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Henryk Górecki - Lento e Largo - Tranquillissimo
Henryk Górecki - Lento e Largo - Tranquillissimo
Symphony No. 3, Op. 36, also known as the Symphony of Sorrowful Songs (Polish: Symfonia pieśni żałosnych), is a symphony in three movements composedby Henryk Górecki in Katowice, Poland, between October and December 1976. The work is indicative of the transition between Górecki's dissonant earlier manner and his more tonal later style.A solo soprano sings a different Polish text in each of the three movements. The first is a 15th-century Polish lament of Mary, mother of Jesus, the second a message written on the wall of a Gestapo cell during World War II, and the third a Silesian folk song of mother searching for son killed in the Silesian uprisings.The first and third movements are written from the perspective of a parent who has lost a child, and the second movement from that of a child separated from a parent. The dominant themes of the symphony are motherhood and separation through war.Until 1992, Górecki was known only to connoisseurs, primarily as one of several composers responsible for the postwar Polish music renaissance.That year, Elektra-Nonesuch released a recording of the 15-year-old symphony that topped the classical charts in Britain and the United States. It has now sold more than a million copies, vastly exceeding the expected lifetime sales of a typical symphonic recording by a 20th-century composer. This success, however, has failed to generate interest in Górecki's other works.Symphony No. 3 is constructed around simple harmonies, set in a neo-modal style which makes use of the medieval musical modes, but does not adhere strictly to medieval rules of composition. The symphony is written for solo soprano, four flutes—two players doubling on piccolo—four clarinets, two bassoons, two contrabassoons, four horns, four trombones, harp, piano and strings. Performances typically last about 50 minutes.The musicologist Adrian Thomas notes that the symphony lacks dissonance outside of modal inflections (that is, occasional use of pitches that fall outside the mode), and that it does not require nonstandard techniques or virtuosic playing. Thomas further observes that "there is no second-hand stylistic referencing, although if predecessors were to be sought they might be found, distantly removed, in the music of composers as varied as Bach, Schubert, Tchaikovsky, and even Debussy."Ronald Blum describes the symphony as "mournful, like Mahler, but without the bombast of percussion, horns and choir, just the sorrow of strings and the lone soprano".The work consists of three elegiac movements, each marked Lento to indicate their slow tempi.Strings dominate the musical textures and the music is rarely loud—the dynamics reach fortissimo in only a few bars.Lento e largo—TranquillissimoThe nine-minute second movement is for soprano, clarinets, horns, piano and strings, and contains a libretto formed from the prayer to the Virgin Mary inscribed by Blazusiakówna on the cell wall in Zakopane.According to the composer, "I wanted the second movement to be of a highland character, not in the sense of pure folklore, but the climate of Podhale ... I wanted the girl's monologue as if hummed ... on the one hand almost unreal, on the other towering over the orchestra."The movement opens with a folk drone, A--E, and a melodic fragment, E--G♯--F♯, which alternate with sudden plunges to a low B♭--D♭ dyad. Thomas describes the effect as "almost cinematic ... suggest[ing] the bright open air of the mountains". As the soprano begins to sing, her words are supported by the orchestra until she reaches a climaxing top A♭. The movement is resolved when the strings hold a chord without diminuendo for just over two minutes. The final words of the movement are the first two lines of thePolish Ave Maria, sung twice on a repeated pitch by the soprano.Second MovementNo, Mother, do not weep,Most chaste Queen of HeavenSupport me always."Zdrowas Mario." (*)(Prayer inscribed on wall 3 of cell no. 3 in the basement of "Palace," the Gestapo's headquarters in Zakopane; beneath is the signature of Helena Wanda Blazusiakówna, and the words "18 years old, imprisoned since 26 September 1944.")(*) "Zdrowas Mario" (Ave Maria)—the opening of the Polish prayer to the Holy Mother.Artwork:Zdzisław Beksiński [ More Detail ]
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William Byrd 'O Lord, make thy servant Elizabeth'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'O Lord, make thy servant Elizabeth'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
William Byrd 'The Great Service : Nunc dimitis'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'The Great Service : Nunc dimitis'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
William Byrd 'The Great Service : Magnificat'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'The Great Service : Magnificat'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
