Psaume (Psalm) 24

Le premier morceau 'Sicut ros Hermon' (Psaume 133) médite sur le chemin de la miséricorde de Dieu prend, dans lequel la lente descente initiale séquences harmoniques se développer en une chanson emphatique suivie d'un appel d'offres choral, coda.'Si sumpsero Pennas aurores' (Psaume 139) se rapporte à une image très poétique, consolante, mais aussi admonestation du psaume: En ce qui concerne nos ailes peut nous mener, la main de Dieu sera s'emparer de nous. Nous ne pouvons pas échapper à sa miséricorde ou de son jugement. A la fin de ce mouvement de frappe de la musique transmet moments haptiques presque, on peut sentir la puissante 'main' par le biais de son tutti. Enfin, la musique devient plus calme qu'au début de cette pièce, si le dialogue des figurations aiment transmettre des répercussions de ce qui a été connu et reconnu. / Orgue

Non Nobis Domine / Nicht Unserm Namen, Herr. Par MENDELSSOHN-BARTHOLDY FELIX. The Psalms inspired Mendelssohn throughout his working life, and, aside from a cappella settings, he left behind five great orchestral Psalms. / Psaumes / Date parution : 1995-01-01/ Répertoire / Solistes STBar, Choeur SSAATTBB, 2 Flûtes Traversi

Non Nobis Domine / Nicht Unserm Namen, Herr. Par MENDELSSOHN-BARTHOLDY FELIX. The Psalms inspired Mendelssohn throughout his working life, and, aside from a cappella settings, he left behind five great orchestral Psalms. / Psaumes / Date parution : 1994-10-01/ Répertoire / Solistes STBar, Choeur SSAATTBB, 2 Flûtes Traversi

Domine, refugium factus es nobis. Par SCHANDERL HANS. Kurt Suttner, editor of the “carus novus” series, has written as follows in the foreword to the printed edition of Schanderl’s setting of Psalm 90: The seven verses of Psalm 90 contrast the eternity of God with the transitoriness of man. This contrast is symbolized in the composition by the majestic, slow-moving basic pulse of the music, and by rhythmically taut, concise, polyphonic melodic figures. This contrast exactly matches the words which speak either of the permanence of God [“Domine – Lord”] or the transitory nature of man [“convertimini filii hominum – return ye children of man” – “mane sicut herba – like the grass”]. / Psaumes / Répertoire / Choeur SSAATTBB

Beatus Vir. Par VIVALDI ANTONIO. Mit 'Dixit Dominus' [Ps 109 [110]] und 'Beatus vir' [Ps 111 [112]] liegen zwei der bedeutendsten doppelchörigen Kirchenkompositionen Vivaldis in kritischen Neuausgaben vor. Mit der vokal-instrumentalen Satzart 'in due Cori' knüpft Vivaldi an die alte venezianische [für ihn also heimatliche] Tradition festlich-mehrchörigen Musizierens an, deren Techniken der freilich mit solchen aus Konzert, Kantate und Oper verknüft und anreichert. Einem Brauch der Zeit folgend, ist dem 'Dixit' eine 'Introduzione al Dixit' vorangestellt: ein Prolog in Form einer dreisätzigen lateinischen Solokantate, deren lobpreisender Text mit der Aufforderung 'Ergo cantate Dixit' ['Darum singt nun das Dixit']zur eigentlichen Psalmkomposition überleitet. Da dieses Solo für Sopran, Streicher und Basso continuo auch eigenständig musiziert werden kann, ist es als CV 40. 006 separat veröffentlicht. / Psaumes / Date parution : 2000-06-01/ Répertoire / Solistes SSATBB, Choeur SATB/SATB, 2 Hautbois, 2 O

Par SCHREKER FRANZ. Franz Schreker was an important representative of the “Wiener Moderne” and one of the most successful opera composers at the beginning of the 20th century. To conclude his studies at the Vienna Conservatory he set Psalm 116 for women’s choir and orchestra [1900] and dedicated to his “beloved teacher Robert Fuchs, in reverence. ” Fuchs, the highly respected composition teacher, was a close friend of Johannes Brahms and a champion of Brahms’s romantic classicism. Thus, Schreker’s psalm setting closely follows the tonal language of Brahms. In 1901 Psalm 116 was first performed in a concert of the Gesellschaft der Musikfreunde in Vienna, and was first published in the same yearby the Viennese publisher Adolf Robitschek. The scoring of the psalm is identical with that of Brahms’s Deutsches Requiem, which would suggest and facilitate a performance of both these on the same concert program. / Psaumes / Répertoire / Choeur SSA, 2 Flûtes Traversières, 2 Hautbois, 2 C

Aus tiefer Not. Par RENTZSCH FRIEDHELM. Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters. / Psaumes / Répertoire / Solo A, Timbales, Percussions (4 Joueurs), 2 Violo

Par SCHREKER FRANZ. Franz Schreker was an important representative of the “Wiener Moderne” and one of the most successful opera composers at the beginning of the 20th century. To conclude his studies at the Vienna Conservatory he set Psalm 116 for women’s choir and orchestra [1900] and dedicated to his “beloved teacher Robert Fuchs, in reverence. ” Fuchs, the highly respected composition teacher, was a close friend of Johannes Brahms and a champion of Brahms’s romantic classicism. Thus, Schreker’s psalm setting closely follows the tonal language of Brahms. In 1901 Psalm 116 was first performed in a concert of the Gesellschaft der Musikfreunde in Vienna, and was first published in the same yearby the Viennese publisher Adolf Robitschek. The scoring of the psalm is identical with that of Brahms’s Deutsches Requiem, which would suggest and facilitate a performance of both these on the same concert program. / Psaumes / Répertoire / Choeur SSA, 2 Flûtes Traversières, 2 Hautbois, 2 C

