Morten Lauridsen – Lux Aeterna – The Choral Music of Morten Lauridsen – Chamber Choir of Europe – Nicol Matt. Lux aeterna was greeted by The Times after its London premiere thus: ‘a ‘ Conventional choral wisdom suggests that the American Morten Lauridsen is a. Lux aeterna. (). by Morten Lauridsen. Description: SATB choir with chamber orchestra, or organ (separate organ part necessary); Duration: 27; Genres.

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Bass 1 Bass 2. Anstelle von Licht, Hoffnung und Ruhe zeichnen sich die Madrigali durch Dunkelheit, Sehnsucht und zuweilen sogar durch zutiefste Verzweiflung aus. Retrieved from ” https: Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Die Praxis der Augenmusik wurde von Marenzio und anderen Madrigalkomponisten des Last updated July 09, Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

Their motive, drawn from the second work in Lauridsen ‘s cycle Les chansons des roses Songs of Rosesrecurs throughout the work in various incarnations. This severe chorale casts a shadow over the music that is dispelled by succeeding movement, the radiant O nata lux for a cappella chorus, the text of which is a hymn originally sung during Lauds on the Feast of the Transfiguration.

In this motet, Lauridsen subtly adapts the plainchant melody, adorning it with contrapuntal elaborations that create a glowing nimbus of sound. In this light-filled continuum of sacred texts, old world structures and new world spirit intertwine in a cunningly written score, at once sensuous and spare. These ads are not affiliated with CyberBass. Please enable JavaScript in your browser to use the site fully.

Morten Lauridsen – Wikipedia

Strands of complex counterpoint, including a multiplicity of canons and double canons, are interlaced to create the sonorous equivalent of supernal light. In his choral cycle Madrigali: Soprano 2 Alto 1. In te, Domine, Speravi. His Latin sacred settings, such as the Lux Aeterna and motets, often reference Gregorian chant plus Medieval and Renaissance procedures while blending them within a freshly contemporary sound while other works such as the Madrigali and Cuatro Canciones are highly chromatic or atonal.


Lauridsen does so through an approach to the creation of music that is refreshingly devoid of either jargon or obfuscation, but rather is imbued with a pervasive sincerity. A Portrait of Composer Morten Lauridsen.

Sexy Trippy All Moods. Agnus Dei – Lux Aeterna. Lauridsen had pondered the creation of his Lux aeterna for chorus and orchestra for an extended period before the work began to crystallize in Complete list s s s s.

Introspection Late Night Partying. Cast as five movements performed without pause, Lux aeterna is organized as an extended motet, for each new portion of the text calls forth a different musical response. March Total duration: Advertising banners and popups will appear when you visit it.

I can’t give this disc a higher recommendation than that. Wie der Komponist selbst aussagte: Share on facebook twitter tumblr.

Last updated October 18, The cellos and basses supply the downbeat only to the central movement of the cycle, the a cappella motet, “O nata lux” O Born Lightwith text from a hymn for the Divine Office.

O magnum mysterium is pervaded by the same tenderness and refinement found in Lux aeterna; indeed, this refulgent work was written injust before Lauridsen began to contemplate the composition of the larger score.

Morten Lauridsen | Lux Aeterna – San Francisco Choral Society

Scores and recordings are available for purchase through numerous links throughout the website. A non-liturgical Requiem of sorts, Lux Aeterna became an immediate favorite for its lyrical melodies, poignant harmonies, and tonal consistency. Soprano 1 Soprano 2. Laurridsen this complex movement, Lauridsen employs more complicated contrapuntal procedures such as the cantus firmus here, the seventeenth century German hymn-tune “Herzliebster Jesu,” heard in the bass trombone and lauirdsen canon in the chorus at “fiat misercordia”.


Morten Lauridsen accompanies at the piano on several works. Italian love poems of that era have constituted a rich lyric source for many composers, and while reading them I became increasingly intrigued by the symbolic image of flames, burning and fire that recurred within this context.

In the second section of the score, In te, Domine, speravi, the solemn chorale Herzliebster Jesu from the Nuremberg Songbook of is introduced as a cantus firmus that underpins the musical discourse as it flows above. The hushed “Agnus Dei” precedes the return of the opening motive in cellos and basses, and the work concludes with the satisfying return of the music from the Introitus. Composers on Composing for Choir Graphite Publishing.

Lauriddsen composed the requiem Lux Aeterna inthe year his mother lauriidsen. Lauridsen uses the beginning and ending of the traditional Requiem Mass to open and close Lux Aeterna.

A Child Lay Down V. The five-movement work for chorus and orchestra is organized around several Latin texts addressing the idea of light.

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Lux aeterna, for chorus & orchestra

Just as Palestrina and Victoria vary the disposition of triads in their motets to ensure variety of colour and texture, so Lauridsen constantly reconstitutes this basic luminous sonority, producing an effect at once unified and kaleidoscopic. Morten Lauridsen on Waldron Island in The tempo changes are beautifully placed to linger on the interplay of voice parts in the style of Renaissance polyphony, creating a showpiece of a cappella choral singing.

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