25 Results for : recitative
-
Sinfonie 9
"the slow third movement... moves along at a pace few conductors would have employed fifty years ago. Yet it never sounds hurried, and the dramatic brass interruptions towards its close have an appropriately apocalyptic ring. The extraordinarily vivid recording, in which the basses are caught to stupendous effect - especially in their passages of recitative ... before welcoming the 'Ode to Joy' theme - adds hugely to the effect." (BBC Music magazine)- Shop: odax
- Price: 8.47 EUR excl. shipping
-
Cantatas And Concertos
Pergolesi: Cantatas and ConcertosNel chiuso centro (L'Orfeo) Cantata for baritone, strings and basso continuo*1 Recitative. Nel chiuso centro 1'322 Aria. Euridice dove sei? 8'383 Recitative. Si che pieta non v'e 1'384 Aria. O d'Euridice 5'06Concerto in B flat for mandolin, strings and basso continuo**5 I. Allegro 5'336 II. Largo 4'057 III. Allegro 4'14Luce degli occhi miei Cantata for baritone, strings and basso continuo*8 Recitative. Luce degli occhi miei 1'019 Aria. Ove tu ben mio non sei 4'3910 Recitative. Ma seppure il destino 1'1111 Aria. Contento forse vivere 4'22Sinfonia in F for solo cello and bass12 I. Comodo 1'3013 II. Allegro 1'5214 III. Adagio 2'0515 IV. Presto 1'57La Maddalena al sepolcro Cantata spirituale for soprano, strings and basso continuo*16 Recitative Presso lo speco 1'3417 Aria Gesu mio, e dove sei? 9'3918 Recitative Si che pieta non v'e 1'5619 Aria Or che riveggio 4'42*first recording**first recording with period instrumentsMUSICA PERDUTA:Valentina Varriale sopranoMauro Borgioni baritoneMauro Squillante mandolin &, colascione luteMonika Toth violin Danuta Zawada violinsOttavia Rausa violaFrancesco Ragni organLuca Marzetti double bassAlberto Bagnai harpsichord &, organRenato Criscuolo cello &, artistic directionTotal time 67'24- Shop: odax
- Price: 11.82 EUR excl. shipping
-
Choral Music of David Ludwig
Four Ladino Folk Songs (2012) for SATB Choir - 8' -written for the Choral Arts Society of Philadelphia 1. Durme durme mi alma donzella 2. Ven hermosa ven con mi 3. Camini por altas torres 4. Cuando veo hija hermosa Four Ladino Folk Songs was inspired by a work I wrote for Lara St. John of arrangements of Ladino songs for unaccompanied violin. I was so taken with these songs-with the richness of melodies and harmonies and wide range of emotional expression-that I decided to set four of them for unaccompanied choir. These songs are folk tunes arranged to compliment their texts, some with a gently rocking four-part texture, others with percussive sounds and effects that would be familiar to Ladino folk singers. The mood ranges from playful, to serene, from raucous to quiet despair, just as the original tunes do. I owe a debt of gratitude to the seminal scholarship of Isaac Levy, who transcribed most of these songs in his four-volume "Chant Judéo-Espagnols," a repository of this rich musical heritage from a dying language scattered across Europe, Africa, and Central Asia.Composer David Ludwig's music has been called "entrancing," and that it "promises to speak for the sorrows of this generation," (Philadelphia Inquirer). It has further been described as "arresting and dramatically hued" (The New York Times) and has been noted for "music supercharged with electrical energy and raw emotion" (Fanfare). The New Yorker magazine calls him a "musical up-and-comer" and the Chicago Tribune says that he "deserves his growing reputation as one of the up-and-comers of his generation." He has had performances in venues such as Carnegie Hall, Lincoln Center, and the Library of Congress, and has been played on PBS and NPR's Weekend Edition. NPR Music selected him as one of the Top 100 Composers Under Forty in the world in 2011. The New Colossus (2002) for choir - 3' (Lazarus) -SATB choir -Commissioned by Judith Clurman and the TODI Music Festival Choir "The New Colossus" was written for conductor Judith Clurman and the Todi music singers. Ms. Clurman recommended that I set the poem by Emma Lazarus that is at the site of the Statue of Liberty. On reading these words, I was very moved by the sentiment of welcome that Lazarus-herself an immigrant-conveys in the message: "give me your tired, your poor, your huddled masses..." And it is not just some people that the Statue welcomes, but everyone-even the "wretched refuse." This to me was the true spirit of the United States embodied in poetry: our strength in diversity and tolerance. I wrote the work soon after 9/11, and because of that, the words of the poet were particularly poignant to me. The piece begins in somber unison and remains in that setting, like chant, as