This is Stravinsky at his very best. Unadorned, powerful in its simplicity and overwhelmingly beautiful. Echoing the masterful liturgies of the middle ages.
Our Episcopal parish choir and a double wind quintet did this Mass last Sunday, in liturgical context. Absolutely wonderful. Ascension, Chicago. Choirmaster Benjamin Rivera; organist David R. White.
Oh, what a splendid rendition of Stravinsky's Mass! I have stuck, out of desperation, to Bernstein's recording but this captures the right sort of -- not lack of emotion -- but that odd detachment so unique to so many of Stravinsky's works. As much as I love old Lenny, he brought something to the Mass that didn't feel quite right. This is very much in the spirit of Stravinsky! Thank you for sharing!
That recurring instrumental fragment in the Agnus Dei might be my favourite moment of anything Stravinsky ever wrote. Very few other pieces of music have such exquisite, poised beauty.
This was one of the first substantial choral pieces I ever sang, at UCLA in celebration of Stravinsky's birth centennial. I've never sung it since, but 40 years later the music is still with me. It's got to be one of the most difficult works to interpret -- singers were especially puzzled by the lack of overt drama at the "Crucifixus/Et resurrexit" transition. (Although the composer might have said there's nothing to "interpret" -- just do what the score says!) What amazes me is how Stravinsky makes every style his own -- no matter what period or genre, his music is immediately identifiable.
Stravinsky's cantabile 20th Century writing comes through in almost everything the man has written, not only in the vocal parts but also the instrumentation. A transparent, effective score.
Sometimes it’s hard to sense the heart in Stravinsky’s neoclassicism amid all the (seemingly) bluster and cold tonal manipulations. My antidote is this whole piece. It speaks to me as no other music, making me feel that I’m present in an entirely different world. Conventional rules are transcended, THIS is how it works now. The last movement is the most perfect example of Stravinsky’s neoclassical harmony writing that I know. The final choral and instrumental phrases carry immense meaning.
Anyone who claims Stravinsky wrote The Rite of Spring and Firebird and next to nothing else very interesting missed the entire of this master. This piece I have heard live and it reminds me of the medieval with a marvelous mixture of the modern . Irreproachably gorgeous!
There's a good reason this is performed like... 700 times less often then pieces you mentioned in your comment. Should I pronounce the reason or should we keep the veil of discretion?
@@ethanhayward9624 I have no idea what he means either, nothing very very obvious, but it could be that explosive, spectacular pieces are more popular than esoteric, inwardly religious pieces like this.
OH MY DEAR LORD. Ok, so I normally love your uploads but this is ridiculously amazing. I heard a recording of this around two years ago when I went through my Stravinsky phase after singing the symphony of psalms. I have a recording that Bernstein did of this which I highly recommend trying to get a hold of. the sounds he creates here are so other worldly. Now, I GET THE MUSIC FOR IT?! just thank you so so much. Like really, you've made my day.
@joe curtin Ah ah ah! Very funny ! Since I did not really insult you, I would not respond to provocation. Everyone can have a different opinion. Tolerance tolerance! In any case, I have the courage of my opinions. I was just commenting on the evolution of Stravinski that I love! Skud again?
@joe curtin I forgive you ! Stravinsky was for me a great innovator and what irritates me is his evolution towards a music certainly respectable but far from his first talent. Good day James!
I sang this in college and I have it mostly memorized to this day. Something about it just stuck with me. I love that he interpreted a mass in such an austere way. His harmonic vocabulary is -- I don't have a better word for this, sorry -- really quirky and often stunningly beautiful in its oddness. For me the Credo is a highlight, the way the text is set and the choice to make it entirely homophonic gives it so much urgency; I almost feel like he's trying to convince himself that he "believes in one God" here. This interpretation of it is flawless. I agree with another commenter, Bernstein's interpretation is too emotional. There's a ton of heart and soul in this work but it's intentionally veiled, like Stravinsky is teasing us. Going back to the way the text is set to the beat, there are parts where the emphasized syllable is totally off from where it "should" be. This piece is, at times, intentionally awkward, and I think Reuss delivers that to us perfectly. Thanks for posting this.
