00:01 Man born of desire 02:16 ♩ = 66 05:51 Rejoice ye dead 09:13 Man born of desire 10:18 He seeth the sun 11:54 He striveth to know 13:40 He dreameth of beauty 15:32 Rejoice ye dead
I studied music in college. Gustav Holst was of course covered, but the history book and cirruculum only briefly touched on Holst vocal works. It was heavily focused on the planets suite and the military suites for Winds. Those are great pieces, but they have nothing on works.
What powerful, sesuous, transcendent music! Choral Music does not have to be religious to be beautiful! It's another type of transcendence: not Faith, but Art!
I've been fortunate enough to have been able to perform literally all the major symphony/choral and choral specific works since I was introduced to choral singing in spite of having a mother who was a Northwestern University honors choral conducting and piano major. I resisted being in the church youth choirs in Jr. and Sr. high. I was a clarinet instrumental "snob". I had no interest the "inferior" choir ensemble field. UNTIL I went to a college summer two week high school music clinic with my clarinet. I wasn't very enthusiastic about that either, but my two year younger sister was going (harpist) and my parents thought it only fair to also extend that offer to me. In my infinite high school sophomore wisdom I thought WHY would anyone want to ruin two weeks of summer playing in some clinic band, BUT for some sort of mis-guided adolescent reasoning I thought I might be missing out on something. I resolved that intellectual dilemma by rationalizing that I'll go, BUT I won't have any fun! Such a mental giant....! So, the next chapter unfolds...... I was standing in the lunch line at clinic, minding my own business, and this girl happened to be standing next to me (I knew no one at the clinic other than my sister who I totally ignored (my sister after all.....)). So the height of casual conversation ensued (she was cute) and we seemed to get along, as it were. We sat with each other for lunch. Ah, fate....it never occurred that THIS was thing I could have missed out on! I played in the band, she sang in the chorus, now what to do......? I had very little choir experience (not counting hymns in church), but I was desperate........if I wanted to see more of her, I would have to join the chorus (I was not a bass, that meant I was admitted as warm body male AND, as I learned, a tenor can get in any singing group as long as you stay in tune). As luck would have it, the conductor was very charismatic and engaging. My long held disdain toward singing dissolved (I wasn't stupid, just stubborn). To make a long story even longer, several years later I was the principal clarinetist in the top youth symphony in Milwaukee Wi, during a work that didn't any clarinet part, I was walking down a hall in the rehearsal building and heard some singing and stuck my head in the door and there was a small chorus rehearsing and conductor invited me and what voice did I sing? This is where that "tenor" scarcity thing started to pay off. The up shot of this truly engaging narrative is this group eventually evolved into the Milwaukee Symphony Chorus of, variously 120-180 members. As mentioned "way" earlier, we ultimately performed all the major works over the years. Twice to Carnige Hall, sold out performances of the Mozart Requiem, and Prokofiev's "Alexander Nevsky". The Mahler, Symphony No. Eight, "Symphony of a Thousand", once with the Milwaukee Symphony and twice (we did so well we were asked back a few years later) with Chicago Symphony Orchestra and joint Chicago Symphony and Milwaukee Symphony Choruses for the opening night summer season concerts at Ravinia, the summer home of the Chicago Symphony. Conducted, no less than by James Levine, conductor of the New York Metropolitan Opera to audiences of fourteen thousand. We also recorded several major commercial label CD's. I had never heard these Holst works before. They're beautiful!!! Wow! Thanks for uploading them on RUclips!
Mitico! Per me forse questo brano non è tutto allo stesso livello qualitativo. Volendo cercare il pelo nell'uovo direi che la grande disomogeneità stilistica per me avrebbe richiesto un paio di passaggi di raccordo un più, per dare maggior senso di amalgama. Ma questo lavoro contiene momenti di una bellezza assoluta e senza tempo!
I wish I could share the enthusiasm for this piece. It strikes me as a patch-up of leftovers from incidental music and counterpoint exercises, and it takes too long to get anywhere. I wouldn't care to sing or conduct this.
I haven't heard a single organ-heavy piece of that period (late 19th century, early 20th) that I actually enjoy - perhaps it's just me. But, on top of that, there is no structural or thematic cohesion in this piece.
@@karlpoppins How 'bout the Poulenc _Concerto for Organ Timpany & Strings_ ? It is a solid piece with thematic unity, and the TELARC recording features the lowest note ever recorded for home use; a good test when shopping for subwoofers.
@@KeithOtisEdwards I actually had forgotten about that piece, it'd been years since I had last listened to it. It still comes off as a fantasy, but which naturally flows from section to section. Can hardly go wrong with Poulenc, honestly.
Yet again, one of Holst's best late works is wrecked by abysmal conducting. Try the Imogen Holst version with Janet Baker. Hickox simply had no affinity with Holst's music and ignored scores by habit.
