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in his style, lauridsen employs a variety of moods: a wistful romanticism in the soft-voiced late-night jazz suite, a kinetic folk-rock energy in the american jukebox suite, a thunderous electric pulse in the dance suite and a soaring religious idealism in the seven movements of the sacrae cantiones. these four movements are each like a new world, a new culture, a new age, an entirely new experience for the listeners. the american jazz suite, the first of its kind, is a radiant musical portrait of a culture of the 1940s that is generally little known today. the folk-rock suite is a rollicking demonstration of the vigor and virility of the power ballad, and the dance suite is a richly sensuous exploration of the erotic power of music. the "new" folk of the cantiones consists of a cluster of songs that emerge from the lives of the artist and his wife, inge and john hersey, who were married in 1969 and who were both poets, composers and writers. the last, and longest, of the choral suites was composed in 1990 as an homage to the late age of the poet, james agee. though the piece was written for the "american" choral ensemble, it has been performed in europe, in south korea and, most recently, in the us. lauridsen himself premiered the cantiones at a packed concert in the llangollen international eisteddfod in wales, an event that also featured performances of the composer's own work. the cantiones are the only settings of agee's verse to be performed in the united states.the cycle opens with dirait-on (1992), a poem by rainer maria rilke that evokes the wistfulness of chanson populaire immortalized by edith piaf. lauridsen, who had attended rilkes first performance in paris in 1925, was deeply moved by this verse, which has been described as one of the great poems of the twentieth century. in dirait-on, lauridsen magically evokes the melancholia of the chanson populaires immortalized by piaf. in this longing for something beyond this moment, the poem, inspired by a rose, also evokes the poet immanuel kant, whose immanuel kant, the man of sorrows is the central work of rilkes mature poetry. the mid-winter songs are completed by four poems, first published in 1959, that celebrate the rose and the poets joy at the reawakening of his inspiration, which is likened to the first thaw that presages the end of winter. she tells her love while half asleep (1992) is a madrigal-like scherzo whose references to winter aptly conjure up that icy icon of graves romantic life, laura riding. the succeeding slow movement, like snow (1993), is a madrigal-like scherzo whose references to winter aptly conjure up that icy icon of graves romantic life, laura riding. the following slow movement, she tells her love while half asleep (1993), is an encomium to the poets second wife that forms the scores emotional and formal climax. a second choral scherzo follows: filled with jazzy syncopations, mid-winter waking conjures the poets joy at the reawakening of his inspiration, which is compared to the first thaw that presages the end of winter. the finale, intercession in late october (1994), is a quiet prayer, deeply moving in its evident reluctance to return to coldness, both of weather and of the heart.
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