We studied this as music majors in college. Our teacher said that Stravinsky did not compose harmonically but intervallicly. IF correct, this would explain the "quirkyness". He said Stravinsky relied on his ear and if the vertical intervals sounded good to him he ignored the "harmony". It does explain some things. I love this one and Requiem Canticles both. This sounds very close to Stravinsky's own recording to me.
Thank you for this - especially with the score. I sang in this some years ago, and I felt I was just starting to really understand Stravinsky's musical language by the time we got to performance. I am enjoying rediscovering it without the stress of performing a fairly difficult work! Actually, I find this work more approachable than the popular Symphony of Psalms, of which the only part I really like is the "Alleluia. Amen".
This has got to be the oddest piece Stravinsky ever wrote. Which is saying a lot considering how odd so much of his output was. I find it fascinating nevertheless. He was undoubtedly one of the greatest innovators of both instrumentation AND harmony.
This is a truly singular and at the same time moving piece, the mixture of instrumental and harmonic innovation - and emotion, restrained but at the same time warm and sublime - is unique and extraordinary. Stravinsky is in my personal opinion the greatest composer of the '900. Are you Victor Grauer the great ethnomusicologist? I am a composer and I am very pleased to study your book Sounding the Depths, a continuous source of exciting and innovative discoveries, and it is a great honor to write to you in person. Thank you for your irreplaceable contribution to music! Best regards from Brescia, Italy
@@victorgrauer5834 Thanks a lot for your kind response, I'm very happy to write you personally. I know you're a composer too and I will go to listen to your music as soon as possible. I have a good friend of mine, Italian composer (very good. and he's an ethnomusicologist too) Giovanni Grosskopf, with whom you're in touch. All the best and thanks again!
"THE" performance, interpretation and recording of this sublime late Neo Classic Stravinsky liturgical GEM. Was there a commercial cd made? GORGEOUS all around *DESERT ISLAND WORK FOR ME*
My favourite Stravinsky's 'neoclassical' work, though I better like original version with boys' voices, it reveals more of this beautiful timbre play and renaissance harmonies. Thank you Damon for all this scores you've published, very nice channel.
0:00 Kyrie Kyrie eleison, Christe eleison, Kyrie eleison. Lord, have mercy upon us, Christ have mercy upon us, Lord, have mercy upon us 2:34 Gloria Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te. Glory be to God on high, and peace on earth to men of good will. We praise Thee, we bless Thee, we adore Thee, we glorify Thee Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex cælestis, Deus Pater omnipotens, Domine, Fili unigenite, Jesu Christe. Domine Deus. Agnus Dei. Filius Patris. we give Thee thanks for Thy great glory. Lord God, heavenly King, God, the Father Almighty. Lord Jesus Christ, the only-begotten Son, Lord God, Lamb of God, Son of the Father, Qui tollis peccata mundi, miserere nobis; suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Thou, who takest away the sins of the world, have mercy upon us; receive our prayer. O Thou, who sittest at the right hand of the Father, have mercy on us. Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe, cum Sancto Spiritu in gloria Dei Patris. Amen. For Thou alone art holy, Thou alone art Lord, Thou alone art most high, Jesus Christ. Together with the Holy Ghost, in the glory of God the Father. Amen. 6:17 Credo Credo in unum Deum, patrem omnipotentem, factorem cæli et terræ visibilium omnium et invisibilium. I believe in one God, the Father Almighty, maker of heaven and earth, of all things visible and invisible. Credo in unum Dominum Jesum Christum, Filium Dei unigenitum; et ex Patre natum ante omnia sæcula. Deum de Deo, Lumen de Lumine: Deum verum de Deo vero; I believe in one Lord Jesus Christ, the only-begotten Son of God; and born of the Father before all ages. God of