the poet compares the Statue of Liberty to the Colossus of Rhodes from ancient Greece. It is not like the Colossus, she notes, in that it is not meant to be an imposing figure but instead the embracing "mother of exiles." At the most famous lines the music opens up into harmony until the end, repeating the words "I lift my lamp, beside the Golden Door"-to the port of entry of a nation of immigrants. Press "Ludwig's The New Colossus began in sober unison. As harmonies evolved to greater dissonance, the singers became more expressive, an effective dramatic device." -The Virginian Pilot Hanukkah Cantata (2007) - 24' (Trad. Hebrew and English) -SATB Choir + soloists, 0000 0130 percussion, organ, strings -Commissioned by the Choral Arts Society of Philadelphia -Premiered 2007 at Rodeph Shalom, Philadelphia The Hanukkah Cantata was written for the Choral Arts Society of Philadelphia and was funded by the Philadelphia Music Project. I wrote the cantata with a lot of help from some good friends and fabulous musicians, but my first word of thanks has to go to Cantor Dan Sklar who not only assembled and translated the texts for me, but also sang the wonderful Hannukah songs for me to hear. I remembered Dan's voice all the while I arranged these songs. When Choral Arts director Matt Glandorf asked me to write a piece for the holiday, I immediately saw the challenge of writing a new work to commemorate an ancient tradition. It would need to be accessible to an audience whether or not they are familiar with the story of the holiday. I decided to integrate Hanukkah songs in their original Hebrew with the narrative taken from Scripture as translated into English. It was important for me that the piece be set in the "vernacular," so to speak, but to also preserve what is to me beautiful folk music. To that end I kept the music within the boundaries of functional sacred music, rather than attach it to a more abstract musical language or idiom. I also knew the piece would have to be in eight movements. I wanted to style it after the customary practice of including soloists in recitative and arias who would convey the thread of the story poetically. This made the arc of the piece clear to put together. The opening comes with a question from the traditional song "Mi Y'maleil": "who can recount the feats of the holy land?" The next two movements tell of the oppression of the Jews through the eyes of their ruler Mattathias, as well as the rise of his son Judas Maccabeus. After Judas is pronounced "blessed," in the fourth movement, the women of the chorus sing the traditional candle blessings sung while lighting the Menorah. The fifth movement opens the second half of the piece, and details the triumph of the Jews over their oppressors. Here, they find their most holy temple desecrated, and this is where the real heroism takes place. Rather than give up or give in, they decide to completely rebuild and rededicate the temple, replacing every defiled stone anew-even constructing a new altar like the previous one. The music turns to the triumphant "Al Hanisim" to commemorate the occasion. The seventh movement is instrumental dance music, a "dreydl dance" with a narration that is meant to capture both traditional sonorities of Jewish music and incorporate the importance of dance into the cantata. The narrator's part is to tell the how the story happened when the Jews decided to reconstruct the temple and the miracle that occurred when they found only enough oil to light their lamp for one day. They needed enough oil to last for eight days, or enough time to consecrate the next batch of fuel. As it so did, miraculously confirming the merit and holiness of their efforts. The final movement is another arrangement of the song "Maoz Tzur," which is a song that will be familiar to many. The medieval nature of the words conveys the unfortunate glorification of war (a matter I tried to avoid in arranging the text, given the state of our world. I see no reason to exalt the killing of anyone, including the "enemy," "foe," or "heathen.") But the story of the last song, and indeed the story of Hannukah is about oppression, loss, and overcoming that loss to move on with strength and love. The Jews defeat their oppressors and then grieve for their losses. The heroism of the story is in the rebuilding after that loss, and the power of the community unified to help the individuals of that community continue on. They construct a new altar after losing the old one, yet, significantly, it is not a "new" altar insofar as it acknowledges and never forgets the loss. My nephew, Michael Henry Ludwig, would have celebrated his tenth Hannukah this year passed away suddenly and unexpectedly just four days before writing this program note. He was a magnificent kid, always enthusiastic, beaming and smiling when I would bring him close and rub my knuckles on his head. The Choral Arts Society has graciously agreed to dedicate this performance to Michael-the premiere of this work will be in the temple of his great grandparents. Every day I didn't spend with him feels like time lost. I am honored to be able to remember him with this music. Kaddish (2006) -10' (Trad. Hebrew) -0000 4331 + 3 perc SAB choir and tenor so- Shop: odax
