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Bernstein - Rutter - Poulenc / The Choir Of Clare College, Timothy Brown, 5028421902968 - Celebration of the Spirit Scaricare

Bernstein - Rutter - Poulenc / The Choir Of Clare College, Timothy Brown, 5028421902968 - Celebration of the Spirit Scaricare
Titolo:
Celebration of the Spirit
Interprete:
Bernstein - Rutter - Poulenc / The Choir Of Clare College, Timothy Brown, 5028421902968
Stile:
Modern
Rilasciato:
2005
Numero di catalogo:
290296
Paese:
Netherlands
MP3 dimensione dell'album:
1738 mb
FLAC dimensione dell'album:
1340 mb
Genere:
Etichetta:
Columns Classics, Brilliant Classics

Note


Celebration of the Spirit: Rutter: Gloria; Bernstein: Chichester Psalms; Poulenc / Timothy Brown
Wallace Collection & Corydon S

Release Date: 04/28/2005
Label: Colums Classics Catalog #: 290296 Spars Code: DDD
Composer: John Rutter, Francis Poulenc, Leonard Bernstein
Performer: Lawrence Zazzo, Richard Pearce
Conductor: Timothy Brown, Matthew Best
Orchestra/Ensemble: The Wallace Collection, Clare College Choir, Corydon Singers
Number of Discs: 1
Recorded in: Stereo
Length: 1 Hours 0 Mins.

Works on This Recording

1. Gloria by John Rutter
Performer: Lawrence Zazzo (Countertenor)
Conductor: Timothy Brown
Orchestra/Ensemble: The Wallace Collection, Clare College Choir
Period: 20th Century
Written: 1974; England
Length: 17 Minutes 58 Secs.
2. Litanies à la vierge noire de Rocamadour by Francis Poulenc
Performer: Richard Pearce (Organ)
Conductor: Matthew Best
Orchestra/Ensemble: Corydon Singers
Period: 20th Century
Written: 1936; France
Length: 9 Minutes 14 Secs.
3. Petites prières de Saint François d'Assise by Francis Poulenc
Performer: Richard Pearce (Organ)
Conductor: Matthew Best
Orchestra/Ensemble: Corydon Singers
Period: 20th Century
Written: 1948; France
Length: 7 Minutes 14 Secs.
4. Exultate Deo by Francis Poulenc
Performer: Richard Pearce (Organ)
Conductor: Matthew Best
Orchestra/Ensemble: Corydon Singers
Period: 20th Century
Written: 1941; France
Length: 3 Minutes 1 Secs.
5. Salve Regina by Francis Poulenc
Performer: Richard Pearce (Organ)
Conductor: Matthew Best
Orchestra/Ensemble: Corydon Singers
Period: 20th Century
Written: 1941; France
Length: 4 Minutes 53 Secs.
6. Chichester Psalms by Leonard Bernstein
Performer: Lawrence Zazzo (Countertenor)
Conductor: Timothy Brown
Orchestra/Ensemble: The Wallace Collection, Clare College Choir
Period: 20th Century
Written: 1965; USA
Length: 17 Minutes 27 Secs.

Notes and Editorial Reviews

Don't miss it on any account.

I have always loved John Rutter's music because it communicates so easily with the audience. His religious music never preaches to you; it can be accepted as a beautiful musical experience even for those who aren't religious. The Gloria has a rather brash outgoing persona, but that's no bad thing. It was written to a commission from the USA. The scoring for brass and a handful of percussion instruments is perfect for this most celebratory of works. Written in three sections, the outer ones are driven by strong rhythms and triumphant shouts from the chorus, whilst the central movement is a gentle and restrained prayer setting the words beginning Domine Deus, Rex coelestis ( O Lord God, Heavenly King). Rutter has obviously taken to heart the concept of dancing for joy - that there is praise in the dance (just think of the poem Tomorrow shall be my dancing day). This work positively trips the light fantastic in every bar. It's a marvellous piece of praise and a wonderful composition. Full marks to this remarkable composer - and when you look at his list of works you realise just how remarkable he is - for his ability to write such a work and delight us all.

