Пікірлер

• 
  @lisasharples5654Күн бұрын

  Love this choral music....❤❤❤❤❤❤❤❤

• 
  @wftjet3 күн бұрын

  2025 is an anniversary year for Gibbons. Lovely

• 
  @ChernobieffPiano11 күн бұрын

  That is W. Carlos i know the recording well.

• 
  @BenzemonstreENTs13 күн бұрын

  0:35

• 
  @JesusHasRisen125 күн бұрын

  I recorded this off the radio when I was a teenager and listened to it countless times, but forgot all about it until recently. Thank you for bringing this back to life for me. How glorious!

• 
  @backtoschool161129 күн бұрын

  I find it interesting that after hearing all the parts alone, and then hearing all the parts in chorus, I can hear more of the inner voices that I did on the first hearing. Awesome!

• 
  @NYCNexus29 күн бұрын

  When Rubenstein gave a Master class at Juilliard (Juilliard Theater was full). He told that he explored the 4th floor practice rooms and was astounded skill level. Rubenstein said everyone could play faster and more accurately (his fingers were wide and would occasionally hit the wrong key). After a long pause he said “There is only one difference. When I play I sing.” So you have to trust your inner voice and do your best to match the pitch of what you hear inside.

• 
  @backtoschool161129 күн бұрын

  @@NYCNexus I dont see printed notes well, so yes, I do ding while I practice. It helps my memory, and reduces "note bashing"!! I hope to use the clef reading book for learning Braille music. I use fixed Do, that is how Louis Braille set up his code, he was French.

• 
  @NYCNexus29 күн бұрын

  @@backtoschool1611 I was going to mention that, if the syllables are not comfortable, just singing on "doot" is beneficial.

• 
  @backtoschool161129 күн бұрын

  @@NYCNexus I can get thenpitches ok, but I trip over solfege sometimes. I see it as part of learning!

• 
  @paolomartinelli3119Ай бұрын

  Fantastic!

• 
  @backtoschool1611Ай бұрын

  It is a shame these skills are not taught in music schools.

• 
  @Tommybean7Ай бұрын

  Thank you, you are very knowledgable! 👍

• 
  @sergiosanchezsanchez8712Ай бұрын

  Absolutamente magistral de Referencia. ¡inmejorable!

• 
  @janetroy5489Ай бұрын

  Very nice, and I especially like the music.

• 
  @lornamyers92472 ай бұрын

  FASCINATING HISTORY! Thanks for sharing, Peter!

• 
  @bigolpenguin47152 ай бұрын

  This feels like a sword duel song in the background

• 
  @nurtenozcelik80332 ай бұрын

  Çok sağolun. Thanx❤

• 
  @donovick2 ай бұрын

  Useful

• 
  @olgahucikova17713 ай бұрын

  👍

• 
  @countryoftheblind3 ай бұрын

  Gee, can we get the rest of the Mass?

• 
  @NYCNexus3 ай бұрын

  O.K. I have several recordings. I'll take a look. Lately, I've been writing out new scores to fit the screen. (Sibelius software).

• 
  @monscarmeli3 ай бұрын

  What a glorious performance!! Who is this, and have they recorded more Josquin?? And the video is beautiful and exquisite, great work!

• 
  @NYCNexus3 ай бұрын

  Tallis Scholars. Peter Phillips, conductor

• 
  @monscarmeli3 ай бұрын

  @@NYCNexus Thank you -- I must say that surprises me a bit, as their recordings with which I'm familiar never involve such relaxed tempi or reverberant spaces...

• 
  @NYCNexus3 ай бұрын

  @@monscarmeli Recorded at Church of Saint Peter and Saint Paul, Salle, Norfolk, England.

• 
  @lornamyers92474 ай бұрын

  What a FANTASTIC Madrigal, so complicated and challenging, but effortlessly and gorgeously rendered by this extraordinary choir. They’ve done the Masterpiece to perfection! Thanks for posting, Peter along with the provenance : the fascinating information on the brilliant composer, Luca Marenzio, as well as the complete text and translation. BRAVO, Peter!

