DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet MAURICE DURUFLÉ (1902-1986) MAURICE DURUFLÉ (1902-1986) Gregorian chant antiphonally in two groups, or responsorially by a cantor alternating with a COMPLETE CHORAL WORKS Maurice Duruflé’s worldwide fame rests upon larger chorus. his reputation as a brilliant organist and the composer of a handful of finely crafted works, Like Duruflé’s better known Requiem, the notably his widely-performed setting of the instrumental accompaniment was originally Messe “Cum Jubilo” pour chœur de Requiem pour soli, chœurs et orgue, Op. 9 Requiem. In his methods, he followed the composed for orchestra and organ, with barytons et orgue, Op. 11 q Introit [3.36] habits of his teacher, Paul Dukas, constantly subsequent arrangements calling for a smaller 1 Kyrie [3.43] w Kyrie [3.46] refining and polishing what little music he wrote. instrumental ensemble and organ, or organ 2 Gloria [6.15] e Domine Jesu Christe [8.34] alone as it is heard in this performance. The Eduardo Tercero baritone r Sanctus & Benedictus [3.06] 3 Messe “Cum Jubilo,” Op. 11 (1966) general simplicity of the musical texture and the Sanctus [3.52] t Pie Jesu [3.15] 4 Benedictus [2.03] Cecilia Duarte mezzo-soprano economy of forces make the Mass “Cum Jubilo” Eduardo Tercero baritone Norman Fischer cello Duruflé’s Mass “with rejoicing,” as it is subtitled an ideal piece of liturgical service music, 5 Agnus Dei [4.07] y Agnus Dei [3.47] in Gregorian chant anthologies, is based upon available for wide use by choirs of varying u Lux aeterna [4.15] the first of several plainchant settings used in sizes and abilities. Quatre Motets sur des thèmes grégoriens i Libera me [5.34] masses for feast days celebrating aspects in pour chœur a cappella, Op.10 o In Paradisum [2.47] the life of the Blessed Virgin Mary. While the The three-part “Kyrie eleison” is sung quietly 6 Ubi caritas [2.49] vocal line takes its cue from the actual by the full chorus, with a running figure in the 7 Tota pulchra es [2.08] Total timings: [68.49] plainchant melody and its constantly shifting organ part that periodically imitates the 8 Tu es Petrus [1.01] meter, Duruflé’s modern setting embraces a beginnings or endings of vocal phrases during 9 Tantum ergo [2.38] much broader tonal spectrum than the original interludes between them. The “Gloria” is a medieval modal scales. much bolder piece, beginning with a forceful 0 Notre Père pour chœur a cappella [1.31] introduction by the organ and full-throated The choral ensemble is streamlined to very singing by the male chorus throughout the simple dimensions: a unison ensemble of divine praises. After a quiet moment during baritone voices, with a baritone soloist featured the “Gratias agimus tibi,” the first section rises HOUSTON CHAMBER CHOIR in various sections of the work. In that solo/choral to a climactic ending, then quickly gives way ROBERT SIMPSON FOUNDER AND ARTISTIC DIRECTOR arrangement, it simulates the monastic practice to a quiet set of running notes that introduce KEN COWAN ORGAN of alternately singing phrases or verses of the central petitions sung by the soloist. These www.signumrecords.com - 3 - pleas for mercy are underscored by subtle Quatre Motets sur des thèmes grégoriens, “Tota pulchra es” employs the texts of three Notre Pére pour chœur a cappella, Op. 14 (1978) melodic imitations between the vocal line and Op. 10 (1960) antiphons from the Second Vespers for the the organ. An animated tempo accompanies the Ubi caritas Feast of the Immaculate Conception. The Duruflé’s unaccompanied four-voice setting of closing section, climaxed by a much-repeated Tota pulchra es opening text alternates as a refrain between The Lord’s Prayer is his only sacred choral work choral “Amen.” Tu es Petrus the other two verses, forming a five-section in the vernacular French language. It was Tantum ergo ABACA structure. It is set in three voice parts originally set in a simple chordal style, with a later The final three movements gently lead the for subdivided sopranos and undivided altos, arrangement by his wife for unison congregational listener deeper and deeper into complex tonal Duruflé dedicated these four short motets with an occasional expansion to four female singing, with an organ accompaniment. implications. Given the bright Lydian-mode to Auguste Le Guennant, the director of the voice parts. In contrast to the strict chordal scale patterns of the “Sanctus” and “Agnus Gregorian Institute in Paris. All four of them harmony of “Ubi caritas,” this motet blends Requiem, Op. 9 (1947) Dei” plainchants, it is surprising to find Duruflé are based on melodies from the Benedictine contrapuntal and chordal styles. moving its melodic phrases to higher or lower monastery of Solesmes, which issued the official, Duruflé completed his Requiem in 1947, issuing tonal