John Rutter: Requiem

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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 the Tridentine Requiem Mass (Lux aeterna). Libby Crabtree,** Mary Plazas sops** Pamela Helen Stephen mez** Timothy Robinson ten */** James Rutherford bass-bar City of Birmingham Symphony Chorus; BBC Philharmonic Orchestra / Yan Pascal Tortelier

Benjamin Britten's Sinfonia da Requiem and Arthur Honegger's Symphonie Liturgique use titles from the traditional Requiem as subtitles of movements. 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

Rehearsal recordingsto help learn your voice part (Soprano, Alto, Tenor, Bass) are described b elow. The sixth movement is Psalm 23, another psalm commonly used at Anglican funerals. It mentions the valley of the shadow of death, but is an expression of trust in God and hope for dwelling in his house forever. [10] 7 [ edit ] Coupled withMotets –Ave verum corpus; Tantum ergo; Ave Maria;Maria, mater gratiae. Cantique de Jean Racine,Op 11 (orch Rutter). Messe basse 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.

The Requiem by John Rutter is a musical setting of an adaptation of the Roman Catholic Requiem Mass, completed in 1985 Beginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concert works, which by virtue of employing forces too large, or lasting such a considerable duration, prevent them being readily used in an ordinary funeral service; the requiems of Gossec, Berlioz, Verdi, and Dvořák are essentially dramatic concert oratorios. A counter-reaction to this tendency came from the Cecilian movement, which recommended restrained accompaniment for liturgical music, and frowned upon the use of operatic vocal soloists.

7. Working practices

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. Birthday Madrigals was written by John Rutter in 1995 to celebrate the 75 th birthday of the great jazz pianist George Shearing, a devotee of choral music and a personal friend of the composer. The texts of the five poems come from the era of the Elizabethan madrigal, and two are by Shakespeare. The style of the music is influenced by jazz but is fundamentally derived from the tradition of the English madrigal itself and its descendant, the part-song. Fancies

Nott, Charles C. (1902). The Seven Great Hymns of the Mediaeval Church. New York: Edwin S. Gorham. p. 45 . Retrieved 6 July 2010. nott seven great hymns.

This piece was arranged by John Rutter for Melanie Marshall, her pianist brother Wayne, flautist Daniel Pailthorpe, Malcolm Creese on bass, and the Cambridge Singers. A soaring bird is an age-old symbol, sacred and secular, of the spirit. Of all the great American songwriters, Hoagy Carmichael was perhaps the most strongly influenced by the music of the southern states, including the spiritual. Te Deum This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Alongside the stirring choral work Lord, thou hast been our refuge is AUkrainian Prayer, a work that moves the listener in its plea for protection and courage.

Fresh, vivid and relatively small-scale, the Choir of St John’s College, Cambridge, as taped in 1975, shines in a twofer of French choral classics. John Rutter conducts his life-affirming Requiem under the great dome of St Paul’s Cathedral, returning with the Royal Philharmonic Orchestra and The Bach Choir for this entrancing concert of music by one of the world’s most cherished living composers. In style and scale, Requiem owes more to Fauré and Duruflé than to Berlioz, Verdi or Britten. It is intimate rather than grand, mostly contemplative and lyric rather than dramatic, consolatory rather than grim, approachable rather than exclusive. Would I write the same sort of Requiem today? Perhaps not, but it was what I meant at the time I wrote it, and unlike other genres of composition, a Requiem is something you only write once. The central movement is the Sanctus (with Benedictus), a 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. [8] 5 [ edit ] John Rutter’s Gloria was written in 1974 in response to a commission from The Voices of Mel Olson, a choir based in the USA.

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Corleonis, Adrian. Requiem, for soprano, baritone, double chorus & orchestra, RT ii/8 All Music Guide, Retrieved 2011-02-20 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 No interval: Please note that this concert will not include a full interval, but a short ‘pause’ (approximately 5 minutes) – just enough time for you to stand and stretch your legs.