DURUFLE IN PARADISUM PDF

Though soloists appear in only six out of 16 movements in all, having star singers certainly adds to the attractions, when both Cecilia Bartoli and Bryn Terfel sing with fervour, bringing out the word-meaning dramatically to defy any idea that these are just sweetly reflective pieces. That is on the plus side of his direction, for too often, particularly in the Faure, his speeds are eccentrically slow, outdoing even those in the classic Cluytens version with Victoria de los Angeles and Dietrich Fischer-Dieskau. What above all undermines these performances, using the full orchestral version of each work, is the balance of the chorus, so distant and muffled that in many places it seems to be off-stage. The matching and blending is very beautiful so far as one can tell , but a further serious disadvantage is that the dynamic range — with the orchestra set well in front — is far too wide for comfortable domestic listening. Set an opening pianissimo at an acceptable level, and the climax blasts you out of the room.

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The sketches already on his desk proved themselves an ideal starting point, the plainsong becoming the basis of the whole work, unifying it and breathing into it the timelessness and meditative spirituality that are its essence.

When seated within such colourful tonalities and underpinned with modal harmonies, the emotional impact is heightened, yet somehow the all-pervading tranquillity and spiritual optimism is maintained.

The Introit flows smoothly, the plainsong rendered note for note, moving into the imitative entries of the Kyrie and its heartfelt pleas for mercy.

In the Domine Iesu Christe the text is dramatically declaimed by the choir until Saint Michael leads them into the heavenly light and assures them of the promise of peace. The Pie Iesu is the physical and emotional centre of the work, a poignant and almost painfully beautiful setting of the plainsong for treble and solo cello, supported by harmonies rich in seconds and sevenths.

The Agnus Dei moves us gently onward, yet without detracting from the atmosphere left by the preceding movement. The final movement, In Paradisum, is an exquisite creation; the opening chords form an ethereal mist from which the trebles emerge, finally at peace.

The sensuous chords of the full choir add to the spiritual tranquillity, and the last chord, an unresolved dominant ninth, evaporates into eternity. Ubi caritas et amor flows freely and syllabically in a meditative fashion, while Tota pulchra es for high voices is lighter and more sprightly, yet soft and feminine. Each phrase is presented separately and with a straightforward homophony which suggests the rhythm of contemplative speech or prayer.

Here only the lower voices from the choir are used and these voices present the text in unison. The organ part contributes to this effect. The flourish which announces the Gloria marks the key moment for the glory of God to be celebrated in the Mass while, by contrast, the accompaniment to the closing movements—the Sanctus, Benedictus and Agnus Dei, which complement the act of communion itself—suggests an atmosphere of ethereal journeying and a more detached wonder at the divine presence.

This is music for the Catholic Mass at its most practical level, but also at its most beautiful. Hier werden nur die tieferen Stimmen aus dem Chor benutzt, und diese Stimmen tragen den Text im Einklang vor.

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Duruflé: Requiem

The sketches already on his desk proved themselves an ideal starting point, the plainsong becoming the basis of the whole work, unifying it and breathing into it the timelessness and meditative spirituality that are its essence. When seated within such colourful tonalities and underpinned with modal harmonies, the emotional impact is heightened, yet somehow the all-pervading tranquillity and spiritual optimism is maintained. The Introit flows smoothly, the plainsong rendered note for note, moving into the imitative entries of the Kyrie and its heartfelt pleas for mercy. In the Domine Iesu Christe the text is dramatically declaimed by the choir until Saint Michael leads them into the heavenly light and assures them of the promise of peace. The Pie Iesu is the physical and emotional centre of the work, a poignant and almost painfully beautiful setting of the plainsong for treble and solo cello, supported by harmonies rich in seconds and sevenths.

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Requiem (Duruflé)

Kagagor At the time of the commission, he was working on an organ suite using themes from Gregorian chants. Agnus Dei Lamb of God, who takes away the sin of the world, grant them eternal rest. Introit Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. The central movement, Pie Jesu, has the only solo for the mezzo-soprano. Emmanuel Music in the News Press Releases. Paradiisum is on the plus side of his direction, for too often, particularly in the Faure, his speeds are eccentrically slow, outdoing even those in the classic Cluytens version with Victoria de los Angeles and Dietrich Fischer-Dieskau. Franz Schubert Composer Sviatoslav Richter pf.

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