Laude Cortonese vol.5 : for male chorus Gavin Bryars

Titel (DE): Laude Cortonese Band 5 - for male choir
Titel (EN): Laude Cortonese Vol. 5 - for male choir
Titel (FR): Laude Cortonese Vol. 5 - for male choir
Komponist / Composer: Bryars, Gavin
Herausgeber / Editor:
Bearbeiter / Arranger:
Illustrator:
Opus:
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Besetzung / Instrumentation: Männerchor / male choir
Besetzungsdetails:
Kompositionsjahr / Date of Composition: 2006
Aufführungsdauer / Duration: 8'
Verlag / Publisher: Schott Music Ltd., London
Erscheindungsdatum / Date of Publishing: 24.10.2012
Ausgabe / Publication: Chorpartitur - Choral score -
- - -
Seiten / Pages: 16
Verarbeitung: Rückendrahtheftung - Saddle-wire stitching
Schwierigkeitsgrad / Difficulty: mittelschwer - fortgeschritten - intermediate - advanced - moyen - avancé
Sprache / Language: Italienisch
Reihe / Series: Choral Music of Our Time
ISMN: M-2201-3309-1
ISMN-13: 979-0-2201-3309-1
ISMN-EAN: 9790220133091
UPC:

My collection of laude has its origins in the world of early music, being based in spirit and feeling on the unaccompanied vocal laude found in a collection from 13th century Cortona. The people who originally sang such things - the laudesi' - banded together in confraternities but were not usually associated with any particular church and this music was not part of any liturgy. The first laude that I wrote were, like the mediaeval originals, for unaccompanied voice - for the soprano Anna Maria Friman. I then wrote some for two voices, adding the tenor John Potter, and some for three sopranos, the Trio Mediaeval. Gradually I added more for other vocal combinations as well as some with instrumental accompaniment. But I do return from time to time to the purer' solo or duo lauda. In 2006 I wrote a number of pieces for the Estonian National Men's Choir (RAM) chiefly through my friendship and collaborations with its conductor Kaspars Putnins who, as well as conducting the Latvian Radio Choir, was director of RAM. I wrote two laude for them. Lauda 31 was completely new, while Lauda 32 is a new version of Lauda 19 Omne homo. Both make full use of the special quality of the Estonian choir and Lauda 32 in particular deliberately aims to have the sound of singers in a Russian Orthodox tradition.Whatever vocal approach I use for setting lauda texts, I treat them with great respect in relation to the original lauda. I adhere as far as possible to the same number of notes to a syllable that are in the mediaeval versions, frequently following the melodic contours and sometimes quoting individual phrases. I still relish the challenge of writing vocal music which is quite exposed, and which retains something of the austerity of the original. Gavin Bryars (2012)

Lauda 31 (Ogn'om canti) - Lauda 32 (Omne homo)