William Byrd 'The Great Service : Creed'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'The Great Service : Creed'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
William Byrd 'The Great Service : Benedictus'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'The Great Service : Benedictus'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
William Byrd 'The Great Service : Te Deum'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'The Great Service : Te Deum'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
William Byrd 'The Great Service : Venite'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'The Great Service : Venite'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
William Byrd 'Mass for Five Voices : Agnus Dei'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'Mass for Five Voices : Agnus Dei'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
William Byrd 'Mass for Five Voices : Sanctus &Benedictus'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'Mass for Five Voices : Sanctus &Benedictus'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
William Byrd 'Mass for Five Voices : Credo'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'Mass for Five Voices : Credo'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
William Byrd 'Mass for Five Voices : Kyrie &Gloria'
William Byrd (between 1534 and 1543 -- 4 July 1623) was an English composer of the Renaissance. He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his keyboard works are said to have marked the beginning of the Baroque organ and harpsichord style.Like so many gifted musicians in Renaissance Europe, Byrd began his career at a very early age. He almost certainly sang in the Chapel Royal during Mary Tudor's reign (1553--1558), "bred up to music under Thomas Tallis". This places him in the best choir in England during his teenage years, alongside the finest musicians of his day, who were brought in from all over the British Isles, from the Netherlands, and even from Spain and Portugal. Mary I spent her brief reign reacting to the excesses of Protestant austerity under her predecessor Edward VI. Byrd seems to have thrived on the exuberant, creative atmosphere as well as her taste for elaborate Latin church music: one manuscript from Queen Mary's chapel includes a musical setting of a long psalm for Vespers, with eight verses each by leading court composers William Mundy and John Sheppard, and four verses by the young Byrd.He was eighteen years old when Mary died and her younger Protestant sister, Elizabeth I, succeeded her. The sudden change may well have driven him away from court. In his mid-twenties he became organist and choirmaster of Lincoln Cathedral, being named to the position on March 25, 1563 and living at 6 Minster Yard in the Cathedral Close. There the clergy apparently had to reprimand him for playing at excessive length during services, although he did continue to write music specifically to be played at Lincoln even after his move to London.[citation needed]He married Juliana (or Julian) Byrd in 1568, and at least seven children are known: Christopher (baptized in 1569), Elizabeth (baptized early in 1572), Rachel (born sometime before 1574), Mary, Catherine, Thomas (baptized in 1576) and Edward.After being named a Gentleman of the Chapel Royal in 1572, a well-paying job with considerable privileges attached to it, he moved back to London. He worked there as a singer, composer and organist for more than two decades. Just after his appointment, he and Tallis obtained a joint printing license from Queen Elizabeth. He published three collections of Latin motets or Cantiones Sacrae, one (in 1575) with the collaboration of his teacher and two (in 1589 and 1591) by himself after the older man had died. (Byrd composed the musical elegy Ye Sacred Muses on Tallis's death). Alongside these, he brought out two substantial anthologies of music in English, Psalmes, Sonets and Songs in 1588 and Songs of Sundrie Natures in 1589. He also wrote a large amount of Anglican church music for the Chapel Royal, including the ten-voice Great Service and a number of anthems, including Sing joyfully. In 1591 he arranged for the transcription of many of his keyboard pieces to form a collection dedicated to a member of the Nevill family, titled My Ladye Nevells Booke, one of the most important anthologies of renaissance keyboard music. In 1593 he moved with his family to the small village of Stondon Massey in Essex, and spent the remaining thirty years of his life there, devoting himself more and more to music for the Roman liturgy. He published his three settings of the Mass Ordinary between 1592 and 1595, and followed them in 1605 and 1607 with his two books of Gradualia, an elaborate year-long musical cycle. He contributed eight pieces to the first printed collection of keyboard music in England, Parthenia, published circa 1611. He died on July 4, 1623, and is buried in Stondon churchyard.'Mass for Five Voices : Kyrie &Gloria'Performed : The Tallis ScholarsDir : Peter Phillips [ More Detail ]
Lawrence of Arabia - Orquesta Sinfónica de Puerto Rico
