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TAVENER, John - Skladatelé

   Nalezeno titulů: 36

Skladatel: TAVENER, John ((b. 1944))
Jeho/jej hudba:
Some of his compositions:

The Repentant Thief
Thunder entered her
We shall See Him As He Is
Leroy Kyrie
Missa Gloria Tibi Trinitas
The Protecting Veil for cello and strings
Thrinos for solo cello
Two Hymns to the Mother of God
Little Requiem for Father Malachy Lynch

There is an Apple Record, The Whale (SMAS 3369). He wrote the Whale in 1966. This record is by the London Sinfonietta with David Atherton conducting. and was recorded 3 August 1968.

Jeho/jej ivot:
This English composer writes mostly religious music, especially since he joined the Greek Orthodox Church. Tavener composed mostly lithurgical mucic influenced by the Byzantine traditions. Is there an influence of Britten? Maybe but his compositions are original, deep and meditative.
He studied at Highgate School and the Royal Academy of Music.

Eagles and Seven Tears - Bassano Quartet - Daniël Brüggen

Eagles and Seven Tears - Bassano Quartet - Daniël Brüggen
ID: ACDBL087-2
Disk: 1
Type: CD
Kolekce: Bassoon CollectionPodkolekce: Quartet

15.00 eur Buy

Hodie - An English Christmas Collection- Music by Howells, Britten, Warlock, Tavener, Leighton

Hodie - An English Christmas Collection- Music by Howells, Britten, Warlock, Tavener, Leighton
ID: COR16004
Disk: 1
Type: CD
Podkolekce: Choir

13.00 eur Buy

Ikon of Light - Sir John Tavener

Ikon of Light - Sir John Tavener
ID: COR16015
Disk: 1
Type: CD
Kolekce: Sacred MusicPodkolekce: Choir

13.00 eur Buy

The Christmas Collection - Three of The Sixteen’s much-loved Christmas

The Christmas Collection - Three of The Sixteen’s much-loved Christmas
ID: COR16054
Disk: 3
Type: CD
Kolekce: Choral CollectionPodkolekce: Christmas Music

The perfect gift for Christmas - three of The Sixteen’s most celebrated festive CDs in a Boxset. From medieval carols with fiddles, harps and drums to the traditional carols we know and love, this collection includes favourite twentieth century English carols.
27.00 eur Buy

A Gaelic Blessing - Choir of St Mary's Cathedral, Edinburgh

A Gaelic Blessing - Choir of St Mary's Cathedral, Edinburgh
ID: DCD34007
Disk: 1
Type: CD
Kolekce: Choral CollectionPodkolekce: Choir

Simon Nieminski (organ)

Choir of St Mary's Cathedral, Edinburgh, Matthew Owens, conductor

Best-loved sacred works and new choral music graces this stellar release from St Mary’s Cathedral, Edinburgh led by Matthew Owens. Includes works by Franck, Brahms, Pärt, Finzi, Holst, Tavener, Mozart, Henschel, and Wesley.

Track listing

1. David Goodenough (b.1968) - I Will Sing With the Spirit
2. Johannes Brahms (1833-97) - Geistliches Lied, Op 30
3. Johannes Brahms - Wie Lieblich Sind Deine Wohnungen from Ein deutsches Requiem
4. George Henschel (1850-1934) - Tantum Ergo
5. Samuel Sebastian Wesley (1810-76) - Thou Wilt Keep Him in Perfect Peace
6. Edgar L. Bainton (1880-1956) - And I Saw a New Heaven
7. Gustav Holst (1874-1934) - Nunc Dimittis
8. W.A. Mozart (1756-91) - Ave Verum Corpus, K.618
9. Arvo Pärt (b.1935) - De Profundis
10. César Franck (1822-90) - Panis Angelicus
11. John Rutter (b.1945) - A Gaelic Blessing
12. Francis Jackson (b.1917) - Father Eternal
13. John Tavener (b.1944) - Song for Athene (1993)
14. Geoffrey Burgon (b.1941) - Nunc Dimittis (1979)
15. Colin Mawby (b.1936) - Ave Verum Corpus
16. Gerald Finzi (1901-56) - My Lovely One
17. Matthew Owens (b.1971) - Holy Trinity Blessing
12.00 eur Buy

Taverner - Sacred choral music - Choir of St Mary's Cathedral, Edinburgh

Taverner - Sacred choral music - Choir of St Mary's Cathedral, Edinburgh
ID: DCD34023
Disk: 1
Type: CD
Kolekce: Sacred Music

John Taverner brought the English florid style to its culmination and final flowering; his music is quite unlike anything written by his continental contemporaries and, viewed retrospectively, represents not only the culmination of one period but also the beginning of something new. In his debut recording with the critically acclaimed Edinburgh choir, Duncan Ferguson presents this music with forces akin to those of the 16th century - a small group of children and a larger number of men.The singers respond with their characteristic freshness, and an emotional authenticity born of the daily round of liturgical performance.

