John Rutter: Requiem

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Burrows, Helen Jane (1999). Choral Music and the Church of England 1970–1995: A Study of Selected Works and Composer–Church Relations. PhD thesis. Norwich: University of East Anglia. Although only 35 minutes in length, the choir of 30+ only began to learn it three and a half hours earlier with a small number of newbies for the day. The result was beautiful. The central movement is the Sanctus (with Benedictus), a lively, and exclamatory movement which is brightly orchestrated with bells, flute, and oboe and occasional timpani recalling the passage in Old Testament scripture in Isaiah chapter 6, and the worship of the six-winged seraphim in the heavenly throne-room of God. [8] 5 edit The first movement consists of the Introit from the Requiem ("Requiem aeternam") and the Kyrie. The work opens with a steady beat of the tympani, to which instruments enter, first without a defined key. The voices enter in measure 7, stating in unison on the note C "Requiem aeternam". The text beginning "Kyrie eleison" is set in G major. [5] 2 edit He conducted the first performance on 13 October 1985 at Lovers' Lane United Methodist Church, Dallas, Texas, where the director of Music Allen Pote prepared the Sanctuary Choir and orchestra. The soprano soloist was Karen Shafer. Movements 1, 2, 4, and 7 had been performed on 14 March 1985 at Fremont Presbyterian Church, Sacramento, California, by the Sanctuary Choir and ensemble, prepared by Mel Olson and also conducted by the composer. [3]

The John Rutter Piano Album : arrangements of eight of his most popular choral pieces for solo piano. BBC Radio 3, Choral Evensong, St Bartholomew-the-Great, London, 22 March 2023. Retrieved 24 March 2023. He was inducted as a National Patron of Delta Omicron, an international professional music fraternity in 1985. [6] [7] Rutter is also a Vice-President of the Joyful Company of Singers, President of The Bach Choir, and President of the Association of British Choral Directors (ABCD). [8] Compositions editThe Twelve Days of Christmas" from Carols for Choirs 2 for soprano, alto, tenor and bass voices ("SATB") and piano or orchestra The Requiem was published in 1986 by Oxford University Press, with a singable English text also for the Latin passages. [1] Music edit

Frank, Alan (1976). "John Rutter's Partita for Orchestra". The Musical Times 117, no. 1598 (April): 309. In a 2009 interview, Rutter discussed his understanding of "genius" and its unique ability to transform lives – whether that genius is communicated in the form of music or other media. He likened the purity of music to that of mathematics and connected the two with a reference to the discovery made by the early Greeks that frequencies of harmonic pitches are related by whole-number ratios. [2] Reception edit Despite composing and conducting much religious music, Rutter told the US television programme 60 Minutes in 2003 that he was not a particularly religious man yet still deeply spiritual and inspired by the spirituality of sacred verses and prayers. [13] [14] The main topics considered in the 60 Minutes programme, which was broadcast a week before Christmas 2003, were Rutter's popularity with choral groups in the United States, Britain, and other parts of the world, and his composition Mass of the Children (written after the sudden death of his son Christopher while a student at Clare College, Cambridge, where Rutter himself had studied). The John Rutter Christmas Piano Album : eight piano arrangements of Christmas pieces composed by Rutter. [27]

Report

Returning to Requiem, the main event, the choir continued in their advancement with some rich, tones and all the voices blended beautifully. Rutter’s Requiem composed in 1985, is a musical setting of sections of the Missa pro Defunctis, the Book of Common Prayer, and the Psalms. Seven sections contained prayers on behalf of all humanity, psalms, personal prayers to Christ, and in the central Sanctus an affirmation of divine glory. During this, there were two solo pieces sung also beautifully, by Naomi Barlow. Excellent accompaniment throughout by Angie Allard. The fifth movement is the Agnus Dei (Lamb of God) of the Requiem. Rutter uses a steady beat on one note, similar to the timpani of the first movement. The Latin text is contrasted with another biblical passage, "Man that is born of a woman hath but a short time to live" from the Book of Job. The call Agnus Dei in measure 58 is the dynamic climax of the Requiem. After an instrumental interlude which quotes a melody associated with Easter, the voices sing very softly "I am the resurrection and the life", from the Book of John. [9] 6 edit Was I the lamb?" Setting of words by Marc Bratcher to celebrate the Chaplain's 20 years of service as Chaplain of Merton College. Every piece of music at King Charles' coronation service at Westminster Abbey". Classic fm . Retrieved 7 May 2023.

a b Macfarlane, Alan. "Interview with John Rutter". Archived from the original on 4 March 2016 . Retrieved 18 December 2013. Rutter, John (2014). A Flower Remembered. Oxford UP. ISBN 978-0-19-340482-3 . Retrieved 10 June 2019. The following table shows the title, Tempo marking, voices, time, key and text sources for the seven movements. The information is given for the beginning of the movements. Rutter frequently shifts tempo, key and time. The source for the details is the vocal score, unless otherwise noted. [4] Movements of Rutter's Requiem a b Leung, Rebecca (11 February 2009). "Spreading Good Cheer". CBS News . Retrieved 7 February 2019. Rutter completed his Requiem in 1985. It bears the dedication "in memoriam L. F. R.", [1] John Rutter's father, who had died the previous year. [2]Rutter's music is eclectic, showing the influences of the French and English choral traditions of the early 20th century as well as of light music and American classic songwriting. Almost every choral anthem and hymn that he writes [ citation needed] has a subsequent orchestral accompaniment in addition to the standard piano/organ accompaniment, using various different instrumentations such as strings only, strings and woodwinds or full orchestra with brass and percussion. Many of his works have also been arranged for concert band with optional chorus. [12] The concert actually started with a piece devised by musical director Bradley Barlow, entitled‘We Will Remember Them’, which at the start literally created goose-bumps. It was a very moving piece. Birthday Madrigals for SATB, commissioned in 1995 by Brian Kay and the Cheltenham Bach Choir to celebrate the 75th birthday of George Shearing O Lord, thou hast searched me out for SATB chorus, organ and solo cor anglais (or clarinet, or viola)