• 
  @NYCNexus4 ай бұрын

  Wow! Thanks Lorna. Lorna is a world-famous mezzo-soprano. (Frequent roles at the Metropolitan Opera, on Broadway, and with opera companies across the globe. Vocal soloist with the NY City Ballet, Alvin Ailey and Jose Limon Dance Companies. She toured with Karl Richter and the Munich Philharmonic. She also was a founder of Opera Ebony and a director of the Girl's Choir of Harlem, inspiring features on 60 minutes and in the New York Times. Through her many vocal and philanthropic projects her name has been associated with First Lady Hillary Clinton, Oprah, Paul Newman, and Queen Latifah!

• 
  @yacherka4 ай бұрын

  Thank you for videos!

• 
  @juanpablo10014 ай бұрын

  Karl Jenkins the goat

• 
  @sigrosen58444 ай бұрын

  Thanks Peter!

• 
  @freddoliveira4 ай бұрын

  ...

• 
  @liliaaliciaduhaldebruz67124 ай бұрын

  ❤

• 
  @sigrosen58445 ай бұрын

  This appears to be Capella Antiqua München, K. Ruhland, conductor.

• 
  @moontan915 ай бұрын

  very good impression of W. Carlos!

• 
  @MlenaK-jb2nm5 ай бұрын

  Love❤❤❤

• 
  @anaischastain5 ай бұрын

  Bonjour, je vous remercie pour l'aide de la partition.

• 
  @StoneChords5 ай бұрын

  Have long loved this composition -- very nice to have the scrolling score -- thank you for posting!

• 
  @NYCNexus5 ай бұрын

  When I watched this video, I decided to make another version. 5 Fantasias on “Une jeune fillette”. Eustache du Caurroy kzread.info/dash/bejne/lnlo0Leom62cgqw.html

• 
  @lornamyers92475 ай бұрын

  BRILLIANT, as always, Peter Randall! BRAVO!

• 
  @NYCNexus5 ай бұрын

  Wow! Thanks Lorna.

• 
  @youtubesketches1105 ай бұрын

  Lovely, festive motet.

• 
  @matthieubollea22165 ай бұрын

  Thanks for sharing, very interesting 🙏

• 
  @NYCNexus5 ай бұрын

  When Voces8 performed two concerts here in New York, I attended both, and spent time with each of them. I had not even heard "O nata lux" until I bought a CD of their recordings. The cross relation they sing in the last measure is, I believe, the best (cross relation) I've ever heard.

• 
  @sule-szigetigabor28705 ай бұрын

  GOOSEBUMPS.

• 
  @Ferdinand3145 ай бұрын

  Could you tell us who is singing this?