- Price: 16.53 EUR excl. shipping
-
Keyboard Music of Girolamo Frescobaldi
Girolamo Frescobaldi (1583-1643) is considered one of the founding fathers of solo Italian keyboard music. By the age of 14, he was somewhat of a child prodigy and was listed in 1597 as organist of the Ferrarese Accademia della Morte as successor to Ercole Pasquini. His teacher was the famous Luzzasco Luzzaschi, then ducal organist and composer under Alfonso II d'Este. By age 25, Frescobaldi embarked on what was to be a lifetime career in Rome when he was appointed organist at St. Peter's Basilica. Thousands of people were reported to have witnessed his first performance. Like many musicians today, Frescobaldi often held several jobs at once: freelancing in Rome and teaching harpsichord and organ to many students, most notably to the family members of Enzo Bentivoglio, the noble household in which he was in service. In 1613, Bentivoglio said "Sr. Girolamo came here, but now he does not come here at all ... The poor man is half crazy as it seems to me." Between 1610-13 Frescobaldi entered into the service of Cardinal Pietro Aldobrandini. Aside from a brief visit back to Mantua, he remained there until his move to Florence (1628-34), where he was employed at the Medici court as one of it's most highly paid musicians. He returned to Rome in 1634 under the patronage of Pope Urban VIII and remained there until his death in 1643. Throughout his life, Frescobaldi enjoyed sophisticated patronage and was praised by well-known musicians and theorists, such as Adriano Banchieri and Marin Mersenne, among others. As a continuo player, he played with the famous castrati Loreto Vittori and Marc Antonio Pasqualini, and he performed in the Lenten services at the Oratorio del Crocifisso. His musical output showed an overwhelmingly large focus on keyboard music. He achieved a reputation not only for his compositional talents but also for his brilliant improvisatory skills, virtuoso playing, contrapuntal mastery, and general inventiveness. Frescobaldi was both influenced by and influential upon the seconda pratica, known chiefly for it's renewal of ancient rhetoric and oratory through music. Composers of this "nuova maniera," such as Claudio Monteverdi, Giulio Caccini, Jacopo Peri, and Sigismondo D'India, advocated the clear delivery of text through the use of declamatory rhythms, expressive dissonances, startling chromatic lines, and shocking contrasts of rhythm and harmony. Frescobaldi's keyboard works exemplify this vocal practice. In particular, we see this type of prosaic freedom in his toccatas. In many ways, they reveal a musical narrative without a text, a kind of instrumental recitative. He compared the performances of these pieces to a modern madrigal, playing "now languidly, now quickly, sustaining it according to feelings and words." Plentiful are the dramatic mood changes, sudden cadential flourishes, and spicy harmonic surprises. From one measure to the next, he shifts from free passagework to more rhythmical, imitative writing. In the foreword to Book I of his Toccata e partite d'intavolatura di cimbalo et organo, published in 1615 and later expanded in 1637, he tells us: "Li cominciamenti delle toccate sieno fatte adagio, et arpeggiando è così nelle ligature o vero durezze, come anche nel mezzo del opera si batteranno insieme, per non lasciar voto l'istromento, il qual battimento ripiglierassi à beneplacito di chi suona." The beginnings of the toccatas should be played adagio and arpeggiated. The same applies to the suspensions [or held chords] or dissonances, which also in the middle of the piece are to be played together in order not to leave the instrument empty [i.e., not to let the sound die away]. Reiterating the notes may be repeated at the player's discretion. The term adasio (adagio) also appears in Frescobaldi's Fiori musicali (1635). The word suggests playing at ease and freely, in a more prose-like manner than in other more metrical sections. As he instructs the performer to be flexible