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John Rutter: Requiem

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Cantate Domino is one of a number of choral psalm settings made by its composer. Usually it is for a cappella choir, mostly treating the text in straightforward, homophonic style, although not without some chorally virtuosic touches. Towards the end, the ninth-century Gregorian hymn Veni Creator Spiritus is introduced,a traditional invocation to the Holy Spirit. Come down, O Love Divine It was the French music publisher Hamelle who suggested that Fauré expand his ‘petit Requiem’ (1893 version – as restored by John Rutter) into a ‘version symphonique’ (1900). However, if you like Fauré’s evergreen sung by a large chorus supported by symphonic-strength strings and brass then this new recording will suit nicely. Both the melody and text of this lovely German carol date from the late 15th or early 16th century, appearing in print in many versions, of which the best known is the simple harmonization by Michael Praetorius published in 1609. The idea for my arrangement came from the King’s Singers in 2013, to form part of a Christmas album they were making jointly with the renowned German oboist Albrecht Mayer. With only minimal adaptation for the mixed-voice choral forces of the Cambridge Singers, I have been delighted to record my arrangement – inspired by Bach’s extended chorale treatments – with the equally peerless Royal Philharmonic Orchestra oboist John Roberts.

Most composers omit sections of the liturgical prescription, most frequently the Gradual and the Tract. Fauré omits the Dies iræ, while the very same text had often been set by French composers in previous centuries as a stand-alone work. The Mass text itself (a Missa Brevis, that is to say a mass without a Credo section) is mainly sung by the adult choir or the soloists. The children sometimes sing the Latin- for example at the Christe eleison, the opening of the Gloria and at the Benedictus– but elsewhere they and the two soloists sing specially chosen English texts which in some way reflect upon or illuminate the Latin. The work opens with two verses from Bishop Thomas Ken’s morning hymn for the Scholars of Winchester College, and it closes with the children singing his evening hymn with Tallis’ timeless melody, as the adults intone the traditional Dona nobis pacem, a prayer for peace. This creates a framework (from waking to sleeping) within which other texts and moods appear in kaleidoscopic succession, like events in a day or landmarks in a life. Rutter Requiem 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 Requiem ( Lux aeterna). [11] 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.What is it that makes this such a sublimely beautiful recording of a work which, let’s face it, is more than generously represented in the catalogues? (For the record, this is the original scoring of the work – organ with chamber orchestra minus violins – which was finally published in 1969.) It’s not just the lovely sound produced by the three dozen voices of Accentus, unquestionably one of the really top-notch choirs around at the moment, or the angelic voices of the Maîtrise de Paris which point us heavenwards in the closing In paradisum. Nor can the credit for such unremitting loveliness be laid wholly at the feet of the members of the Orchestre National de France, handling this famous score with rare sensitivity and delicacy, or the wonderful pair of soloists. Stéphane Degout brings immeasurable poise to the Hostias, while Sandrine Piau’s 'Pie Jesu' has a wholly unaffected aura of purity and innocence – and has the string response to each line ever before been captured on disc with such utter gentleness? Requiem was composed in 1985 and first performed in the United States by the church choir of my musical patron and friend Mel Olson. It was not the result of any commission, but simply something which sprang from studying the manuscript of the Fauré Requiem in Paris (could I too write a Requiem?)—and which was spurred on by a wish to remember in music my late father, who had died in the previous year. 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. Lansing McLoskey's "Requiem, v.2.001". Stony Brook Contemporary Chamber Players. Eduardo Leandro, conductor. (Albany Records, 2013).