areas, while harmonizing them with most widely recognized edition of Gregorian chant. The short text for “Tu es Petrus” is taken from its original version for soloists, chorus, full unrelated chordal sequences in the organ part. The texts for the first three motets are antiphons the gospel of St. Matthew, as used in the final orchestra and organ. Later, he reduced the The jubilant text of the “Sanctus” movement is taken from the liturgies of the mass or vesper antiphon of the First Vespers for the Feast of instrumental part for organ alone, as heard also delivered at a subdued volume level, rising services, while the closing “Tantum ergo” is the Holy Apostles, Peter and Paul. The on this recording. In 1961 he arranged a third to its loudest choral singing only in the climactic from the hymn, “Pange lingua gloriosa,” set to plainchant melody is set polyphonically for all version employing a small orchestra and organ. “Hosannas” toward the end. a text originally composed by St. Thomas four voice parts and the music rises to its most Aquinas for the Feast of Corpus Christi. forceful climax at the very end of the motet. The consoling spirit of the work and its Latin The “Benedictus” is sung by the soloist, and text closely follow the Requiem of Gabriel Fauré, the complex harmonies of the thrice-repeated “Ubi caritas,” an antiphon taken from the Mass The text of “Tantum ergo” is set polyphonically omitting the tract and the terrifying sequence, “Agnus Dei” are gently intoned by the chorus for Maundy Thursday, begins and ends with only for all four voices, with the plainchant melody “Dies Irae.” Like Fauré, Duruflé also set the in the midst of ever-softer, ever-more-relaxed the darker choral sound of the altos, tenors and carried in the soprano line, and freely imitated two prayers belonging to the burial service organ interludes, ultimately resolving themselves basses. Each phrase of the text is repeated and in the tenor part. Just as the melody is repeated following the mass, “Libera me, Domine” and in the final chord. the altos alternate singing them in two separate in the second verse of the plainchant version, “In paradisum.” choirs. The tenors are subdivided into two voice the entire polyphonic setting is repeated in parts in order to maintain four-part chordal harmony. Duruflé’s motet version. Its nine movements begin with the traditional After the sopranos enter for the exultant central plainchant Introit melody, “Requiem aeternum,” section, the harmonic structure increases to five parts. sung quietly in unison by the men over a running - 4 - - 5 - organ accompaniment with intervening wordless In contrast to most of the preceding movements, The entire work is laid gently to rest during I am indebted to essays collected and edited vocalises from the women. Sopranos and altos words or phrases in the text are repeated the closing “In Paradisum” intoned in a serene by Ronald Ebrecht in the anthology, Maurice alternate on the central psalm verse, then extensively during the “Agnus Dei.” The sopranos unison soprano melody over a diaphanous Duruflé, the Last Impressionist, for much repeat the opening text in a free chorale setting, and tenors alternate in unison statements of organ setting and completed by the choir, information in this article. gradually supported by the tenors and basses. the first two invocations, with an instrumental which gradually subdivides into seven voice The plainchant “Kyrie” melody is polyphonically melody accompanying the vocal chant, as in parts as its settles upon the final cadence. © 2016, Carl R. Cunningham adapted for the four voices over a long-note the preceding movement. Gradually, the other “cantus firmus” version of the melody stated on voices join in, bringing the movement to a rich the trumpet stop. four-part choral finale. The Communion prayer, “Lux aeterna,” makes use of instrumental The Offertory prayer, “Domine Jesu Christe,” preludes and interludes, and wordless vocal Messe “Cum Jubilo” is given a more elaborate dramatic setting, harmonies under the chant in the soprano line. 1 with little organ meditations on the opening Its concluding “Requiem aeternam” verse is Kyrie Kyrie eleison, Lord have mercy on us, phrase of its chant surrounding the vocal sung to a straight psalm tone by the altos Christe eleison. Christ have mercy on us. verses. The chorus rises to urgent declamatory and basses, and then the last three lines Kyrie eleison. Lord have mercy on us. pleas for divine mercy; then the women and of the text are reiterated in a brief but eventually the baritone soloist utter quieter, peaceful codetta. 2 more lyrical prayers asking eternal life for Gloria Gloria in excelsis Deo Glory to God in the highest, the deceased. The “Sanctus” and “Benedictus” Momentary terror of divine punishment et in terra pax hominibus bonæ voluntatis.