with the tempos within the toccatas, he also advises the player to choose broad tempos for expressive passages and in runs, to play slowly and arpeggiated in the opening chords, and to pause at the ends of trills, runs, or when the mood deems appropriate. When playing sixteenth notes with both hands, he tells us to pause on the preceding note, even if it is a short note, and "then play the passage resolutely in order to show off the agility of the hands." Above all, he remarks that one should use good taste and judgment. More straightforward in form are Frescobaldi's canzonas and capriccios. Although they are somewhat similar in their sectional structure and multiple meter changes, their origins differ. The baroque canzona was an instrumental piece of music derived from the vocal chanson, described by Michael Praetorius in his Syntagma musicum (iii, p.19) as a series of short fugues for approximately four to eight parts (instruments). Many examples of the solo canzona were arrangements of polyphonic vocal works, including elaborated transcriptions of chansons, such as those by Andrea Gabrieli. Tarquinio Merulo was one of the first to write a canzona not based on vocal models but on other ensemble pieces. Vincenzo Pellegrini wrote canzonas for keyboard that were sectional with contrasting speeds and meters, although the sections were not always based on the same material. Ascanio Mayone and Giovanni Maria Trabaci were more influential upon motif-based canzonas, issuing the term "variation canzona." Frescobaldi's canzonas lean towards this variation technique. Capriccios, like the canzona model, are lengthy compositions that are subdivided into contrasting sections, often juxtaposing passages in the fantastical style of the toccata with dance-like rhythms in major keys. From Frescobaldi's own advice preceding the Capricci, we learn that, "One must commence with the beginnings slowly in order to give great spirit and beauty to the following passages, and, in the cadences, sustain them before the next passage begins, in triple and sesquialtera meters, if in a major key, they should be played adagio, and, if in minor, more quickly, if there are three quarter-notes, play them even quicker yet, if there are six quarter-notes, they must be given their time by walking the beat rapidly. At certain dissonances, one should stay there and play the chord as an arpeggio so they will be more spirited than the next passage. I say this modestly, for I place myself before the good judgment of scholars." Certain Capricci make use of popular melodies known throughout Italy, such as Bassa Fiamenga and Spagnoletta. Praetorius called the keyboard capriccio a "phantasia subitanea" ("a sudden whim"). He writes, "One takes a subject but deserts it for another whenever it comes into his mind to do so. One can add, take away, digress, turn, and direct the music as one wishes, but while one is not strictly bound by the rules, one ought not go too much out of the mode." These comments are descriptive of Frescobaldi's toccatas as well. In 1624, Frescobaldi said about his own capricci, "In those passages which do not seem to conform to the rules of counterpoint, the player should seek out the affect and the composer's intentions." Frescobaldi's partitas are essays in the art of variations upon popular ground bass or melodic and harmonic patterns, such as Monicha, Ruggiero, Romanesca, and the Chaconne and Passacaglia. Monicha (also monica or monaca) was a popular Italian song from the early 1600s. The opening line laments a young girl forced to become a nun, hence the minor mode and sad quality of the tune. Frescobaldi composed two sets of variations on this theme: Partite sopra l'Aria di Monicha (6 variations in 1615 and 11 in 1637, including some from the earlier set) and a Messa [to be performed during mass] sopra l'Aria della Monica. The Ruggiero, like the Romanesca, was used for dances, instrumental variations, and for singing Italian poetry, especially those with rhyme schemes in ottav- Shop: odax
- Price: 25.44 EUR excl. shipping
-
Sulla Lira-Le Miroir de Musique
Giovanni Cantarini (Tenor) - Le Miroir de Musique // In the Renaissance, the act of singing to the accompaniment of the lyre held a special symbolic role, linked to Orpheus and Apollo. With its origins in the mid-15th century, this recitation of epic and lyrical texts was first monophonic, accompanied by the lyra da braccio. With the invention of the lirone around 1500, the accompaniment develops into the recitative style of the 1600s which led to the development of the earliest operas.- Shop: odax
- Price: 17.70 EUR excl. shipping
