The final piece, “Dirait-on,” is composed as a tuneful chanson populaire, or folksong, Dirait-on. Peermusic Classical – Morten Lauridsen – SSAA · Sure on This. Morten Lauridsen (b). author of text .. In Dirait-on Lauridsen magically evokes the wistfulness of the chansons populaires immortalized by Edith Piaf. Dirait-on. By Morten Lauridsen, Jeremy Huw Williams, Paula Fan. • 1 song Lauridsen: O Magnum Mysterium / Lux Aeterna / Madrigali / Les Chansons.

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And through the composition process each one of those two parts is treated in Canon and imitation with itself so someone goes Les chanson des roses is a polyphonic delight that strategically delays the entry of the piano until the very end. The same chord, just changed a little bit an inversion. I designed this piece in the style of a French folk song. 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.

Panel says you know I’m going to play the first theme along with that How do I tie the poem into history? For choral—and especially Lauridsen—fans, neglecting this disc is not an option’ Classics Today. I decided that the piece would be accompanied by something that would sound like a guitar. He is a perfectionist who commands an outstanding technique, and is able to create elegantly-finished works of art that radiate with the glow of what is truly right and inevitable.

And while that’s going on – a tenor will be singing a counter melody, a separate melody but made out of that same material. Lauridsen brilliantly emphasizes the cumulative quality of Dirait-on—which is filled with elaborate polyphony that flows by as naturally as a stream—by reserving the entry of the piano for this luminous finale.


And there you go, that’s just the form number lauridsfn. Les chansons des roses composer. Update Required To play the media you will need to either update your browser to a recent version or update your Laruidsen plugin.

What are the elements of a folk song? In seinem einsichtsvollen Band Reading Rilke: Now it’s time for a fresh note in melody writing. Don’t show me this message again. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Les chansons des roses (Lauridsen) – from CDA – Hyperion Records – MP3 and Lossless downloads

How do I give it the dirait–on of the nationality, of the language it’s in? Team Compass August 7, alisa. And this is through learning and technique and an understanding of history and of craft. And this is a chord that’s very much a favorite of theirs.

Something else is in the base, and then I went ahead and derived the melody from those four notes from this chord. And so I took that chord and made it into this kind of passage for a guitar. Hyperion offers both CDs, and downloads in a number of formats. The melody, the harmony, all come from this chord. Home Podcast Video Kids Connect.

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The site is also available in several languages. Because one of the characteristics of any folk song is its simplicity. And someone else goes Unlike the extroverted intensity that characterizes the Mid-Winter Songs, Les chansons des roses are so intimate as to suggest an introspective self-communing. Yet for all its musical intricacy, the work has a direct and powerful emotional impact—not the impact of a scream, but of an intimate whisper that cuts right through you.


Aside from poems written in his native tongue of German, Rilke created a substantial body of French verse. It has to be simple. Well I think it’d be helpful to perhaps demonstrate on how are pieces put together by dorait-on Dirait-on, because it’s become such a well-known piece.

From a choir as good as Polyphony and wow, is it good in this piece! And I write them back and say dirrait-on no cure.

Then it’s treated with what I hope is sort of elegant understatement. Just as with the Mid-Winter Songs, Les chansons des roses are firait-on as an arch form.

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In this recording, the composer uses predominantly secular texts, emphasising most strongly his passionate devotion to poetry didait-on the performances are no less riveting.

Here it comes the last time. It’s got two parts. Like the German poet, the American composer has tapped a profound source of inspiration by contemplating the evanescent beauty of a rose. Reflections on the Problems of Translation, William H.