• 
  @NYCNexus5 ай бұрын

  British bass-baritone Dingle Yandell studied at the Guildhall School of Music and Drama and the National Opera Studio. He was one of the inaugural 'Rising Stars' of the Orchestra of the Age of Enlightenment and was a founder member of the award-winning British vocal ensemble Voces8, with whom he toured internationally for ten years. In the 2023/24 season he sings Zuniga Carmen and Sprecher Die Zauberflöte both for Glyndebourne Opera. He also sings Richard Strauss’ wistful one-act opera Daphne on the concert platform with The Orchestra of Scottish Opera, Bach’s Matthäus-Passion with Collegium Vocale Gent on a tour that includes significant concert halls. Recent operatic engagements include André Thorel Thérèse (Scottish Opera), Theseus A Midsummer Night's Dream (Glyndebourne Opera), Don Pizarro Fidelio (Glyndebourne tour); Colline La bohème (Nevill Holt Opera); Snug A Midsummer Night’s Dream (Scottish Opera); Commendatore Don Giovanni (Nevill Holt Opera, Oxford Sinfonia); his role debut as Fafner Das Rheingold (Grimeborn); Angelotti Tosca, Sarastro and Speaker of the Temple Die Zauberflöte, Count Ceprano and cover Sparafucile Rigoletto, and Immigration Officer Flight (Scottish Opera); The Doctor Pelléas et Mélisande, cover Don Geronio Il turco in Italia, and cover La Roche Capriccio (Garsington Opera); Plutone in Monteverdi's L'Orfeo (L'Arpeggiata); Seneca L'incoronazione di Poppea (Bach Collegium Japan); and The Cold Genius and Aeolus King Arthur (Gabrieli Consort). Equally in demand on the concert platform, his recent performances include Mozart Mass in C Minor with Royal Northern Sinfonia, Elgar The Apostles with The Hallé Orhestra, Bach Christmas Oratorio with Monteverdi Choir and Orchestra and Handel’s Messiah with Huddersfield Choral Society, Handel’s Messiah with the Royal Philharmonic Orchestra at the Royal Albert Hall; St Matthew Passion at the Valetta International Baroque Festival, Israel in Egypt with William Christie at the BBC Proms, The Creation cond. Adam Fischer, Harmoniemesse cond. Andras Schiff and the world premiere of Sally Beamish’s The Judas Passion (all with the Orchestra of the Age of Enlightenment); Bach’s St John Passion (Tchaikovsky Concert Hall, Moscow); Purcell’s Begin The Song (Arcangelo at Wigmore Hall). He sings regularly with the Early Opera Company, La Nuova Musica, Holland Baroque and Les Inventions, and is a soloist for the Bach, The Universe and Everything concert series at Kings Place, London. He also appears as a soloist on L’Arpeggiata’s recording Himmelsmusik. His concert repertoire includes Handel’s Dixit Dominus with the Monteverdi Choir at the BBC Proms and the Berliner Philharmonie, Bach’s St John Passion with the Academy of Ancient Music at the Barbican, Haydn’s Nelson Mass and Mozart’s Requiem at the Wimbledon International Music Festival, B Minor Mass (Cadogan Hall); Christmas Oratorio and Messiah (Hitomi Hall, Tokyo and with the Orchestra of Opera North); Bach Wachet Auf and Erfreut Euch (Dijon Opera House); Vaughan Williams’ Serenade to Music (Royal Festival Hall, cond. John Wilson) and Fantasia on Christmas Carols (Isumi Hall, Osaka); Purcell O Sing Unto the Lord (Gabrieli Consort) and Phoebus Dido and Aeneas (L’Arpeggiata at Oudemuziek Festival, Utrecht); Beethoven Symphony No. 9, Theodora, Dvorak Stabat Mater, Rossini Stabat Mater and Verdi Requiem. Dingle is a recipient of a Sybil Tutton Opera Award administered by Help Musicians UK.

• 
  @NYCNexus5 ай бұрын

  On the CD, A Purcell Collection, Voces8

• 
  @jaapfolmer77915 ай бұрын

  There is only ONE verse. Consisting of 8 lines. As always in any rondeau.

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  @NYCNexus5 ай бұрын

  The score and text is following their performance.

• 
  @NYCNexus5 ай бұрын

  The older French rondeau or rondel as a song form between the 13th and mid-15th century begins with a full statement of its refrain, which consists of two halves. This is followed first by a section of non-refrain material that mirrors the metrical structure and rhyme of the refrain's first half, then by a repetition of the first half of the refrain, then by a new section corresponding to the structure of the full refrain, and finally by a full restatement of the refrain. Thus, it can be schematically represented as AB aAab AB, where "A" and "B" are the repeated refrain parts, and "a" and "b" the remaining verses. If the poem has more than one stanza, it continues with further sequences of aAab AB, aAab AB, etc. In its simplest and shortest form, the rondeau simple, each of the structural parts is a single verse, leading to the eight-line structure known today as triolet, as shown in "Doulz viaire gracieus" by Guillaume de Machaut:

• 
  @NYCNexus5 ай бұрын

  I added a note in the description: The video has labels for Verses. More accurately, each of those labels is one line from a single Verse with 8 lines.

• 
  @orecalle6 ай бұрын

  Nice!! 😮

• 
  @sophelet6 ай бұрын

  Oh my. It's the music used in advertisement-- for diamonds, I think. Grateful not to sing the tenor or bass part....

