Antoine Brumel - Missa pro defunctis à 4: Sequentia Dies irae, Dies illa

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Südtirol in concert

Südtirol in concert

Күн бұрын

Пікірлер: 7
@hectorbarrionuevo6034
@hectorbarrionuevo6034 4 ай бұрын
Gorgeous, ritualistic, meditative music by Brumel and performance !!!
@danielkeach9676
@danielkeach9676 2 жыл бұрын
Magnificent!
@silviarambaldi3699
@silviarambaldi3699 6 жыл бұрын
bellissimo brano e ottima esecuzione! potrei chiedere al M° Michael Form se conosce la data di composizione della Missa pro defunctis? Grazie, Silvia Rambaldi
@tedwilks
@tedwilks 5 жыл бұрын
Silvia, la data di composizione di questo Requiem è circa 1500, ma in alcune fonti la data indicata è circa 1503. Le note del programma per il CD (Gaudeamus GAU 352) indicano che questa composizione è stata la prima impostazione polifonica del "Dies irae" .
@dougallee7066
@dougallee7066 2 жыл бұрын
I just love this. I watch over and again. I very much enjoy the drama of its performance and the ambience; but the whole musical concept I find breathtaking. I realise, of course, that the Dies Irae has been employed as a theme by many composers of many genres, and of all those that I have heard I think I enjoy this the most. Is it the earliest? Or was the theme often used by other composers of this era?
@titig7778
@titig7778 10 ай бұрын
Hey, I'm currently doing research about the Dies Irae. Still a student so don't take anything I say for a truth but from what I've understood, this is the first polyphonic setting of the Dies Irae, the melody itself is older (13th century, maybe older) but was sung in plainchant (only one voice) in the Gregorian tradition.
@dougallee7066
@dougallee7066 6 ай бұрын
@@titig7778 Thanks for replying. What sort of research (sounds interesting!)? I think I must have first come upon the theme in Berlioz's Symphonie Fantastique, but didn't realise what it was until I was in (at school, bizarrely!) a stage adaptation of Bergman's 'The 7th Seal'. I then spotted it in Holst's 'Planets', Genesis' 'Return of the Giant Hogweed', and Argent's 'The Coming of Kohoutek', and here, there and everywhere. I even got to sing the plainchant version in a production of T.S.Eliot's 'Murder in the Cathedral'. From your research, was Brumel being quite original here? Or might he be following a lost tradition? I love the music from this era, and this piece strikes me as ambitious.
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