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Thomas Tallis (1505-1585) - Spem in alium (40 part motet)
Taverner Consort & Choir
directed by Andrew Parrott
in the picture: a church in Greenwich
Spem in alium is a forty-part Renaissance motet by Thomas Tallis, composed circa 1570 for eight choirs of five voices each.
Though composed in imitative style and occasionally homophonic, its individual vocal lines act quite freely within its fairly simple harmonic framework; allowing for an astonishing number of individual musical ideas to be sung during its ten-to-twelve minute performance time.
The work is a study in contrasts: the individual voices sing and are silent in turns, sometimes alone, sometimes in choirs, sometimes calling and answering, sometimes all together, so that, far from being a monotonous mess, the work is continually presenting new ideas to the listener.
The effect on the listener of the sheer number of ideas contained in the work, compounded with the unusual performance practice of surrounding the audience with performers, is that of inundation, or of being completely overwhelmed.
The work is not often performed, as it requires at least forty singers capable of meeting its technical demands.
The discipline that comes with performing the masterpiece is highlighted in the importance of the conductor and the performers alike. Whilst performers are distributed throughout a venue, the conductor becomes truly the hub for the piece throughout, as often there is little or no visibility between the performers, and a large venue will present acoustical challenges, not regarded with traditional choirs co-located.
Text (Latin)
The original Latin text of the motet is from a response (at Matins, for the 3rd Lesson, during the V week of September), in the Sarum Rite, adapted from the Book of Judith. Today the response appears in the Divine Office of the Latin rite in the Office of Readings (formerly called Matins) following the first lesson on Tuesday of the 29th Week of the Year.
Spem in alium numquam habui praeter in te
Deus Israel
qui irasceris
et propitius eris
et omnia peccata hominum in tribulatione dimittis
Domine Deus
Creator coeli et terrae
respice humilitatem nostram
English translation
I have never put my hope in any other but in you,
O God of Israel
who can show both anger
and graciousness,
and who absolves all the sins of suffering man
Lord God,
Creator of Heaven and Earth
be mindful of our lowliness
(taken from en.wikipedia.org) |
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Andrea Ross sings 'What The World Needs Now' on BBC
AndreaRoss — December 30, 2007 — Me performing 'What The World Needs Now' at Coventry Cathedral on the BBC program 'Songs of Praise.' It was SO beautiful.
(thanks to Gerrit Kroeze for recording the piece!!)
http://www.AndreaRoss.com |
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Rémlik, hogy nem örvendett mint ember közkedveltségnek, de nem tudtam, hogy mi volt ennek az oka :O |
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Lehotka meglehetősen vallásellenes volt, tudtad?
Azt hallottam róla, hogy minősíthetetlenül viselkedett a templomokban, ahol fellépet. |
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Sebő bácsi ezt - gyengébbek (pl. az én) kedvéért - említi is a felvezető szövegében ...  |
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Sebő Együttes fellépése Pomázon-Árdeli szép tánc
88noge — May 01, 2009 — XI. Országos Tekerős Találkozó Pomázon 2009. április 25-én.
Dalszöveg:
Szamos partján, Szatmár mellett,
Kurta kocsma állott
Vályogfala világgá ment,
Vagy iszappá mállott.
Így volt rég, úgy volt rég,
Citera, nyenyere, brácsa,
Szamos hátán elvándorolt
A kármentõ rácsa.
Maros partján, Sárpatakon
Volt nagyapám gátõr
Azóta már földet morzsol,
Zuhog az ár, s áttör.
Így volt rég, úgy volt rég,
Viola, fidula, hárfa,
Maros hátán száraz faág
Úszik át a nyárba.
Küküllõben fürödtek a
Keresztúri lányok
A vén füzest künn a parton
Perzselték a lángok.
Így volt rég, úgy volt rég,
Citera, viola, gardon,
Egyik húzza, a másik vonja,
Én a bõgõt tartom!
Előadja:Sebő Együttes
Készült:Pomáz 2009.04.25.
Készítette:Fazekas Egon
Category: Music
Tags: Sebő Ferenc tekerő hurdy gurdy fagott country world music folk tekerőlant Pomáz népzene népdal |
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Bárdos Lajos: Istené az áldás
jubilatekarnagy — May 21, 2008 — "FELHANG 2008" című egyházzenei hangversenysorozat alkalmával 2008. május 4-én, Szolnokon, a Belvárosi Nagytemplomban a Szolnoki Jubilate Kórus, a MÁV Járműjavító Férfikara, valamint a Cserkészek Kórusa szerepelt. A hangverseny végén az ÖSSZKAR szólalt meg. Íme... |
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Mozart: Requiem - Rex tremendae
19/11/2005 - Live concert in S. Angelo Church, Milan. |
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Johann Sebastian Bach - Little Fugue / Kleine Fuge BWV 578
Interpret: Gabor Lehotka
Released in 1988 from Laserlight Digital
This.......was my first piece of Music that i felt something divine is talking/connecting to my spirit!
With this fragment from a higher source one can paint a thousand pictures in his mind.
Speechless and in humble devotion.
Thank you Johann Sebastian Bach for crossing my path.
The Photo of Bachs little statue is made by steel18. |
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Téka Kalotaszegi Muzsika 1. Hajnali
Tárnoki Beatrix
Vizeli Balázs
Gáspár Kálmán
Lányi György
Havasréti Pál |
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I Know You Rider - Joan Baez (1960)
Joan Baez was born in Staten Island, New York on January 9, 1941. She is known best by mass audiences for her 1970's recordings "Diamonds and Rust" and "The Night They Drove Old Dixie Down". Her early folk material was very rudimentary, as folk music normally is, with nothing but acoustic strings and vocals. She recordrd for Vanguard records until 1971, and for A&M records when she released "Diamonds & Rust". Although not she did not have great chart action in the 1960's, she was very politically active, and was strongly against the was in Vietnam. She also for a time was in a romantic relationship with another folk giant, Bob Dylan. This relationship fizzled, and later became the inspiration for "Diamonds & Rust". This Song, "I Know You Rider", has had many forms in its existence, and has been covered by rock groups, such as the Greatful Dead. This recording was a 1960 Vanguard session that went unreleased until her debut album "Joan Baez" was released on CD in 2001, and it was offered as a bonus track. The guitar work is excellent, and why it wasn't released immediately after its recording remains a mystery. |
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