By Maurice JarreLawrence of Arabia 's score has the haunting, lilting rhythm of a triumphant elegy. It's as powerful as Bolero without one tenth of the maniacal effort. In its full-length, uncut version, the film opens with an extended overture as compelling as any interlude from a classical symphony. The music suggests to the audience that what one is about to see must also be translated into an auditory argument, and that the visual narrative is only a metaphor for the self-betrayal of a hero who chose his fate, and regretted that choice for the remaining two decades of his life. Jarre's score is what I carried in my head as I went to the local library and asked for a copy of Seven Pillars of Wisdom, and it was Jarre's assemblage of percussion, strings, wind instruments and odd, ethereal chimes that formed a chorus in my head to preface the opening sentence of Chapter 1: "Some of the evil of my tale may have been inherent in our circumstances..." Lawrence's choice of the first noun in his formal narrative is not an accident, and the music of the film argues, in a far more convincing manner than the visuals, that his valiant subservience to the freedom of another cost him more than simply the power to control his own destiny; he violated his own ideals, and consequently imposed a penance on himself far exceeding his culpability.I am not trained in music, and perhaps if I had found myself at a dinner party with Virgil Thomson a quarter-century ago, I would have found myself admitting that I could bring nothing more to an appreciation of Jarre's music than the same untutored response that I bring to the work of Debussy, Ravel, Brahms, and Mendelssohn. Whether Jarre's composition can hold its own with other masterpieces of the classical music canon is not for me to say. I am willing to venture, however, that the music contains the unresolved mystery of Lawrence's multitudinous ambiguities: a soldier who loathed war, a writer whose imagination veered between the literal and the abstract with too little attention to what comes between, and a man whose friendship and loyal companionship appears to have been capable of crossing enormous boundaries of class and education, yet who was profoundly lonely. Bill MohrSpeechless Spring 2007Copyright © 2007 http://www.myspace.com/davidmercadomorales [ More Detail ]
Shostakovich - Ballet Suite No. 3 - Part 1/6
Ballet Suite No. 3 (1952)(I) Waltz (The Human Comedy)(II) Gavotte (The Human Comedy)(III) Dance (The Limpid Stream)(IV) Elegy (The Human Comedy)(V) Waltz (The Limpid Stream)(VI) Galop (The Limpid Stream)Composer: Dmitri Shostakovich (1906-1975)Orchestra: Russian Philharmonic OrchestraBallet Suite No. 3 (1952) is derived from two sources. The incidental music for Pavel Sukhotin's 1934 production of Balzac's The Human Comedy yields the lively opening Waltz, a fetching Gavotte, which could almost pass as a mid-century reorchestration of Delibes or Messager, and an Elegy, whose main melody ranks among Shostakovich's most personable melodic inspirations. Before that, The Limpid Stream provides a Dance which recalls - or rather anticipates - the famous Galop from Kabalevsky's ballet The Comedians, as well as the final two numbers: a Waltz, which is the essence of the 'light music' aesthetic, and a Galop which propels the suite to a suitably energetic finish.http://www.naxosdirect.com/title/8.557208 [ More Detail ]
Shostakovich - Ballet Suite No. 3 - Part 2/6
Ballet Suite No. 3 (1952)(I) Waltz (The Human Comedy)(II) Gavotte (The Human Comedy)(III) Dance (The Limpid Stream)(IV) Elegy (The Human Comedy)(V) Waltz (The Limpid Stream)(VI) Galop (The Limpid Stream)Composer: Dmitri Shostakovich (1906-1975)Orchestra: Russian Philharmonic OrchestraBallet Suite No. 3 (1952) is derived from two sources. The incidental music for Pavel Sukhotin's 1934 production of Balzac's The Human Comedy yields the lively opening Waltz, a fetching Gavotte, which could almost pass as a mid-century reorchestration of Delibes or Messager, and an Elegy, whose main melody ranks among Shostakovich's most personable melodic inspirations. Before that, The Limpid Stream provides a Dance which recalls - or rather anticipates - the famous Galop from Kabalevsky's ballet The Comedians, as well as the final two numbers: a Waltz, which is the essence of the 'light music' aesthetic, and a Galop which propels the suite to a suitably energetic finish.http://www.naxosdirect.com/title/8.557208 [ More Detail ]
Shostakovich - Ballet Suite No. 3 - Part 3/6
Ballet Suite No. 3 (1952)(I) Waltz (The Human Comedy)(II) Gavotte (The Human Comedy)(III) Dance (The Limpid Stream)(IV) Elegy (The Human Comedy)(V) Waltz (The Limpid Stream)(VI) Galop (The Limpid Stream)Composer: Dmitri Shostakovich (1906-1975)Orchestra: Russian Philharmonic OrchestraBallet Suite No. 3 (1952) is derived from two sources. The incidental music for Pavel Sukhotin's 1934 production of Balzac's The Human Comedy yields the lively opening Waltz, a fetching Gavotte, which could almost pass as a mid-century reorchestration of Delibes or Messager, and an Elegy, whose main melody ranks among Shostakovich's most personable melodic inspirations. Before that, The Limpid Stream provides a Dance which recalls - or rather anticipates - the famous Galop from Kabalevsky's ballet The Comedians, as well as the final two numbers: a Waltz, which is the essence of the 'light music' aesthetic, and a Galop which propels the suite to a suitably energetic finish.http://www.naxosdirect.com/title/8.557208 [ More Detail ]
