118 Results for : tibi
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Gloria Tibi Trinitas
Owen Rees (Dir) // Owen Rees dirigiert ein Programm, in dessen Zentrum John Taverners umfangreiche Missa Gloria tibi Trinitas steht. Die Interpretationen des Alte-Musik-Spezialensembles Contrapunctus werden in dieser fesselnden Einspielung überzeugend von den Stimmen des Queen's College Choir Oxford unterstützt.- Shop: odax
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Sacred & Profane Love
"The song of songs, which is Solomon's." So begins the book of the Hebrew Bible that most beguiled composers of sacred Renaissance polyphony. It is perhaps not surprising that so much music would be set to texts from a book explicitly titled "Songs," but the musical title is not the only reason for it's appeal. For Renaissance composers, who were predominantly employed as church choirmasters and who themselves were often very devout Christians, there were few outlets for the expression of love towards anyone but their Christian god. The Song of Songs, unlike any other book in the Old or New Testament, is quite clearly a collection of secular love poetry. Of course, it has been interpreted variously as an expression of longing for the coming Christ, of devotion to the Virgin Mary, and of God's love for his people, but it seems difficult to argue in our age that the original author or authors of the text had purely sacred subjects in mind. The composers of the Renaissance and the even earlier composers of plainchant melodies must have been aware of the tension between the often erotic, even explicitly anatomical imagery in the poetry of the Song of Songs and the holy subjects to which they directed their settings of these texts. Indeed, the music that they composed for these texts is generally more emotional, more direct, and more florid than their settings of other sacred texts. The only examples of sacred polyphony that approach Song of Songs settings for sensuality and emotional urgency are settings of Marian texts-and these two genres are often blended, as the Virgin takes the place of the mortal beloved as the subject of praise. Our program begins with one of the finest examples of the genre, Jacobus Clemens non Papa's setting of Ego flos campi (I am the rose of Sharon). Clemens was of the generation of Flemish composers immediately following Josquin, and he demonstrated mastery of all the various forms of Renaissance choral writing-from his vernacular settings of the Psalms (Die Souterliedekens) and homophonic chansons to his challenging and still controversial "secret chromatic art" motets. Ego flos campi belongs to Clemens's more diatonic style of composition, indeed, there is not a single chromatic note indicated in the manuscript. This imparts a serene beauty to the composition, but Clemens also manages to give shape and contrast to the piece without major harmonic shifts, particularly through the introduction of clearly offset homophonic passages. The most prominent of these declaims the text "Sicut lilium inter spinas" (as a lily among thorns), which was the motto of the Marian Brotherhood of s'Hertogenbosch in whose employ Clemens spent five years and to whom this motet is dedicated. Quam pulchra es (How fair art thou) is one of the most commonly set texts in the Song of Songs, and understandably so. The chapter from which it is drawn is devoted almost entirely to a litany of compliments to female beauty, some quite explicit. We perform two settings of verses from chapter 7, one plainchant (from a manuscript at the Newberry Library) and one by the English composer John Dunstable, both transcribed and edited by Calvin Bower. The anonymous composer of the chant setting captures the shape and feeling of the text beautifully, both within individual phrases and over the full sweep of the piece. Dunstable, the most famous of the pre-Eton-Choirbook English composers known for sweet, consonant harmonies, shows a similar skill in phrasing and feel for the poetry in his setting. If either composer saw any incongruity in closing his piece with the text "Ibi dabo tibi ubera mea. Alleluia." (There I will give you my breasts. Alleluia.), it is not apparent in the music. A similarly popular text for Renaissance composers (and presumably for similar reasons) is Tota pulchra es (Thou art all fair), of which we sing the setting by the Flemish composer Heinrich Isaac. Isaac was a contemporary of Josquin and is best known for his song Innsbruck, ich muß dich lassen, but his achievements in sacred music are formidable, including over 300 polyphonic settings of the Propers of the Mass. In Tota pulchra es, Isaac establishes a mysterious, shifting harmonic background, against which he sets bright, almost ecstatic individual lines, often spanning over an octave. The larger shape of the piece is a series of long, slow builds toward cadences that are inevitably interrupted before they fully resolve. The tension reaches it's maximum at "Surge, propera" (Arise, come away) and is finally released on the words "amica mea" (my love), with a final denouement on the text "Veni de Libano, veni, coronaberis" (Come with me from Lebanon, come, thou shalt be crowned). We make a (regrettably brief) detour into the Spanish Renaissance with settings by one rather obscure composer (Martín de Rivaflecha) and one of the Spanish greats (Francisco Guerrero). Rivaflecha was of the same generation of Isaac at a time when the Low Countries