Dum transisset Sabbatum I
Dum transisset Sabbatum II
Leroy Kyrie
Missa Corona Spinea
O splendor gloriae

Choir of St Mary's Cathedral, Edinburgh, Duncan Ferguson
12.00 eur Temporarily out of stock

The Three Kings - Music for Christmas from Tewkesbury Abbey

The Three Kings - Music for Christmas from Tewkesbury Abbey
ID: DCD34047
Disk: 1
Type: CD
Kolekce: Vánoční hudba

In the vast, echoing space of their Mediaeval home the boys and men of Tewkesbury Abbey Schola Cantorum celebrate the awe and mystery of Christmas, ushering in the birth of the Christchild with a sequence of carols from the last two centuries that combines familiar names with offerings from some of today's foremost composers.

Track listing

1. The Magi *
Gabriel Jackson (b. 1962)

2. Lux Aurumque
Eric Whitacre (b. 1970)

3. Lullay, dear Jesus
Arnold Bax (1883-1953)

4. The Word Made Flesh
Philip Wilby (b. 1949)

5. The Kings
Peter Cornelius (1869-1953)

6. The Virgin’s Slumber Song
Max Reger (1873-1916)

7. Welcome, Yule!
C. Hubert H. Parry (1848-1918)

8. There is no rose of such virtue
John Joubert (b. 1927)

9. Quem pastores laudavere
James Bassi (b. 1961)

10. La Nativité
Jean Langlais (1907-1991)

11. O, my deir hert (Cradle Song)
Herbert Howells (1892-1983)

12. I wonder as I wander
Carl Rütti (b. 1949)

13. Thou whose birth *
Gabriel Jackson

14. When Christ was born of Mary free *
C. Hubert H. Parry

15. The Three Kings
Jonathan Dove (b. 1959)

16. God is with us (A Christmas Proclamation)
John Tavener (b. 1944)

17. Vom Himmel Hoch (Toccata-Prelude IV)
Garth Edmondson (1900-1971)

Total playing time: [66:02]

* world premiere recordings
12.00 eur Temporarily out of stock

Songbook - English cathedral music.

Songbook - English cathedral music.
ID: DCD34097
Disk: 1
Type: CD
Kolekce: Vocal CollectionPodkolekce: Choral and Organ

This ‘songbook’ is unique to the Schola Cantorum choristers of Tewkesbury Abbey. “Essentially, it's a showcase for the Abbey trebles,” their Director of Music Benjamin Nicholas explains. “We’ve been assembling our own Songbook for quite a while now - the songs the trebles sing, from time to time, in boys-only concerts, and that they are taught in individual singing lessons. I’ve always been keen to build each boy up as a soloist, not necessarily with the express idea of them singing lots of solos, but so that they can learn to sing in a soloistic way.”

This is evident most of all in the distinctive singing of 11- year-old Laurence Kilsby, whose gifts won him the BBC Chorister of the Year competition in 2009. On this recording, he features as soloist in two Shelley settings by Roger Quilter, the Bach/Gounod Ave Maria and in John Ireland’s beautiful, sincerely-felt Passiontide motet Ex Ore Innocentium from 1944.

Laurence Kilsby (treble), Helen Porter (piano), Carleton Etherington (organ)
The trebles of Tewkesbury Abbey Schola Cantorum, Benjamin Nicholas (director)

Track listing

1 Music, When Soft Voices Die
Roger Quilter
2 Vater Unser
Arvo Pärt
3 Fairest Isle (Address To Britain)
Henry Purcell
4 Love’s Philosophy
5 The Land Of Spices
Gabriel Jackson
6 Whispers
Howard Skempton
7 O Salutaris Hostia
Léo Delibes
8 Ex Ore Innocentium
John Ireland
9 The Flower
Philip Wilby
10 A Song At Evening
Richard Rodney Bennett
11 Ave Maria
J.S. Bach / Charles Gounod
12 Nymphs And Shepherds
13 Dutch Carol
James MacMillan
14 I Will Give My Love An Apple
trad., arr. Ralph Vaughan Williams
15 Linden Lea
Vaughan Williams
16 Dirge For Fidele
Vaughan Williams
17 Somewhere
Leonard Bernstein
18 Sure On This Shining Night
Samuel Barber
19 At The River
Robert Lowry, arr. Aaron Copland
20 The Lord’s Prayer
John Tavener, arr. Barry Rose
21 Wedding Introit
22 I Sing Of A Maiden
Patrick Hadley
23 Skye Boat Song
trad., arr. Percy Grainger
24 How Can I Keep From Singing?
Lowry, arr. John Scott

