John Rutter: Requiem

Product Information

Ehsan Saboohi – Phonemes Requiem (For four Soloists, mixed Chorus, Didgeridoo, prepared Tombak, Electronics, Computer) [14]

Rutter structured the work in seven movements, similar to the setting of Gabriel Fauré. One of the movements is The Lord is my Shepherd, which he had written as an anthem in 1976. [3] Table of movements [ edit ]I chose four biblical texts which express different aspects of this vision – (1) an introductory description of the imagined city in the words and Gregorian melody of a medieval hymn familiar in the English version beginning ‘Blessed city, heavenly Salem’; (2) Isaiah’s prophetic vision of the coming of Messiah, followed by a lively section which might be a dance of the daughters of Jerusalem; (3) a lament for the desolation of Sion, using a transmuted fragment of both text and melody line from William Byrd’s anthem Bow thine ear, O Lord; and (4), a beatific vision of the holy city as seen by St John in the Book of Revelation. Corleonis, Adrian. Requiem, for soprano, baritone, double chorus & orchestra, RT ii/8 All Music Guide, Retrieved 2011-02-20 Rehearsal recordingsto help learn your voice part (Soprano, Alto, Tenor, Bass) are described b elow. Sandrine Piau sop Stéphane Degout bar Maîtrise de Paris; Accentus Chamber Choir; French National Orchestra / Laurence Equilbey

Dvořák's "Requiem". Spanish Radio and Television Symphony Orchestra and Chorus. Carlos Kalmar, conductor. Live concert. Los conciertos de La 2 - Concierto RTVE A-5 - RTVE.es Birthday Madrigals was written by John Rutter in 1995 to celebrate the 75 th birthday of the great jazz pianist George Shearing, a devotee of choral music and a personal friend of the composer. The texts of the five poems come from the era of the Elizabethan madrigal, and two are by Shakespeare. The style of the music is influenced by jazz but is fundamentally derived from the tradition of the English madrigal itself and its descendant, the part-song. Fancies The sixth movement is Psalm 23, another psalm commonly used at Anglican funerals. It mentions the valley of the shadow of death, but is an expression of trust in God and hope for dwelling in his house forever. [10] 7 [ edit ] But with the unbroken segueinto the Fauré, everything falls perfectly into place. Perhaps because there is a clear link between the two – psychological rather than musical – the performance is elevated into something quite remarkable; there's little hesitation in labelling this the very best Fauré Requiem on disc.Mozart's "Requiem". Spanish Radio and Television Symphony Orchestra and Chorus. Carlos Kalmar, conductor. Live concert with the completion of its well-known unfinished musical score of the musicologist Robert Levin. The enjoyable makeweights Pavaneand Cantique de Jean Racineboth breathe the calm air of the Requiem. But the disc’s revelation is a wonderful performance of the rarely heard La naissance de Vénus, a 23-minute ‘mythological scene’ completed in 1895. It’s a little gem.

Alongside the stirring choral work Lord, thou hast been our refuge is AUkrainian Prayer, a work that moves the listener in its plea for protection and courage. A Clare Benediction (1998), is one of a number of choral blessings written by John Rutter over the years, in every case for a person or institution of special significance to the composer. This piece was written in honour of Clare College Cambridge where John Rutter was Director of Music (1975-79). A Ukrainian Prayer The seventh movement includes words from the 1662 Book of Common Prayer Burial Service ("I heard a voice from heaven...") and the communion chant from the Tridentine Requiem Mass (Lux aeterna). John Rutter’s Gloria was written in 1974 in response to a commission from The Voices of Mel Olson, a choir based in the USA. Mass | Grove Music". doi: 10.1093/gmo/9781561592630.article.45872. ISBN 978-1-56159-263-0 . Retrieved 2018-09-13.In style and scale, Requiem owes more to Fauré and Duruflé than to Berlioz, Verdi or Britten. It is intimate rather than grand, mostly contemplative and lyric rather than dramatic, consolatory rather than grim, approachable rather than exclusive. Would I write the same sort of Requiem today? Perhaps not, but it was what I meant at the time I wrote it, and unlike other genres of composition, a Requiem is something you only write once. It is outstandingly played in this premiere recording by the young Canadian violinist Kerson Leong.” The Cambridge Singers and Aurora Orchestra deliver a luminescent performance of a modern classic” Financial Times Flaxman, Fred. Controversial Comrade Kabalevsky Compact Discoveries with Fred Flaxman, 2007, Retrieved 2011-02-20;

Roman Grygoriv and Illia Razumeiko: " IYOV", opera-requiem for prepared piano, cello, drums and voices (2015) The third movement is the motet Pie Jesu. It begins with a lyrical soprano soloist singing with a very light accompaniment, with only slight involvement of the chorus echoing the words "Dona eis requiem, Dona eis sempiternam requiem".Fauré began his Requiem in 1885, under the impact of the death of his father, but the work didn’t take on the form in which we now know it until 15 years later. The familiar 1900 score, therefore, can’t really be regarded as ‘definitive’; it’s a compromise, rather, between Fauré’s original conception and what his publisher no doubt saw as the practicalities of concert performance. It’s Fauré uncompromised that John Rutter has sought to restore in his edition of the seven-movement 1893 version, and his performance of it, using a chamber orchestra, a small choir and, in the ‘Pie Jesu’, a soprano who could easily be mistaken for a treble (Fauré’s own early performances used a boy soloist) is a most convincing argument for accepting this score as more ‘authentic’ than the customary 1900 version. John Rutter’s Te Deum was written in 1988 for a service of thanksgiving in Canterbury Cathedral. Liturgical considerations and the spacious acoustics of the great building dictated a brief, straightforward setting of the ancient and inspiring text – not in Latin but, according to Anglican custom, in the lofty, noble translation of the 1662 Book of Common Prayer. The Falcon Visions was the result of a most unusual invitation: to write a piece combining solo violin, string ensemble (to which I added a harp), and the boy choristers of the Temple Church choir. The occasion was a concert at the Temple Church in London forming part of the 2016 Menuhin Competition, at which two past winners of that renowned violin competition were to perform. My assigned soloist was the dazzling 19-year-old Canadian violinist Kerson Leong. Having immediately decided to accept, my thoughts soon turned to the historic associations of the Temple Church with the Knights Templar – the church takes its name from the Temple at Jerusalem, and the round shape of its most ancient part is a deliberate echo of the Church of the Holy Sepulchre. ‘Jerusalem’ is of course more than the name of a middle-eastern city: it stands as a symbol both of God’s people and of a utopian ideal of heavenly peace and seraphic bliss in store for redeemed humanity. O Praise the Lord of Heaven, was written in 1980 for the annual Commencement ceremony of Westminster Choir College, Princeton. In this rousing anthem for double choir, Rutter uses frequent time signature changes to breathe new life into Psalm 148. Guiding the two choirs through a series of musical mood changes using intricate call-and-response patterns, the composer steadily builds excitement before bringing them together in a glorious finale. This anthem forms the conclusion to John Rutter’s Psalmfest. Psalm 150 A much-loved LP version, documenting the excellence of the King’s College Choir at its mid-1960s peak, and still sounding well. Robert Chilcott and John Carol Case are the excellent soloists.