• 
  @NYCNexus4 ай бұрын

  Yes, I was startled when I first it. It does have "commcercial" appeal

• 
  @richardtongi23916 ай бұрын

  Unfortunately this record doesn´t make clear that with this sonata Biber described the martyrdom of Saint Polycarp in Smyrna in the year 156. Biber composed only one trill for one trumpet. This is when the governor flipped a coin in order to find the verdict for St. Polycarp.

• 
  @NYCNexus6 ай бұрын

  Biber gave exact instructions on where the eight trumpeters should stand. “Das Tromba 1 et 2 auch 5 undt 6, alie vier müssen beysammen stehen; undt Tromba 3, 4, 7, 8 auch beysammen, denn sie gehen in Tripla ad duos choros” (Trumpets 1, 2, 5 and 6 must all stand together, and trumpets 3, 4, 7 and 8 together, because in the triple time sections they form two choirs), i.e., the 3/2 time is set for double choir. Thus he wanted to make certain that the antiphonal sections were placed in what amounted to stereophonic positions, so that the music could be heard with equal balance from all sides of the church auditorium. Biber’s great skill is shown in this work in which he was subject to the strict limitations of natural tone instruments. Moreover, he apparently had only four versatile clarion players at his disposal, the other four trumpeters being able to play only the first six natural tones. Biber overcame this further complication cleverly through the most unusual employment of a string bass and an organ and, consequently, could avail himself of a much richer set of harmonic possibilities.

• 
  @richardtongi23916 ай бұрын

  @@NYCNexus Hi Nexus, thank you for your comment. The strange numbering Biber used for the trumpets has a good reason. He wanted to show that for the governor (allabreve sections) normal rules are valid (1 to 8). But for St. Polycarp (triple sections) different (heavenly) rules (trumpets 1,2,5,6 and 3,4,7,8) are valid. So he is leveling up the saint not only by the triple time (holy trinity) but also by the double choirs composition style (Venezian style). Unfortunately all printed editions I know about renumbered the trumpets for no reason. The reinforcement of the BC Biber mentioned in the second part of his notabene on the title sheet means, that there is a short phase in which the people loudly claim that Polycarp must be burned. Biber wanted to have the BC to be as strong as possible for this short phase. There is really a lot more to say about this interesting composition. But it cannot be said in a few lines comment.

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  @edwardswilliamsj7 ай бұрын

  De todas las cantatas o metetes (misas católicas) de Schubert ésta es mi favorita es casi una obra maestra por sus formar y el tratamiento de las formas... Excelente trabajo... Muchas gracias.

• 
  @desmond38287 ай бұрын

  The reverb is weird

• 
  @NYCNexus7 ай бұрын

  I'll redo the video (with trackers) when I get the chance. I haven't listened to this since I posted it.

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  @jennycooper85567 ай бұрын

  Which edition of the score is used in this video? I haven’t been able to find a score with organ reduction for each brass choir individually.

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  @shin-i-chikozima8 ай бұрын

  The wonderfulness and greatness and gorgeousness and Beauty of Handel‘s music is immeasurable and unspeakable and beyond description and off the charts

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  @user-pu6bp4jk4q8 ай бұрын

  Beautiful!

• 
  @irksome1008 ай бұрын

  Amazing.

• 
  @itskarl75758 ай бұрын

  The score here is somewhat different from the one in The Oxfort Book of English Madrigals. At the end of the A section, the word is "alone-a", with the last syllable having a fourth note in place of the fourth rest here - and it's an F in all voices (the alto's half note is also an F).

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  @JoaquinLopez-tz7vg8 ай бұрын

  Excelsis deo... ut quicumque...

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  @josevipadilla72248 ай бұрын

  Bellísimo y extraordinario, como siempre. Gracias.

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  @mladentarbuk79628 ай бұрын

  Is it not the portray of Monteverdi?

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  @NYCNexus8 ай бұрын

  imagesofvenice.com/andrea-gabrieli/