Berlioz Requiem

Total Page:16

File Type:pdf, Size:1020Kb

Berlioz Requiem BERLIOZ REQUIEM GRANDE MESSE DES MORTS Orchestre Philharmonique de Radio France Simón Bolívar Symphony Orchestra Chœur de Radio France Maîtrise Notre-Dame de Paris Conducted by Gustavo Dudamel Cathedral of Notre Dame Paris “If I was threatened with the destruction of all my works but one, I would save the Requiem,” wrote Berlioz shortly before BERLIOZ REQUIEM his death. Berlioz composed it in 1837, a few years after what GRANDE MESSE DES MORTS has surely remained his most popular work ever since its successful premiere, the Symphonie fantastique. The Berlioz Requiem requires an orchestra of immense size: a Conductor Gustavo Dudamel principal orchestra of 108 strings, woodwind and brass, no less Orchestras Orchestre Philharmonique than 16 kettledrums and a battery of percussion instruments de Radio France is augmented by four remote bands of trumpets, trombones Simón Bolívar Symphony Orchestra and tubas. The choir consists of at least 200 singers. This Chorus Chœur de Radio France sacred choral work is one of the boldest and most complex Maîtrise Notre-Dame de Paris creations of music history, a vision of judgement, and Notre- Chorus Masters Lionel Sow Dame Cathedral in Paris provides the ideal spatial and Celso Antuñes acoustic conditions for its performance. Tenor Andrew Staples Under Gustavo Dudamel’s direction, it was revealed as “a Requiem of the highest calibre” (El Pais). Both orchestras – Produced by Camera Lucida “his” Simon Bolívar Youth Orchestra of Venezuela and Video Director Isabelle Soulard the Orchestre Philharmonique de Radio France that supplemented it – and the two choirs “set the vault and Length: approx. 90' columns of Notre-Dame de Paris vibrating” (Toute la Culture). Shot in HDTV 1080/50i Gustavo Dudamel dedicated the concert to the memory of Cat. no. A01050030 Maestro Claudio Abbado, who died a few days prior to the performance. A co-production of Camera Lucida productions, Radio France and ARTE France in association with UNITEL CLASSICA, in collaboration with Musique Sacrée à Notre-Dame de Paris et Notre-Dame de Paris with the participation of the CNC World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Jean-François Leclercq · Flyer: luebbeke.com Tel. +49.30.30306464 [email protected] Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitelclassica.com.
Recommended publications
  • The Inaugural Season 27 Season 2012-2013
    YANNICK October 2012 The Inaugural Season 27 Season 2012-2013 Friday, October 19, at 8:00 Saturday, October 20, at The Philadelphia Orchestra 8:00 Sunday, October 21, at 2:00 Yannick Nézet-Séguin Conductor Marina Poplavskaya Soprano Christine Rice Mezzo-soprano Rolando Villazón Tenor Mikhail Petrenko Bass Westminster Symphonic Choir Joe Miller Director Verdi Requiem I. Requiem (Solo Quartet and Chorus) II. Dies irae: Dies irae (Chorus) Tuba mirum (Bass and Chorus) Liber scriptus (Mezzo-soprano and Chorus) Quid sum miser (Soprano, Mezzo-soprano, and Tenor) Rex tremendae (Solo Quartet and Chorus) Recordare (Soprano and Mezzo-soprano) Ingemisco (Tenor) Confutatis (Bass and Chorus) Lacrymosa (Solo Quartet and Chorus) III. Offertorio (Solo Quartet) IV. Sanctus (Chorus I and II) V. Agnus Dei (Soprano, Mezzo-soprano, and Chorus) VI. Lux aeterna (Mezzo-soprano, Tenor, and Bass) VII. Libera me (Soprano and Chorus) This program runs approximately 1 hour, 30 minutes, and will be performed without an intermission. 228 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive vivid world of opera and Orchestra boasts a new sound, beloved for its choral music. partnership with the keen ability to capture the National Centre for the Philadelphia is home and hearts and imaginations Performing Arts in Beijing. the Orchestra nurtures of audiences, and admired The Orchestra annually an important relationship for an unrivaled legacy of performs at Carnegie Hall not only with patrons who “firsts” in music-making, and the Kennedy Center support the main season The Philadelphia Orchestra while also enjoying a at the Kimmel Center for is one of the preeminent three-week residency in the Performing Arts but orchestras in the world.
