Osterkantate. Par TELEMANN GEORG PHILIPP. This cantata has come down to us, unusually, with two sets of words. Certainly the second, and possibly also the first, is a parody. The first text is clearly intended for Easter, while the second, of a general nature, sings the praises of patience, hope, and trust in God. This extremely effective work, basically heroic in character, might well be performed along with the similarly scored setting of psalm 100, Jauchzet dem Herrn, alle Welt [CV 39. 106]./ Répertoire / Solo B, Trompette, Violon, Alto et Basse Continue

Even for Ralph Vaughan Williams the prospect of two world premieres within 24 hours must have been something of a rarity. Such was the case however on the first two days of June 1953, when his now classic arrangement of The Old Hundredth Psalm was sung at the Coronation of Elizabeth II in Westminster Abbey, being preceded the evening before by the premiere of 'Silence and Music', fourth of ten partsongs of A Garland for the Queen, commissioned from leading British composers by the Arts Council of Great Britain to honour the new monarch. Long unavailable except as separate items from individual publishers, this historic collectionis now reissued complete by Stainer & Bell in its original single-volume format, allowing conductors and singers to choose from a rich collection of choral music with which to mark the Queen's Diamond Jubilee and, in 2013, the 60th anniversary of the Coronation itself. In addition to VW's contribution, A Garland for the Queen includes important settings by Bax, Berkeley, Bliss, Finzi, Howells, Ireland, Rawsthorne, Rubbra and Tippett. The collection moreover draws on the work of poets whose names likewise feature prominently in the annals of mid-century British literary talent: Clifford Bax, Edmund Blunden, Paul Dehn, Christopher Fry, Christopher Hassall, James Kirkup, Louis MacNeice, Walter de la Mare, Henry Reed and Ursula Wood. Intended as a counterpart to The Triumphs of Oriana of 1601, the celebrated madrigal volume published in praise of Elizabeth I by Thomas Morley, A Garland for the Queen emulates its distinguished predecessor in its variety of moods and vocal combinations. There is material here to fit every aspect of celebration, from the airy five-part ensemble of Bax's 'What is it like to be young and fair?', and the soprano solo with SATB of Rawsthorne's Canzonet, to the lustrous contrasting of male and female timbres in Bliss's Aubade, and the rapturous eight-part setting of/ Recueil / Voix Mixtes

Osterkantate. Par TELEMANN GEORG PHILIPP. This cantata has come down to us, unusually, with two sets of words. Certainly the second, and possibly also the first, is a parody. The first text is clearly intended for Easter, while the second, of a general nature, sings the praises of patience, hope, and trust in God. This extremely effective work, basically heroic in character, might well be performed along with the similarly scored setting of psalm 100, Jauchzet dem Herrn, alle Welt [CV 39. 106]./ Répertoire / Solo B, Trompette, Violon, Alto et Basse Continue

Osterkantate. Par TELEMANN GEORG PHILIPP. This cantata has come down to us, unusually, with two sets of words. Certainly the second, and possibly also the first, is a parody. The first text is clearly intended for Easter, while the second, of a general nature, sings the praises of patience, hope, and trust in God. This extremely effective work, basically heroic in character, might well be performed along with the similarly scored setting of psalm 100, Jauchzet dem Herrn, alle Welt [CV 39. 106]./ Répertoire / Solo B, Trompette, Violon, Alto et Basse Continue

Gammal Fäbodpsalm Dalarna (Old Pastoral Hymn de Dalarna) est une mélodie bien connue et populaire de la Suède qui évoque le caractère nord du nombre des airs folkloriques de Scandinavie. Violons, altos, violoncelles et tous partagent dans la mélodie, avec Violon I employant troisième position, mais il est doublé à l'octave. La ligne de violon solo, inclus dans le Violon I, partie, passe en troisième et cinquième place, en fournissant une bonne opportunité pour le développement de la plus avancée violoniste de jeu expressif. Quelque chose de spécial pour vos élèves d'héritage scandinave! / Orchestre A Cordes

St. Michael. Par BOURGEOIS LOUIS. The French composer Louis Bourgeois lived from c. 1510 to 1560. Bourgeois was cantor in Geneva and, commissioned by John Calvin, he composed melodies for metrical (rhyming) versions of the psalms. After completing about a hundred one-part psalms, he made some four-part arrangements, which were denounced and even resulted in his imprisonment for a day. Later, Bourgeois published a number of psalm collections, and judging from his book Le droict chemin de musique he was also an excellent educator. The melodies Bourgeois composed, are (contrary to Gregorian chants) particularly suitable for community singing. This applies to his hymn tune Saint Michael, which is why this melody hasbeen used for various texts, written for many occasions. John Blanken made this arrangement for a wedding ceremony: an occasion in which faith and trust play a large - if not the largest - role. Hence the title Hymn of Faith. The arrangement contains four verses of the hymn. After a majestic opening the hymn follows twice, the second verse being embellished in the tenor register. After a short interlude verse three follows, played by a quartet. The majestic opening is then repeated as a modulation into the fourth verse, which concludes the work in a brilliant tutti. / Niveau : 3 / Hymnes et chorals / Répertoire / Fanfare

