought of surpassing forays into distant keys and of audacious chromaticism and chordal effects to enhance such passages. It seems clear that there can be no question today of an "authentic" performance of old music such as Josquin's, when we cannot even be sure of all the notes, let alone the manner of singing, the placement of the words under the music, the articulation of the melisma, and most important the tuning of the old scales in actual practice. It seems miraculous that, in spite of such uncertainties, Josquin's music still shines as brightly as it does. MISSA DE BEATA VIRGINE This mass is based on themes and chants from Plainsong Masses (Kyrie and Gloria: Mass IX “Cum jubilo"; Credo: Credo I; Sanctus and Agnus Dei: Mass IV “Cunctipotens Genitor Deus.") While in the Kyrie and Gloria the Gregorian melodies appear as the main themes of a free, imitative polyphony, in the Credo, Sanctus, and the first and third Agnus Dei the plainsong, as a two-fold cantus firmus, forms a continuous canon between the second and fourth voice. PAUL BOEPPLE
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