    [Show full text]
  • Berlioz Requiem Alto Road
    BERLIOZ: Grand Messe des Morts Alto Road Map I. Requiem and Kyrie (Introit) •First entrance at rehearsal B: sing tenor I part, stop singing at 7 measures after rehearsal C. •Re-enter at 13 measures after rehearsal C: sing soprano (II) part here. •Switch to tenor part at 6 measures after rehearsal E. •Switch to soprano II part 5 measures after rehearsal F. •Sing tenor part 10th-14th measures after rehearsal F. •Switch back to soprano II 4 measures before rehearsal G. •Sing soprano II part until end of movement, II. Dies irae •First entrance: sing tenor part 5 measures after rehearsal B. •Switch to soprano II 5 measures after rehearsal C. •Hum tenor part 4 measures before rehearsal D •Stay humming tenor part until 9 measures before rehearsal E—switch to soprano II here. •Switch to tenor I part at 17 measures after rehearsal F. •Do not sing at 9 measures before rehearsal K. •Re-enter on tenor I part 7 measures after rehearsal L •Tacet from 3 measures before rehearsal M to 4 measures before rehearsal P. •Re-enter at 4 measures before rehearsal P on soprano part. •Switch to tenor I at rehearsal Q. •Switch to soprano II at rehearsal R to end of movement. III. Quid sum miser •Hum tenor I line at throughout, IV. Rex tremendae •Begin with soprano II part. •Tacet from rehearsal B to rehearsal C. •Re-enter at rehearsal C with soprano II part. •Remain on sropano II part except sing tenor I for the four measures before rehearsal E. •Return to soprano II from rehearsal E to 6 measures after rehearsal E, •Switch to tenor I at 7 measures after rehearsal E.
    [Show full text]
  • Berlioz's Orchestration Treatise
    Berlioz’s Orchestration Treatise A Translation and Commentary HUGH MACDONALD published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarc´on 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface New Baskerville 11/13 pt. System LATEX2ε [TB] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Berlioz, Hector, 1803–1869. [Grand trait´e d’instrumentation et d’orchestration modernes. English] Berlioz’s orchestration treatise: a translation and commentary/[translation, commentary by] Hugh Macdonald. p. cm. – (Cambridge musical texts and monographs) Includes bibliographical references and index. ISBN 0 521 23953 2 1. Instrumentation and orchestration. 2. Conducting. I. Macdonald, Hugh, 1940– II. Title. III. Series. MT70 .B4813 2002 781.374–dc21 2001052619 ISBN 0 521 23953 2 hardback Contents List of illustrations
    [Show full text]
  • The Grande Messe Des Morts (Requiem), Op. 5 by Hector Berlioz
    THE GRANDE MESSE DES MORTS (REQUIEM), OP. 5 BY HECTOR BERLIOZ: A CONDUCTOR’S GUIDE TO THE HISTORICAL BACKGROUND, ORCHESTRATION, RHETORICAL/DRAMA-LITURGICAL PROJECTION AND FORMAL/STRUCTURAL ANALYSIS BY KRISTOFER J. SANCHACK Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2015 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Jan Harrington, Research Director ______________________________________ Jan Harrington, Chair ______________________________________ Betsy Burleigh ______________________________________ Dominick DiOrio ______________________________________ Frank Samarotto 30 November 2015 ii Copyright © 2015 Kristofer J. Sanchack iii Dedicated to my parents and grandparents who have supported me through a very long process iv Acknowledgements There are so many people to whom I am extremely grateful. First I would like to thank my family. My parents, grandparents, sister and niece have continued each and every day to encourage me to finish this paper. Without their support, I doubt this project would have been completed. I also want to thank my partner, who throughout the process was supportive, helpful, understanding and caring. I would like to thank Dr. Carmen-Helena Téllez who began with me on this odyssey, and my mentor, friend and research chair Dr. Jan Harrington, who believed and continued to be a pillar of strength to me throughout this endeavor. I am also indebted to Dr. Betsy Burleigh, Dr. Dominick DiOrio and Dr. Frank Samarotto, who graciously agreed to serve on the committee for this paper.
    [Show full text]
  • Dies Irae Bass Drum Part Only Sheet Music
    Dies Irae Bass Drum Part Only Sheet Music Download dies irae bass drum part only sheet music pdf now available in our library. We give you 2 pages partial preview of dies irae bass drum part only sheet music that you can try for free. This music notes has been read 5303 times and last read at 2021-09-25 04:48:48. In order to continue read the entire sheet music of dies irae bass drum part only you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Choir, Drums, Percussion, Piano Ensemble: Ssaattbb Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Dies Irae From Mozarts Requiem Orchestral Accompaniment Dies Irae From Mozarts Requiem Orchestral Accompaniment sheet music has been read 3488 times. Dies irae from mozarts requiem orchestral accompaniment arrangement is for Intermediate level. The music notes has 1 preview and last read at 2021-09-24 14:32:16. [ Read More ] Dies Irae From Requiem For 6 Part Trombone Ensemble W Opt Parts Dies Irae From Requiem For 6 Part Trombone Ensemble W Opt Parts sheet music has been read 3180 times. Dies irae from requiem for 6 part trombone ensemble w opt parts arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-24 09:18:37. [ Read More ] Dies Irae From Requiem Mass Full Score Dies Irae From Requiem Mass Full Score sheet music has been read 3125 times. Dies irae from requiem mass full score arrangement is for Intermediate level.
