в хоре поем сейчас такое
http://babusyatanya.blogspot.ca/2015/03/blog-post_3.html
Komme Jesu Komme, BWV 229, J.S. Bach, Text by Paul Thymich, stanzas 1 and 11.
notes by Sarit Alony
The exact date or the circumstances for which this motet was written are unknown but scholars believe it was written sometime before 1732, and that it is a funeral motet, based on the text and on the fact that Bach's regular job was to provide music to the various church occasions and events, including funerals. The music was written on a text by Paul Thymich, which was rather exceptional since all the rest of Bach's motets where written on a biblical text or a traditional chorale. The work survived to our hands thought the centuries thanks to one of Bach's student who made a copy of it before leaving the Thomasschule around 1732. This motet was written to a more sophisticated formation then the usual; eight voices, rather than SATB; and was probably accompanied by a continuo instrument; organ, or harpsichord, strings and wind instruments. The reason for that is that he had greater resources on special occasions which he did not have for a regular Sunday service.
The piece was written in fact for a double choir and Bach is using this formation to elaborate the musical material and various techniques; echoes, call and response, and combination of them together.
Translation:
Come, Jesus, come; my body is weary,
my strength disappears more and more,
I yearn for your peace;
the bitter path is becoming, to me, too difficult!
Come, come, I want to submit myself to you,
you are the right path,
the truth and the life.
Thus I entrust myself into your hands
and say: World, good night!
Hurries now my life to its end,
yet is the soul well prepared.
It shall, with its creator, hover,
for Jesus is and remains
the true path to life
--------------------
Requiem in D minor, op. 48, Gabriel Fauré
In 1877, at the age of thirty-two Gabriel Fauré wrote a Libera me for baritone and organ. About ten years later, between 1887 and 1888, he composed the first version of his requiem in D minor, which he called the Little Requiem (Petit Requiem). This version included five movements: Introit and Kyrie, Sanctus, Pie Jesu, Agnus Dei, and In Paradisum. Between 1889 and 1893 he revises the piece adding the Offertory, bringing in the Libera me of 1877 and expending the instrumentation in orchestra part. Another version of the piece was made between 1899 and 1900, which is presumed to be made by Jean Roger-Ducasse. This version is a re-orchestration of the work to a full size orchestra. The reason for this version to be prepared was that Fauré’s publisher requested him to adjust the piece for festivals and concert hall performances.
In the 1980’s, the English conductor John Rutter conducted an extensive research on Fauré’s requiem and in 1989 he published his own edition of the requiem, which is called the “Rutter edition”. This version uses the chamber orchestration (no violins and woodwind), which Rutter considered to be the closest version to the one Fauré performed in 1893.
The circumstances to which the requiem was written are very different from other composers’ requiems; it was not written for a specific occasion or in a memory of a person but as Fauré put it: “(The requiem) was composed for nothing . . . for fun, if I may be permitted to say so!”
And in fact, the requiem shows uniqueness by its deviations from the traditional requiem mass: it lacks the text of the Dies Irae (apart from a short passage in the Libera me), which is usually considered to be the centerpiece in the requiem; and three of its movements - the Pie Jesu (mvt n.4), the Libera me (mvt n.6) and In paradisum (mvt n. 7) - are not part of the traditional requiem mass. The fact that the requiem does not include a prominent Dies irae (Day of Wrath) section gives the piece a ‘special’ mood; Fauré, by omitting this section, tried to create an intimate and angelic tone and sound, or in his own words: “Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest.” He also said: “(the requiem) is as gentle as I am myself”.
Laudate Dominum, RV 606, Antonio Vivaldi, Psalm 116
Praise the Lord, all nations;
Praise Him, all people.
For He has bestowed
His mercy upon us,
And the truth of the Lord endures forever.
Glory to the Father and to the Son and to the Holy Spirit,
as it was in the beginning, is now, and forever,
and for generations of generations.
Amen.
Laetatus sum, RV 607, A. Vivaldi, Psalm 121
эта чудесная музыка - убийство голоса (причем для всех партий без исключения)
I was glad in this, when it was said to me:
Let us go into the house of the Lord.
Our feet will stand within your entrance, Jerusalem; Jerusalem, which is built like a city
Which is compact together.
