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Berlioz Grande Messe Des Morts 100Mm  50Mm Or Less

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Berlioz Grande Messe Des Morts 100Mm  50Mm Or Less 50mm or less 75mm Berlioz Grande Messe des Morts 100mm 50mm or less 150mm or over 75mm 100mm 150mm or over Berlioz Grande Messe des Morts Mary Magdalene Church, Wrocław - September !"" Nicholas Parker Neil Hutchinson Andrew Halifax Nicholas Parker, Neil Hutchinson, Paul McCreesh Tenor All recording and editing facilities by Classic Sound Limited, London and Nicholas Parker @e edition used for this performance is a performing edition by Paul McCreesh, based on the original th century sources Paul McCreesh © Wratislavia Cantans, Glyn Matthews A Wratislavia Cantans / National Forum of Music production - Artistic Director, Wrocław Philharmonic Choir released under licence to Winged Lion www.wingedlionrecords.com 50mm or less Assistant Conductor McCreesh/Wroclaw is the logo of the Wratislavia Cantans oratorio series Pronunciation Advisor 75mm 100mm 150mm or over @e city of Wrocław in south-west Poland is both a deeply historic and dynamic Co-financed by the European Union, designed by Prof. Stefan Kuryłowicz and modern-age city where economic growth and cutting-edge technology co-exist with acoustical supervision by the renowned Artec consultancy, the hall’s opening alongside a lively and flourishing cultural scene. It is home to one of Europe!s in is keenly anticipated. oldest universities and to numerous festivals, of which the most widely known is @is is the first in a new series of oratorio recordings celebrating the collaboration Wratislavia Cantans, founded in by the great Polish conductor, Andrzej between Wratislavia Cantans and its artistic director Paul McCreesh. @ese Markowski. For over years Wratislavia Cantans has welcomed many recordings will feature many of Wrocław!s finest musicians and the Gabrieli outstanding artists to the beautiful ancient churches and historic buildings within Consort & Players, alongside guest ensembles and outstanding young musicians, the City of Wrocław and in the surrounding area of Lower Silesia; it has recently who will come together as Ensemble Wrocław. been revitalised and expanded by its general director Andrzej Kosendiak and its @is first recording of Berlioz!s monumental Grande Messe des Morts is a artistic director, the acclaimed conductor Paul McCreesh. @e festival honours typical collaborative project, with a vast, specially-convened ensemble, the vision of its founder in celebrating choral and vocal music of all sorts, incorporating musicians from the Wrocław Philharmonic Orchestra, the Gabrieli especially that from within the oratorio tradition. @e festival seeks not only to Players, invited guest musicians, outstanding young Polish string players and bring many of the world!s leading musicians to the city and surrounding Silesian brass and percussion players from Chetham!s School of Music in Manchester. towns, but also to engage these artists in collaborations with the many outstanding Two acclaimed choirs, the Wrocław Philharmonic Choir (director Agnieszka musicians resident in the city, in order to create a lasting impact on the city!s Franków-Żelazny) and the Gabrieli choir come together once again to form a artistic development. huge chorus of over two hundred voices. @e recording took place in the great Wrocław!s growing reputation as an important artistic centre was recently Gothic church of St Mary Magdalene, scene of so many legendary performances confirmed by the commissioning of one of Europe!s most prestigious concert in the history of Wratislavia Cantans. halls, the National Forum of Music. @e new complex will comprise an ,-seat Wrocław has recently been selected as European Capital of Culture . concert hall and three chamber recital rooms, with office, conference, exhibition and rehearsal spaces. It will be home to Wrocław!s many ensembles and festivals as well as hosting performances by the world!s leading orchestras and soloists. Berlioz Grande Messe des Morts I would like to thank the many people who worked incredibly hard to realise this vast and almost impossible project; in particular, Przemyslaw Loho, Piotr Turkiewicz and Joanna Engel in Wratislavia Cantans; Nicola Loughrey (General Manager), David Clegg (Choral Manager) and the team at Gabrieli who booked the largest ever contingent of Gabrieli singers and brass players; Stephen @relfall and David Chatterton from Chetham’s; Radek Pujanek for auditioning so many young Polish string players; Jacek Sosna, the Wrocław musicians’ representative; Adrian Bending for his work with historical percussion; Agnieszka Franków-Żelazny, Benjamin Bayl and Nicole Tibbels for their great support during the sessions; Nicholas Parker and Neil Hutchinson in the recording box and editing studio; Mike Abrahams for his tireless dedication in design; and Marcin del Fidali and Magda Wójcik and their team for constructing