Total playing time [66:42]
12.00 eur Buy

Advent at Merton - Choir of Merton College, Oxford

Advent at Merton - Choir of Merton College, Oxford
ID: DCD34122
Disk: 1
Type: CD
Kolekce: Vánoční hudbaPodkolekce: Organ

Choir of Merton College, Oxford
Peter Phillips & Benjamin Nicholas conductors
Anna Steppler organ

The beginning of Advent is celebrated with a particular solemnity at Merton. For its second recording the college choir explores the musical riches that adorn this most special time in the church’s year, centring on a newly commissioned sequence of Magnificat antiphons from seven leading composers.

Founded in 2008, the new Choir of Merton College, Oxford is led by newly appointed Organist and fulltime Director of Music Benjamin Nicholas, and Reed Rubin Director of Music Peter Philips. The choir is rapidly emerging as a major force in collegiate choral music. The disc is recorded in the beautiful environs of Merton College Chapel, which has stood at the heart of the College as a place of worship for almost 750 years.

Track listing

1. Ecce concipies -Matthew Martin
2. Lo, how a Rose e'er blooming
arr. David Blackwell
3. Rorate caeli desuper -William Byrd
4. Advent Antiphon - James MacMillan
5. Drop down, ye heavens, from above -Judith Weir
6. Alvus tumescit virginis - Michael Praetorius

Seven Advent Antiphons
commissioned by the Chaplain of Merton College
7. O Sapientia - Howard Skempton
8. O Adonai - John Tavener
9. O Radix Jesse - Rihards Dubra
10. O Clavis David - Gabriel Jackson
11. O Oriens - Cecilia McDowall
12. O Rex Gentium -Matthew Martin
13. O Emmanuel - E-riks Ešenvalds

14. Es ist ein Ros' entsprungen -Anton Heiller
15. Ecce Virgo concipiet - William Byrd
16. Es ist ein Ros entsprungen - Michael Praetorius
arr. Jan Sandström
17. Ave Maria - Tomás Luis de Victoria
12.00 eur Temporarily out of stock

Magnificat - The Life of the Blessed Virgin Mary in Music

Magnificat - The Life of the Blessed Virgin Mary in Music
ID: GMCD7158
Disk: 1
Type: CD
Kolekce: Sacred MusicPodkolekce: Cathedral Choir