Gods, Light of Light, true God of true God; Genitum, non factum; consubstantialem Patri, per quem omnia facta sunt; Qui propter nos homines, et propter nostram salutem, descendit de cælis, begotten, not made; consubstantial with the Father, by Whom all things were made; Who for us men and for our salvation, came down from heaven, Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est. Crucifixus etiam pro nobis; sub Pontio Pilato passus et sepultus est, Et resurrexit tertia die, secundum Scripturas. and became incarnate by the Holy Ghost of the Virgin Mary, and was made man. He was crucified also for us; suffered under Pontius Pilate and was buried, And the third day He arose again according to the Scriptures. Et ascendit in cælum, sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos; Cujus regni non erit finis. And ascended into heaven, and sitteth at the right hand of the Father. And He is to come again, with glory, to judge both the living and the dead; Of whose kingdom there shall be no end. Credo in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit; qui cum Patre et Filio simul adoratur et conglorificatur; qui locutus est per prophetas. I believe in the Holy Ghost, the Lord and Giver of life, Who proceedeth from the Father and the Son; Who, together with the Father and the Son, is adored and glorified; Who spoke by the prophets. Credo in unam sanctam Catholicam et Apostolicam Ecclesiam. Confiteor unum Baptisma in remissionem peccatorum. Et expecto resurrectionem mortuorum, et vitam venturi sæculi. Amen. I believe in one holy Catholic and Apostolic Church. I confess one baptism for the remission of sins. And I expect the resurrection of the dead, and the life of the world to come. Amen. 10:45 Sanctus Sanctus Dominus Deus Sabaoth. Pleni sunt cæli et terra gloria tua. Osanna in excelsis. Benedictus qui venit in nomine Domini. Osanna in excelsis. Holy, holy, holy Lord God of Sabaoth. Heaven and earth are full of Thy Glory Hosanna in the highest. Blessed is he who cometh in the name of the Lord. Hosanna in the highest. 14:25 Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem. Lamb of God, that takest away the sins of the world, have mercy upon us. Lamb of God, that takest away the sins of the world, grant us peace.
@@warrencohen8246 .Upon his second marriage he switched his allegiance to the Roman Catholic Church. www.academia.edu/12097537/The_Christian_Message_of_Igor_Stravinsky
This, from his obituary:”But to the end he considered himself stanchly Russian Orthodox, tempted at times by Roman Catholicism--he wrote a Roman Catholic mass in 1948--but remaining with the faith of his fathers "for linguistic reasons." Stravinsky lied a lot to please the audience he was trying to appeal to, so it is hard to know what his actual thoughts were. Robert Craft said he prayed before composing though, so his occasional claims of religious indifference are almost certainly false.
With all due respect, your befuddlement at Stravinsky writing a Mass is.. well, befuddling.. He was, in his own words "not merely a believer in 'symbolic figures', but in the Person of the Lord, the Person of the Devil, and the Miracles of the Church." He wrote a mass, canticum sacrum, and Threni. At the time they were the three strongest challenges in nearly two hundred years to the decline of the church as a musical institution. He lamented "how much poorer we are without the sacred musical services, without the masses, without the passions, the round-the-calendar cantatas of the Protestants, the motets and sacred concerts, and vespers and so many others. These are not merely defunct forms but parts of the musical Spirit in disuse. The church knew with a Psalmist new: music praises God. Music is as well or better able to praise him than the building of the church and all its decorations; it is the church's greatest ornament. Glory Glory Glory; the music of Orlando lasso's motet praises God, and this particular "Glory" does not exist in secular music."
Yes, and doing a beautiful job of it. Oftentimes things frozen in amber are more precious than the novelties that grow like weeds. I think he's got his bearings straight.
