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download Qui Manducat Mean Carnem - William Ferris Chorale, Paul French (6) - American Choral Premieres (CD) full album

Label: Cedille Records - CDR 90000 109 Format: CD Country: US Genre: Classical Style: Contemporary

The first piece, "Blessed is the Man," is the simplest. After a short series of imitative entries beginning in the bass, this setting is mostly homophonic. Features Interviews Lists. Romantic Sad Sentimental. Una matica de ruda.

Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists. Streams Videos All Posts. Genre Classical. Styles Choral. Track Listing. Blessed is the Man. William Ferris Chorale. Help, Lord. Lord, Who Shall Abide. Stabat mater, for chorus. Who Am I? A King James Magnificat, for chorus. Scapulis suis Psalm 91 , for chorus.

Qui Manducat Mean Carnem. Qui Vult Venire Post Me. The Four Motets , Op. The first piece, "Blessed is the Man," is the simplest. Often a gloom-and-doom prophet, Jeremiah in this passage makes a strongly affirmative statement of belief. The music, in its homophonic opening and short fugato that follows, serves to emphasize what to Hovhaness is clearly one of the most important words: More complex harmonies are featured in "Help, Lord," as the psalmist laments the sinfulness he sees around him.

Once again the music focuses on the key word: The third motet begins as an exultant hymn of praise, with the words "Lord" and "Holy" made to stand out. The answer to the question "Who shall abide" is offered first in fugato, and we hear the words repeated to reinforce the importance of the answer: Another set of fugal entries highlights the words "And seek God. Egon Cohen b.

This Latin text dates from the 13th century; it has been put to music by a great number of composers, usually in its original language, but sometimes translated, as is Mr. The image it presents is stark and universal: Mary, the grieving mother, standing at the foot of the cross whereon her son, Jesus, is being put to death.

Grief is often represented in Mr. The spare, restrained main theme is stated first in the alto part, then by the basses. The intervals in this theme are mostly fourths, giving the sound a slightly angular nature and creating a sense of painful tension intervals of a third, resembling consonant triads, would sound more relaxed. Then, as the divided sopranos vocalize on "Ah," the altos recapitulate the opening theme for the passage beginning "When to dust my dust returns.

Paul Nicholson b. He uses the traditional Latin text, the language of all Roman Catholic liturgies for hundreds of years until the midth century. The piece emphasizes vertical harmonies, with no polyphonic movement; these harmonies are often chromatic and somewhat clashing, to represent the drama of the text in vivid fashion. The responsory begins somewhat languidly: In the verse of the responsory the earthquake opens the tombs of the dead and the bodies of the faithful are seen to be alive again.

Dietrich Bonhoeffer — was a Lutheran theologian, author, and political dissident whose outspoken opposition to the Third Reich, and the aid he gave to Jews fleeing Nazi Europe, led to his imprisonment during World War II.

A posthumous publication titled Letters and Papers from Prison is the source for the bitter and tortured words of Who Am I? Paul French b. The direct, at times declamatory, musical style of Who Am I? The first three appearances of the words "Who am I" are presented with sustained tones: The words that follow "They tell me Then a central question, "Am I then really all that which other men tell of or am I only what I myself know of myself?

A more agitated section sets out the peaceful life and surroundings the prisoner is longing for, and the anger he conceals. The unison theme comes back for the phrase beginning "Weary and empty at praying," and we are back to the soft, sustained question, "Who am I?

As a composer, Easley Blackwood b. As a teacher at the University of Chicago, he has trained and influenced several generations of composers.

But for A King James Magnificat , premiered by the University of Chicago Motet Choir in , Blackwood chose to adhere to the tradition of tonal, triadic harmony, with touches of jubilant polyphonic inspiration from Handel and from Bach, who wrote perhaps the most famous of all Magnificats. The text is from the Gospel of Luke and is attributed there to the Virgin Mary: It is used extensively at evening church services and has been set to music hundreds of times.

The Magnificat has ten verses, and Blackwood casts each one in a different key at one point shifting from major mode to minor mode, C Major to A Minor, instead of an actual change of key signature.

The key changes are not sudden or obvious, but they serve the listener by subtly shifting the character of the music. The work begins very softly, as if Mary is still in awe of the angel who recently visited her with news that she would become the mother of a savior. The choir sings louder for verse two, whose key words are "Hath rejoiced in God my Savior," but once again the section ends quietly.

The third verse leads up to a climax on the words "For behold, from henceforth all generations shall call me blessed;" this time the quiet ending and short ritard serve, as earlier, to convey a sense of awe and wonder. The pace and dynamic pick up as we hear, "For He that is mighty hath done to me great things.

A fortissimo climax dies out suddenly for a heartfelt pianissimo declaration: The verse beginning "He hath filled the hungry" is set with great serenity in the unusual key especially for choral music of E-flat minor.

Then the basses intone the word "Israel" as the penultimate verse begins in the upper sections: Robert Kreutz — , a noted composer of music for the Roman Catholic Church, is probably best known for the Eucharistic hymn: The text of Scapulis Suis comes from Psalm 91; the Latin text, used here, is part of the traditional Catholic liturgy as the Offertory on the first Sunday of Lent.

Lent is a season of penitence, yet this Psalm extract emphasizes not sinfulness but security and assurance: After a short series of imitative entries beginning in the bass, this setting is mostly homophonic. Its slow unfolding and largely mid-level dynamics allow the words to be heard and understood clearly.

William Ferris — devoted his professional life to the performance of sacred choral music. A parallel commitment was to the work of living composers and to the revival and promotion of neglected music both past and present. Himself a distinguished composer as well as a church musician, Mr. Ferris was responsible for bringing much new and unfamiliar music to Chicago audiences.

His Lyrica Sacra , a group of three Latin motets, dates from In keeping with the best traditions of church music, he kept the settings relatively simple, so that the words could be clearly understood, but the character of the music changes from piece to piece to reflect the texts.


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