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Johann Sebastian Bach Du Treuer Gott Leipzig Cantatas BWV 101 - 115 - 103
Johann Sebastian Bach Du treuer Gott Leipzig Cantatas BWV 101 - 115 - 103 Collegium Vocale Gent Philippe Herreweghe Johann Sebastian Bach (1685–1750) Nimm von uns, Herr, du treuer Gott, BWV 101 Mache dich, mein Geist, bereit, BWV 115 Ihr werdet weinen und heulen, BWV 103 Dorothee Mields Soprano Damien Guillon Alto Thomas Hobbs Tenor Peter Kooij Bass Collegium Vocale Gent Philippe Herreweghe Menu Tracklist ------------------------------ English Biographies Français Biographies Deutsch Biografien Nederlands Biografieën ------------------------------ Sung texts Johann Sebastian Bach (1685-1750) Nimm von uns, Herr, du treuer Gott, BWV 101 [1] 1. Coro: Nimm von uns, Herr, du treuer Gott ______________________________________________________________7’44 [2] 2. Aria (tenor): Handle nicht nach deinen Rechten ________________________________________________________3’30 [3] 3. Recitativo e choral (soprano): Ach! Herr Gott, durch die Treue dein__________________________________2’13 [4] 4. Aria (bass): Warum willst du so zornig sein? ___________________________________________________________ 4’14 [5] 5. Recitativo e choral (tenor): Die Sünd hat uns verderbet sehr _________________________________________ 2’11 [6] 6. Aria (soprano, alto): Gedenk an Jesu bittern Tod _______________________________________________________5’59 [7] 7. Choral: Leit uns mit deiner rechten Hand _______________________________________________________________0’55 Mache dich, mein Geist, bereit, BWV 115 [8] 1. Coro: Mache dich, mein Geist, bereit ____________________________________________________________________4’00 -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
Direction 2. Ile Fantaisies
CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18. -
Les Forains – Ballet Urbain Anthony Egéa / Cie Rêvolution
Les Forains – Ballet Urbain Anthony Egéa / Cie Rêvolution D’après Les Forains d’Henri Sauget, sur un argument de Boris Kochno – Éditions Salabert Chorégraphie : Anthony Égéa Interprétation : Sofiane Benkamla, Antoine Bouiges, Simon Dimouro, Manuel Guillaud, Jérôme Luca, Amel Sinapayen, Maxim Thach et Aurélien Vaudey Partie orchestrale enregistrée par l’Orchestre de Limoges, sous la direction de Philippe Forget Musique électro : Frank2Louise Scénographie et lumières : Florent Blanchon Costumes : Hervé Poeydomenge Un ballet urbain au confluent du classique et du hip-hop, un métissage culturel festif et détonant ! La création originale des Forains, dont la musique est signée Henri Sauguet, est un court ballet en un acte qui, en 1945, lança la carrière du chorégraphe Roland Petit, peu de temps après la libération. L’Opéra de Limoges et la Cie Rêvolution ont souhaité remettre à l’honneur et au goût du jour cette « fête de la jeunesse et de la danse », comme Jean Cocteau a si bien décrit cette œuvre, célébrant à nouveau le thème intemporel des forains et des artistes de rue. Anthony Égéa s’est donc emparé de cette œuvre du répertoire académique et en a réalisé une création totalement hybride, ingénieux croisement entre le classique et le hip-hop. Les Forains de Sauguet prennent alors place dans notre société contemporaine, où la danse urbaine se mêle poétiquement à la musique orchestrale. En écho à la partition originale, un musicien électro répond par la texture du son synthétique, créant un subtil anachronisme des genres. Sans être figé dans une esthétique particulière, il s’agit bien d’un dialogue permanent entre les styles que ces artistes saltimbanques nous suggèrent le temps d’un ballet urbain. -
Le Temple De La Gloire
april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire . -
Erik Satie's Vexations—An Exercise in Immobility Christopher Dawson