For there the tribes will ascend,
The tribes of the Lord, of the testimony of Israel,
To give thanks to the name of the Lord.
For there will be placed thrones of judgment,
The thrones over the house of David.
Pray that Jerusalem be at peace,
And that there be abundance for those who love you.
May there be peace in your strength,
And abundance in your towers.
For my brothers and my neighbors’ sake
I will ask for peace for you.
For the sake of the house of the Lord my God
I have sought good things for you.
Glory to the Father, and the Son, and the Holy Spirit,
As it was in the beginning, now,
And forever, in the age to come. Amen.
Matona Mia Cara - Orlando di Lasso, Libro de Villanelle, Moresche et alter canzoni, 1581
неприличная средневековая песня, которую распевает солдат под окном возлюбленной..
в переводе с итальянского:
My lovely Lady, I want a song to sing
Under your window: this lancer is jolly fellow!
Don don don, diri diri, don don don don.
Please listen to me, because I'm singing well
And I'm as fond of you as a Greek is of a capon!
Don don don, diri diri, don don don don.
When I go hunting, I hunt with the falcon,
And I'll bring you a woodcock, as fat as a kidney
Don don don, diri diri, don don don don.
I cannot tell you many elegant things,
I know nothing of Petrarch, nor the Fountain of Helicon
Don don don, diri diri, don don don don.
If you'll love me I won't be lazy
I will kiss all night long, I will dance like a ram
Don don don, diri diri, don don don don.
( в нашем исполнении слова про процесс производства детей заменили на "поцелуи на всю ночь" )
J S Bach Jesus bleibet meine Freude
"Echo Song" by Orlando di Lasso
My word! What a lovely echo! Let's try it out. Pleased to meet you!
Ha ha ha ha ha, let's all laugh!
Oh my fine companion! What do you want? I'd like you to sing a song
Why? Why should I? Why not? Because I don't want to. Why don't you want to?
Because I don't feel like it! Shut up I say!
You shut up, you big fool! Yes Sir!
Come now, no more! Let's go! Goodbye good echo!
Peace be with you. That's enough, enough, enough!
Komme Jesu Komme, BWV 229, J.S. Bach, Text by Paul Thymich, stanzas 1 and 11.
Click to viewnotes by Sarit Alony
The exact date or the circumstances for which this motet was written are unknown but scholars believe it was written sometime before 1732, and that it is a funeral motet, based on the text and on the fact that Bach's regular job was to provide music to the various church occasions and events, including funerals. The music was written on a text by Paul Thymich, which was rather exceptional since all the rest of Bach's motets where written on a biblical text or a traditional chorale. The work survived to our hands thought the centuries thanks to one of Bach's student who made a copy of it before leaving the Thomasschule around 1732. This motet was written to a more sophisticated formation then the usual; eight voices, rather than SATB; and was probably accompanied by a continuo instrument; organ, or harpsichord, strings and wind instruments. The reason for that is that he had greater resources on special occasions which he did not have for a regular Sunday service.
The piece was written in fact for a double choir and Bach is using this formation to elaborate the musical material and various techniques; echoes, call and response, and combination of them together.
Translation:
Come, Jesus, come; my body is weary,
my strength disappears more and more,
I yearn for your peace;
the bitter path is becoming, to me, too difficult!
Come, come, I want to submit myself to you,
you are the right path,
the truth and the life.
Thus I entrust myself into your hands
and say: World, good night!
Hurries now my life to its end,
yet is the soul well prepared.
It shall, with its creator, hover,
for Jesus is and remains
the true path to life
--------------------
Requiem in D minor, op. 48, Gabriel Fauré
In 1877, at the age of thirty-two Gabriel Fauré wrote a Libera me for baritone and organ. About ten years later, between 1887 and 1888, he composed the first version of his requiem in D minor, which he called the Little Requiem (Petit Requiem). This version included five movements: Introit and Kyrie, Sanctus, Pie Jesu, Agnus Dei, and In Paradisum. Between 1889 and 1893 he revises the piece adding the Offertory, bringing in the Libera me of 1877 and expending the instrumentation in orchestra part. Another version of the piece was made between 1899 and 1900, which is presumed to be made by Jean Roger-Ducasse. This version is a re-orchestration of the work to a full size orchestra. The reason for this version to be prepared was that Fauré’s publisher requested him to adjust the piece for festivals and concert hall performances.