![Francis Poulenc - Mass in G Major [With score]](http://i.ytimg.com/vi/sXJson0oiLU/mqdefault.jpg)
![Francis Poulenc - Mass in G Major [With score]](/img/tr.png)
![Igor Stravinsky - Symphonies of Wind instruments [With score]](http://i.ytimg.com/vi/72V_OTSiAkM/mqdefault.jpg)
This is Stravinsky at his very best. Unadorned, powerful in its simplicity and overwhelmingly beautiful. Echoing the masterful liturgies of the middle ages.
Our Episcopal parish choir and a double wind quintet did this Mass last Sunday, in liturgical context. Absolutely wonderful. Ascension, Chicago. Choirmaster Benjamin Rivera; organist David R. White.
Oh, what a splendid rendition of Stravinsky's Mass! I have stuck, out of desperation, to Bernstein's recording but this captures the right sort of -- not lack of emotion -- but that odd detachment so unique to so many of Stravinsky's works. As much as I love old Lenny, he brought something to the Mass that didn't feel quite right. This is very much in the spirit of Stravinsky! Thank you for sharing!
That recurring instrumental fragment in the Agnus Dei might be my favourite moment of anything Stravinsky ever wrote. Very few other pieces of music have such exquisite, poised beauty.
This was one of the first substantial choral pieces I ever sang, at UCLA in celebration of Stravinsky's birth centennial. I've never sung it since, but 40 years later the music is still with me. It's got to be one of the most difficult works to interpret -- singers were especially puzzled by the lack of overt drama at the "Crucifixus/Et resurrexit" transition. (Although the composer might have said there's nothing to "interpret" -- just do what the score says!) What amazes me is how Stravinsky makes every style his own -- no matter what period or genre, his music is immediately identifiable.
Stravinsky's cantabile 20th Century writing comes through in almost everything the man has written, not only in the vocal parts but also the instrumentation. A transparent, effective score.
Sometimes it’s hard to sense the heart in Stravinsky’s neoclassicism amid all the (seemingly) bluster and cold tonal manipulations. My antidote is this whole piece. It speaks to me as no other music, making me feel that I’m present in an entirely different world. Conventional rules are transcended, THIS is how it works now. The last movement is the most perfect example of Stravinsky’s neoclassical harmony writing that I know. The final choral and instrumental phrases carry immense meaning.
Anyone who claims Stravinsky wrote The Rite of Spring and Firebird and next to nothing else very interesting missed the entire of this master. This piece I have heard live and it reminds me of the medieval with a marvelous mixture of the modern . Irreproachably gorgeous!
There's a good reason this is performed like... 700 times less often then pieces you mentioned in your comment. Should I pronounce the reason or should we keep the veil of discretion?
Agreed. I recently heard someone refer to Stravinsky as a one hit wonder. WHAT??
@@AndreyRubtsovRU And? What would that reason be?
@@roryreviewer6598 wow. how more obvious do i have to be.
@@ethanhayward9624 I have no idea what he means either, nothing very very obvious, but it could be that explosive, spectacular pieces are more popular than esoteric, inwardly religious pieces like this.
Stravinsky is truly a chameleon of musical styles, wow!
Sublime - both the music and the performance. Nothing more to be said...
This is astonishing music of great beauty. And the score? We actually get to see the score? Wow! This is a valuable video and I thank you immensely!
My favorite composer, the “Agnus Dei” is one of the reasons why.
Sublime. Beautiful singing too. Accurate and suitably restrained. One of Stravinsky's great works.
First time listener. A real treasure.
Rapturuously beautiful. Thank you so much.
OH MY DEAR LORD. Ok, so I normally love your uploads but this is ridiculously amazing. I heard a recording of this around two years ago when I went through my Stravinsky phase after singing the symphony of psalms. I have a recording that Bernstein did of this which I highly recommend trying to get a hold of. the sounds he creates here are so other worldly. Now, I GET THE MUSIC FOR IT?! just thank you so so much. Like really, you've made my day.
Stravinsky is completely lost in a music of the past. Incredibly disappointing.
