Francisco Guerrero (Sevilla, 1528-1599) enjoyed enormous fame in his time, having taken a prominent post as maestro de capilla (singing master, i.e. music director) at Jaén Cathedral in Spain. More than any composer of his generation, he spent his life in Spain and thoroughly reflects the distinctiveness of the Spanish polyphonic tradition, which has distinctive traits as compared with Italian or English polyphony of the period. His rising prominence in our time is most likely due to these traits which include distinct structural roles for each voice and a firm underlying pulse that is inaudible but always present. His Requiem Mass is one of his many masterpieces, and a lesser known Requiem setting. The conductors are Wilko Brouwers and Horst Buchholz.
Orlando Di Lasso (1530-1594) was a Flemish composer of astonishing skill who left us a huge library of music in many styles. His Missa Osculetur Me is written for eight voices and features surprising drama and a rich texture that explores the most advanced polyphonic techniques of his time. Recordings of this piece sometimes feature instruments as a substitute for voices but in the Collequium presentation we will use all voices, to realize an idealization of this masterpiece.It is conducted by Wilko Brouwers and Gregory Glenn.
Sergei Rachmaninoff’s “Ave Maria” was written for his Russian Vespers service but the Colloquium will sing a version in Latin. It is surely one of the most emotionally affecting and powerful settings of this glorious text to be found in the treasury of sacred music. It is also something that can be sung by a parish schola. It is conducted by Horst Buchholz.
Josquin de Prez (1450-1521) is a case of a composer who only seems to grow more popular over time. He had a huge influence on nearly every important polyphony composer of the 16th century but his influence continued onward. This “Ave Maria” has never been sung at the Colloquium but is popular among professional polyphonic choirs because of its creative use of shifting ranges and antiphonal repetitions that suggest ethereal joy and celebration. It is conducted by Gregory Glenn.
my mistake. Thanks
They all sound heavenly. Wish I could be there for this. I went to Sheet Music Plus to find an SATB Latin edition of the Rachmaninoff Ave Maria. They have two editions, one by Norwood Hinkle and one by John Cramer. Any idea which version, or maybe there's another one out there, that the Colloquium will be using?
Thanks for any advice. Would love to try this with our schola. I'M always on the lookout for more Marian pieces and this looks quite do-able.
I had mentioned the Rach. B.D. as my favorite "version" of an analagous setting of the Ave. But Chuck is right that that much more color, hue and shading can be realized in the Slavonic, having conducted in both languages while a high school teacher. (Had the honor of performing it for Salamunovich!)
Speaking of Paul, his ultimate love and preference for the powerful, true contralto FEMALE voice will have to find its realization with the Rach in SLC. The duetic melismas mid-piece for altos is as great//greater than the Delibes duet, and requires what Salamunovich used to mirthfully dub "hairy chested altos!" Come armed, altos, yes I'm talking to you MaryMezzo of TN.!
Well, if he really did say that, I'd say it was a miracle he survived the first rehearsal. If I were one of the altos in question I would have belted him one. : )