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Yes, if you get a chance to go to this live, spend the $$ and the time and go experience it.
The motet is laid out for eight choirs of five voices (soprano, alto, tenor, baritone and bass). It is most likely that Tallis intended his singers to stand in a horseshoe shape. Beginning with a single voice from the first choir, other voices join in imitation, each in turn falling silent as the music moves around the eight choirs. All forty voices enter simultaneously for a few bars, and then the pattern of the opening is reversed with the music passing from choir eight to choir one. There is another brief full section, after which the choirs sing in antiphonal pairs, throwing the sound across the space between them. Finally all voices join for the culmination of the work. 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.
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.
Featuring performance and visualization by Stephen Malinowski.
The third and most famous movement of Suite bergamasque is “Clair de lune,” meaning “moonlight” in French. Its name comes from Paul Verlaine‘s poem of the same name which also refers to ‘bergamasques‘ in its opening stanza: Votre âme est un paysage choisi / Que vont charmant masques et bergamasques / Jouant du luth et dansant et quasi / Tristes sous leurs déguisements fantasques
Are juicy harmonies your thing? Try this on for size. :)
This is a rerun I know, but after singing it you just have to hear it again. Enjoy folks.
Oh, and this is my part that I practiced with the other tenors. I’m sure they hate me by now for pestering them to rehearse with me, but wow did we nail it during the performance. :)
Fugue in G minor, BWV 578, “Little” (popularly known as the “Little Fugue”), is a piece of organ music written by Johann Sebastian Bach during his years at Arnstadt (1703–1707). It is one of Bach’s best known fugues and has been arranged for other voices, including in an orchestral version made by Leopold Stokowski.[1]
Early editors of Bach’s work attached this title to distinguish it from the later Great Fantasia and Fugue in G minor, BWV 542, which is longer in duration.
Many thanks to Stephen Malinowski for performing and translating the work into the visual medium presented above.
Fantastic ideas contained within this video by Vihart. Consider my knowledge of musical styles expanded, and hopefully your too. :)
Wikipedia blurb under the video.
Twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition devised by Austrian composer Arnold Schoenberg (1874–1951). The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note[3] through the use of tone rows, an ordering of the 12 pitches. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. The technique was influential on composers in the mid-20th century.
Schoenberg himself described the system as a “Method of Composing with Twelve Tones Which are Related Only with One Another”.[4] However, the common English usage is to describe the method as a form of serialism.
Schoenberg’s countryman and contemporary Josef Matthias Hauer also developed a similar system using unordered hexachords or tropes—but with no connection to Schoenberg’s twelve-tone technique. Other composers have created systematic use of the chromatic scale, but Schoenberg’s method is considered to be historically and aesthetically most significant.
F♯ major or F-sh
arp major is a major scale based on F♯, consisting of the pitches F♯, G♯, A♯, B, C♯, D♯, and E♯. Its key signature has six sharps.
Its relative minor is D♯ minor, and its parallel minor is F♯ minor. Its enharmonic equivalent is G♭ major.
F-sharp major is the key of the minuet in Joseph Haydn’s “Farewell” Symphony, of Beethoven’s Piano Sonata, Op. 78, of Chopin’s Barcarolle, of Liszt‘s Hungarian Rhapsody No. 2, of Mahler’s unfinished Tenth Symphony, of Erich Korngold’s Symphony Op. 40, and of Scriabin‘s Fourth Sonata. The key was the favourite tonality of Olivier Messiaen, who used it repeatedly throughout his work to express his most exciting or transcendent moods, most notably in the Turangalîla Symphony.
In a few scores, the F-sharp major key signature in the bass clef is written with the sharp for the A on the top line.
The CBC Signature Series is hosted by Paolo Pietropaolo.
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