were under Spanish rule, and there was strong mutual influence between Flemish and Spanish composers. His setting of the heartbreaking text "Anima mea liquefacta est (ut dilectus locutus est)" (My soul failed [when my beloved spake]) is simple, short, and effective. Guerrero was second only to Tomás Luis de Victoria among Spanish composers of the High Renaissance and was known as El Cantor de Maria for his skill in composing motets in praise of the Virgin. It is fitting, then, that the Guerrero motet we present tonight is the only one on the program that makes the Marian connection explicitly. Where the Song of Songs texts has "Trahe me post te" (Draw me after you), Guerrero adds "Virgo Maria" as the specific addressee. Guerrero also makes the interesting decision to include the rather explicit body imagery of the "quam pulchra" text (including two different similes for the subject's breasts), but as with Dunstable and our earlier anonymous chant composer, this juxtaposition of spirit and flesh does not seem to cause Guerrero the level of anxiety we might expect. The use of the "Trahe" text as a Marian hymn was apparently popular enough that it appears in the Liber Usualis as a Vespers antiphon for the Feast of the Immaculate Conception. We sing this antiphon immediately before the Guerrero motet. Any discussion of Renaissance settings of Song of Songs texts would be incomplete without a mention of Giovanni Pierluigi da Palestrina. Probably the most famous of all composers of Renaissance polyphony, Palestrina devoted an entire book of 29 motets to his Song of Songs settings and dedicated the 1584 publication to Pope Gregory XIII. In his dedication, Palestrina expressed shame at having previously published madrigals and secular songs, however, both the subject matter and style of the Song of Songs motets have a great deal in common with Palestrina's more worldly compositions. We perform three of Palestrina's motets, the first of which, Vox dilecti (The voice of my beloved), is one of the more lively compositions on the program. With madrigalian word-painting, Palestrina sets the voices running and leaping with the "young hart...skipping upon the hills" that is the poet's beloved. The second selection, Dilectus meus mihi (My beloved is mine), begins with a simple, sweet declaration of mutual devotion but moves through imagery similar to the previous motet ("be thou like a roe or a young hart upon the mountains of Bether") and ends with the text of loss and anxiety we encountered in the work of Rivaflecha ("I sought him, but I found him not"). The last Palestrina motet demonstrates one interesting consequence of setting nearly the entire book of the Song of Songs, namely that some of the poetry does not quite measure up (at least in modern translation). Guttur tuum sicut vinum optimum ("The roof of your mouth [is] like the best wine"), while not the strangest verse in the Song of Songs ("How beautiful are thy feet with shoes" is a strong contender), is a- Shop: odax
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Missa Gloria Tibi Trinitas
Christ Church Cathedral Oxford, Stephen Darlington (Dir)- Shop: odax
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What Thing Is Love English Lute Songs
CD REVIEW: What Thing Is Love, Peregrine Records ....'I enjoyed it immensely. Amy's is a lovely natural voice, suitably sexy for the sentiments...fine lute playing.... it is a fascinating program...you can purchase single tracks on the internet but I'd rather get the whole CD: it's too good just to select a few tracks.... highly recommended...' - Clifford Bartlett, Editor, Early Music Review, UK '... One of my absolute favourite recordings that I use for High End speaker demonstrations is "What Thing Is Love". It is an excellent recording using varied acoustics and technical combinations with a superb performance from artists of the highest quality in this genre. I strongly recommend it...." -Percy Davidsson, Canseda AB, Scandinavian rep for Onkyo, Sonance, Canton Amy Elizabeth Wheeler REVIEW: Rural Renaissance Festival '...[Wheeler's] voice was a joy to hear...something in her seems to resonate easily with the period, making the music not only exquisite but somehow authentic...' -The Recorder, Greenfield, MA USA BIOS: Amy Elizabeth Wheeler, Soprano: Raised in New York City, Amy Elizabeth Wheeler graduated from the Fiorello LaGuardia High School of Music & Art and from the Manhattan School of Music. Her career, which began with club dates in New York as a singer/songwriter, followed by the film Fame and a European tour of the Broadway musical Hair, has since led her to the Warsaw Chamber Opera in Poland where her debut as Fauno in Mozart's Ascanio in Alba was greeted with a standing ovation. More Mozart roles followed - even the coveted mezzo-soprano role of Cherubino in 'The marriage of Figaro'. She quickly became a popular guest artist in Poland appearing on television and radio and performing with Polish orchestras at international music festivals such as Madrid Mozart Festival, Le Festival d'Europe Nord in Paris, and the 49th International Chopin Festival. As a developing concert artist and ensemble leader in her own right, she organized the Peregrine Consort with musicians from the Gothenburg Symphony Orchestra, Warsaw Philharmonic, Concerto Copenhagen and the Drottningholm Court Theater. They performed in the International Wratislavia Cantans Festival, Bach Celebration 2000 (Royal Castle