Par PART ARVO. 'In principio' takes its words from the Gospel of John 1:1-14 and puts them into a five-movement form. This work, as in all of Pärt's music, is governed by a strict formal design, with the clarity of the musical structure corresponding to that of the Latin text. The first movement (vv. 1-5) and the fifth (v. 14) are limited to two opposing formal elements: a static, syllabically articulated A-minor chord, and its timbral and tonal opposite, a fanfare-like figure that expands with each new section, growing in loudness and returning to its beginning after traversing all twelve keys. The second movement (vv. 6-8), devoted to John the Baptist, is conceived as a powerfully moving single-voice monody. The central third movement (vv. 9-11) is not only the longest but the one whose message Pärt specially emphasised by repeating the words three times - something he had never done before in his vocal music. He evidently did so to send a signal directly to each and every one of us. The fourth movement (vv. 12-13) seems to begin ex nihilo, growing slowly but with an ineluctable pulse in a mighty procession. The fifth movement (v. 14) constitutes, in combination with the first, the formal and expressive frame of the composition, albeit in mirror reflection. If the chorus in the first movement statically pulsates while the orchestra proceeds dynamically through the circle of keys, these roles are reversed in the fifth movement. Thus, the expanding thrust given to the orchestra in the opening movement is now focused entirely on the text of the chorus. (Wolfgang Sander, translation by J. Bradford Robinson)/ Répertoire / Chœur Mixte [SATB] et Orchestre

Rachmaninov regarded his choral symphony The Bells Op.35 to be his greatest work set to the poem by Edgar Allan Poe. The poem is a representation of life from the nimbleness of youth to the pain of age and this symphony is divided into four movements representing marriage birth terror and death. The work is scored for Soprano Tenor and Baritone soloists with Choir and large Orchestra.The first movement subtitled The Silver Sleigh Bells uses typically rich post-Romantic harmonies and is effervescent and joyous in mood featuring a prominent Tenor part. The second subtitled The Mellow Wedding Bells features the soprano soloist andconcentrates on the more passionate and intimate moments associated with weddings. The third movement subtitled The Loud Alarum Bells is a rousing and threatening Presto representing terror with frightening and demonic outbursts. The final movement subtitled The Mournful Iron Bells is gloomy cold and dispiriting. With the Baritone singing about the ‘quiet of the tomb’ the piece ends reflecting on the aspects of death as the music turns sad and warmly Romantic.Available here is the Boosey And Hawkes Pocket Score edition (No.898) of Rachmaninov’s impressive and moving choral symphony The Bells Op.35 and is ideal for study and perusal usage.

Cantata for Easter Sunday-Christ lag in Todes Banden (Christ lay by death enshrouded / Christ lay in grim death's prison ) BWV 4Cantata for Easter Sunday - Urtext of the New Bach Edition. - Original German text with English singing translation. - Idiomatic and easy-to-play piano reduction. - Performance material (BA10004) vocal score (BA10004-90) & study score (TP1004) available for sale These editions of Bach Cantatas offer the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. No group of works in Johann Sebastian Bach’s output is as wide-ranging as the cantatas. This is hardly surprising considering that forover five years Bach was required to compose a work or at least re-work an existing one for every Sunday and festival of the church year as well as for numerous secular occasions such as council inaugurations school and university celebrations and royal birthdays. Unfortunately not all cantatas have survived. However over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then.

Drammaturgia Poetica Per Voce Recitante - Cantante. Par CORGHI AZIO. Drammaturgia Poetica Per Voce Recitante - Cantante / Musique contemporaine / Date parution : 1905-06-28/ Répertoire / Voix et Orchestre