We fly to thy patronage, O holy Mother of God, despise not our petitions in our necessities, but deliver us from all danger, O ever glorious and blessed Virgin.’ The earliest known text of this prayer Sub tuum Praesidium confirms that devotion to the Blessed Virgin Mary and reliance on the efficacy of her prayers were already known before the end of the 3rd century. In A.D. 431 the Council of Ephesus concluded a century of doubt with the declaration that Mary was to be confessed without qualification as Mother of God. Alongside devotion flourished the stories of her life. Their narrow stream within the New Testament itself grew within two hundred years to become a broad and powerful river in the Church’s landscape. A belief in the Virgin’s own Immaculate Conception is already suggested and the story of Christ’s birth in a cave recorded in the Protevangelium of James, c. A.D. 160. Days were designated for the Virgin’s honour and music composed for their celebration. Its repertory extends back to the earliest layers of Western notated music, of the 9th century. Such plainsong melodies, the oldest form of setting, are still heard in some of the pieces recorded here, from Palestrina’s of the 16th century to Dupré’s of our own. From the first period represented in the present programme come the works of Palestrina, Soriano, Eccard, Parsons and Byrd. The first two spent most of their professional lives in Rome, Eccard was a Lutheran German, Parsons and Byrd were Catholic Englishmen. Palestrina’s Alma Redemptoris Mater, setting a sophisticated 11th century poem, illustrates one use of plainsong in the Renaissance: the opening of the chant is heard by itself, its remainder is used in a simplified form as the basis of the soprano part. Robert Parsons wrote music for both Catholic and Reformed rites, but the exact context for his Ave Maria is not known. It is not a liturgical form of the text: it stops short of the intercessory prayer ‘Sancta Maria Mater Dei.’ This piece is not based on plainsong, although the long notes in the top part, just after the opening, might suggest otherwise. This phrase is repeated twice, at successively higher pitches, leading to a rhetorical climax at ‘Dominus tecum.’ William Byrd’s Benedicta et venerabilis, on the other hand, is certainly liturgical in intent, being from the first cycle of Mass Propers, the Gradualia, that he published in 1605 for the Catholic rite. It is a short, beautifully crafted piece of work, perfectly fitted for a function that it can only rarely and clandestinely have fulfilled in his day, when Catholics lived under persecution. (In November 1605 a Jesuit was arrested for possessing certain ‘papistical books’ by Byrd; their dedication, which the charge records, shows them to have been the part-books of these Gradualia.) The second group of composers, from Schubert to Rachmaninov, spans the Romantic era. Schubert set the first two stanzas of the Stabat Mater for voices and orchestra at the age of eighteen. In an original and effective device he sets the words twice, starting off his second section as he had the first, but then varying and developing the material. Bruckner, whose Ave Maria opens the programme, stands virtually at the end of the Viennese tradition to which Schubert belonged, although by writing for unaccompanied voices he allies himself also with the Romantic recovery of Renaissance ideals. It is instructive to compare his short, intense setting with Parsons’: Bruckner’s is harmonically far more complex and is predominantly homophonic whereas the earlier work is contrapuntal. In Bruckner’s we hear the Holy Name (omitted by Parsons) three times in block chords, each louder than the last. Rachmaninov creates a different effect again, with more melodic continuity than Bruckner and great harmonic simplicity: there are no accidentals in the piece from beginning to end. Each of these three settings achieves its devotional effect through highly sensitive though very different uses of vocal texture. Both Widor and his pupil Dupré are represented here by plainchant settings. Widor’s Salve Regina is a product of his later years, when he had become interested in such possibilities, and replaced the original fourth movement of his second Organ Symphony. The Dupré piece is based on a plainsong Office hymn, ‘Hail, Star of the Sea.’ In a recollection of medieval practice Dupré alternates the setting of stanzas between organ and choir. He composes movements for the hymn’s second, fourth and sixth stanzas and for the Amen. Before and between them we hear the plainsong chant of the other four stanzas. The Romantic element was also strong in English music of the first half of the 20th century. Ist most striking exponent was Howells, brought up in the Brahmsian tradition as a pupil of Stanford. But his most noteworthy contribution to the choral tradition, a series of canticle and other settings dedicated to the choirs of various collegiate and cathedral churches, began only in the 1940s with the present Magnificat and its associated Nunc Dimittis for King’s College, Cambridge. Its warm lyricism has precedents in Stanford and Wood (another of his teachers), but the particular blend of modality and chromaticism is very much Howells’ own. The three short Christmas pieces by Joubert, Tavener and Britten have in common an extreme simplicity. Britten’s Hymn to the Virgin was published in 1935, and has never left the repertory since. Joubert came to England from South Africa in 1946, when he was 19 years old; his most effective contribution to the Anglican choral repertory has been in such straightforward hymns as the carol There is no Rose heard here. Tavener has made simplicity of structure a feature of even his largest compositions; it is not surprising to find it in his smallest. The Hymn to the Mother of God is a chordal canon for two choirs; the Hymn for the Dormition draws its idiom from the melismatic chanting, both melodic and chordal, of the Byzantine and Russian traditions. David Sanger’s Salve Regina is distinctive in style and technique; there is a hint of Messiaen, perhaps, in the combination of extreme chromaticism and a diatonic conclusion, and in the irregular metre of the first section. Arvo Pärt and Henryk Górecki represent the pragmatic element in modern Eastern European music; both have written scores of some complexity but, like our own Peter Maxwell Davies, are able to refine their idiom to a point at which it can embrace a pure diatonicism. Pärt’s Bogoróditse Dyévo, a setting of the Old Church Slavonic ‘Ave Maria’, was composed once more for King’s College, Cambridge. Górecki’s Totus tuus was written for John Paul II’s visit to Warsaw in 1987. Its text alludes to the Pope’s own episcopal coat of arms: a cross beside whose base stands an initial M, with the motto ‘Totus tuus.’ The long drawn out intensity of Górecki’s piece is a very modern expression of that deep personal devotion felt by many saints of every age to the Virgin Mother of God.
12.00 eur Temporarily out of stock

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