- Program Notes
- Accessibility links
- Officium Hebdomadae Sanctae
- Choralia - mp3 catalogue
- Cantata Singers
Finally, we hear about the legacy left embedded in Messiah, and how the work has come to mean so much to generations of singers and music lovers long after the deaths of Handel and Jennens. Alban Berg. Donald Macleod surveys the life, loves and music of Alban Berg. As a youngster, Berg loved the music of Brahms, Mahler and Richard Strauss and composed 34 songs as a teenager. Maybe this would have been the end of it, but his brother Charly secretly took some of these songs to show a music professor in the city - Arnold Schoenberg.versnafirlidsnonp.cf/map4.php
We hear about how his time in army training led to physical collapse, from which he emerged to write a brutal opera — Wozzeck. Joseph Haydn. However, he was also occupied with sacred music throughout his career. It's music that is as chock-full of invention and character as any of the instrumental forms he made his own. Also, the extraordinary story of how Haydn lost his head. Francis Poulenc. From the gregarious exploits of his youth to his serious engagement with Catholicism, from schmoozing in high society salons to the calm he sought at his country retreat and his struggles with depression, Donald surveys the life and music of a man full of contradictions.
Heinrich Ignaz Franz von Biber. Donald Macleod explores the music, and what little is known of the life, of Baroque master Heinrich Ignaz Franz von Biber. In Salzburg, Biber put down roots, married the daughter of a wealthy local businessman, fathered eleven children and gradually rose through the court ranks to become Kapellmeister. His risky career-gamble had paid off. We also learn about his close relationships with the violin and his home of Salzburg, and the five remarkable printed collections of instrumental music that spread his name across Europe.
Astor Piazzolla. Donald Macleod explores the life and music of the bandoneon virtuoso and composer Astor Piazzolla, through five key locations.
All his life he fought against the tide, and in the end, he was the victor. Astor Piazzolla was a rebel with a cause. A virtuoso bandoneon player and a composer, he set out to break tango free from its roots, and make it a music with a future far beyond the dance halls and cafes of s Buenos Aires. Hector Berlioz. Donald Macleod explores the life and music of Hector Berlioz Berlioz is perhaps unique among composers in having had a literary gift almost the equal of his musical one.
Donald starts this week with a look at Berlioz through his engaging, passionate and entertaining Memoirs. We also encounter some of the celebrated musicians he rubbed shoulders with — among them Liszt, Cherubini, Schumann, Mendelssohn, Wagner and Paganini. Debbie Wiseman. Donald Macleod visits Debbie Wiseman at home to discuss her long and varied career. Debbie Wiseman has over two hundred credits for her music, ranging from television and film, to the concert hall and music for royal pageantry.
Not only is she a multi-award winning composer, but also a teacher, pianist and conductor, often performing in and recording her own works. This week, Donald Macleod visits Debbie Wiseman at her home in London to discuss her long and varied career. Johann Sebastian Bach. Donald Macleod travels alongside J S Bach as he moves from place to place throughout his life. He first moved to Weimar at the age of 18, to work as a court musician, and later as an organist and concertmaster — it was here that he would write most of his organ repertoire, but also spent his time trying to please two antagonistic Dukes.
The royal court offered Bach exactly what he had been denied in Weimar — the chance to build a really exceptional instrument ensemble. We arrive in Leipzig, where Bach was a public servant again, having to satisfy a plethora of different bodies and individuals. Although his time there was peppered with disputes and discontent, it was his home for 27 years and it is where he composed the bulk of the work that lives on. Music featured: Magnificat Brandenburg Concerto No. Max Bruch. William Grant Still. Prayer — very slowly; 3.
Michael Tippett. Michael Tippett was a particularly absorbent composer, soaking up an incredibly wide range of inspirations and influences from the world around him, and perhaps most often from outside the field of music. His huge intellectual capacity and endless interest in other people combined with immense charisma to make him a personality to which everyone who met him seemed irresistibly drawn.
His - often complex - relationships were particularly intense ones, and frequently blurred the lines between professional and personal, artistic and sexual. This week Composer of the Week looks at some of the people closest to Tippett and asks what influence they had on the life and music of a man whose story has still never been fully told. Joining Donald Macleod to explore sometimes uncharted territory is Oliver Soden, the author of a new - and the first complete - biography of the composer.
Franz Liszt. Donald Macleod delves into the life and work of Franz Liszt through five striking images. Franz Liszt was the most photographed man of the 19th century and the most sculpted man aside from Napoleon - one of the most recognisable figures of his age. Donald Macleod delves into the life and work of the prolific composer and virtuoso pianist through five intriguing images. Jean-Philippe Rameau. Donald Macleod explores the operas of Jean-Phillipe Rameau.