@joe curtin Ah ah ah! Very funny ! Since I did not really insult you, I would not respond to provocation. Everyone can have a different opinion. Tolerance tolerance! In any case, I have the courage of my opinions. I was just commenting on the evolution of Stravinski that I love! Skud again?
@joe curtin I forgive you ! Stravinsky was for me a great innovator and what irritates me is his evolution towards a music certainly respectable but far from his first talent. Good day James!
@@Protonixum To me, Stravinsky's music is just as amazing later on, but for different (and some of the same) reasons.
@@Protonixum A few critics tried this line of nonsense around the time this was written. Their names are lost to history. Stravinsky endures.
I sang this in college and I have it mostly memorized to this day. Something about it just stuck with me. I love that he interpreted a mass in such an austere way. His harmonic vocabulary is -- I don't have a better word for this, sorry -- really quirky and often stunningly beautiful in its oddness. For me the Credo is a highlight, the way the text is set and the choice to make it entirely homophonic gives it so much urgency; I almost feel like he's trying to convince himself that he "believes in one God" here.
This interpretation of it is flawless. I agree with another commenter, Bernstein's interpretation is too emotional. There's a ton of heart and soul in this work but it's intentionally veiled, like Stravinsky is teasing us. Going back to the way the text is set to the beat, there are parts where the emphasized syllable is totally off from where it "should" be. This piece is, at times, intentionally awkward, and I think Reuss delivers that to us perfectly. Thanks for posting this.
We studied this as music majors in college. Our teacher said that Stravinsky did not compose harmonically but intervallicly. IF correct, this would explain the "quirkyness". He said Stravinsky relied on his ear and if the vertical intervals sounded good to him he ignored the "harmony". It does explain some things. I love this one and Requiem Canticles both. This sounds very close to Stravinsky's own recording to me.
Thank you for this - especially with the score. I sang in this some years ago, and I felt I was just starting to really understand Stravinsky's musical language by the time we got to performance. I am enjoying rediscovering it without the stress of performing a fairly difficult work! Actually, I find this work more approachable than the popular Symphony of Psalms, of which the only part I really like is the "Alleluia. Amen".
This has got to be the oddest piece Stravinsky ever wrote. Which is saying a lot considering how odd so much of his output was. I find it fascinating nevertheless. He was undoubtedly one of the greatest innovators of both instrumentation AND harmony.
This is a truly singular and at the same time moving piece, the mixture of instrumental and harmonic innovation - and emotion, restrained but at the same time warm and sublime - is unique and extraordinary.
Stravinsky is in my personal opinion the greatest composer of the '900.
Are you Victor Grauer the great ethnomusicologist? I am a composer and I am very pleased to study your book Sounding the Depths, a continuous source of exciting and innovative discoveries, and it is a great honor to write to you in person.
Thank you for your irreplaceable contribution to music!
Best regards from Brescia, Italy
@@rossanopinelli5150 Yes, it's me. Thanks for the nice complement. I too am a composer.
@@victorgrauer5834 Thanks a lot for your kind response, I'm very happy to write you personally. I know you're a composer too and I will go to listen to your music as soon as possible. I have a good friend of mine, Italian composer (very good. and he's an ethnomusicologist too) Giovanni Grosskopf, with whom you're in touch. All the best and thanks again!
Absolute MASTERPIECE!
0:17 and i already have goosebumps
THANK YOU SO MUCH!! BEST TH-cam CHANNEL
Mistrzostwo świata!
What an ethereal piece
"THE" performance, interpretation and recording of this sublime late Neo Classic Stravinsky liturgical GEM. Was there a commercial cd made? GORGEOUS all around *DESERT ISLAND WORK FOR ME*
Back again, still awesome.
What a terrific performance, which I had never heard. The Columbia one with Stravinsky is not good, and Bernstein emotes too much. Thank you so much.
I really like the Bernstein recording, but I think I must agree with you, this is better.
Thanks
The chord at 9:37 is so beautiful
I think I'm finding that I like Stravinsky's choir music the best, between this, Requiem Canticles, Threni, etc.
