When the world seems far beyond me, And I have no place to go, When my life seems cold and empty, And I feel I’m all alone, Then a song that I remember Helps to ease my troubled mind...
Procrastination--putting off or delaying. Despite having the privilege of having 120 hours of surfing, I only managed to write one blog in a week. I kept putting it off for some strange reason or maybe it's because I still have yet to hold on to an inspiration--the one motivation that made me began this blog in the first place. Sometimes when faced with a choral piece that's not too easy to learn, the choir would at times "procrastinate." But eventually, we get it done in time for the performance or competition. Amazingly, we'd be successful at it.
Nach Soviel Nebel is one of those pieces. Composed by Bruno Strobl for the competition in Austria, Nach Soviel Nebel is a challenging piece because honestly, it's no ordinary piece. As Strobl would say in his profile, "My composition style is structurally determined. In the late
1980s I decided to experiment with the partial tone row as a basis for
composing. It took me a year, and several compositions, to consolidate
the features of this style. Since then, I have been fascinated by the
versatility, diversity and the incorporation of many musical elements in
which this style can be used." via Bruno Strobl.
Here is the composition as performed by the Paragita Choir. There are parts in the song which is sung in piano or pianissimo--very softly. It's a difficult piece but one that's worth singing.
Ever encountered a song or a choral piece you thought was impossible to sing? Or maybe the kind of choral piece where you think only the best choirs can sing but not your own group? When I was a chorister, I had my personal share of choral pieces that I thought I'd never be able to sing--let alone the choir I belong to. But once you get to sing it, it's like an accomplishment that is unmatched.
The song I'm about to feature today is Tangueando. I remember this song so well that I had to listen to another choir's rendition of this song so that I could have a reference or a clue as to how it is sung. At least, this was my style. When I was able to sing this with the choir, what I thought was an impossible and annoying song to learn turned out to be one of my favorites.
Just a little background, Tangueando is a song composed by Oscar Escalada. It was composed in 1990 with a minimalist style and published by Lawson-Gould in 1994. It was entitled "Tangueando" because its structure goes through the various rhythms from Argentina, adapting the fast-pace dance beat and meshing it with overlapping lines of texts. However, the texts don't even sound like words. So it's part of the challenge to sing with seemingly non-word texts alongside the musical harmony that's supposed to be brought out. Thus, what you get is a rich polyrhythmic and enjoyable masterpiece in choral singing. More information about this song and its composer is found here: Tangueando. The website is in Spanish but there is also an English version of it.
What's included in the website is information about various choirs that sang this song. I'll feature the one sang by the Philipppine Madrigal Singers. To be honest, I listened to their rendition of the song first before I started learning the piece itself. Without further adieu, here is Tangueando. Hope you enjoy it!
Happy Easter! This week marks the beginning of the Easter Season. For the next fifty days (culminating on the Pentecost), the noon time prayer to our Blessed Mother changes from the Angelus to Regina Caeli. The latter speaks of the joy of our dear Blessed Mother to the glorious resurrection of his son Jesus Christ from the dead.
I've sang two versions of this song when I was starting out as a choir member. I sang this with a group of all female vocalists and this was one of the songs we'd sing during the Easter Vigil. I had a hard time looking for the specific version that I like on the Internet. I didn't know the name of the composer then. But after trying every combination of search words on Google, I finally found the version I was looking for--Antonio Lotti.
Antonio Lotti was born at Venice in 1667; died there, 5 January, 1740 and studied under Legrenzi, producing an opera, "Il Giustino", in his sixteenth year. On 31 May, 1692, he was appointed second organist of St. Mark's, and on 17 August, 1704, he succeeded Spada as first organist. On 2 April, 1736, he was elected maestro di cappella, though Pollarolo, Porpora, and Porta were formidable rivals for the much-coveted post, with a salary of 400 ducats. Between the years 1703 and 1730 he composed numerous masses and motets, especially his "Miserere", which supplanted the version of Legrenzi and is still sung at St. Mark's on Holy Thursday. Lotti also composed twenty-seven operas (1693-1717), and he spent two years at Dresden, producing various works. After his return to Venice, in November, 1719, he gave up secular writing, and devoted himself solely to church and chamber music. via Catholic Encyclopedia
In this rendition, the choir is accompanied by organ. This song could also be sung a capella style. I like this version of Regina Caeli because its tone is a combination of solemn soft tones and grand celebration style tones. Hope you enjoy this video. Happy Easter once again!
Christ, though he was in the form of God, did not regard equality with God something to be grasped. Rather, he emptied himself, taking the form of a slave, coming in human likeness; and found human in appearance, he humbled himself, becoming obedient to death, even death on a cross. Because of this, God greatly exalted him and bestowed on him the name which is above every name.
Thus it is written in today's second reading. Today is Passion (Palm) Sunday. I was looking for a song that would be featured in my blog. Upon doing so, I stumbled upon a memory, a song that I sang with the choir during my first year with them--Christus Factus Est.
Christus Factus Est This text is used both as agradualand, during thetriduum, as anantiphonin place of theresponsory. In the modernGraduale Romanum, this text is the Gradual for Passion (Palm) Sunday and The Exultation of the Holy Cross (September 14). In the extraordinary or ‘Tridentine’ rite, this text is the gradual for the Mass of Maundy Thursday, as well as for the Feast of the Exaltation of the Cross. via ChoralWiki
The composition I'll be featuring is the one of Anton Bruckner. Josef Anton Bruckner was born on September 4, 1824 in the upper Austrian town of Ansfelden. His father was a schoolteacher and church organist, and Bruckner's initial studies followed similar lines. When Bruckner was 13, his father died, and he enrolled in the church school at St. Florian (some ten miles from Linz) as a chorister. There, he studied organ, piano, and music theory. On his own, Bruckner assiduously studied the music of Renaissance Italian polyphonic masters such as Palestrina and German Baroque composers, especially J.S. Bach. via Notes on four Bruckner Motets.
The video presents the beginning of the Liturgy of the Eucharist in a Holy Mass presided by Pope Benedict XVI at Westminster Cathedral. The Westminster Cathedral Choir sings Bruckner's Christus Factus Est, which became a beautiful background to the offertory ceremonies being conducted at this point in the Holy Mass. The text of the song came from the quoted text above, the letter of St. Paul to the Philippians.
Christus / factus / est / pro / nobis / obediens Christ / made / was / for / us / obedient
usque / ad / mortem, / mortem / autem / crucis. even / unto / death / death / on / cross
Propter / quod / et / Deus / exaltavit / illum because of / this / and / God / raised / him
et / dedit / illi / nomen, and / bestowed / on him / name
quod / est / super / omne / nomen. which / is / above / all / names
Truly it is a mystery to be grasped. Our Lord's passion is the perfect example of obedience to the will of the Heavenly Father. By this act of obedience, Jesus opened the doors for us to save us from our sins. He bore it all on the cross in the spirit of a willing victim to be offered up once and for all to our Father God. It is difficult to explain the magnitude of this act of our Lord Jesus Christ. Hopefully, when we join the activities of the Catholic Church this week, we'd focus our minds in reflecting upon our Lord's passion and death.
Hearing the song once again brought back memories of joyful singing with the choir. We sang many sacred music pieces as it forms part of our usual repertoire when preparing for concerts. The singing of sacred music became the first in the line of pieces to be sung. The purpose of which is to give glory and honor to God for the wonderful gift of music. These are memories truly worth cherishing.