In the 1980’s, the English conductor John Rutter conducted an extensive research on Fauré’s requiem and in 1989 he published his own edition of the requiem, which is called the “Rutter edition”. This version uses the chamber orchestration (no violins and woodwind), which Rutter considered to be the closest version to the one Fauré performed in 1893.
The circumstances to which the requiem was written are very different from other composers’ requiems; it was not written for a specific occasion or in a memory of a person but as Fauré put it: “(The requiem) was composed for nothing . . . for fun, if I may be permitted to say so!”
And in fact, the requiem shows uniqueness by its deviations from the traditional requiem mass: it lacks the text of the Dies Irae (apart from a short passage in the Libera me), which is usually considered to be the centerpiece in the requiem; and three of its movements - the Pie Jesu (mvt n.4), the Libera me (mvt n.6) and In paradisum (mvt n. 7) - are not part of the traditional requiem mass. The fact that the requiem does not include a prominent Dies irae (Day of Wrath) section gives the piece a ‘special’ mood; Fauré, by omitting this section, tried to create an intimate and angelic tone and sound, or in his own words: “Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest.” He also said: “(the requiem) is as gentle as I am myself”.
Laudate Dominum, RV 606, Antonio Vivaldi, Psalm 116
Praise the Lord, all nations;
Praise Him, all people.
For He has bestowed
His mercy upon us,
And the truth of the Lord endures forever.
Glory to the Father and to the Son and to the Holy Spirit,
as it was in the beginning, is now, and forever,
and for generations of generations.
Amen.
Laetatus sum, RV 607, A. Vivaldi, Psalm 121
эта чудесная музыка - убийство голоса (причем для всех партий без исключения)
I was glad in this, when it was said to me:
Let us go into the house of the Lord.
Our feet will stand within your entrance, Jerusalem; Jerusalem, which is built like a city
Which is compact together.
For there the tribes will ascend,
The tribes of the Lord, of the testimony of Israel,
To give thanks to the name of the Lord.
For there will be placed thrones of judgment,
The thrones over the house of David.
Pray that Jerusalem be at peace,
And that there be abundance for those who love you.
May there be peace in your strength,
And abundance in your towers.
For my brothers and my neighbors’ sake
I will ask for peace for you.
For the sake of the house of the Lord my God
I have sought good things for you.
Glory to the Father, and the Son, and the Holy Spirit,
As it was in the beginning, now,
And forever, in the age to come. Amen.
Matona Mia Cara - Orlando di Lasso, Libro de Villanelle, Moresche et alter canzoni, 1581
неприличная средневековая песня, которую распевает солдат под окном возлюбленной..
в переводе с итальянского:
My lovely Lady, I want a song to sing
Under your window: this lancer is jolly fellow!
Don don don, diri diri, don don don don.
Please listen to me, because I'm singing well
And I'm as fond of you as a Greek is of a capon!
Don don don, diri diri, don don don don.
When I go hunting, I hunt with the falcon,
And I'll bring you a woodcock, as fat as a kidney
Don don don, diri diri, don don don don.
I cannot tell you many elegant things,
I know nothing of Petrarch, nor the Fountain of Helicon
Don don don, diri diri, don don don don.
If you'll love me I won't be lazy
I will kiss all night long, I will dance like a ram
Don don don, diri diri, don don don don.
( в нашем исполнении слова про процесс производства детей заменили на "поцелуи на всю ночь" )
J S Bach Jesus bleibet meine Freude
"Echo Song" by Orlando di Lasso
My word! What a lovely echo! Let's try it out. Pleased to meet you!
Ha ha ha ha ha, let's all laugh!
Oh my fine companion! What do you want? I'd like you to sing a song
Why? Why should I? Why not? Because I don't want to. Why don't you want to?
Because I don't feel like it! Shut up I say!
You shut up, you big fool! Yes Sir!
Come now, no more! Let's go! Goodbye good echo!
Peace be with you. That's enough, enough, enough!