a stage the size of a small airport all through the night, and for incorporating numerous adjustments whilst still smiling! Most of all I should like to thank Andrzej Kosendiak, General Director of the Wratislavia Cantans Festival, and the wonderful Mayor of Wrocław, Rafał Dutkiewicz, for their unwavering commitment and support. Wrocław is indeed a blessed city whilst it has these two men to fight for the importance of culture in our lives. @ank you – Dziękuję bardzo – to all! Paul McCreesh Berlioz Grande Messe des Morts Berlioz Grande Messe des Morts (Requiem) children intoned ‘All people that on earth do dwell’. @e effect of huge numbers for tenor solo, chorus, large orchestra and four brass ensembles of voices in a huge interior space threw Berlioz into a delirium of emotion from which he took days to recover. Berlioz grew up in a tradition which harnessed music to the service of la gloire, for Conversely, he hated noisy pit bands in small theatres, objected constantly to the French Revolution had found large-scale ceremonial very much to its taste, the over-use of trombones and bass drum at the Opéra-Comique, and felt deeply and composers of the time were able to extend themselves in a manner highly that the experience of music must relate to the building in which it is heard and prophetic of the coming romantic passion for the infinite and the immeasurable. to the disposition of perfomers and audience within that building. @e Te Deum @e great outdoor fêtes of the ’s employed enormous choruses accompanied is based on the concept of pitting an organ against an orchestra at opposite ends by armies of wind and percussion. @is music was no longer played when Berlioz of a large church. His aim in such works as these was to construct a huge three- arrived in Paris as a medical student in , but his first teacher, Jean-François dimensional block of sound in which the contemplative soul might lose itself in Lesueur, had been a leading composer of such ceremonial music, with a style of humility and wonder and, in the Grande Messe des Morts, to create an all- monumental simplicity that exactly suited large-scale outdoor performances. A consuming apocalyptic musical equivalent of the Last Judgment. It was the kind generation later, it was Berlioz’s infusion of an expressive poetic style into the of musical experience no one had dreamed of before. Saint-Saëns seems to have grandiose outlines of the Grande Messe des Morts and the Te Deum that endowed grasped the nature of the acoustical idea when he said, ‘It seemed as if each these works with such striking individuality. separate slim column of each pillar in the church became an organ pipe and the @e matching of space and sonority was one of Berlioz’s lasting obsessions, and whole edifice a vast organ’. the scoring of the Grande Messe des Morts, notorious for its requirement of four His opportunity to exploit these ideas came in when a Requiem was brass ensembles in addition to a large orchestra and chorus, owes much to his commissioned by the Minister of the Interior for a grand public ceremony to be disgust, in , at finding the vast interior of St Peter’s Basilica in Rome provided performed on the second anniversary of the death of General Mortier, killed in an with a choir of voices and a small organ on wheels. Such a building, he felt, attempted assassination of King Louis-Philippe. He set to work at once like a man surely cried out for immense forces. Twenty years later he witnessed the annual possessed: ‘@e text of the Requiem was a quarry that I had long coveted. Now at service for Charity Children in London’s St Paul’s Cathedral, at which last it was mine, and I fell upon it with a kind of fury. My brain felt as though it Berlioz Grande Messe des Morts would explode with the pressure of ideas. @e outline of one piece was barely text of the Requiem mass; he may well have begun working with it two years earlier. sketched before the next formed itself in my mind. It was impossible to write fast No sooner had the score been completed than the ceremony was cancelled, enough, and I devised a sort of musical shorthand which was a great help to me.’ much to Berlioz’s annoyance; but an opportunity to perform it arose a few Without hesitation Berlioz decided to assemble vast forces, both orchestral and months later when the French army, carving out an Empire in North Africa, lost choral, to do justice to the text. As well as the four additional brass groups, placed its commander-in-chief in the heat of battle. So the Grande Messe des Morts was at the four corners of the performing mass, he requires an array of timpani, first performed in a memorial service in the church of the Invalides in Paris on bass drums, massed gongs and cymbals, four flutes, oboes and clarinets, eight December , a remarkable occasion of which Berlioz left a vivid account in his bassoons, horns and a string section for which he recommends at least Memoirs.
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