Name: Za razmislek
Start: 2024-03-24T00:00:00.000Z
End: 2024-03-24T00:00:00.000Z
Location: Slovenska filharmonija

Organization

Admin

Slovenska filharmonija

Conductor

Stephen Layton

Others

Slovenian Philharmonic Choir

Instrumentalist

Harrison Cole

Organ

Singer

Mezzo-soprano

Ana Potočnik

Baritone

Peter Grdadolnik

Za razmislek

Ljubljana

Slovenia

Dvorana Marjana Kozina

Za razmislek: 4 Motets pour un temps de pénitence, FP 97 Poulenc (+2 More)

Public

4 Motets pour un temps de pénitence, FP 97

Prélude et Fugue sur le nom d'Alain, Op 7

Requiem, Op 9

Approved

Accordionist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

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Makeup artist

Orchestra

Orchestra Operations

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Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

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Vocal coach

Wig & Makeup Designer

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Writing and performance

Bass-baritone

Countertenor

Bass

Tenor

Contralto

Soprano

Alto

Child vocalist

Continuo

Silent

Spoken

Poulenc's vocal music was strongly marked by his conversion to the Catholic faith in 1936. After setting the Misse brevis (1937) to music, he returned to writing sacred music to Latin texts, composing four Lenten motets in 1938–1939. Using modern harmonic means, he transformed the gloomy text of the Holy Week responsories, which speak of fear, disappointment and loss, into an expressive image of man's confrontation with suffering and transience.

Duruflé began composing the Requiem as early as World War II, and completed the work in September 1947. He used the Latin text of the Requiem Mass, omitting some parts , following the example of Gabriel Fauré's Requiem , and structuring it into nine movements. At the time of the commission, he composed an organ suite using themes from Gregorian chants. He also included his sketches for this piece in the Requiem , which uses many themes from the Gregorian Mass for the dead, so the work is calm and meditative in its musical expression.

English

Poulencovo vokalno glasbo je močno zaznamovala njegova spreobrnitev h katoliški veri leta 1936. Po uglasbitvi Misse brevis (1937) se je vrnil k pisanju sakralne glasbe na latinska besedila, ko je v obdobju 1938–1939 uglasbil štiri motete za postni čas. Mračno besedilo responzorijev velikega tedna, ki govorijo o strahu, razočaranju in izgubljenosti, je z uporabo sodobnih harmonskih sredstev prelil v ekspresivno podobo človekovega soočenja s trpljenjem in minljivostjo.

Duruflé je s komponiranjem Rekviema pričel že v času druge svetovne vojne, delo pa je dokončal septembra 1947. Uporabil je latinsko besedilo maše zadušnice, pri čemer je po zgledu Rekviema Gabriela Fauréja izpustil nekatere dele in ga strukturiral v devet stavkov. V času naročila je komponiral orgelsko suito z uporabo tem iz gregorijanskih koralov. Svoje skice za to skladbo je vključil tudi v Rekviem, ki uporablja številne teme iz gregorijanske maše za umrle, zato je delo v svojem glasbenem izrazu umirjeno in meditativno.

slovenščina

Za razmislek by Poulenc, Duruflé, Sv 24 mar 2024, No (2024/2024), Diriģents Stephen Layton, Slovenska filharmonija, Ljubljana, Slovenia

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