Warsaw) and the prestigious 100th Anniversary season of Poland's National Philharmonic. Highlights from concerts include Baldessare Galuppi's motet 'Confitebor tibi Domine', staged versions of Alessandro Scarlatti's serenata 'A battaglia pensieri', and Handel's 'Amarilli Vezzosa' as well as English renaissance songs and duets for soprano and bass. Amy Elizabeth's voice, while classically trained, is rooted in the folk/jazz tradition making her vocal style intimate and accessible to listeners with different musical tastes. Her style and expression were clearly evident in her performances as Cupid in the WCO's production of John Blow's 'Venus and Adonis' which attracted the attention of Poland's leading renaissance lutenist, Jaroslaw Lipski. They have since recorded a CD of English lute songs titled 'What Thing Is Love' and have performed sold-out concerts at every major early music festival Poland as well as receiving a standing ovation for their performance at Poland's National Philharmonic. Archguitartist Peter Blanchette found Amy Elizabeth's synthesis of styles perfect for two of his CD's: 800 Years (Archguitar Records 2001), which featured versions of Mark Knopfler's 'Ironhand' and Irving Berlin's 'Reaching for the moon', and Una Limosa (Archguitar Records 2001) on which she sang Schubert's 'Der Jungling an der Quell'. Amy and Peter received critical acclaim for their concert presented by The Rural Renaissance Festival where they performed music by John Dowland and Nino Rota together with Peter's ensemble the Virtual Consort. While still in high school, Amy worked with producer John Robie (who wrote the club classic 'Planet Rock'),and recorded vocals on "Yashar" (Cabaret Voltaire, Factory Records, 1982) and "City of Wonder" (Island Records, 1989). In 2007, Wheeler & Robie released a club version of the Christmas carol "God rest ye merry gentlemen" and plan to continue their collaboration on future club versions of PD Christmas carols. Amy Elizabeth collaborates regularly with Swedish contemporary composer Jan Alm, who invited her to perform the Swedish premier of his songs scored for voice, harp, piano and string quartet and set to the poems of Nobel laureate Harry Martinson. Joining her were members of the Gothenburg Symphony Orchestra, and the concert presented by the Gothenburg Konserthus. A repeat performance of the songs was made in a program arranged by Amy Elizabeth titled 'Scandinaviana' which featured vocal and chamber music by Grieg, Sibelius, Stenhammar and Nielsen, presented by Poland's National Philharmonic to inaugurate their newly renovated chamber hall, Sala Kamerlana. In 2000, Amy Elizabeth was a recipient of The Fund, a Rockefellar/Kennedy Foundation award for her work as a U.S. artist performing in international festivals, and, in 2004 she received a Delmas Foundation Award, supporting her research on the 18th century Venetian composer Baldessare Galuppi. Jaroslaw Lipski, Renaissance Lute and Theorbo: Jarolsaw Lipski graduated from the Academy of Music in Warsaw, Poland, with a degree in classical guitar, and received a diploma from the Guildhall School of Music and Drama in London, where he won the 'Principle's Prize.' He studied classical guitar with Gerald Lee and Robert Brightmore, and the lute with Nigel North at Guildhall and at the Summer Academy for Early Music at Innsbruck, Austria. Mr. Lipski has regularly appeared in concerts as solo guitarist in Poland and Great Britain and frequently participates in early music festivals in Poland as a lutenist. He has collaborated since 1996 with The Warsaw Chamber Opera, performing operas by Monteverdi (Vespro della Beata Vergine), St. Landi (Il St. Alessio), and Purcell (Dido and Aeneas). He has also worked with early music groups such as Ars Nova, Lege Artis, Collegio Antico, and The Peregrine Consort. His repertoire focuses primarily on music of 16th -century Poland, 16th & 17th-century England, however in 2002, he organized Concerto Vago, a group devoted to performing Spanish music from the time of Columbus featuring works by Alonso Mudarra, Diego Ortiz, Juan del Encina, and Juan de Anchieta. Mr. Lipski has regularly conducted master classes at the Zywiez Early Music Festival in Poland, and he is the author of The Classical Guitar (Warsaw, Poland: Polskie Wydawnicwo Muzycznie, 2002). His recordings include: 16th Century European Songs and Dances and Music of the Polish Renaissance ( DUX Records) The Music of King Sigmund (Arche Records) Psalms of M. Gomloka (Polish Radio).- Shop: odax
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Musica Sacra
Remaud, Melanie - Confitebor Tibi, Domine (Sopre AVitale, Salvo - CredidiFumagalli, Marta - Laetatus SumGianese, Antonella - Favus DistillansRemaud, Melanie - Nisi DominusFumagalli, Marta - Gaudeamus OmnesFumagalli, Marta - Confitebor Tibi, DomineRemaud, Melanie - Cantate, JubilateFumagalli, Marta - Nisi DominusRemaud, Melanie - Laudate Pueri- Shop: odax
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Tibi und seine Muetter
1963 wird das siebenjährige Tibeter Flüchtlingskind T I B I Lhundub Tsering aus dem Kinderheim in Dharamsala von einer privaten Hilfsorganisation zu seiner Pflegemutter in die Schweiz gebracht.Seine in Indien zurückgebliebene Mutter weiss nichts davon. Über vier Jahrzehnte später reist Tibi mit seiner Familie zu seiner alt gewordenen Mutter in die Flüchtlingssiedlung in Bylakuppe.- Shop: odax
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