Matériel : Livre + CD
SKU: HL.48024511
ISBN 9783793142331. 9.0x12.0 inches.
Using four well-known poems by Else Lasker-Schüler as basis of a vocal work does not mean “setting to music†in the customary sense to the composer Lothar Voigtländer from Dresden: The colourful figure of the poetess, her unusual imageries, her (even religious) visions, as well as her close relation with renowned fine artists of her time had been on his mind for quite some time and in 2009 found their way into this composition: The dramatic, irregularly declaiming singing voice is harmonised with mystic, exotic piano farlands and the sounds of bells. At the composition competition of the Viennese Mahler Society in 2010, the songs were awarded the 1st prize.
SKU: HL.49019435
ISBN 9783795772420. UPC: 841886019386. 6.0x8.75x0.226 inches. German.
Even if Schumann falls back on the hymnbook when choosing the text of his 'Adventlied' (Advent Song), the composition was probably politically motivated and, still under the impressions of the revolutionary years of 1848/49, owed to the longing for peace. The 'Adventlied' (Advent Song), like the 'Neujahrslied' (New Year's Song), is 'a strange mixed genre between sociable, covertly political and religious chant'.
SKU: CY.CC3009
ISBN 9790530058299.
Tant um ergo Sacramentum (Therefore so great a Sacrament). Saint Saens wrote two settings of this music, this one being unpublished without an opus number. It is a short liturgical piece he wrote in 1860 while working as a young church organist at L'Eglise da la Madeleine.The music, originally written for 2 sopranos, alto, organ and optional chorus is very simple in nature with a religious and atmospheric feel to it.Mr. Couturier has done a wonderful job arranging this 4-minute work for 8-part Brass Ensemble of moderately advanced performers.
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].
SKU: FG.55011-730-3
ISBN 9790550117303.
Timo -Juhani Kyllonen's Christmas Suite for soprano, trumpet (also piccolo trumpet & flugelhorn) and organ was commissioned by the Swedish congregation of Espoo in 1999 to celebrate the Millenium. The text of the second movement is a religious Swedish text by an anonymous writer praising the Holy Mary from the 6th century.
SKU: HL.49046144
ISBN 9790001188678. UPC: 842819100119. 9x12 inches. German - English. Text: Jacob Sonderling.
Erich Wolfgang Korngold composed only two genuinely religious works: the Passover Psalm for soprano, mixed choir, organ and orchestra op. 30 and Prayer for tenor, female choir, harp and organ op. 32. Both compositions were written in 1941 in exile in California. The compositions had been commissioned by Jacob Nerdling, who led the Society for Jewish Culture in Los Angeles. For thePassover Psalm, Nerd personally created prayers from the Passover Haggadah.
SKU: HL.49005944
ISBN 9790001064378. German.
'The towers are burning, the church has been ransacked, the town hall lies in ruins, the strong have been hacked to death, the virgins defiled, and wherever we look we see fire, plague and death which breaks both heart and spirit.'Karl Amadeus Hartmann uses bold colours to depict the image of the Thirty Years' War, the consequence of religious strife throughout Europe. The composer's only choral work sets poetry by Andreas Gryphius and culminates in a muted call for peace. Hartmann undertook a revision of the music in his cantata Lamento for soprano and piano in 1955.
SKU: HL.373819
ISBN 9781705149898. UPC: 196288016618. 6.75x9.25x0.146 inches.
The 29-year-old Franz Schubert composed his German Mass (D 872) in 1826 at the request of Johann Philipp Neumann, who also wrote the text with the original title “Songs for the celebration of the holy sacrifice of the Mass.†Its name derives from the the fact that - unlike most sacred works of the time - the German language is used. Its great popularity can be explained primarily by the straighforward and memorable music of Schubert; in addition, the German texts, in contrast to the traditional Latin Mass texts, focus on people with their earthly worries and needs, which certainly reflected Schubert's own religious convictions. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for “sound†to create the portmanteau word “sound together†or “harmony.†The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire.
SKU: ST.W213
ISBN 9790220221019.
Thou gh Frederick Delius was in no sense a man of traditional religious beliefs, the distinguished composer and organist Derek Healey has imagined the sound of a Christmas carol he might have written, and given us Sleep, Holy Babe!, a delightful unaccompanied SATB setting of Edward Caswall's classic hymn. The result will delight all lovers of Delius's music, and not least those who wish to add a dash of his unique style to this year's Christmas festivities. A slow and expressive lullaby, Sleep, Holy Babe! adds a different nuance to each of the four verses, reflecting their changing moods. In turn, sopranos, tenors, basses and altos have solo roles, and together create a richly Delian sonority that stays well within the technical range of an average choir.