Load more

Recommended publications
  • PROGRAM NOTES Wolfgang Mozart Clarinet Concerto in a Major, K
    PROGRAM NOTES by Phillip Huscher Wolfgang Mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Clarinet Concerto in A Major, K. 622 Mozart composed this concerto between the end of September and mid-November 1791, and it apparently was performed in Vienna shortly afterwards. The orchestra consists of two flutes, two bassoons, two horns, and strings. Performance time is approximately twenty-nine minutes. The Chicago Symphony Orchestra’s first performance of Mozart’s Clarinet Concerto was given at the Ravinia Festival on July 25, 1957, with Reginald Kell as soloist and Georg Solti conducting. The Orchestra’s first subscription concert performance was given at Orchestra Hall on May 2, 1963, with Clark Brody as soloist and Walter Hendl conducting. Our most recent subscription concert performances were given on October 11 and 12, 1991, with Larry Combs as soloist and Sir Georg Solti conducting. The Orchestra most recently performed this concerto at the Ravinia Festival on July 15, 2001, with Larry Combs as soloist and Sir Andrew Davis conducting. This concerto is the last important work Mozart finished before his death. He recorded it in his personal catalog without a date, right after The Magic Flute and La clemenza di Tito. The only later entry is the little Masonic Cantata, dated November 15, 1791. The Requiem, as we know, didn’t make it into the list. For decades the history of the Requiem was full of ambiguity, while that of the Clarinet Concerto seemed quite clear. But in recent years, as we learned more about the unfinished Requiem, questions about the concerto began to emerge.
    [Show full text]
  • The Timeliness of Duruflé's Requiem Book Title
    University of California Press Chapter Title: The Timeliness of Duruflé’s Requiem Book Title: Musical Legacy of Wartime France Book Author(s): LESLIE A. SPROUT Published by: University of California Press. (2013) Stable URL: https://www.jstor.org/stable/10.1525/j.ctt3fh2q4.8 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Musical Legacy of Wartime France This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 02:20:01 UTC All use subject to https://about.jstor.org/terms 4 The Timeliness of Duruflé’s Requiem Plain-chant and polyphony, dominant ninths and the orchestra of Debussy—without the evidence of an actual performance, Duruflé’s Requiem might appear to be a hotch-potch. But it is the absolute unification in a very personal manner of these seemingly disparate elements that constitutes Duruflé’s chief claim to be taken seriously as a composer. felix aprahamian, “Maurice Duruflé and His Requiem” vichy’s symphonic commissions and the music of the catholic church In May 1941 Maurice Duruflé received a commission from Vichy’s Administration of Fine Arts to write a symphonic poem, for which he was offered ten thousand francs, payable upon completion of the work.1 Reversing the program’s steady decline each year since its inception in 1938, the administration provided ample funds—270,000 francs—to grant a total of seventeen commissions between May and August 1941, the first year of commissions granted under the new regime.
    [Show full text]
  • 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]
  • Shakespeare Requiem' Receives Its First Performance, by PATRIC STANDFORD, YORKSHIRE POST
    Judith Bingham's 'Shakespeare Requiem' receives its first performance, by PATRIC STANDFORD, YORKSHIRE POST The long awaited première of Judith Bingham's Shakespeare Requiem took place in Leeds Town Hall, UK, on 29 November 2008. The opening of the newly built town hall in 1858 was celebrated with the formation of a grand choral society -- the Leeds Festival Chorus -- and its first musical director, William Sterndale Bennett, initiated a tradition of first performances in the autumn of that year by directing the first performance of his own cantata The May Queen. The tradition of bringing new works to Leeds has remained with the Festival Chorus throughout its century and a half lifetime. A succession of distinguished directors maintained the tradition by commissioning new choral works, and the chorus have brought to life a fine inventory of great choral premiers including Sullivan's Golden Legend and Dvorák's St Ludmilla in 1886 and Elgar's Caractacus in 1898 through to Walton's Belshazzar's Feast, the memorable commission of 1931, and Michael Berkeley's The Red Macula of 1989. For this year's 150th Anniversary celebration, Judith Bingham could hardly be a more ideal choice. A student of both composition and singing in her time at London's Royal Academy of Music, she joined the BBC Singers in 1983 and spent twelve years as a full time member, becoming closely involved from the inside in the many challenges of both new and old music that such a renowned professional group of singers would undertake on a weekly basis. As may be expected, there is a large amount of choral music in her considerable output -- her catalogue has recently been taken up by Peters Edition, London -- and yet the new work for Leeds is her largest choral and orchestral undertaking to date.
