Transcriptions of chamber works to orchestral works have been interesting asides for composers for a long time - whether the transcription are alterations of a composer's own songs or chamber works to full orchestral size or those of other composers for which the transcriber had a particular affinity. Stokowski's transcriptions of Bach's works are probably the most familiar to audiences. The two transcriptions on this recording are the creations Gustav Mahler and his election to transcribe the quartets of Beethoven and Schubert is not surprising: Mahler 'transcribed' many of his own songs into movements or portions of movements for his own symphonies. Listening to Mahler's transcriptions of these two well known quartets - Franz Schubert's String Quartet in D Minor 'Death and the Maiden' and Ludwig van Beethoven's String Quartet in F Minor 'Serioso' - provides insight into both the orginal compositions and the orchestration concepts of Gustav Mahler. The themes of these two works would naturally appeal to Mahler's somber nature. Mahler naturally extends the tonal sound of each of these transcriptions by using the full string orchestra and in both works it is readily apparent that his compositional techniques within string sections are ever present.
The Ensemble Codex Sanctissima was founded in November 2011 with the purpose of spreading the Medieval and Renaissance music to the most varied audiences, with repertoires primarily selected among the most venerable sources of Christian sacred music, from the liturgical traditions of pre-Gregorian chant dating back to the sixth century, through the earliest forms of polyphony recorded in manuscripts of the ninth and tenth centuries, the works of the School of Notre-Dame and its correlates, the works of the troubadours and trouvères, the periods known as Ars Antiqua and Ars Nova, until the Renaissance of the fifteenth and sixteenth centuries. In this project we aim to also include some Oriental music, as is the case of an Armenian prayer in this first album.
Warner Bros. Pictures has announced that Heitor Pereira will be composing the music for the upcoming animated feature Smallfoot. The film is directed by Karey Kirkpatrick (Over the Hedge) and features the voices of Channing Tatum, James Corden, Zendaya, Common, LeBron James, Gina Rodriguez, Danny DeVito, Yara Shahidi, Ely Henry and Jimmy Tatro. The movie centers on a Yeti who is convinced that the elusive creatures known as “humans” really do exist. Bonne Radford (The Road to El Dorado), Glenn Ficarra & John Requa (Crazy, Stupid, Love, This is Us) are producing the project. Nicholas Stoller (Forgetting Sarah Marshall), Phil Lord & Christopher Miller (The LEGO Movie) are among the executive producers. Smallfoot is set to be released on September 28, 2018 by Warner Bros. Pictures…
Warner Bros. Pictures has announced that Heitor Pereira will be composing the music for the upcoming animated feature Smallfoot. The film is directed by Karey Kirkpatrick (Over the Hedge) and features the voices of Channing Tatum, James Corden, Zendaya, Common, LeBron James, Gina Rodriguez, Danny DeVito, Yara Shahidi, Ely Henry and Jimmy Tatro. The movie centers on a Yeti who is convinced that the elusive creatures known as “humans” really do exist. Bonne Radford (The Road to El Dorado), Glenn Ficarra & John Requa (Crazy, Stupid, Love, This is Us) are producing the project. Nicholas Stoller (Forgetting Sarah Marshall), Phil Lord & Christopher Miller (The LEGO Movie) are among the executive producers. Smallfoot is set to be released on September 28, 2018 by Warner Bros. Pictures…
Gramophone Classical Music Awards 2014 Choral category winner! Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years. John Butt brings to Mozart the microscopic care and musicological acumen that have made his Bach and Handel recordings so thought-provoking and satisfying.
“But remember that song is a most powerful imitator of all things. It imitates the intentions and passions of the soul as well as words…By the same power, when it imitates the celestials, it also wonderfully arouses our spirit upwards to the celestial influence and the celestial influence downwards to our spirit.” Marsilio Ficino, Three Books on Life (1489), Book 3, Chapter XXI
When English soprano Emma Kirkby began her professional career in the mid-'70s, period performance practice was just beginning to make its way into the realm of vocal music. Kirkby, mentored by Jessica Cash, became a pioneer of period practice for Renaissance and Baroque vocal soloists. She studied classical literature at Oxford and took vocal lessons, but did not plan on becoming a singer. She joined the Taverner Choir in 1971, and a couple of years later, she began a long-lasting collaboration with the Consort of Musicke.[ [/quote]