Uploaded November 2015 | Updated September 2026, 2 weeks ago
- Composer: Dirk Schäfer (25 November 1873 -- 16 February 1931)
- Orchestra: Omroep Orkest
- Conductor: Henk Spruit
- Year of recording: Somewhere between 1948-1971 (please tell me if you know!!)
Suite Pastorale in E major, Op. 8, voor orkest {for orchestra}, written in 1903.
00:00 - I. Allegretto
04:34 - II. Poco Allegretto, quasi Andantino
08:18 - III. Mesto. Tempo di Valse
12:52 - IV. Finale. Moderato
This Suite Pastorale in E major by Dutch composer Schäfer, features very memorable melodies, and good orchestration throughout. It's composed in the late-romantic tradition, and the Tristan chord is quoted in the piece: it's not clear if this was meant as mockery or as a tribute, since Schäfer was a big admirer of Brahms' music.
Mengelberg and the Concertgebouw Orchestra gave the premiere of the Suite Pastorale (and the Rhapsodie Javanaise as well) in 1905.
- Composer: Dirk Schäfer (25 November 1873 -- 16 February 1931)
- Orchestra: Omroep Orkest
- Conductor: Henk Spruit
- Year of recording: Somewhere between 1948-1971 (please tell me if you know!!)
Suite Pastorale in E major, Op. 8, voor orkest {for orchestra}, written in 1903.
00:00 - I. Allegretto
04:34 - II. Poco Allegretto, quasi Andantino
08:18 - III. Mesto. Tempo di Valse
12:52 - IV. Finale. Moderato
This Suite Pastorale in E major by Dutch composer Schäfer, features very memorable melodies, and good orchestration throughout. It's composed in the late-romantic tradition, and the Tristan chord is quoted in the piece: it's not clear if this was meant as mockery or as a tribute, since Schäfer was a big admirer of Brahms' music.
Mengelberg and the Concertgebouw Orchestra gave the premiere of the Suite Pastorale (and the Rhapsodie Javanaise as well) in 1905.


![Lili Boulanger - Psalm 24 La terre appartient à lÉternel
- Composer: Marie-Juliette Olga Lili Boulanger (21 August 1893 15 March 1918)
- Orchestra: BBC Symphony Orchestra
- Choir: BBC Symphony Chorus
- Accompaniment: Simon Preston (organ)
- Conductor: Nadia Boulanger
- Year of recording: 1968
Psalm 24 for chorus, orchestra & organ, written in 1916.
Referring to Lili Boulangers Psalm 24, Psalm 129 (1916), and Psalm 130 (Du fond de labîme; 1914-17), Christopher Palmer noted, The composers best work is to be found in the three psalm-settings; together they form a triptych of epic proportions. With those works, Vieille Prière Bouddhique (1917), and Pie Jesu [uploaded on this channel], dictated on her deathbed to her sister Nadia Boulanger, in 1918, deserve to be included. While their power and originality are startling especially emanating from a frail and chronically ill young woman who died at 24 and there is no denying Boulangers precocious genius, those final masterpieces emerged from a background of unpublished choral Psalm settings made between 1907 and 1909, that is, beginning in her 14th year, if not earlier.
Using the Psalmist as the mouthpiece for a startling truculence was not new Florent Schmitts gargantuan Psaume 47, dating from 1904, is the fountainhead of the genre, while the figure of Salomé, whether in Strauss opera (1905) or Schmitts incidental music-cum-symphonic poem (1907-1910), led the way to the gamy expressive possibilities of hoary Biblical lore seen through contemporary eyes and garlanded with quasi-oriental glees. Boulanger was au courant and certainly knew those works, but a certain fastidiousness, a taste for Debussy-esque atmospherics, and above all a mystical vein emerging in glowing contrast to often strident trenchancy lift her music beyond the realm of hot musical properties and blockbuster crudities to a demesne of the incisively exquisite.
Psalm 24, for instance, justifies its brevity by the potent succinctness of its ideas. Drums setting off clamorous fanfares highlight declamatory choral assertions of godly authority (The earth is the Lords and the fullness thereof, the world and those who dwell therein...) before yielding to a brief but ecstatic tenor solo (He will receive blessing from the Lord, and vindication from the God of his salvation) whose serene promise of benediction conveys a sense of imminent expectation. The note of martial triumphalism returns for one of the grandest passages of the Psalms Lift up your heads, O gates! and be lifted up, O ancient doors! that the King of glory may come in. Who is this King of glory? The Lord of hosts.... This is worked to a brief again, succinct conclusion rounded with a conventional cadence. The obverse faces of the divine, majesty and beneficence, are suggested by the sparest of forces, those instruments usually accompanying French worship: drums, brass, harps, and organ. Lili Boulanger - Psalm 24 La terre appartient à lÉternel](https://i.ytimg.com/vi/iGr7iq1YN_Y/mqdefault.jpg)







