Kvindelige Studenters Sangforening - Magnificat - COMPACT DISCS [CD]
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The Women's Choral Society of the University of Oslo (KSS) under the direction of conductor Marit Tøndel Bodsberg Weyde has established itself over the course of many years as one of the country's leading female choirs. On this , the choir takes a new direction in it's collaboration with two of Norway's most trendsetting jazz musicians.
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- GenreClassicalDescriptionThe Women's Choral Society of the University of Oslo (KSS) under the direction of conductor Marit Tøndel Bodsberg Weyde has established itself over the course of many years as one of the country's leading female choirs. On this , the choir takes a new direction in it's collaboration with two of Norway's most trendsetting jazz musicians.ArtistKvindelige Studenters SangforeningTitleMagnificatFormatCDLabelLawo Classics
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The present recording spreads out before us the rich musical panorama covered by Pachelbel's Magnificat compositions. We do not know what we should admire more about these works the complexity of the contrapuntal and concerto textures or the naturalness and cantability of the part writing. In addition, we have Pachelbel's great variation artistry, which constantly brings forth new formal designs, instrumental combinations, and focal points on the basis of one and the same text. Moreover, the natural flow of Pachelbel's music includes a steady stream of musical rhetorical interpretations, and the richly pictorial Magnificat text offers plenty of opportunities for them. On this recording two sacred concertos and a Mass in three movements complement the four very different Magnificat settings and serve as contrasts to them.
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Here, the polyphonic segments of the selected Magnificat compositions are based not on monophonic models but on preexistent compositions. Accordingly, here we have to do with parody works in which a procedure widespread in Masses is applied to the Magnificat. Forty of Lasso's 101 Magnificat compositions are to be assigned to this type. These imitation Magnificats in no way involve a simple re-textualization of preexistent works. At the beginning Lasso mostly rather precisely draws on his particular model, but then he quickly departs from it. In the Magnificat on Rore's Da le belle contrade the beginning corresponds to the original, but soon thereafter it departs from it; the textual passage in Deo salutari is completely freely set. This procedure thus is somewhat similar to collage technique the possibilities range from the use of whole passages to the relayering of blocks, paraphrasing, quotations of individual voices, free continuation, and so on. The result may safely be termed a new creation on the basis of a preexistent work. The sound developed by the Singphoniker may be described as cathedral and no less directly immediate.
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