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Pękiel, Bartłomiej

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Partitions Orchestre ⮞ Vents & Orchestre Cordes ⮞ Bartłomiej Pękiel

"Ave Maria" for Winds & Strings
Bartłomiej Pękiel

Vents & Orchestre Cordes

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VoirTélécharger PDF : "Ave Maria" for Winds & Strings (12 pages - 215.62 Ko)124x⬇

VoirTélécharger PDF : Basson (63.03 Ko)

VoirTélécharger PDF : Violoncelle (63.06 Ko)

VoirTélécharger PDF : English Cor (63.99 Ko)

VoirTélécharger PDF : Flûte (64.23 Ko)

VoirTélécharger PDF : Hautbois (65.51 Ko)

VoirTélécharger PDF : Alto (63.59 Ko)

VoirTélécharger PDF : Violon 1 (63.62 Ko)

VoirTélécharger PDF : Violon 2 (65.92 Ko)

VoirTélécharger PDF : Conducteur complet (130.69 Ko)

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Compositeur	Bartłomiej Pękiel (1633 - 1670)
Instrumentation	Vents & Orchestre Cordes
Genre	Renaissance
Arrangeur Editeur	MAGATAGAN, MICHAEL (1960 - ) Suivre 102 Contacte Faire un don
Droit d'auteur	Public Domain
According to Johann Mattheson, Polish composer Bartlomiej Pekiel was born German, but his known career played itself out in Poland in its entirety. Earliest mention of Pekiel comes from 1633 when he enters the service of the Warsaw-based court of King Wladyslaw IV Vasa, as a sacred musician working with Marco Scacchi, a composer who supplied the King's court with opera and other kinds of secular music. Pekiel also took over the other duties when Scacchi returned to Italy owing to health concerns...(+) According to Johann Mattheson, Polish composer Bartlomiej Pekiel was born German, but his known career played itself out in Poland in its entirety. Earliest mention of Pekiel comes from 1633 when he enters the service of the Warsaw-based court of King Wladyslaw IV Vasa, as a sacred musician working with Marco Scacchi, a composer who supplied the King's court with opera and other kinds of secular music. Pekiel also took over the other duties when Scacchi returned to Italy owing to health concerns in 1649, but was not elevated to sole music director until 1653. Pekiel would not enjoy the position long, as in 1655 the Swedes swept Wladyslaw IV Vasa's successor, King John II Casimir, off the throne in the conflict now known as "The Deluge." Pekiel managed to land on his feet in Krakow, as in 1658 he was named to the post of kapellmeister at Wawel Cathedral. While direct evidence of his death has not been substantiated, Pekiel must have died around 1670, as his successor is named in cathedral records around that time. Bartlomiej Pekiel was the foremost Polish composer of his day, and though his work belongs historically to the middle Baroque, stylistically it is a holdover from the Italian renaissance of the previous century. So technically assured is Pekiel within this style that a tour of study in Italy is likely, even though he is not known to have traveled there; perhaps it occurred before first mention of him is found in 1633, and it is also possible that Pekiel was a little older than his suggested birthdate of "ca. 1610" might convey. Whereas his Polish contemporaries are known by mere handfuls of pieces, Pekiel is represented to posterity through 14 settings of the mass, 17 motets, and about 42 instrumental pieces, though the authenticity of the latter has been a matter of debate. A scholarly edition of Pekiel's work was published in 1996 by Monumenta Musicae in Polonia, though certain works -- such as the Missa pulcherrima ad instar Praenestini -- have been available in modern editions going back into the 1930s. This is a distant excursion from home base for the British choir the Sixteen, for which familiarity of repertory is generally part of the plan. The music heard here, by composer Bartlomiej Pekiel (active 1633-1670), is little known outside Poland. Indeed, the Polish Baroque, which attracted plenty of Italian composers in its day, provides fertile ground for choirs looking to perform unknown masterpieces. The style of the music is in general what you would expect from a composer keeping close tabs on the latest music from Italy; Pekiel was the first native-born Polish composer to crack what had been a scene dominated by imports. There are several short motets in Renaissance stile antico, as well as masses in the newer concerted style, with solos and various contrasts of massed groups accompanied by a small continuo-based instrumental ensemble. Pekiel's realizations of these styles are unique. Most interesting is the torso of the Missa à 14, of which only the Kyrie and Gloria have survived. To hear the entire mass -- with no solo lines, only constantly shifting relationships among its 14 parts -- must have been a thrilling experience. In the other masses there are some striking dissonances. The motets are more conservative, but there is one unclassifiable piece, Audite morales, that somewhat resembles the Roman dialogue pieces, little quasi-dramas from which the oratorio emerged. The music is all in Latin.. Source: AllMusic (https://www.allmusic.com/artist/bartlomiej-pekiel-mn00 01200389/biography). Although originally created for Double Choir (SSAATTBB), I created this Arrangement of the "Ave Maria" (Hail Mary) for Winds (Flute, Oboe, English Horn & Bassoon) & Strings (2 Violins, Viola & Cello).
	Ajoutée par magataganm, 27 Déc 2019