    [Show full text]
  • Belshazzar's Feast
    CONCERT PROGRAM Friday, February 24, 2017 at 8:00PM Saturday, February 25, 2017 at 8:00PM Sir Andrew Davis, conductor John Relyea, bass St. Louis Symphony Chorus Amy Kaiser, director NICOLAI Overture to The Merry Wives of Windsor (1810–1849) (Die lustigen Weiber von Windsor) (1849) ELGAR Falstaff, Symphonic Study in C minor, op. 68 (1913) (1857–1934) Falstaff and Prince Henry – Eastcheap – Gadshill – The Boar’s Head, revelry and sleep Dream Interlude: Jack Falstaff, now Sir John, a boy, and page to Thomas Mowbray, Duke of Norfolk – Falstaff’s march – The return through Gloucestershire – Interlude: Gloucestershire. Shallow’s orchard – The new king – The hurried ride to London – King Henry V’s progress – The repudiation of Falstaff, and his death INTERMISSION WALTON Belshazzar’s Feast (1931) (1902–1983) Thus spake Isaiah If I forget thee, O Jerusalem – Babylon was a great city In Babylon Belshazzar the King made a great feast – Praise ye, the God of Gold – Thus in Babylon, the mighty city – And in that same hour – Then sing aloud to God our strength The trumpeters and pipers Then sing aloud to God our strength John Relyea, bass St. Louis Symphony Chorus Amy Kaiser, director 23 ACKNOWLEDGMENTS These concerts are part of the Wells Fargo Advisors Orchestral Series. Sir Andrew Davis is the Felix and Eleanor Slatkin Guest Artist. The concert of Friday, February 24, is underwritten in part by a generous gift from Linda and Paul Lee. Pre-Concert Conversations are sponsored by Washington University Physicians. Large print program notes are available through the generosity of The Delmar Gardens Family, and are located at the Customer Service table in the foyer.
    [Show full text]
  • Grande Messe Des Morts: Hector Berlioz's Romantic Interpretation Of
    GRAND MESSE DES MORTS: HECTOR BERLIOZ'S ROMANTIC INTERPRETATION OF THE ROMAN CATHOLIC REQUIEM TRADITION Amber E. Broderick A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC December 2012 Committee: Arne Spohr, Advisor Eftychia Papanikolaou © 2012 Amber E. Broderick All Rights Reserved iii ABSTRACT Arne Spohr, Advisor Hector Berlioz (1803-1869) was commissioned by the French government in 1836 to compose a requiem mass for a state ceremony and to restore sacred music to a respected position in France. Berlioz envisioned a requiem that both continued the Roman Catholic requiem tradition and expanded it in context of the Romantic era and Kunstreligion. Berlioz conceived his Grande messe des morts (Requiem) as a “music drama,” in which the thirteenth-century Latin prose wa s used as secular poetry rather than an immutable sacred text. Berlioz’s Requiem is not religious in strict theological terms but relates more closely to what Frank Heidlberger calls an artistic statement of “secular moral philosophy.” Berlioz devised a first-person physiological narrative which presented the listener with a private emotional experience, achieving this psychological journey, in part, through a Romantic interpretation: textual alterations, programmatic orchestration, and the innovative use of antiphonal brass orchestras. The text was freely edited and rearranged to produce a libretto-type program, which Edward Cone deems a “dramatic portrayal of an imaginary progress through this world and the next.” Berlioz enhanced his interpretation by shifting from the traditional third-person perspective to the first-person. This adjustment required minimal changes to the text but maximum changes for the listener, who experienced a personal journey focused on the individual, rather than the divine.
    [Show full text]
  • Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
    Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska,
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Ein deutsches Requiem, Op. 45 The earliest music in Brahms's Ein deutsches Requiem (A German requiem) dates from 1854; six of the seven movements were completed in August 1866. The first three movements were premiered in Vienna on December 1, 1867. Brahms added a movement in fifth place in May 1868, and the first performance of the complete work was given in Leipzig on February 18, 1869. The score calls for four-part chorus, soprano and baritone soloists, and an orchestra consisting of two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones and tuba, harp, timpani, organ, and strings. The Chicago Symphony Orchestra's first subscription concert performances of Brahms's A German Requiem were given at the Auditorium Theatre on April 15 and 16, 1898, with Minnie Fish-Griffin and Charles W. Clark as soloists, the Chorus of the Association (Arthur Mees, director), and Theodore Thomas conducting. Our most recent subscription concert performances were given at Orchestra Hall on February 18, 19, and 20, 1999, with Dorothea Röschmann and Thomas Quasthoff as soloists, the Chicago Symphony Chorus (Duain Wolfe, director), and Daniel Barenboim conducting. The Orchestra first performed this requiem at the Ravinia Festival on June 30, 1983, with Kathleen Battle and Håkan Hagegård as soloists, the Chicago Symphony Chorus (Margaret Hillis, director), and James Levine conducting; and most recently on August 2, 1997, with Rebecca Evans and Thomas Hampson as soloists, the Chicago Symphony Chorus (Duain Wolfe, director), and Christoph Eschenbach conducting.