I have never thought of Leonard Bernstein as a major composer for the concert hall, but he was a genius when writing for the Broadway stage. Since his death there has been a growing band of admirers who assert his concert music's greatness and significance. Recordings abound of these pieces, but, to me, they are negligible at best. I won't go into what I consider them to be at worst. Occasionally, a concert work surfaces and pleases - the 1 st Symphony shows the path he didn't take as a composer and that is our loss - but many of them were Broadway-derived - the Symphonic Dances from West Side Story, Candide Overture and the Three Dance Episodes from On The Town. The Chichester Psalms is one of his truly great works not conceived for the Great White Way. Written for the 1965 Southern Cathedrals Festival this is a joyous celebration, in the same outgoing manner as the Rutter Gloria. Written for chorus with brass, strings and percussion, Bernstein made a version for use when an orchestra couldn't be found, or, one imagines, afforded, for organ, harp and percussion; it is this version which is used here. After a short introduction the first setting, of Psalm 100, is superb in its extrovert nature. This is as catchy as any tune from any of his musicals. The middle setting starts with a boy treble with female voices singing Psalm 23. This is brutally interrupted by the men screaming words from Psalm 2 - Why do the nations rage? - and the movement ends with the two combining in slightly uncomfortable agreement. The final setting, of Psalm 131, starts with one of Bernstein's over-the-top intensely emotional outbursts, with high tortured strings and scrunchy harmonies guaranteed to appeal directly to the heart. When this music is played by the organ, as it is here, the emotional impact is lessened. That is no bad thing for it allows the setting of the words Lord, Lord, My heart is not haughty to seem less elevated than they do in the orchestral edition. This scaled-down version is a better showcase for the words and sentiments set. I was surprised to read in T.C. Brown's - I suppose this to be the conductor Timothy Brown - very good note in the booklet that some of the material for the Chichester Psalms came from discarded Broadway music. A chorus in the Prologue to West Side Story became the setting of Psalm 2 and an unfinished musical The Skin of Our Teeth provided material for the whole work. Perhaps this explains its sheer enjoyment value. In the long run who cares? This is a great work, as is the Rutter, and these performances by the choir of Clare College are excellent and well worth having, even if you have other versions.

Poulenc's religious pieces bring one back down to earth. After the heady brew of Rutter and Bernstein this is like drinking a glass of cold water, so pure and simple are his works. The emotion is different here, much restraint and deference, and there is a great deal of anguish in the Litanies à la Vierge Noire. The Corydon Singers perform these miniatures very well, responding to every nuance with a wide range of dynamic and feeling.

This is a very attractive collection of modern(ish) religious music which is entertaining as well as enlightening, and it is well worth having. Don't miss it on any account.

-- Bob Briggs, MusicWeb International

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Here are dynamic modern performances of some of the most popular of all sacred vocal works written in the second half of the last century, expertly done by chamber choirs soaked in the tradition which the works themselves draw upon.

The Gloria is perhaps the best-known of the extended compositions by John Rutter, composer of such choral evergreens as A Gaelic Blessing and Shepherds' Pipe Carol. Rutter's setting fully captures the exuberance of the text, with sparkling orchestral colours and fullbodied choral parts.

Like the Gloria, Bernstein's Chichester Psalms (socalled because of the nature of their original commission, made in 1964 by the Dean of Chichester Cathedral, Walter Hussey) may be musically sophisticated in technical terms, but never at the expense of creating an instant impression or of serving the texts. The poignant treble solo in the second movement is still, along with ‘Maria', one of Bernstein's most imperishable melodies.

Poulenc, too, had melodies pouring out of him, though his settings of ancient liturgical texts (and rustic peasant prayers) in Litanies à la Vierge Noire, Quatre Petites Prières de Saint François d'Assise, Exsultate Deo and Salve Regina are in the more austere tradition of French sacred works.

Other information:
- Recorded in 1995.
- Two of the finest chamber choirs in the English choral tradition, expertly directed and recorded.
- Booklet notes in English, with sung texts in the original language and English translation.

