Additional comments are by my school chum Maria Busen-Smith
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- Orfeo ed Euridice is a whole opera and contains several female arias. I don’t suppose you know the name of the aria concerned or can transcribe the opening words by ear
| More information about the Funeral Music of Diana de Bosmelet
Along with each of the seven tittles is information gathered about each piece from the internet by my friend,Anne Oldach. Additional comments are by my school chum Maria Busen-Smith. 1) Johann Sebastian Bach Program note: Bach - Chorale Prelude 'Erbarm dich mein, o Herre Gott', BWV 721 The words of the chorale invoke God’s mercy for a miserable sinner: the music of Bach’s lament carries precisely that emotional charge. One modern commentator has even referred to the music of BWV 721 as a ‘romantic conception’ – the stylistic latitude allowed to concert organists today permits a variety of interpretations according to the resources of the organ and the player’s mood. Nothing else quite like it exists in Bach’s output: the cantus firmus, or fixed tune, is in the treble right hand while the left plays an uninterrupted, pulsating sequence of three- and four-part chords, reminiscent of 17th-century string writing. Program note © Graeme Kay Requiem of course is something played as a funeral piece - a means of lament at a loss in honor of someone- Wikipedia notes ---- " A Requiem or Requiem Mass, also known as Mass for the dead (Latin: Missa pro defunctis) or Mass of the dead (Latin: Missa defunctorum), is a Mass celebrated for the repose of the soul or souls of one or more deceased persons, using a particular form of the Roman Missal. It is frequently, but not necessarily, celebrated in the context of a funeral. Musical settings of the propers of the Requiem Mass are also called Requiems, and the term has subsequently been applied to other musical compositions associated with death and mourning, even when they lack religious or liturgical relevance. The term is also used for similar ceremonies outside the Catholic Church, especially in the Anglo-Catholic branch of Anglicanism and in certain Lutheran churches. A comparable service, with a wholly different ritual form and texts, exists in the Eastern Orthodox and Eastern Catholic Churches. The Mass and its settings draw their name from the introit of the liturgy, which begins with the words "Requiem aeternam dona eis, Domine" – "Grant them eternal rest, O Lord". ("Requiem" is the accusative singular form of the Latin noun requies, "rest, repose".) The Roman Missal as revised in 1970 employs this phrase as the first entrance antiphon among the formulas for Masses for the dead, and it remains in use to this day." Erbarm dich mein, O Herre Gott, BWV 721 – this is closest in terms of catalogue number. Is this it? There are a few other vocal movements by Bach starting with the words Embarme Dich if this one is wrong…. Try the link below and see. www.youtube.com/watch?v=0moTrdn_Qoc 2) Jean Gilles: ‘Introit’ (Requiem Aeternam) from the Requiem Mass Philippe Caillard Gilles, French 1668 to 1750 This Requiem is one of the most frequently recorded of all French baroque works. Recordings include two early recordings conducted by Louis Frémaux (1957)[2] and (1965)[3], then two landmark recordings conducted by Philippe Herreweghe - the first paired with the Carillon des morts of Michel Corrette (1709-1795) performed by the Collegium Vocale Gent and Musica Antiqua Köln for Archiv (1981)[4Jean Gilles - composer - Baroque period He composed motets and a famous requiem, which was performed for the first time at his own funeral... see below from Wikipedia: After receiving his musical training as a choirboy at the Cathedral of Saint-Sauveur at Aix-en-Provence, he succeeded his teacher Guillaume Poitevin as music master there. After moving on several times, he became music master at the Cathedral of St Etienne at Toulouse in 1697, as the successor of André Campra. His musical style was influenced by Campra, as were most musicians of his day. He composed motets and a famous requiem, which was performed for the first time at his own funeral (because the original commissioner thought it too expensive to perform), but was later sung at the funeral services for the King of Poland in 1736, Jean-Philippe Rameau in 1764, and Louis XV in 1774. His motets were played frequently[1] from 1728–1771 at the Concert Spirituel. His choral works often alternate passages sung by the soloists with those sung by the chorus. In 1752, in Lettres sur les hommes célèbres du règne de Louis XIV, Pierre-Louis d'Aquin said that Gilles would doubtless have replaced Lalande if he had lived long enough. Gilles died suddenly at the age of 37 in Toulouse. 3) Pergolesi : "Stabat Mater" Sorrows of Mothers Neville Mariner player by Academy St Martins in the Field Stabat Mater - Wikipedia, the free encyclopedia Of two hymns, Stabat Mater Dolorosa (about the Sorrows of Mary and Stabat Mater Speciosa ... many composers, with the most famous settings being those by Palestrina, Pergolesi… en.wikipedia.org/wiki/Stabat_Mater