Document généré le 23 sept. 2021 22:49 Canadian University Music Review Revue de musique des universités canadiennes Erik Satie's Vexations—An Exercise in Immobility Christopher Dawson Volume 21, numéro 2, 2001 Résumé de l'article La pièce pour piano Vexations d’Erik Satie comporte une « Note de l’auteur » URI : https://id.erudit.org/iderudit/1014483ar où le compositeur demande apparemment aux interprètes de répéter le DOI : https://doi.org/10.7202/1014483ar morceau 840 fois. Les opinions des biographes de Satie divergent quant à savoir si Satie voulait ou non une exécution « complète » de la pièce. Dans cet Aller au sommaire du numéro article, l’auteur évalue comment une interprétation littéraire de la Note peut jeter un éclairage sur les intentions de Satie. Il conclut que Vexations n’est pas tant un morceau de bravoure qu’un exercice : un moment musical conçu pour Éditeur(s) dégager les interprètes des notions occidentales conventionnelles de développement linéaire et de réception cumulative, en faveur d’un style Canadian University Music Society / Société de musique des universités musical personnel d’où est absent le développement, et pour les préparer à canadiennes jouer d’autres pièces, telles une Gymnopédie ou une Gnossienne. ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article Dawson, C. (2001). Erik Satie's Vexations—An Exercise in Immobility. Canadian University Music Review / Revue de musique des universités canadiennes, 21(2), 29–40. https://doi.org/10.7202/1014483ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. -
The Function of Music in Sound Film
THE FUNCTION OF MUSIC IN SOUND FILM By MARIAN HANNAH WINTER o MANY the most interesting domain of functional music is the sound film, yet the literature on it includes only one major work—Kurt London's "Film Music" (1936), a general history that contains much useful information, but unfortunately omits vital material on French and German avant-garde film music as well as on film music of the Russians and Americans. Carlos Chavez provides a stimulating forecast of sound-film possibilities in "Toward a New Music" (1937). Two short chapters by V. I. Pudovkin in his "Film Technique" (1933) are brilliant theoretical treatises by one of the foremost figures in cinema. There is an ex- tensive periodical literature, ranging from considered expositions of the composer's function in film production to brief cultist mani- festos. Early movies were essentially action in a simplified, super- heroic style. For these films an emotional index of familiar music was compiled by the lone pianist who was musical director and performer. As motion-picture output expanded, demands on the pianist became more complex; a logical development was the com- pilation of musical themes for love, grief, hate, pursuit, and other cinematic fundamentals, in a volume from which the pianist might assemble any accompaniment, supplying a few modulations for transition from one theme to another. Most notable of the collec- tions was the Kinotek of Giuseppe Becce: A standard work of the kind in the United States was Erno Rapee's "Motion Picture Moods". During the early years of motion pictures in America few original film scores were composed: D. -
Royal Ballet Sinfonia
Lord BERNERS The Triumph of Neptune (Complete ballet) L’uomo dai baffi • Valses bourgeoises • Polka English Northern Philharmonia • Royal Ballet Sinfonia David Lloyd-Jones Lord Lord Berners (1883–1950) The Triumph of Neptune BE(1R883N–19E50R) S The Right Honourable Sir Gerald Hugh Tyrwhitt-Wilson, Bouquet , Cupid and Psyche and Les Sirènes . Lambert and later 14th Baron Berners in the peerage of England, and a the young William Walton were the only two British The Triumph of Neptune L’uomo dai baffi baronet, was born on 18 September 1883 at Apley Park, composers with whom Berners felt a sympathy. (Not for him near Bridgnorth, Shropshire, the son of Commodore the the pastoral school of Vaughan Williams and Holst.) Walton (Complete ballet) (1926) 42:58 (‘The Man with the Moustache’) 1 Hon. Hugh Tyrwhitt (third son of Emma Harriet, Baroness certainly received regular amounts of financial assistance 2 Prelude 2:47 ) (1918) 15:43 Berners in her own right) and Julia Mary Foster. (The title from Berners for many years, even up to the composition Schottische 2:11 Strada d’oro 1:15 is one of few in the British peerage that can pass through of Belshazzar’s Feast , which is dedicated to him. 3 ¡ the female, as well as the male line.) Educated at Eton, During the 1940s Berners involved himself in the 4 Cloudland 3:41 ™ Intermezzo I (orch. Philip Lane) 2:14 and later in Dresden, Vienna, France and Italy, mainly in medium of cinema, writing two complete film scores pursuit of a knowledge of languages to equip him for the for The Halfway House (1943) and Nicholas 5 Farewell (Scherzo) 3:43 £ Ballerina azzurra 2:31 diplomatic service, he succeeded his uncle in 1918, Nickleby (1946). -
Les Mirages Henri Sauguet (1901-1989) (1905-1986), Cassandre (1901-1968)
1/3 Data Argument de : Serge Lifar Les mirages Henri Sauguet (1901-1989) (1905-1986), Cassandre (1901-1968) Genre ou forme de l’œuvre : Œuvres musicales Date 1943 Fin de création : Note : Musique pour le ballet en 2 tableaux de même titre. - Dates de composition : 1942-1943. - 1re représentation : Paris, Opéra, le 22 juillet 1944, sous la direction de Louis Fourestier (seule la générale eut lieu en raison de la fermeture des théâtres). - 1re représentation après 1945 : Paris, Opéra, le 15 décembre 1947, sous la direction de Robert Blot. - Éd. : Paris : Salabert Il existe une suite d'orchestre tirée de la musique de ballet Domaines : Musique Éditions de Les mirages (4 ressources dans data.bnf.fr) Partitions (3) Les mirages , Henri Sauguet Henri Sauguet. Les , Cassandre (1901-1968), (1953) (1901-1989), Paris ; New Mirages. Ballet [en 1 acte Serge Lifar (1905-1986), York : Salabert , cop. 1953 et 2 tableaux de A.-M. Henri Sauguet (1901-1989), Cassandre et Serge Lifar]. Paris : Salabert , 1943 Réduction pour piano par l'auteur (1943) Les Mirages, ballet. Henri , Henri Sauguet Sauguet. 1943. Piano (1901-1989) (1943) Spectacles (1) Les Mirages , Paris (France) : Opéra de (1947) Paris-Palais Garnier - 15-12-1947 data.bnf.fr 2/3 Data Documents sur Les mirages (6 ressources dans data.bnf.fr) Documents d'archives et manuscrits (catalogue général) (6) Lettres adressées par Louis None Lettre de Henri Sauguet à None Emié à Henri Sauguet en Francis Poulenc, Fargues- 1953 et 1954 Coutras, 27 octobre 1950 (1953) (1950) Lettre de Charles Koechlin -
THE GREAT CHORAL TREASURE HUNT IV Randy Swiggum & Rebecca Renee Winnie Anthony Cao, Piano Friday, October 27, 2006 • 2:45-4:00 PM Music Packets Courtesy of J.W
THE GREAT CHORAL TREASURE HUNT IV Randy Swiggum & Rebecca Renee Winnie Anthony Cao, piano Friday, October 27, 2006 • 2:45-4:00 PM Music packets courtesy of J.W. Pepper Music MUSIC FROM JEWISH TRADITIONS Arr. Doreen Rao: Hashivenu Israeli Folk Song Boosey & Hawkes OCTB6430 Unison, or 2 or 3 part canon (a cappella or piano) [Pepper #1656560] Flory Jagoda arr. Nick Page: Hamisha Asar Ladino text Boosey & Hawkes M-051-47234-5 3-part Treble, piano [Pepper #3273240] Arr. Stephen Hatfield: Vus Vet Zayn Traditional Yiddish text & melody Plymouth Music HL-231 3-part Treble, a cappella [Pepper #3013125] Salamon Rossi: Psalm 128 Hebrew Psalm text RRW Edition (May be copied freely) SSAATB, a cappella Other Recommended Music from Jewish Traditions: Arr. Joshua R. Jacobson: Mi Zeh Y’maleil Sephardic Chanukah Song (Morocco) Transcontinental Music Publications 992016 SATB divisi, Bar. Solo, tof, tambourine Arr. Yehezkel Braun, Adapted J. Jacobson: Durme, Durme Ladino Folk Song HaZamir Publications HZ-012 SSATTB (but easy 3-part), piano Arr. Joshua Jacobson: Tsen Brider Text: Martin Rosenberg Transcontinental Music Publications 99143 SATB, piano GREAT POETRY P.I. Chaikovsky: Nochevála túchka zolotáya Poem: M.I. Lermontov (1814-1841) earthsongs SATB a cappella [Pepper #3301045] Nikolay Rimsky-Korsakov: Nochevála túchka zolotáya Poem: M.I. Lermontov (1814-1841) RRW Edition (May be copied freely) SSA, a cappella Another Recommended “Great Poetry” piece: Arthur Sullivan: Echoes Text: Thomas Moore Oxford University Press SATB, a cappella Also found -
