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Ascensions for SATB chorus, traverso, baroque violin, viola da gamba and organ, Op.803

Классика/Оратория • 2009 • Автор текста: Jacob Balde
 
 
   
 

Full score and performance parts

Название пользователя: Carson Cooman: Ascensions for SATB chorus, traverso, baroque violin, viola da gamba and organ – full score and performance parts, Op.803


25.95 USD

Продавец Musik Fabrik
PDF, 1.66 Мб ID: SM-000325143 Дата публикации: 29 янв 2018
Инструменты
Орган, Флейта, Скрипка, Виола да гамба, Смешанный хор: Сопрано, Альт, Тенор, Бас
Состав исполнителей
Квартет, Хор
Тип нот
Партитура, Партии
Части
1 до 4 из 4
Издатель
Musik Fabrik
Язык
Латинский
Уровень сложности
Сложно
Время звучания
15'0
I. Sinfonia
II. To Mary on the vigil of her Assumption
III. A Votive Song
IV. The Heliotrope—the mind of man turned to God

Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and is dedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.

The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by “neo-Latin” poetJakob Balde, S.J. (1604–68), hailed as the “Horace of Germany” and considered one of the greatest Latin poets of any era. In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religious expression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strong correlation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked in classical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary and relevant. (An analogue to this use of language is the idea of creating new music to be played on “period instruments.”)

The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forward
momentum is interrupted several times before the movement settles tonally. The first choral movement employs a bouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song on the acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The final movement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describes the speaker’s journey and compares a purposeful sea voyage to a directed life.

Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poetic
English created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literal
translation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.

This item is the score only. The score plus the the performance parts is available for sale as another item.
  • Комментарии

Choral score only

Название пользователя: Carson Cooman: Ascensions for SATB chorus, traverso, baroque violin, viola da gamba and organ – choral score only, Op.803


19.95 USD

Продавец Musik Fabrik
PDF, 845.7 Кб ID: SM-000325141 Дата публикации: 29 янв 2018
Инструменты
Орган, Флейта, Скрипка, Виола да гамба, Смешанный хор: Сопрано, Альт, Тенор, Бас
Состав исполнителей
Квартет, Хор
Тип нот
Вокальная партитура
Части
1 до 4 из 4
Издатель
Musik Fabrik
Язык
Латинский
Уровень сложности
Сложно
Время звучания
15'0
I. Sinfonia
II. To Mary on the vigil of her Assumption
III. A Votive Song
IV. The Heliotrope—the mind of man turned to God

Ascensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and is dedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.

The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by “neo-Latin” poetJakob Balde, S.J. (1604–68), hailed as the “Horace of Germany” and considered one of the greatest Latin poets of any era. In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religious expression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strong correlation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked in classical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary and relevant. (An analogue to this use of language is the idea of creating new music to be played on “period instruments.”)

The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forward
momentum is interrupted several times before the movement settles tonally. The first choral movement employs a bouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song on the acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The final movement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describes the speaker’s journey and compares a purposeful sea voyage to a directed life.

Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poetic
English created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literal
translation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.

This item is the score only. The score plus the the performance parts is available for sale as another item.
  • Комментарии
 
 
   
 
 
   
 
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