The fourth movement is the Sanctus (with Benedictus) and, characteristically, it is a bright, lively, and exclamatory movement which is brightly orchestrated with bells, flute, and oboe and occasional timpani recalling the passage in Old Testament scripture in Isaiah chapter 6, and the worship of the six-winged seraphim in the heavenly throne-room of God. Coupled withMotets –Ave verum corpus; Tantum ergo; Ave Maria;Maria, mater gratiae. Cantique de Jean Racine,Op 11 (orch Rutter). Messe basse 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 Sandrine Piau sop Stéphane Degout bar Maîtrise de Paris; Accentus Chamber Choir; French National Orchestra / Laurence Equilbey Grace Davidson sop* William Gaunt bar Gordan Nikolitch vn Tenebrae; London Symphony Orchestra Chamber Ensemble / Nigel ShortThe Requiem by John Rutter is a musical setting of an adaptation of the Roman Catholic Requiem Mass, completed in 1985. The piece is a very lyrical choral piece with an orchestral accompaniment. The piece contains many dissonant chords which are very popular in modern choral music. The Requiem was first performed on 13 October 1985 at Lovers' Lane United Methodist Church, Dallas, Texas (Director of Music: Allen Pote) by the Sanctuary Choir and orchestra. Movements 1, 2, 4, and 7 were first performed on the 14th of March 1985 at Fremont Presbyterian Church, Sacramento, California (Minister of Music: Mel Olson) by the Sanctuary Choir and ensemble. Both performances were conducted by the composer. "The Lord is my Shepherd" was originally written in 1976 as a separate anthem The Requiem was published in 1986 by Oxford University Press, with a singable English text also for the Latin passages. [1] Music [ edit ] Following the precedent established by Brahms and Fauré, among others, it is not a complete setting of the Missa pro defunctis as laid down in Catholic liturgy, but instead is made up of a personal selection of texts, some taken from the Requiem Mass and some from the 1662 Book of Common Prayer. The seven sections of the work form an arch-like meditation on themes of life and death: the first and last movements are prayers to God the Father on behalf of all humanity, movements two and six are psalms, movements three and five are personal prayers to Christ, and the central Sanctus is an affirmation of divine glory, accompanied by bells as is customary at this point in the Mass. Gregorian chant is used, in fragmentary or disguised form, at several points in the work. Each of the two psalm settings has an instrumental obbligato, a feature inherited from Bach. The Magnificat, the canticle of the Virgin Mary, is found in the opening chapter of St. Luke’s Gospel, at the point where Mary visits her cousin Elizabeth after learning that she is to be the mother of Christ. Traditionally, the words have been ascribed to Mary, though their strong resemblance to the Old Testament Song of Hannah and to various psalms makes it more likely that Luke himself interpolated them to express an appropriate sense of rejoicing and trust in God. Liturgically, the Magnificat belongs to the Office of Vespers (and its Anglican counterpart, Evensong) and to feasts of the Virgin Mary, and there are innumerable concise musical settings intended for use in church. Extended concert settings, however, are quite rare, Bach’s being the most notable (and even this was designed for use in the Lutheran liturgy). In the general layout of its movements and in its scale and dimensions, Bach’s Magnificat provided the obvious precedent for John Rutter’s setting. There is even a parallel to Bach’s Christmas interpolations in the use of a vernacular text on the Virgin Mary – Of a Rose, which (like so much medieval religious art) likens Mary and her child to a flower springing from the stem of Jesse. Like Bach, Rutter uses Gregorian themes associated with the text at various points in the work. But there, all comparisons end, since the style and content of Rutter’s Magnificat are not even remotely neo-Bachian, resting rather within an eclectic amalgam of more recent traditions that characterize much of the English composer’s choral writing. This work was given its world premiere in May 1990 by the composer in Carnegie Hall, New York. Mass of the Children

Flaxman, Fred. Controversial Comrade Kabalevsky Compact Discoveries with Fred Flaxman, 2007, Retrieved 2011-02-20; Rehearsal recordingsto help learn your voice part (Soprano, Alto, Tenor, Bass) are described b elow. These are all exceptional elements, but the two things which transform this are the recording’s location and Laurence Equilbey’s inspired direction. The famous Parisian church of St Clotilde imbues the whole thing with an atmosphere of warmth and great tranquillity, the organ pedals perfectly proportioned (and superbly captured by the Naïve engineers), while Equilbey shapes and caresses every single phrase, every line, every note with the kind of loving care few conductors ever lavish on such a well known and technically undemanding score. The result is a genuinely revelatory reading. Johannette Zomer sop * Stephan Genz bar * Collegium Vocale; a La Chapelle Royale; Champs-Elysées Orchestra, Paris / Philippe Herreweghe

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The Requiem by John Rutter is a musical setting of an adaptation of the Roman Catholic Requiem Mass, completed in 1985 Look at the World, composed in 1996, is a simple anthem with a text on the theme of the environment. It was written to mark the 70 th anniversary of the Council for the Protection of Rural England. Lord of the Dance

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