1/6/2023 0 Comments Cloudburst eric whitacre![]() #Cloudburst eric whitacre full#His catalogue has eighty-one opus numbers (a full list is available via this link), and he wrote chamber and orchestral music as well as the better known choral works. Villette was not interested in the avant-garde direction taken by Boulez's circle, instead his music drew on influences as eclectic as Gregorian Chant, medieval music, jazz (he composed an orchestral piece titled Blues) and Stravinsky. Villette's music is a product of a French musical heritage that includes, Fauré and Debussy as well as Poulenc and Messiaen, and of a French cultural legacy that includes Catholicism and the Bendictine Order. He held this position until he retired in 1987, and he continued to live in Provence until his death in 1998. His health forced him to move from mountainous Besancon to a warmer climate, and he became director of the Academy at Aix en Provence in 1967. He was dogged by ill-health and had a lung removed while still in his twenties. In 1957 Villette was appointed director of the Conservatoire in Besancon (left), the capital of the Franche-Comté region. ![]() Pierre Boulez was a fellow student but their careers followed very different paths. He studied with Marcel Dupré before attending the Paris Conservatoire. Villette was born into a musical family in 1926. But strangely he has never been widely performed in his native France, probably because he held regional positions in a country where artistic life is dominated by Paris. Choirs in the US, Japan and Germany are also familiar with Villette's compositions. His choral music was championed by Dr Donald Hunt in the 1970s when he was director of Worcester Cathedral Choir, and Villette's Hymne à la vierge, which is probably his best known work, has been performed in the annual Service of Nine Lessons and Carols at King's College, Cambridge. ![]() Pierre Villette is not totally unknown here in the UK. (Photo above shows Pierre Villette flanked by Henri Dutilleux and Witold Lutoslawski ). It was sent by those eagle-eared folks at leading classical store Prelude Records who think Hyperion may have found a Gallic Eric Whitacre, and having listened to this new CD of Pierre Villette's choral music I believe they may be right. Do NOT take breath at m.70 and everyone claps hands at beat 1.Within days of writing my article on the surprise sales of Cloudburst, the CD of Eric Whitacre's choral music, another very interesting new release from Hyperion arrived. Do not raise clenched fists until m.67.ġ2. Basses do take breath at measure 44(m.44) and m.45, but do NOT change breath at m.46.ġ1. m.79-84: Everybody keeps snapping even though vocal parts start to fade away at the end of the song, and when voices have disappeared completely, snapping begins to be slow, be soft after the end of the song.ġ0. Note: When snapping fingers, one must do it at random speed with no certain pattern, no rhythm.ĩ. ![]() m.70: One should snap fingers immediately after clapping. ![]() m.63 suggests: (1) random speed (2) random tempo (3) Any note that belongs to this measure could be randomly played at any time.Ĩ. Eric Whitacre would conduct this part strictly according to the sheet music concernin its rhythm (without any rubato), while some conductors would prefer to apply some rubato on this part. m.1-7: There is no fermata until the "agua" in m.7. Explanation for "random phrase": Everybody chant the text on the given pitch on his own tempo at random speed.ĥ. m.3-5: All parts should emphasize the entrance on "mo" (The last consonant before "ojos de agua de sombra" is. m.1: "La lluvia", "via" ought to be pronounced on the 8th note.ģ. Score correction: Measure 57 (m.57), lyrics misspelling - "vol – var" should be "vol – ver".Ģ. ![]()
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