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 01. Lisa Beckley "Requiem, Op. 48: Introit et Kyrie" 02. Carey, Colm "Requiem, Op. 48: Offertoire" 03. Carey, Colm "Requiem, Op. 48: Sanctus" 04. Lisa Beckley "Requiem, Op. 48: Pie Jesu" 05. Carey, Colm "Requiem, Op. 48: Agnus Dei" 06. Lisa Beckley "Requiem, Op. 48: Libera me" 07. Nicholas Gedge "Requiem, Op. 48: In paradisum" 08. Carey, Colm "Pieces de fantaisie, Op. 51: Suite No. 1" 09. Oxford Schola Cantorum "Tantum ergo" 10. Carey, Colm "Messe basse: Kyrie" 11. Carey, Colm "Messe basse: Sanctus" 12. Carey, Colm "Messe basse: Benedictus" 13. Carey, Colm "Messe basse: Agnus Dei" 14. Carey, Colm "Cantique de Jean Racine, Op. 11"
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1 |
| | Informations supplémentaires: |
Oxford Camerata/ Schola Cantorum Of Oxford/ Summerly |
| | Description: | The appearance of Fauré's Requiem in the 1880s, a decade during which the composer's most successful compositions were songs and piano pieces, can on I y be explained by the fine choral music which preceded it. The Messe basse represents Fauré at his most practical. Written in conjunction with the French composer and organist André Messager (also at one time assistant to Widor at St Sulpice) during a holiday in Normandy in 1881, the Messe basse was composed for the modest forces of a local church. A setting of the motet O salutaris hostia and the Kyrie were Messager's contribution; the remaining movements of the Ordinary, without the Credo, were set by Fauré. When revising the score in 1906 Fauré adapted the violin and harmonium accompaniment for organ, at the same time excising the Gloria and replacing Messager's Kyrie with one of his own. The final version of the Messe basse is one of the few existing settings of the mass for female voices and organ. The youthful Cantique de Jean Racine dates from 1865 when Fauré was studying with Saint-Saëns at the Ecole Niedermeyer in Paris. The Cantique earned Fauré a premier prix in composition and is a testament to the young composer's melodic genius and to his penchant for rich textures. This recording is an attempt to move Fauré's liturgical music from the concert hall to the church. In particular, the reconstruction of nineteenth-century French ecclesiastical pronunciation and the restoration of Fauré's preferred phrasing are just two of the most useful elements in the search for the composer's intentions. To those familiar with the more expansive versions of Fauré's Requiem there will inevitably be unfamiliar textures in this performance. However, few of Fauré's romantic gestures are lost in the chamber version, and moreover, the reserved translucence of the instrumentation emphasizes the fact that the Requiem -and indeed all the choral music recorded here - was originally designed for liturgical performance., Runningtime: 00:00:00, Bass Vocals, Baritone Vocals: Nicholas Gedge, Choir: Schola Cantorum Of Oxford, Conductor: Jeremy Summerly, Engineer: John Taylor (13), Ensemble [Instrumental]: Oxford Camerata, Liner Notes [French]: Frédéric Castello, Liner Notes [German]: Cris Posslac, Liner Notes [Music Notes]: Colm Carey, Liner Notes [Musical Notes]: Jeremy Summerly, Painting [Cover Painting The Crucifixion With St Vincent De Paul]: Nicolas Tournier, Producer: Jeremy Summerly, Producer: Judy Lieber (2), Soprano Vocals: Lisa Beckley, Video Editor [Video Assist]: Humphrey Truswell, Composed By: Gabriel Fauré, Composed By: Louis Vierne, Composed By: Déodat De Séverac, Composed By: Gabriel Fauré, Composed By: Gabriel Fauré, Labelcode NXS8550765.2 (8.550765), Phonographic Copyright (p) HNH International Ltd., Copyright (c) HNH International Ltd., Recorded At Chapel Of Hertford College, Oxford, Distributed By MVD Music And Video Distribution GmbH, Pressed By Sonopress | | | N° de titres: |
14 |
| | N° de fabricant: |
8550765 |
| Sécurité des produits
Personne responsable pour l'UE:
NAXOS RIGHTS (EUROPE) LTD
41-51 Brighton Road, Surrey RH1 6YS Redhill, UK
info@naxos.com | |
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