Joel Suhubiette Bio Anglais
Joël Suhubiette For many years, Joël Suhubiette has been an active performer in vocal music ranging from, oratorios, a cappella repertoire, operas, and renaissance, to contemporary music. With his two professional vocal ensembles - The chamber choir Les Eléments in Toulouse and the Ensemble Jacques Moderne in Tour - he has worked in close collaboration with musicologists on ancient music and has premiered many works by contemporary composers. After studying music at the University of Toulouse and the Conservatoire de Toulouse, Suhubiette started his career by singing with Les Arts Florissants and William Christie, then with Philippe Herreweghe’s two choirs: La Chapelle Royale in Paris, and Collegium Vocale Gent in Belgium. This was to be a decisive meeting for in 1990 Herreweghe gave him the role of assistant and over the following eight years, Suhubiette worked on a large repertoire representing four centuries of vocal music. At the same time, in 1993, he succeeded Jean-Pierre Ouvrard as the conductor of the vocal and instrumental Ensemble Jacques Moderne in Tours, performing early European music spanning over two centuries, from Renaissance polyphony to Baroque vocal music. In 1997, in Toulouse, he founded the Chamber choir Les Eléments, consisting of 16 to 40 singers, to perform contemporary creations, the 19th and 20th century a cappella repertoire, and masterpieces of baroque and classical oratorios. In 2006, Les Eléments was awarded Ensemble of the Year at the Victoire de la Musique Classique awards ceremony and today is recognised as one of France’s greatest choirs. With his two ensembles, Joël Suhubiette has frequently appeared in the principal French regional venues and festivals, and in Paris (Cité de la Musique, Théâtre du Chatelet, Théâtre des Champs-Elysées…). -
French Violin Performance from Franck to Ravel A
UNIVERSITY OF CALIFORNIA Los Angeles In Search of a Style: French Violin Performance from Franck to Ravel A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by Ji Young An 2013 © Copyright by Ji Young An 2013 ABSTRACT OF THE DISSERTATION In Search of a Style: French Violin Performance from Franck to Ravel by Ji Young An Doctor of Musical Arts University of California, Los Angeles, 2013 Professor Robert Winter, Chair My dissertation focuses on issues of French sound and style in late nineteenth and early twentieth-century French violin repertoire. As a violinist who studied at the Paris Conservatory, I have long been puzzled as to why so little had been written about something that everyone seems to take for granted—so called French style. I attacked this elusive issue from three perspectives: 1) a detailed look at performance directions; 2) comparisons among recordings by artists close to this period (Jacques Thibaud, Zino Francescatti, as well as contemporary French artists such as Philippe Graffin and Guillaume Sutre); and 3) interviews with three living French violinists (Olivier Charlier, Régis Pasquier, and Gérard Poulet) with strong ties to this tradition. After listening to countless historical recordings, I settled on three pivotal works that illustrate the emergence and full flowering of the French style: César Franck’s Violin Sonata (1886), Claude Debussy’s Violin Sonata (1917), and ii Maurice Ravel’s Tzigane: Rapsodie de Concert pour Violon et Piano (1924). Each of them presents specific challenges: notational and stylistic issues in Franck’s Violin Sonata, Debussy’s performance directions in his Violin Sonata, and notational and interpretive issues in Ravel’s Tzigane that led to a separate, orally-transmitted French tradition.