Beatus Vir. Par VIVALDI ANTONIO. Mit 'Dixit Dominus' [Ps 109 [110]] und 'Beatus vir' [Ps 111 [112]] liegen zwei der bedeutendsten doppelchörigen Kirchenkompositionen Vivaldis in kritischen Neuausgaben vor. Mit der vokal-instrumentalen Satzart 'in due Cori' knüpft Vivaldi an die alte venezianische [für ihn also heimatliche] Tradition festlich-mehrchörigen Musizierens an, deren Techniken der freilich mit solchen aus Konzert, Kantate und Oper verknüft und anreichert. Einem Brauch der Zeit folgend, ist dem 'Dixit' eine 'Introduzione al Dixit' vorangestellt: ein Prolog in Form einer dreisätzigen lateinischen Solokantate, deren lobpreisender Text mit der Aufforderung 'Ergo cantate Dixit' ['Darum singt nun das Dixit']zur eigentlichen Psalmkomposition überleitet. Da dieses Solo für Sopran, Streicher und Basso continuo auch eigenständig musiziert werden kann, ist es als CV 40. 006 separat veröffentlicht. / Psaumes / Date parution : 2000-06-01/ Répertoire / Solistes SSATBB, Choeur SATB/SATB, 2 Hautbois, 2 O

Par SCHREKER FRANZ. Franz Schreker was an important representative of the “Wiener Moderne” and one of the most successful opera composers at the beginning of the 20th century. To conclude his studies at the Vienna Conservatory he set Psalm 116 for women’s choir and orchestra [1900] and dedicated to his “beloved teacher Robert Fuchs, in reverence. ” Fuchs, the highly respected composition teacher, was a close friend of Johannes Brahms and a champion of Brahms’s romantic classicism. Thus, Schreker’s psalm setting closely follows the tonal language of Brahms. In 1901 Psalm 116 was first performed in a concert of the Gesellschaft der Musikfreunde in Vienna, and was first published in the same yearby the Viennese publisher Adolf Robitschek. The scoring of the psalm is identical with that of Brahms’s Deutsches Requiem, which would suggest and facilitate a performance of both these on the same concert program. / Psaumes / Répertoire / Choeur SSA, 2 Flûtes Traversières, 2 Hautbois, 2 C

Aus tiefer Not. Par RENTZSCH FRIEDHELM. Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters. / Psaumes / Répertoire / Solo A, Timbales, Percussions (4 Joueurs), 2 Violo

Aus tiefer Not. Par RENTZSCH FRIEDHELM. Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters. / Psaumes / Répertoire / Solo A, Timbales, Percussions (4 Joueurs), 2 Violo

Beatus Vir. Par VIVALDI ANTONIO. Mit 'Dixit Dominus' [Ps 109 [110]] und 'Beatus vir' [Ps 111 [112]] liegen zwei der bedeutendsten doppelchörigen Kirchenkompositionen Vivaldis in kritischen Neuausgaben vor. Mit der vokal-instrumentalen Satzart 'in due Cori' knüpft Vivaldi an die alte venezianische [für ihn also heimatliche] Tradition festlich-mehrchörigen Musizierens an, deren Techniken der freilich mit solchen aus Konzert, Kantate und Oper verknüft und anreichert. Einem Brauch der Zeit folgend, ist dem 'Dixit' eine 'Introduzione al Dixit' vorangestellt: ein Prolog in Form einer dreisätzigen lateinischen Solokantate, deren lobpreisender Text mit der Aufforderung 'Ergo cantate Dixit' ['Darum singt nun das Dixit']zur eigentlichen Psalmkomposition überleitet. Da dieses Solo für Sopran, Streicher und Basso continuo auch eigenständig musiziert werden kann, ist es als CV 40. 006 separat veröffentlicht. / Psaumes / Date parution : 2000-06-01/ Répertoire / Solistes SSATBB, Choeur SATB/SATB, 2 Hautbois, 2 O

Par SCHREKER FRANZ. Franz Schreker was an important representative of the “Wiener Moderne” and one of the most successful opera composers at the beginning of the 20th century. To conclude his studies at the Vienna Conservatory he set Psalm 116 for women’s choir and orchestra [1900] and dedicated to his “beloved teacher Robert Fuchs, in reverence. ” Fuchs, the highly respected composition teacher, was a close friend of Johannes Brahms and a champion of Brahms’s romantic classicism. Thus, Schreker’s psalm setting closely follows the tonal language of Brahms. In 1901 Psalm 116 was first performed in a concert of the Gesellschaft der Musikfreunde in Vienna, and was first published in the same yearby the Viennese publisher Adolf Robitschek. The scoring of the psalm is identical with that of Brahms’s Deutsches Requiem, which would suggest and facilitate a performance of both these on the same concert program. / Psaumes / Répertoire / Choeur SSA, 2 Flûtes Traversières, 2 Hautbois, 2 C

Aus tiefer Not. Par RENTZSCH FRIEDHELM. Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters. / Psaumes / Répertoire / Solo A, Timbales, Percussions (4 Joueurs), 2 Violo