At his death in , Rameau, by then an octogenarian, had more than 30 stage works to his credit. Up to that point, although details about his life are surprisingly patchy, he appears to have held a succession of posts in the provinces, as an organist, teacher and theoretician, seemingly without even a whiff of greasepaint.
Then, at an age when one might assume his chosen path was settled, Rameau upped sticks, came back to Paris and conquered the stage with breathtaking speed. Across the week Donald Macleod focusses on those heady, initial years in the French capital, building a picture of what made Rameau into a highly successful, if controversial, theatrical composer. Felix Mendelssohn. Donald Macleod journeys through the life of Felix Mendelssohn. Mendelssohn was a leading figure of German music in his day, and became something of an international celebrity.
He was at the very forefront of music making during the s and s, as a composer, conductor, pianist and organist. He composed music in many genres including concertos, oratorios, symphonies, songs and chamber music. George Gershwin. Donald Macleod explores the life and music of George Gershwin. For many, he was the foremost composer of the "jazz age" and it's through jazz-inflected interpretations that his music has reached its widest audience.
Next, Donald tells the story of Gershwin's excursions in the concert hall. His memorable musical experiences with the local Gullah people eventually inspired his magnum opus, the opera Porgy and Bess. Nikolai Rimsky-Korsakov. Andante tranquillo Sadko, Op. Billy Strayhorn. Donald Macleod looks at five key environments that shaped Billy Strayhorn's personal and musical trajectory. Strayhorn cut free and moved to New York, where his path crossed with Duke Ellington.
Work took him to Hollywood - Donald explores the reasons why this turned out to be both an opportunity and a source of disillusionment. Finally, Donald charts the ups and many downs of Strayhorn's final years, which he spent in Riverside Drive, New York.
Gioachino Rossini. Donald Macleod presents five takes on the life and music of Gioachino Rossini. Donald starts by unpacking the winning formula Rossini hit on right at the start of his operatic career. Donald begins by leading us through a gallery of the musical portraits that Couperin composed — depicting his contemporaries Lully and Corelli, his aristocratic patrons, and well-known mythological figures. Throughout his glittering career at court, Francois Couperin maintained a loyal connection with his family church and dedicated several works for liturgical use there.
Finally, Donald examines how Couperin embraced the new musical idioms emerging from other countries, and in particular introduced Italian flavours to his native French style. Anton Bruckner. Donald Macleod explores five personality traits of the strange genius Anton Bruckner.
Officium Hebdomadae Sanctae
His many musical revisions were driven by artistic insecurity, criticism and his constant search for proportion and balance. Donald is joined by Professor Koraljka Kos and Professor Iskra Iveljic to discuss the known facts about the life and music of this Countess and her family. Through her position she did have the opportunity to study in Germany with noted music teachers of the day, and met and collaborated with some of the literary giants of the early twentieth century.
Upon her death at the age of only 37, she left a catalogue of over one hundred compositions displaying a unique voice now largely forgotten. He achieved structural unity by building each movement on the traditional Gregorian plainchant as a cantus firmus. The title of the volume, which also contained a six-part mass, translates to "Mass for the Most Holy Virgin for six voices for church choirs, and vespers for several voices with some sacred songs, suitable for chapels and ducal chambers".
No references about performances during the composer's lifetime have survived. Parts of the works may have been performed at the ducal chapels in Mantua, where they were composed, despite Monteverdi not being explicitly engaged as a composer of sacred music, and at St Mark's in Venice, where he became director of music in The first recording of parts of the Vespers was released in The work has received attention by musicologists beginning in the second half of the 20th century, who debate if the publication is a collection of pieces for selective use at church or a planned composition in a modern sense.
Most recent recordings and performances have presented all the music which Monteverdi composed in the given order. Monteverdi, who was born in Cremona in , was a court musician for the Dukes of Gonzaga in Mantua from to He began as a viol player under Duke Vincenzo Gonzaga ,  and advanced to become his leader, maestro della musica , in late In the new genre, a complete story was told through characters, and in addition to choruses and ensembles , the vocal parts included recitative , aria and arioso.
The duke was quick to recognise the potential of this new musical form and its potential for bringing prestige to those willing to sponsor it.
Choralia - mp3 catalogue
Monteverdi wrote the movements of the Vespers piece by piece, while responsible for the ducal services which were held at the Santa Croce chapel at the palace. Probably aspiring to a better position, the composition demonstrated his abilities as a composer in any style of his time. The liturgical vespers is an evening prayer service which follows the Catholic Liturgy of the Hours , called Officium Divinum Divine Office in Monteverdi's time, in Latin , as were all services of the Catholic Church at the time.
