It’s bright clear sound never ceases to bring a smile to the face of every single choral singer and no matter how many times we. It is incredible to think that it had lain almost unheard for over 200 years.
Musicstaxta ayrca dans edilebilirlik, enerji, canllk, enstrümantallik, mutluluk ve daha fazla müzikal analiz noktalarn kefedin. Qui sedes ad dexteram Patris Tarafndan Antonio Vivaldi, Catherine Denly, The English Concert, Trevor Pinnock, The English Concert Choir. ANTONIO VIVALDI: Gloria RV 589 3 - Laudamus teSolistas:Martha Diaz Ordaz Cruz, sopranoAna Lilia Ibarra Torres, contraltoCoro de la Maestra en Msica UVDir. Traditional mulled wine and seasonal mince pies were enjoyed at the interval and we held a very successful raffle supporting the “Lost Chord Dementia Charity”, a charity with the aim of improving the quality of life for people with dementia through innovative interaction with music. Written in 1715, the Gloria as we now know it was rarely performed until it burst onto the scene during a Vivaldi Week in Sienna in 1939. Tonu ve tempoyu bul: Gloria in D Major, R. We count ourselves fortunate to have such talented singers within the choir. The Gloria, part of that Turin collection, received its twentieth-century premiere in 1930 and has remained the most popular of all Vivaldis vocal works ever since. The local Thirsk based “Strings Attached” ensemble helped us to bring “Gloria” to life filling the church with wonderful music and we must also pay tribute to the two soloists from the choir, Cathryn Fergie and Janet Brown, who sang the solo and duet parts with such feeling. Vivaldi was a priest, so he knew the mass very well. It tells the story of Jesus from birth to death. The piece is known for its emotional content and connection between choir and audience. Certainly the feedback we received after the concert was most favourable, and our Musical Director, Ed Venn can take the credit for making the choir concert ready by early December.Īs always William Dore delighted us with his organ recital at the beginning of the concert and organ support throughout. Vivaldi’s Gloria is a beautiful piece, he said. We believe we did the music justice and ended the season in high spirits. Tracing the publication history and comparing the available publications gives merit to those critical editions by Paul Everett, Michael Talbot, and Clayton Westermann.Many thanks to all who participated in, and attended our December Concert, Antonio Vivaldi’s “Gloria” and Christmas Music at St John The Baptist and All Saints Church on the afternoon of Saturday 8th December. It was probably written at about the same time as the RV 588, possibly in 1715. Paul Everett’s, Michael Talbot’s, and others’ recent research of the manuscripts illuminate the historical context, stylistic treatment, and some performance considerations of the work that should (and have) inform critical editions of Vivaldi’s most well-known and most-often performed sacred choral work. RV 589 Gloria is a familiar and popular piece among sacred works by Vivaldi. Casella’s version, long considered authoritative, was replete with changes from the autograph that make it irreconcilable with the instrumental parts and unfaithful to Vivaldi’s manuscript.
The first modern performance of the work, led by Alfredo Casella on September 20, 1939, in Siena was part of a weeklong festival of revival concerts that led to the first modern edition published by Ricordi.
These multiple versions of the Gloria pose some confusion and editorial choices that merit inquiry by performers and conductors. Vivaldi’s Gloria RV 589 is one of his three settings of this mass section that share similar musical material with each other as well as significant borrowed sections from a double orchestra Gloria by Giovanni Maria Ruggieri.
0 kommentar(er)
