The Christmas 'Nun Komm Der Heiden Heiland' is for 3 choirs and 4 instrumental ensembles. Praetorius intermingles soloist sections in ‘madrigalian’ style versus thundering choruses for the combined forces. We are varying the tempi in line with Praetorius instructions - because in such works madrigal and motet styles follow one another, intermingled and interchanged, the beat has to be governed (changed) accordingly” The work is based on the Lutheran chorale, sections of which you will hear throughout and which give the piece gravitas and nobility. Towards the end he throws caution to the wind and includes virtuosic parts for the upper brass; these would originally have been played on wooden renaissance cornets but our two professional trumpeters are quite equal to the challenge!
** Video with full audio mix now available: • Michael Praetorius - N...
On 21st October 2023, 65 singers and players from across Cornwall, members of Truro Cathedral Choir, local singers and a ‘Renaissance Band', directed by Russell Blacker, gathered to perform music by Michael Praetorius (1571- 1621).
Concert Part One: • Music of Praetorious C...
Concert Part Two: • Music of Praetorious C...
PLAYLIST of tracks: • Music of Michael Praet...
Recorded at St. Mary's Church, Penzance, Cornwall: www.penleecluster.org.uk
In a year of preparation for the concert, Russell created new performing editions in which the parts had to be transcribed into modern clefs, note-values, and time signatures - the ranges of the original renaissance instruments ‘translated’ into their modern counterparts - the German and Latin texts all translated into English - and the vocal and instrumental forces ‘orchestrated’ as per Praetorius' instructions. This event followed previous concerts of music by Gabrieli and Monteverdi, both famous contemporaries of Praetorius.
Praetorius is chiefly known for his famous collection of dances (Terpsichore), a number of these were played and the concert also showcased several of his stunning choral works which are written on the grandest scale - for this concert, 4 choirs, 12 soloists - and separate ‘choirs’ of bassoons, recorders, trombones, trumpets, strings and organs.
Michael Praetorius (1571 - 1621) was an extraordinary figure: born plain Michael Schultze, the son of a Lutheran pastor, he studied divinity and philosophy at the University of Frankfurt, was fluent in a number of languages, became one of the foremost composers of the C17th century, was famous as an organist and designer of organs, and a music theorist whose writings had considerable impact on performance practice of the day - and today. His vast output ranges from simple 2 & 3 part pieces for small church ensembles right up to massive multi-choir settings of Lutheran chorales, drawing heavily on the ‘Venetian’ style of spatially separated ensembles. Although he regretted never travelling to Italy to visit his contemporaries Gabrieli and Monteverdi, he passed his influence onto a generation of composers including the famous Heinrich Schutz with whom he collaborated for 4 years.
Praetorius’ output was prolific; 17 large volumes of music were published between 1605 and 1613, plus a further 9 volumes of chorales and vernacular music for the Lutheran service for 2 to 16 voices, and an extensive collection of Latin music for the church. At his death he was planning a further multi-volume collection of secular music of which the famous Terpsichore - a compendium of more than 300 instrumental dances - was the first. He was also planning a further volume of church music for up to nine choirs!
Praetorius allows for highly flexible orchestration so that the pieces can be performed by smaller ensembles or expanded to 12, 16, or 22 parts arranged in 2, 3, 4 or 5 choirs. He called this adaptation and arrangement.
He instructed the choirs to be separated spatially: The instrumental choirs (strings, brass, recorders, bassoons etc) should be placed in a special position to one side - near to the vocal choirs - or, for variety, the placement can be arranged so that they are opposite to each other.
In certain of my works four boys are to be positioned in four separate locations in the church, opposite each other or wherever is suitable. (as heard in 'Quem Pastores' • 'Quem Pastores' (Praet... )
Speaking of the soloists who handle the madrigalian ‘concertante’ parts he writes - 'it is a musician's job not just to sing, but to sing artfully and charmingly in order that the heart of the listeners may be touched and their emotions stirred. In each of the choirs there should be 2 or 3 singers with fine, natural, pure and dependable voices who should sing sung gently moderately and charmingly - but the full choirs should rebound and resound majestically'.
AMDG - Video © 2023 The Lighthouse. / @thelighthouse123
10 ноя 2023