Vespers remained structurally unchanged for 1, years. The regular prayer service contained five psalms, changing with the liturgical year , the hymn " Ave maris stella ", and the Magnificat. The individual psalms and the Magnificat are concluded by the doxology Gloria Patri. Variable elements are antiphons , inserted before each psalm and the Magnificat, which reflect the specific feast and connect the Old Testament psalms to Christian theology. On ordinary Sundays, vespers were sung in Gregorian chant. On high holidays, such as the feast day of a patron saint , elaborate concertante music was performed.
In his Vespers , Monteverdi offered such music without necessarily expecting that all of it would be performed in a given service. Monteverdi deviated from the typical vespers liturgy by adding motets concerti , alternating with the psalms. Scholars debate if they were meant to replace antiphons  or rather as embellishments of the preceding psalm. Monteverdi's intentions have been debated among musicologists. The first mention of the publication is in a letter by Monteverdi's assistant, Bassano Casola, to Cardinal Ferdinando Gonzaga , the duke's younger son, dated July Casola described the music, mass and vespers, as in the process of being printed, and announced that Monteverdi would travel to Rome to personally dedicate the publication to the pope in the fall.
While the opera was published as a score , the vespers music appeared as a set of partbooks. One of the partbooks contains the continuo and provides a kind of short score for the more complicated numbers:  it gives the title of the Vespers as: "Vespro della Beata Vergine da concerto composta sopra canti firmi" Vesper for the Blessed Virgin for concertos, composed on cantus firmi. Monteverdi visited Rome as anticipated in October , and appears to have delivered a copy to the pope, at least the music is in the papal library.
It is not clear whether he was honoured with a papal audience. Monteverdi's notation is still in the style of Renaissance music , for example regarding the duration of notes and the absence of bar lines.
It poses challenges to editors adopting the current system of notation, which was basically established about a half century after the music was written. After the original print, the next time that parts from the Vespers were published was in an book by Carl von Winterfeld devoted to the music of Giovanni Gabrieli. He chose the beginning of the Dixit Dominus and of the Deposuit from the Magnificat, discussing the variety of styles in detail. Two years later, Hans F. Redlich published an edition which dropped two psalms, arranged the other movements in different order, and implemented the figured base in a complicated way.
The historical record does not indicate whether Monteverdi actually performed the Vespers in Mantua or in Rome, where he was not offered a post. Church music in Venice is well documented, and performers can draw information for historically informed performances from that knowledge, for example that Monteverdi expected a choir of all male voices. The Vespers is monumental in scale and requires a choir large and skillful enough to cover up to ten vocal parts, split into separate choirs, and seven soloists. Solo instrumental parts are written for violin and cornett.
Antiphons preceding each psalm and the Magnificat, sung in plainchant , would vary with the occasion. The edition by Redlich was the basis for performances in Zurich in and of parts in New York in , among others. It was printed in and used for the first recording in Monteverdi's unique approach to each movement of the Vespers earned the composition a place in history. The musicologist Jeffrey Kurtzman, who edited a publication of the work for Oxford University Press ,  notes: " Monteverdi's composition is structured in 13 sections.
The Magnificat is in twelve movements of different scoring, which Monteverdi supplied in two versions. The table shows the section numbers according to the edition by Carus ,  then the function of the section within the vespers, its text source, and the beginning of the text in both Latin and English. From Harmony, recitativo. From Harmony, from heav'nly Harmony. What passion cannot Music raise. The trumpet's loud clangour. The soft complaining flute. Messiah: Part One, No. Handel: Messiah. Bach: Weihnachtsoratorium, BWV Singet dem Herrn ein neues Lied. Alles, was Odem hat.
- Subject index.
- Tornado in action!
- Journal of Seventeenth-Century Music!
- For The God Who Sings: The Prodigal’s Return - For The God Who Sings - ABC Classic!
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- Baroque Treasures.
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Jesu, meine Freude. Es ist nun nichts Verdammliches an denen. Unter deinen Schirmen. Denn das Gesetz des Geistes. Vespro della Beata Vergine: Introductio: Deus in adiutorium. Monteverdi: Vespro della Beata Vergine. Vespro della Beata Vergine: Concerto: Nigra sum. Vespro della Beata Vergine: Concerto: Pulchra es. Jonas, Historia Jonae: Sinfonia.
Sonatori della Gioiosa Marca. Jonas, Historia Jonae: Et proelibantur venti, Dii magni. Jonas, Historia Jonae: Justus es, Domine.
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