My favourite Stravinsky's 'neoclassical' work, though I better like original version with boys' voices, it reveals more of this beautiful timbre play and renaissance harmonies. Thank you Damon for all this scores you've published, very nice channel.
11:36 - 12:31 Best part of the entire mass for me
On a Stravinsky binge.
Stravinsky is a True Genius!
Best interpretation of the Kyrie on youtube. All the others are too slow.
0:00 Kyrie
Kyrie eleison, Christe eleison, Kyrie eleison.
Lord, have mercy upon us, Christ have mercy upon us,
Lord, have mercy upon us
2:34 Gloria
Gloria in excelsis Deo,
et in terra pax hominibus bonae voluntatis.
Laudamus te, benedicimus te,
adoramus te, glorificamus te.
Glory be to God on high,
and peace on earth to men of good will.
We praise Thee, we bless Thee,
we adore Thee, we glorify Thee
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex cælestis,
Deus Pater omnipotens,
Domine, Fili unigenite, Jesu Christe.
Domine Deus. Agnus Dei. Filius Patris.
we give Thee thanks for Thy great glory.
Lord God, heavenly King,
God, the Father Almighty.
Lord Jesus Christ, the only-begotten Son,
Lord God, Lamb of God, Son of the Father,
Qui tollis peccata mundi,
miserere nobis; suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Thou, who takest away the sins of the world,
have mercy upon us; receive our prayer.
O Thou, who sittest at the right hand of the Father,
have mercy on us.
Quoniam tu solus sanctus, tu solus Dominus,
tu solus altissimus, Jesu Christe,
cum Sancto Spiritu
in gloria Dei Patris. Amen.
For Thou alone art holy, Thou alone art Lord,
Thou alone art most high, Jesus Christ.
Together with the Holy Ghost,
in the glory of God the Father. Amen.
6:17 Credo
Credo in unum Deum,
patrem omnipotentem,
factorem cæli et terræ
visibilium omnium et invisibilium.
I believe in one God,
the Father Almighty,
maker of heaven and earth,
of all things visible and invisible.
Credo in unum Dominum Jesum Christum,
Filium Dei unigenitum;
et ex Patre natum ante omnia sæcula.
Deum de Deo, Lumen de Lumine:
Deum verum de Deo vero;
I believe in one Lord Jesus Christ,
the only-begotten Son of God;
and born of the Father before all ages.
God of Gods, Light of Light,
true God of true God;
Genitum, non factum;
consubstantialem Patri,
per quem omnia facta sunt;
Qui propter nos homines,
et propter nostram salutem,
descendit de cælis,
begotten, not made;
consubstantial with the Father,
by Whom all things were made;
Who for us men
and for our salvation,
came down from heaven,
Et incarnatus est de Spiritu Sancto ex Maria Virgine,
et homo factus est.
Crucifixus etiam pro nobis;
sub Pontio Pilato passus et sepultus est,
Et resurrexit tertia die, secundum Scripturas.
and became incarnate by the Holy Ghost of the
Virgin Mary,
and was made man.
He was crucified also for us;
suffered under Pontius Pilate and was buried,
And the third day He arose again according to
the Scriptures.
Et ascendit in cælum,
sedet ad dexteram Patris.
Et iterum venturus est cum gloria
judicare vivos et mortuos;
Cujus regni non erit finis.
And ascended into heaven,
and sitteth at the right hand of the Father.
And He is to come again, with glory,
to judge both the living and the dead;
Of whose kingdom there shall be no end.
Credo in Spiritum Sanctum,
Dominum et vivificantem,
qui ex Patre Filioque procedit;
qui cum Patre et Filio simul
adoratur et conglorificatur;
qui locutus est per prophetas.
I believe in the Holy Ghost,
the Lord and Giver of life,
Who proceedeth from the Father and the Son;
Who, together with the Father and the Son,
is adored and glorified;
Who spoke by the prophets.
Credo in unam sanctam Catholicam et
Apostolicam Ecclesiam.