Shostakovich - Ballet Suite No. 3 - Part 4/6
Ballet Suite No. 3 (1952)(I) Waltz (The Human Comedy)(II) Gavotte (The Human Comedy)(III) Dance (The Limpid Stream)(IV) Elegy (The Human Comedy)(V) Waltz (The Limpid Stream)(VI) Galop (The Limpid Stream)Composer: Dmitri Shostakovich (1906-1975)Orchestra: Russian Philharmonic OrchestraBallet Suite No. 3 (1952) is derived from two sources. The incidental music for Pavel Sukhotin's 1934 production of Balzac's The Human Comedy yields the lively opening Waltz, a fetching Gavotte, which could almost pass as a mid-century reorchestration of Delibes or Messager, and an Elegy, whose main melody ranks among Shostakovich's most personable melodic inspirations. Before that, The Limpid Stream provides a Dance which recalls - or rather anticipates - the famous Galop from Kabalevsky's ballet The Comedians, as well as the final two numbers: a Waltz, which is the essence of the 'light music' aesthetic, and a Galop which propels the suite to a suitably energetic finish.http://www.naxosdirect.com/title/8.557208 [ More Detail ]
Shostakovich - Ballet Suite No. 3 - Part 5/6
Ballet Suite No. 3 (1952)(I) Waltz (The Human Comedy)(II) Gavotte (The Human Comedy)(III) Dance (The Limpid Stream)(IV) Elegy (The Human Comedy)(V) Waltz (The Limpid Stream)(VI) Galop (The Limpid Stream)Composer: Dmitri Shostakovich (1906-1975)Orchestra: Russian Philharmonic OrchestraBallet Suite No. 3 (1952) is derived from two sources. The incidental music for Pavel Sukhotin's 1934 production of Balzac's The Human Comedy yields the lively opening Waltz, a fetching Gavotte, which could almost pass as a mid-century reorchestration of Delibes or Messager, and an Elegy, whose main melody ranks among Shostakovich's most personable melodic inspirations. Before that, The Limpid Stream provides a Dance which recalls - or rather anticipates - the famous Galop from Kabalevsky's ballet The Comedians, as well as the final two numbers: a Waltz, which is the essence of the 'light music' aesthetic, and a Galop which propels the suite to a suitably energetic finish.http://www.naxosdirect.com/title/8.557208 [ More Detail ]
Shostakovich - Ballet Suite No. 3 - Part 6/6
Ballet Suite No. 3 (1952)(I) Waltz (The Human Comedy)(II) Gavotte (The Human Comedy)(III) Dance (The Limpid Stream)(IV) Elegy (The Human Comedy)(V) Waltz (The Limpid Stream)(VI) Galop (The Limpid Stream)Composer: Dmitri Shostakovich (1906-1975)Orchestra: Russian Philharmonic OrchestraBallet Suite No. 3 (1952) is derived from two sources. The incidental music for Pavel Sukhotin's 1934 production of Balzac's The Human Comedy yields the lively opening Waltz, a fetching Gavotte, which could almost pass as a mid-century reorchestration of Delibes or Messager, and an Elegy, whose main melody ranks among Shostakovich's most personable melodic inspirations. Before that, The Limpid Stream provides a Dance which recalls - or rather anticipates - the famous Galop from Kabalevsky's ballet The Comedians, as well as the final two numbers: a Waltz, which is the essence of the 'light music' aesthetic, and a Galop which propels the suite to a suitably energetic finish.http://www.naxosdirect.com/title/8.557208 [ More Detail ]
Art:21 | Elegy for Robert Rauschenberg
"Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)"-- Robert Rauschenberg, 1959Elegy for Robert Rauschenberg is an homage to an artist who was my personal hero, and my nemesis, in my student years. He was my hero because of the infallibility of his touch, and the constancy of his ability to invent and re-invent the potency and power of visual art — to push the boundaries of what art could be. He was my nemesis because I saw him as pure genius and his every gesture as perfection — conditions that were not, I thought, possible for others to attain. But my joy and delight in his work continued and my pleasure in talking with him from time to time over the years was enormous.Curated by Paul Schimmel, Robert Rauchenberg: Combines was shown in early 2006 at The Metropolitan Museum of Art in New York. On seeing it there, and upon learning that there were no plans to film it, I asked Bob for permission to do so at the next venue, The Museum of Contemporary Art, Los Angeles.This elegy is dedicated to the memory of Robert Rauschenberg (1925-2008) and to the memory of his friendship with my late husband, Earle Brown (1926-2002), whose music has been intertwined and juxtaposed here with images of the glorious Combines.Susan Sollins-BrownExecutive DirectorArt21Elegy for Robert Rauschenberg has been created from footage filmed by Art21 at The Museum of Contemporary Art, Los Angeles during the 2006 exhibition of Robert Rauschenberg: Combi