But I think it's inescapable; one of the great glories of polyphony is that it's not really written for listeners - and I know that's a terrible thing to say in an interview about a new recording but this sort of music is written 'ad majorem Dei gloriam': for the glory of God. And it's not fundamentally an art designed to make texts easier to hear, which is why this later sixteenth-century style that mixes chordal writing and polyphony is so effective in these pieces.
What I tried to do with De Profundis was to allow the parts to have a very strong relationship to each other and really feel the interdependence, rather than the independence, of the lines.
El Fantasma de Canterville (Spanish) Edition
A lot of that is to do with enunciation, which is one of the few things that we know they really valued in Renaissance singing; I think it's common for British vocal groups to under-enunciate polyphony because the sound seems to be the most important thing. There is a fundamental Northern European singing trait, and indeed speaking trait, of breaking up your phrases. You can hear it when anyone speaks: there's a comma every five words! Whereas if you were Italian, the sound would continue throughout, which is a kind of legato speaking.
So it is more Mediterranean to sing legato than it is Northern European - and to draw the words into that legato was very much part of my job with De Profundis. You field quite a large choir, with tasteful instrumental doubling of the bass part on bajon early bassoon.
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In the sixteenth century there were choirs and consorts of all sorts around Europe: the idea that there is one way of doing anything in the sixteenth century is completely bonkers. In some places they would only have had enough money to have a consort of one-to-a-part singers.
But we know that in cathedrals in Spain they did have several voices to a part; how many they used for one service, of course, is another matter. I'm a great believer in 'modern authenticity'.
If you look at The King's Singers, for example, who have done some very fine recordings of Spanish Renaissance music, they now have their own authenticity because they've been singing for fifty years: whatever they do now is kind of authentic because they are being themselves. De Profundis is a male-voice choir and perform closer to the likely written pitch than choirs using sopranos, who transpose everything up because some modern directors just like the sound of it up there.
Last modified: Line count: 10 Word count: 31 Gentle Reminder This website began in as a personal project, and I have been working on it full-time without a salary since The LiederNet Archive. Last modified: Line count: 10 Word count: 31 Gentle Reminder. This website began in as a personal project, and I have been working on it full-time without a salary since Andalusia has long red roads. The hundred lovers sleep for ever.
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Text added to the website: Last modified: Line count: 10 Word count: Does this poem hold a special place in your heart? For example, do you remember when you first read the poem? Or did you come across it someplace unexpected? Let us know at muurgedichten taalmuseum.
We would love to add your story to our website. If Lorca were starving and homeless, he would not ask for a loaf of bread; he would ask for a half a loaf of bread and a book. To burn with desire and keep quiet about it is the greatest punishment we can bring on ourselves. The Russian componist Shostakovich put De Profundis to music. Those hundred lovers are asleep forever beneath the dry earth. Andalusia has long, red-colored roads. Those hundred lovers are asleep forever. Los cien enamorados duermen para siempre bajo la tierra seca. Los cien enamorados.
De profundis | Spanish Translator
The following publications were consulted:. De Profundis De honderd gelieven zijn eeuwig ingeslapen onder de dorre aarde. Vertaling: Barber van de Pol.