    [Show full text]
  • Maurice Duruflé Requiem Joseph Jongen Mass
    Joseph Jongen Mass Maurice Duruflé Requiem San Francisco Lyric Chorus Robert Gurney, Music Director Jonathan Dimmock, Organ Saturday, August 23 & Sunday, August 24, 2014 Mission Dolores Basilica San Francisco, California San Francisco Lyric Chorus Robert Gurney, Music Director Board of Directors Helene Whitson, President Julia Bergman, Director Karen Stella, Secretary Jim Bishop, Director Bill Whitson, Treasurer Nora Klebow, Director Welcome to the Summer 2014 Concert of the San Francisco Lyric Chorus. Since its formation in 1995, the Chorus has offered diverse and innovative music to the community through a gathering of singers who believe in a commonality of spirit and sharing. The début concert featured music by Gabriel Fauré and Louis Vierne. The Chorus has been involved in several premieres, including Bay Area composer Brad Osness’ Lamentations, Ohio composer Robert Witt’s Four Motets to the Blessed Virgin Mary (West Coast premiere), New York composer William Hawley’s The Snow That Never Drifts (San Francisco premiere), San Francisco composer Kirke Mechem’s Christmas the Morn, Blessed Are They, To Music (San Francisco premieres), and selections from his operas, John Brown and The Newport Rivals, our 10th Anniversary Commission work, the World Premiere of Illinois composer Lee R. Kesselman’s This Grand Show Is Eternal, Robert Train Adams’ It Will Be Summer—Eventually and Music Expresses (West Coast premieres), as well as the Fall 2009 World Premiere of Dr. Adams’ Christmas Fantasy. Please sign our mailing list, located in the foyer. The San Francisco Lyric Chorus is a member of Chorus America. We are recording this concert for archival purposes Please turn off all cell phones, pagers, and other electronic devices before the concert Please, no photography or audio/video taping during the performance Please, no children under 5 Please help us to maintain a distraction-free environment.
    [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]
  • Mozart: Requiem
    LSO Live Mozart Requiem Sir Colin Davis Marie Arnet Anna Stéphany Andrew Kennedy Darren Jeffery London Symphony Chorus London Symphony Orchestra Mozart Requiem, K626 (1791) Page Index Marie Arnet soprano 3 Track listing Anna Stéphany alto 4 English notes Andrew Kennedy tenor 5 French notes Darren Jeffery bass 6 German notes 7 Composer biography Sir Colin Davis conductor 8 Text London Symphony Orchestra 10 Conductor biography London Symphony Chorus 11 Artist biographies 13 Orchestra and Chorus personnel lists 14 LSO biography James Mallinson producer Daniele Quilleri casting consultant Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd balance engineers Ian Watson and Jenni Whiteside for Classic Sound Ltd editors A high density DSD (Direct Stream Digital) recording Recorded live at the Barbican, London 30 September and 3 October 2007 © 2008 London Symphony Orchestra, London UK P 2008 London Symphony Orchestra, London UK 2 Track listing Introitus and Kyrie 1 No 1 Requiem and Kyrie (chorus, soprano) 7’12’’ p8 Sequence 2 No 2 Dies irae (chorus) 1’44’’ p8 3 No 3 Tuba mirum (soprano, alto, tenor, bass) 3’38’’ p8 4 No 4 Rex tremendae (chorus) 2’13’’ p8 5 No 5 Recordare (soprano, alto, tenor, bass) 6’03’’ p8 6 No 6 Confutatis maledictis (chorus) 2’44’’ p8 7 No 7 Lacrimosa (chorus) 2’59’’ p8 Offertorium 8 No 8 Domine Jesu (chorus, soprano, alto, tenor, bass) 4’16’’ p8 9 No 9 Hostias (chorus) 4’36’’ p9 Sanctus 10 No 10 Sanctus (chorus) 1’47’’ p9 Benedictus 11 No 11 Benedictus (chorus, soprano, alto, tenor, bass) 4’29’’ p9 Agnus Dei and Communio 12 No 12 Agnus Dei (chorus, soprano) 8’46’’ p9 TOTAL 50’35’’ 3 Wolfgang Amadeus Mozart (1756–91) Jesu’ and the ’Hostias’ were written separately.