-----

AllMusic Review by Stephen Eddins [-]
The primary interest of this collection of mid-twentieth century sacred choral music lies in the reduced orchestration version of Bernstein's Chichester Psalms, with harp, percussion, and organ replacing the orchestra. The transparency of this version is revelatory; it's possible to hear its richness of the harmonies of the choral parts with such refreshing clarity that the orchestra is not missed at all. The vigor of the percussion gives the piece an excellent sense of momentum and drive, and the gentleness of the harp heightens its exquisite lyricism, particularly in the second movement and the second part of the third. Bernstein preferred having all-male choirs sing the piece, and the Choir of Clare College, Cambridge, led by Timothy Brown, fills the bill beautifully, with a sensitive but warmly spirited performance and a gorgeous choral blend. Male alto Lawrence Zazzo takes the part usually sung by a treble, and the purity of his sound and the security of his intonation (something that can't necessarily be taken for granted in performances of the work with a treble) makes this an excellent choice. This outstanding performance is one that anyone who loves the work and knows it only in its orchestral version will want to hear. The same group performs John Rutter's Gloria, a work that seems slick and tawdry in comparison with the Bernstein. The Corydon Singers, led by Matthew Best, perform a variety of works by Poulenc, including the a cappella Quatre Petites Prières de St. François d'Assise for men's voices, and Litanies à la Vierge Noire for women's voices and organ. While these pieces are somewhat more austere, and sometimes more astringent, than Poulenc's popular Gloria, they have an appealingly chaste serenity and are performed in just the right spirit, and with lovely tone. The sound in the Bernstein and Rutter is warm and balanced, but tends to be strident in the louder passages in the Poulenc.

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Codici a barre


  • Barcode: 5028421902968


Album


Anthems and Motets - Timothy Brown, The Choir of Clare College, Cambridge, William Byrd. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. Poulenc's religious pieces bring one back down to earth. After the heady brew of Rutter and Bernstein this is like drinking a glass of cold water, so pure and simple are his works. The emotion is different here, much restraint and deference, and there is a great deal of anguish in the Litanies à la Vierge Noire. The Corydon Singers perform these miniatures very well, responding to every nuance with a wide range of dynamic and feeling. Bernstein preferred having all-male choirs sing the piece, and the Choir of Clare College, Cambridge, led by Timothy Brown, fills the bill beautifully, with a sensitive but warmly spirited performance and a gorgeous choral blend. Альбом 2014 Песен: 13. Посмотреть сведения об участниках альбома, рецензии, композиции и приобрести альбом 2009 CD от Gloria Chichester Psalms Quatre Petites Prieres De St. Francois D'Assise на Bernstein. Timothy Brown, Clare College Choir, Cambridge. John Rutter. The Choir of Clare College, Cambridge, is a mixed-voice choir whose primary function is to lead services in the chapel of Clare College, Cambridge. Since its founding in 1972, the choir has gained an international reputation as one of the leading university choral groups in the world. The first chapel choir was formed in 1866. For the next one hundred years the choir consisted of undergraduate lower voices and a treble line provided by boys from city schools. In 1966, the use of boys was discontinued. Timothy Brown Actor, The Choir of Clare College Cambridge Actor Rated: Unrated. Format: DVD. Starring Timothy Brown, The Choir of Clare College Cambridge. Special features. Actors: Timothy Brown, The Choir of Clare College Cambridge. Format: Multiple Formats, Classical, Import, NTSC. Dubbed: English. Choir of Clare College Cambridge, Timothy Brown, Corydon Singers & Matthew Best - Rutter: Gloria - Bernstein: Chichester Psalms - Poulenc: Quatre petites prières. Rutter: Gloria - Bernstein: Chichester Psalms - Poulenc: Quatre petites prières. Choir of Clare College Cambridge, Timothy Brown, Corydon Singers & Matthew Best. Brilliant Classics , Классическая , 2009. Choir of Clare College Cambridge, Timothy Brown & The Wallace Collection -Gloria: Gloria in excelsis deo. Allegro vivace. Choir of Clare College Cambridge, Timothy Brown & The Wallace Collection -. Funeral March I - Baroque Brass Of London, Choir of Clare College Cambridge & Timothy Brown, Henry Purcell