Sébastien de Brossard - Stabat Mater (1702) @Cmaj7

Cmaj7 | Sébastien de Brossard - Stabat Mater (1702) @Cmaj7 | Uploaded November 2021 | Updated October 2024, 14 hours ago.
Composer: Sébastien de Brossard (September 12, 1655 – August 10, 1730)
Performers: La Nuova Musica conducted by David Bates

00:00 Stabat mater dolorosa
01:05 Cujus animam gementem
01:59 O quam tristis
03:49 Quae mœrebat et dolebat
04:25 Quis est homo
05:45 Pro peccatis suæ gentis
06:30 Vidit suum dulcem natum
07:50 Eia Mater, fons amoris
09:27 Sancta Mater, istud agas
10:27 Tui nati vulnerati
11:26 Virgo vírginum præclara (really astounding harmonies here)
13:04 Fac ut portem Christi mortem

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Program I develop for this channel: github.com/edwardx999/ScoreProcessor

J.S. Bach - BWV 129 Gelobet sei der Herr, mein Gott (1727)

Duke Ellington - Three Black Kings (1974)

François Couperin - Concert royal no. 2 (1714)

$Jonathan Harvey - Valley of Aosta (1988) Composer: Jonathan Dean Harvey (May 3, 1939 – December 4, 2012) Ensemble: Ensemble Musique Nouvelle conducted by Georges-Elie Octors Score available from Faber Music: https://www.fabermusic.com/music/valley-of-aosta-870 00:00 Introduction - a sound mass slowly builds up into a unison calling theme 01:12 A menacing atmosphere undertoned by low dissonances 02:54 MIDI Sequence 1 - rapid flurries 04:24 A quirky dance behind a wild violin solo 05:01 The unison calling theme returns (notice how seamlessly it is passed between instruments) 06:29 MIDI Sequence 2 - a hypnotic sequence of chords 8:02 The theme is taken by the synthesizer with impertinent quarter-tone dissonances 09:04 MIDI Sequence 3 - rapid succession of pitches whirl fragments from earlier in the piece along in a kind of spray 11:01 A rather calmly quiet and mysterious section 12:44 A final burst of sound and color Program Note This work was commissioned by the Parisian group LIténaire. A French commission evokes certain cultural perspectives in an English composers heart: a sense of living-in-colour which, at its best, dissolves subject-object duality as idea and colour unite, and thematicism melts into psychic flow... The work responds to these cultural perspectives, but it drew on Turner rather than Monet or Cézanne. Turners _Valley of Aosta: Snowstorm, Avalanche, and Thunderstorm_ (1836) has no discernable figures or objects; it is an explosion of energy and diffracted light. Like it, my music is constantly shifting and has few firm outlines. Often the harmony is not stated by sustained lines but by short points of sound; it is atomised, pulverised, with light shining through. The ensemble uses related colours which shift frequently: saxophone relates to trumpet in its high register, cor anglais in its low register; two harps (tuned a quarter-tone apart) relate to two synthesizers (also tuned a quarter-tone apart) in their plucked timbres and so on. There are three computer-driven sequences for the synthesizers. In the last of these the rapid succession of pitches whirl fragments from earlier in the piece along in a kind of spray, eventually dissolving all distinct sharp. —Jonathan Harvey How I make my videos: https://github.com/CMajSeven/WorkflowTemplate Program I develop for this channel: https://github.com/edwardx999/ScoreProcessor$

Sainte-Colombe - Le retour (ca. 1680) (Savall, Kuijken)