There are modern pieces for 40 parts like Rütti's Veni Creator Spiritus for example. I even stumbled on a piece by Daniel Lentz called "Missa Umbrarum" which at the end gives off the illusion that there are 64 individual parts (8 choirs, 8 parts each). I was amazed by the musical process of building from single syllables to the complete Mass Ordinal text and the kind of harmony he uses throughout. It even had a 15th century musical quotation to complete the Gloria.
Thanks a lot, Dave! The video has made me curious and also has given me an idea. What about a new series?: If you like composer / work A, than you‘ll probably like composer work B, C, D… Only you, Dave, have the knowledge and desire to expand our horizon and to point to obscure, but worthwhile listening experiences. Too often discoveries merely happen by chance. - Take care and greetings from Berlin, Harry
Really welcome news it's back in the catalogue (I have the Decca version) and it's indeed great stuff (I think the DVD had it in surround sound, if anyone cares about such things!). I mentioned it in passing, and it's influence on the Tallis, when DH did a really informative talk on pre-baroque music. For me this and the Tallis have always been fascinating - glorius, complex shifting waves of sound. You just got to let it wash over you!
This is the explanation I found: "The name, which means "the little beans" in Italian, resulted from a curious nickname for early music at Oxford: it was called "beany music" owing to the vegetarian proclivities of many of its practitioners."
I love Tallis’ music, so I just ordered this.
There are modern pieces for 40 parts like Rütti's Veni Creator Spiritus for example. I even stumbled on a piece by Daniel Lentz called "Missa Umbrarum" which at the end gives off the illusion that there are 64 individual parts (8 choirs, 8 parts each). I was amazed by the musical process of building from single syllables to the complete Mass Ordinal text and the kind of harmony he uses throughout. It even had a 15th century musical quotation to complete the Gloria.
Thanks a lot, Dave! The video has made me curious and also has given me an idea. What about a new series?: If you like composer / work A, than you‘ll probably like composer work B, C, D… Only you, Dave, have the knowledge and desire to expand our horizon and to point to obscure, but worthwhile listening experiences. Too often discoveries merely happen by chance. - Take care and greetings from Berlin, Harry
I've done that--the "Prequels and Sequels" playlist, for example, and my first book, Beethoven or Bust, used that exact format.
@@DavesClassicalGuide Oh great. I‘ll have a look at those.
I love this recording so much. If only churches could afford to pay that many performers…
I Fagiolini is quite a small group. Certainly not 60 singers.
Really welcome news it's back in the catalogue (I have the Decca version) and it's indeed great stuff (I think the DVD had it in surround sound, if anyone cares about such things!). I mentioned it in passing, and it's influence on the Tallis, when DH did a really informative talk on pre-baroque music. For me this and the Tallis have always been fascinating - glorius, complex shifting waves of sound. You just got to let it wash over you!
Glorious music but why would a choir call itself Green Beans?
“Spem in alium” is Latin for “hope in garlic” so it makes sense. (I took Latin in high school so you can definitely trust me on this.)
@@matthewbbenton "hope in other" would be better ! (garlic is allium).
This is the explanation I found: "The name, which means "the little beans" in Italian, resulted from a curious nickname for early music at Oxford: it was called "beany music" owing to the vegetarian proclivities of many of its practitioners."
Robert Hollingsworth, its founder, cohosts a terrific podcast on choral music, called Choral Chihuahua.