Confiteor unum Baptisma in remissionem
peccatorum.
Et expecto resurrectionem mortuorum,
et vitam venturi sæculi. Amen.
I believe in one holy Catholic and Apostolic Church.
I confess one baptism for the remission of sins.
And I expect the resurrection of the dead,
and the life of the world to come. Amen.
10:45 Sanctus
Sanctus Dominus Deus Sabaoth.
Pleni sunt cæli et terra gloria tua.
Osanna in excelsis.
Benedictus qui venit in nomine Domini.
Osanna in excelsis.
Holy, holy, holy Lord God of Sabaoth.
Heaven and earth are full of Thy Glory
Hosanna in the highest.
Blessed is he who cometh in the name of the Lord.
Hosanna in the highest.
14:25 Agnus Dei
Agnus Dei, qui tollis peccata mundi,
miserere nobis.
Agnus Dei, qui tollis peccata mundi,
dona nobis pacem.
Lamb of God, that takest away the sins of the world,
have mercy upon us.
Lamb of God, that takest away the sins of the world,
grant us peace.
Who is this group? This performance is superior to most of the ones I have heard.
Bloodless belief ... There is much to believe. But would have Boulez said about this?
woah
Is this a C-score or a transposing score ?
This is concert pitch.
Oops... the English Horn and B flat Trumpets are transposed.
12:49
16:05 no Bb?
Memo to TH-cam... I actively boycott all agents who advertise here. Have a nice day (and find another business model)
Stravinsky was a very devout Roman Catholic which was unusual for a Russian born. The Vatican should write this on the walls.
He was not a Roman Catholic. He was Russian Orthodox.
@@warrencohen8246 Absolutely incorrect
@@warrencohen8246 .Upon his second marriage he switched his allegiance to the Roman Catholic Church. www.academia.edu/12097537/The_Christian_Message_of_Igor_Stravinsky
This, from his obituary:”But to the end he considered himself stanchly Russian Orthodox, tempted at times by Roman Catholicism--he wrote a Roman Catholic mass in 1948--but remaining with the faith of his fathers "for linguistic reasons." Stravinsky lied a lot to please the audience he was trying to appeal to, so it is hard to know what his actual thoughts were. Robert Craft said he prayed before composing though, so his occasional claims of religious indifference are almost certainly false.
@@warrencohen8246 Hi Warren Thanks for your clarification and we both love his music! Robert Craft was born very close to my hometown.
With all due respect, your befuddlement at Stravinsky writing a Mass is.. well, befuddling.. He was, in his own words "not merely a believer in 'symbolic figures', but in the Person of the Lord, the Person of the Devil, and the Miracles of the Church." He wrote a mass, canticum sacrum, and Threni. At the time they were the three strongest challenges in nearly two hundred years to the decline of the church as a musical institution. He lamented "how much poorer we are without the sacred musical services, without the masses, without the passions, the round-the-calendar cantatas of the Protestants, the motets and sacred concerts, and vespers and so many others. These are not merely defunct forms but parts of the musical Spirit in disuse. The church knew with a Psalmist new: music praises God. Music is as well or better able to praise him than the building of the church and all its decorations; it is the church's greatest ornament. Glory Glory Glory; the music of Orlando lasso's motet praises God, and this particular "Glory" does not exist in secular music."
7:55
12:49
14:07
If one trombone playing as a moderate dynamic level can drown out your entire choir, you don't have enough singers.
Memo to TH-cam - I boycott all the products you advertise
Stravinsky is completely lost in a music of the past. Incredibly disappointing.
Yes, and doing a beautiful job of it. Oftentimes things frozen in amber are more precious than the novelties that grow like weeds. I think he's got his bearings straight.
😂😂😂 please take bath of humility before criticising Stravinsky on a TH-cam comment.
This may be the funniest comment I've seen on TH-cam. What a joke
John Cage wants to be friends with you
I'm not aware of this style before the 20th century