    [Show full text]
  • The London Philharmonic Orchestra Announces Its 2021/22 Royal Festival Hall Season
    THE LONDON PHILHARMONIC ORCHESTRA ANNOUNCES ITS 2021/22 ROYAL FESTIVAL HALL SEASON 11 PREMIERES, 34 CONCERTS AND A NEW PRINCIPAL CONDUCTOR, EDWARD GARDNER 25 September 2021 – 6 May 2022 | Southbank Centre’s Royal Festival Hall The London Philharmonic Orchestra today announced its 2021/22 season at the Royal Festival Hall, featuring 34 concerts of brilliantly curated programmes performed by many of the world’s leading musicians – and all in front of live audiences. The last 18 months have seen the LPO rise to the challenges posed by the pandemic by presenting a full season of performances at the Royal Festival Hall that were streamed to an international audience of hundreds of thousands of people, developing new audiences through innovative projects and award-winning free online content. In addition to its new Principal Conductor, Edward Gardner, the LPO also welcomes Karina Canellakis who begins her first full season as Principal Guest Conductor, and welcomes back Vladimir Jurowski in his new role of Conductor Emeritus. This triumvirate of conductors lead a bold and ambitious season featuring Sheku Kanneh-Mason, Klaus Makela, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence Julia Fischer. The season contains a broad range of repertoire including 11 premieres from composers such as Tan Dun, Danny Elfman, Jimmy López and Rebecca Saunders. The Orchestra continues its year-round programme of education and community projects and its popular FUNharmonics family concerts return. The LPO is delighted to be continuing to offer digital streams to select concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.
    [Show full text]
  • Johannes Brahms Worked on a German
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Ein deutsches Requiem (A German Requiem), Op. 45 Johannes Brahms ohannes Brahms worked on A German But if the 33-year-old Brahms was drawn JRequiem over many years, unveiling it preternaturally to the topic of death, there sequentially as a three-movement piece (in 1867), a six-movement piece (in 1868), IN SHORT and ultimately a seven-movement piece (in Born: May 7, 1833, in Hamburg, Germany 1869). He wrote it without the impetus of a commission. He had nothing to gain from Died: April 3, 1897, in Vienna, Austria it apart from articulating what he want- Work composed: principally in 1866, ed and needed to express. To do that, he although Brahms had begun it as early as had to invent a format that was practically 1861, and he brought it to its final form in 1868 without precedent in the history of requi- World premiere: first three movements ems. His would not be a liturgical requiem premiered December 1, 1867, in Vienna, with using the preordained Latin text of the Ro- Johann Herbeck conducting the Gesellschaft man Catholic Mass for the Dead. As the title für Musikfreunde, baritone Rudolf Panzer, page made clear, his was a German requiem, soloist. First performance of six movements, not a Latin one; in naming it thus, he referred on April 10, 1868, in the Cathedral of Bremen, to the language of its text and nothing more. with the composer conducting, baritone In 1867 Brahms remarked in a letter to Carl Julius Stockhausen, soloist.
    [Show full text]
  • English Giants Performed October 29, 2000
    English Giants Performed October 29, 2000 The richness of the musical landscape in England is perhaps one of that country's best kept secrets. It was not always the case. During the Elizabethan period, England was the musical center of Europe and composers like William Byrd and Orlando Gibbons were among the most respected musicians of the time. But it was not long before England began to import its most popular composers. Handel became the greatest composer of choral works in the English language and inventor of a unique English art form, the oratorio. Haydn spent seven years in England, revitalizing his career, and was offered the post of royal composer. Mozart spent two years in England as a child (where he played duets with another émigré, J. C. Bach) and at the time of his death was boning up on his English in preparation for a return. Mendelssohn was a frequent visitor to England and was the most popular composer of his day with both the British royal family and the British people. Toward the end of the nineteenth century, however, there was a remarkable renaissance in British music which has continued unabated to the present. Composers such as Stanford, Parry, Ireland, Bantock, Delius, Bridge, Arnold, Bliss, Finzi, Brian, to name but a few, are both highly regarded and, more importantly, performed and recorded frequently. This has gone hand in hand with the proliferation of another unique English tradition, local music festivals. There is a strong grass roots quality to many of these festivals, which often involve collaborations between professional and amateur musicians, and a number of important works have been commissioned and premiered at such festivals.
    [Show full text]