"Women of Ireland" The Chieftains I know the movie soundtrack – Handel’s setting of La Folia recurs throughout. 5) Faure: "Pavane in F# minor op. 50" Philarmonia Orchestra Andrew Davis -- Spanish court dance of the same name, the Pavane ebbs and flows from a series of harmonic and melodic climaxes, conjuring a cool, somewhat haunting, Belle Époque elegance The Pavane in F-sharp minor, Op. 50, is a composition by the French composer Gabriel Fauré, written in 1887. It was originally a piano piece, but is better known in Fauré's version for orchestra and optional chorus. Obtaining its rhythm from the slow processional Spanish court dance of the same name, the Pavane ebbs and flows from a series of harmonic and melodic climaxes, conjuring a cool, somewhat haunting, Belle Époque elegance. The piece is scored for only modest orchestral forces consisting of strings and one pair each of flutes, oboes, clarinets, bassoons, and horns. A typical performance lasts about six minutes. 6 Gluck : "Orfeo ed Euridice" An aria sung by Kathleen Ferraer and Orchestra . Netherlands Opera A chorus of nymphs and shepherds join Orfeo around the tomb of his wife Euridice in a solemn chorus of mourning; Orfeo is only able to utter Euridice's name (Chorus and Orfeo: "Ah, se intorno"/"Ah! Dans ce bois"). Orfeo sends the others away and sings of his grief in the aria "Chiamo il mio ben"/"Objet de mon amour", the three verses of which are preceded by expressive recitatives. This technique was extremely radical at the time and indeed proved overly so for those who came after Gluck: Mozart chose to retain the unity of the aria. Amore (Cupid) appears, telling Orfeo that he may go to the Underworld and return with his wife on the condition that he not look at her until they are back on earth (1774 only: aria by Amour, "Si les doux accords"). As encouragement, Amore informs Orfeo that his present suffering shall be short-lived with the aria "Gli sguardi trattieni"/"Soumis au silence". Orfeo resolves to take on the quest. In the 1774 version only he delivers an ariette ("L'espoir renaît dans mon âme") in the older, showier, Italian style, originally composed for an occasional entertainment, Il Parnaso confuso (1765), and subsequently re-used in another one, Le feste d'Apollo (1769).[1] Orfeo ed Euridice (French version: Orphée et Eurydice; English translation: Orpheus and Eurydice) is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing.[1] The piece was first performed at Vienna on 5 October 1762. Orfeo ed Euridice is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a "noble simplicity" in both the music and the drama.[2] – Orfeo ed Euridice is a whole opera and contains several female arias. I don’t suppose you know the name of the aria concerned or can transcribe the opening words by ear? Che Faro Euridice is actually the best known aria of this opera, but is sung by Orfeo, the main male protagonist – I suppose it could have been performed by Kathleen Ferrier for the sake of this particular recording: there’s quite a bit of vocal transvestitism in the industry! 7) Bach. Orchestral Suites. La POetite Bande, Sigiswald Kuijken Review | BACH. ORCHESTRAL SUITES. La Petite Bande / Sigiawald ... BACH. ORCHESTRAL SUITES. La Petite Bande / Sigiawald Kuijken. Harmonia Mundi digital HM20388-89 (two ... perhaps, in the Suite in B minor for solo flute and string orchestra ... – there are 4 of these orchestral suites, each one having several movements. Do you want to try to narrow it down? At a guess, the movement played might have been the Air from Suite no 3 in D (popularly known as Air on the G string, an expansion of Bach’s title given to a 19C arrangement of the movement which meant that it could be played in its entirety on one string on the violin as a pedagogic exercise). This movement was also associated, in the time of our childhoods, with a Hamlets cigar advert – do you know if it’s that tune or not? www.gramophone.net/Issue/Page/December%201982/51/801007/BACH.. Johann Sebastian Bach - release: Four Overtures for Orchestra (La Petite Bande feat. conductor ... www.youtubeonlinemusic.com/listen/4650539/tænder-på-et-kys(remix) Download 19.85 Kb. Share with your friends:
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