    [Show full text]
  • English Translation of Mozart's Requiem
    English Translation of Mozart's Requiem I. Introit: Requiem Requiem aeternam dona eis, Grant them eternal rest, Lord, Domine, and let perpetual light shine on et lux perpetua luceat eis. them. Te decet hymnus, Deus, in Sion, You are praised, God, in Zion, et tibi reddetur votum in and homage will be paid to You in Jerusalem. Jerusalem. Exaudi orationem meam, Hear my prayer, ad te omnis care veniet. to You all flesh will come. Requiem aeternam dona eis, Grant them eternal rest, Lord, Domine, and let perpetual light shine on et lux perpetua luceat eis. them. II. Kyrie Kyrie, eleison. Lord, have mercy on us. Christe, eleison. Christ, have mercy on us. Kyrie, eleison. Lord, have mercy on us. III. Sequence 1. Dies irae Day of wrath, day of anger Dies irae, dies illa will dissolve the world in ashes, Solvet saeclum in favilla, as foretold by David and the Sibyl. teste David cum Sibylla. Great trembling there will be Quantus tremor est futurus, when the Judge descends from quando judex est venturus, heaven cuncta stricte discussurus! to examine all things closely. 2. Tuba mirum The trumpet will send its wondrous Tuba mirum spargens sonum sound per sepulcra regionum, throughout earth's sepulchres coget omnes ante thronum. and gather all before the throne. Mors stupebit et natura, Death and nature will be cum resurget creatura, astounded, judicanti responsura. when all creation rises again, Liber scriptus proferetur, to answer the judgement. in quo totum continetur, A book will be brought forth, unde mundus judicetur. in which all will be written, by which the world will be judged.
    [Show full text]
  • PREPARING a TRUMPET RECITAL by William Matthew Pate a Thesis
    PREPARING A TRUMPET RECITAL by William Matthew Pate A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2018 Approved by ___________________________________ Advisor: Dr. John Schuesselin ___________________________________ Reader: Dr. Thomas Peattie ___________________________________ Reader: Professor Virginia Chavis ©2018 William Matthew Pate ALL RIGHTS RESERVED ii ABSTRACT WILLIAM MATTHEW PATE: Preparing a Trumpet Recital (under the direction of John Schuesselin) The following thesis presents a discussion of the elements that went into preparing a senior solo trumpet recital. This discussion is divided into eleven sections, of which the first five contain general performance challenges and information about the types of pieces performed on the recital and the instruments used to perform those pieces. The remaining six sections discuss why the performer chose to showcase each composer and their compositions, the specific performance challenges he encountered with each piece, and the techniques he used to overcome these challenges. The historical information used to produce this thesis comes from articles written by specialists in each type of piece, instrument, period, style, composer, or composition. The information regarding performance challenges and the techniques used to overcome them comes from journals, notes, and recordings the performer kept while preparing for the recital. The performer found that preparing for, performing, and writing about the recital increased his knowledge of the history and importance of his primary instrument, developed his ability to collaborate, and allowed him to consider how he could teach the techniques he utilized to overcome performance challenges as a future music educator.
    [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]
  • Boston Symphony Orchestra Concert Programs, Season 51,1931-1932
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 TM1&L INC. Dr. SERGE KOUSSEVITZKY, Conductor .FIFTY-FIRST SEASON, 1931-1932 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1931, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE WILLIAM PHILLIPS N. PENROSE HALLOWELL EDWARD M. PICKMAN § M. A. DE WOLFE HOWE HENRY B. SAWYER FREDERICK E. LOWELL BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 509 THE COR ANGLAIS 1 N appearance, the cor anglais differs from the oboe in only two respects. It ends in a ball instead of a bell; and the mouthpiece is held by a slim crooked pipe. Strange as it may seem, the English played no part in its development. The word anglais has been said to be a corruption of the word angle, meaning bent, which in olden times' described the obtuse angle of the bend that then existed in its long tube. Its immediate ancestor is the oboe di caccia, or hunting oboe. The last century has witnessed great changes in the instrument both from the standpoint of mech- anism and construction. Yet, like the oboe, it has kept intact its old family voice distinguished for its curious plaintiveness. The cor anglais is really an alto, or tenor, oboe. It stands in the key of F, yet its music is written in a key a fifth above that in which it plays.
    [Show full text]