St. Michael. Par BOURGEOIS LOUIS. The French composer Louis Bourgeois lived from c. 1510 to 1560. Bourgeois was cantor in Geneva and, commissioned by John Calvin, he composed melodies for metrical (rhyming) versions of the psalms. After completing about a hundred one-part psalms, he made some four-part arrangements, which were denounced and even resulted in his imprisonment for a day. Later, Bourgeois published a number of psalm collections, and judging from his book Le droict chemin de musique he was also an excellent educator. The melodies Bourgeois composed, are (contrary to Gregorian chants) particularly suitable for community singing. This applies to his hymn tune Saint Michael, which is why this melody hasbeen used for various texts, written for many occasions. John Blanken made this arrangement for a wedding ceremony: an occasion in which faith and trust play a large - if not the largest - role. Hence the title Hymn of Faith. The arrangement contains four verses of the hymn. After a majestic opening the hymn follows twice, the second verse being embellished in the tenor register. After a short interlude verse three follows, played by a quartet. The majestic opening is then repeated as a modulation into the fourth verse, which concludes the work in a brilliant tutti. / Niveau : 3 / Hymnes et chorals / Répertoire / Fanfare

Wiemer, Wolfgang (Arr.) - Br Jcfb E 1. Par BACH JOHANN CHRISTOPH FRIEDRICH. Nicht nur die Musiker des 16. und 17. Jahrhunderts haben - schon aus liturgischen Gründen - immer wieder Vertonungen des Bußpsalms 50 [51] vorgelegt. Auch noch in späterer, säkularisierterer Zeit pflegten gelegentlich Komponisten diese Tradition, so der 'Bückeburger' Johann Christoph Friedrich Bach mit seiner 12-sätzigen Komposition von etwa 1770, die erst 1975 entdeckt wurde. Fast nur in B-Tonarten angesiedelt, besteht Bachs 'Miserere' aus einem ausgewogenen Wechsel von Chor- und Soloabschnitten. Gemeinsames Stilmerkmal aller Teile sind vor allem die reich verwendeten 'empfindsamen' Vorhaltsbildungen und kleinen Ziernoten. Als Beispiel des vorklassischen Zeitalters eignetsich die Komposition gut für epochenübergreifende Programme mit Fasten- und Bußkompositionen. / Date parution : 1991-09-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Alto et Bas

Tonalité : C-Dur - Horn, Paul (Arr.) -. Par KRIEGER JOHANN PHILIPP. Johann Philipp Krieger verwendet bei dieser Kantate über den Anfang des 81. Psalms die überaus seltene, aber sehr reizvolle Besetzung mit Altstimme, Trompete und Continuo [das Vorwort erwähnt allerdings die Möglichkeit, die Singstimme auch mit einem Bass zu besetzen]. Die Besetzung mit Solotrompete steht dabei in einer viel geübten Weißenfelser Sondertradition [der möglicherweise auch J. S. Bachs Kante 51 entsprang]. Die wirkungsvoll geführte virtuose Trompetenstimme lässt den hohen technischen Standard der Trompeter am Weißenfelser Hof erkennen und bietet zugleich dem heutigen Trompeter die Möglichkeit, alle Facetten seiner Kunst in dieser großartigen Kantate zuentfalten./ Répertoire / Solo A, Trompette ou Violon et Basse Continue

Wiemer, Wolfgang (Arr.) - Br Jcfb E 1. Par BACH JOHANN CHRISTOPH FRIEDRICH. Nicht nur die Musiker des 16. und 17. Jahrhunderts haben - schon aus liturgischen Gründen - immer wieder Vertonungen des Bußpsalms 50 [51] vorgelegt. Auch noch in späterer, säkularisierterer Zeit pflegten gelegentlich Komponisten diese Tradition, so der 'Bückeburger' Johann Christoph Friedrich Bach mit seiner 12-sätzigen Komposition von etwa 1770, die erst 1975 entdeckt wurde. Fast nur in B-Tonarten angesiedelt, besteht Bachs 'Miserere' aus einem ausgewogenen Wechsel von Chor- und Soloabschnitten. Gemeinsames Stilmerkmal aller Teile sind vor allem die reich verwendeten 'empfindsamen' Vorhaltsbildungen und kleinen Ziernoten. Als Beispiel des vorklassischen Zeitalters eignetsich die Komposition gut für epochenübergreifende Programme mit Fasten- und Bußkompositionen. / Date parution : 1991-09-01/ Répertoire / Solistes SATB, Choeur SATB, 2 Violons, Alto et Bas

Tonalité : C-Dur - Horn, Paul (Arr.) -. Par KRIEGER JOHANN PHILIPP. Johann Philipp Krieger verwendet bei dieser Kantate über den Anfang des 81. Psalms die überaus seltene, aber sehr reizvolle Besetzung mit Altstimme, Trompete und Continuo [das Vorwort erwähnt allerdings die Möglichkeit, die Singstimme auch mit einem Bass zu besetzen]. Die Besetzung mit Solotrompete steht dabei in einer viel geübten Weißenfelser Sondertradition [der möglicherweise auch J. S. Bachs Kante 51 entsprang]. Die wirkungsvoll geführte virtuose Trompetenstimme lässt den hohen technischen Standard der Trompeter am Weißenfelser Hof erkennen und bietet zugleich dem heutigen Trompeter die Möglichkeit, alle Facetten seiner Kunst in dieser großartigen Kantate zuentfalten./ Répertoire / Solo A, Trompette (Violon) et Basse Continue