00:01 Man born of desire
02:16 ♩ = 66
05:51 Rejoice ye dead
09:13 Man born of desire
10:18 He seeth the sun
11:54 He striveth to know
13:40 He dreameth of beauty
15:32 Rejoice ye dead
I studied music in college. Gustav Holst was of course covered, but the history book and cirruculum only briefly touched on Holst vocal works. It was heavily focused on the planets suite and the military suites for Winds. Those are great pieces, but they have nothing on works.
What powerful, sesuous, transcendent music!
Choral Music does not have to be religious to be beautiful!
It's another type of transcendence: not Faith, but Art!
yo my man Cmaj 7
crazy beautiful. I knew right from the beginning its gonna be great.
I've been fortunate enough to have been able to perform literally all the major symphony/choral and choral specific works since I was introduced to choral singing in spite of having a mother who was a Northwestern University honors choral conducting and piano major.
I resisted being in the church youth choirs in Jr. and Sr. high. I was a clarinet instrumental "snob". I had no interest the "inferior" choir ensemble field. UNTIL I went to a college summer two week high school music clinic with my clarinet. I wasn't very enthusiastic about that either, but my two year younger sister was going (harpist) and my parents thought it only fair to also extend that offer to me. In my infinite high school sophomore wisdom I thought WHY would anyone want to ruin two weeks of summer playing in some clinic band, BUT for some sort of mis-guided adolescent reasoning I thought I might be missing out on something. I resolved that intellectual dilemma by rationalizing that I'll go, BUT I won't have any fun! Such a mental giant....!
So, the next chapter unfolds...... I was standing in the lunch line at clinic, minding my own business, and this girl happened to be standing next to me (I knew no one at the clinic other than my sister who I totally ignored (my sister after all.....)). So the height of casual conversation ensued (she was cute) and we seemed to get along, as it were. We sat with each other for lunch.
Ah, fate....it never occurred that THIS was thing I could have missed out on!
I played in the band, she sang in the chorus, now what to do......?
I had very little choir experience (not counting hymns in church), but I was desperate........if I wanted to see more of her, I would have to join the chorus (I was not a bass, that meant I was admitted as warm body male AND, as I learned, a tenor can get in any singing group as long as you stay in tune).
As luck would have it, the conductor was very charismatic and engaging. My long held disdain toward singing dissolved (I wasn't stupid, just stubborn).
To make a long story even longer, several years later I was the principal clarinetist in the top youth symphony in Milwaukee Wi, during a work that didn't any clarinet part, I was walking down a hall in the rehearsal building and heard some singing and stuck my head in the door and there was a small chorus rehearsing and conductor invited me and what voice did I sing? This is where that "tenor" scarcity thing started to pay off.
The up shot of this truly engaging narrative is this group eventually evolved into the Milwaukee Symphony Chorus of, variously 120-180 members.
As mentioned "way" earlier, we ultimately performed all the major works over the years.
Twice to Carnige Hall, sold out performances of the Mozart Requiem, and Prokofiev's "Alexander Nevsky". The Mahler, Symphony No. Eight, "Symphony of a Thousand", once with the Milwaukee Symphony and twice (we did so well we were asked back a few years later) with Chicago Symphony Orchestra and joint Chicago Symphony and Milwaukee Symphony Choruses for the opening night summer season concerts at Ravinia, the summer home of the Chicago Symphony. Conducted, no less than by James Levine, conductor of the New York Metropolitan Opera to audiences of fourteen thousand.
We also recorded several major commercial label CD's.
I had never heard these Holst works before. They're beautiful!!! Wow!
Thanks for uploading them on RUclips!
Woahhh. That's wildd
Interesting story
I love the ending!
Yeeha because it ends the boredom
Una delle cose più belle che io abbia mai ascoltato
Mitico! Per me forse questo brano non è tutto allo stesso livello qualitativo. Volendo cercare il pelo nell'uovo direi che la grande disomogeneità stilistica per me avrebbe richiesto un paio di passaggi di raccordo un più, per dare maggior senso di amalgama. Ma questo lavoro contiene momenti di una bellezza assoluta e senza tempo!
Why is 11:11 so haunting? I love it!!!
Over too soon 😭
1:40 Mars
I wish I could share the enthusiasm for this piece. It strikes me as a patch-up of leftovers from incidental music and counterpoint exercises, and it takes too long to get anywhere. I wouldn't care to sing or conduct this.
I haven't heard a single organ-heavy piece of that period (late 19th century, early 20th) that I actually enjoy - perhaps it's just me. But, on top of that, there is no structural or thematic cohesion in this piece.
@@karlpoppins How 'bout the Poulenc _Concerto for Organ Timpany & Strings_ ?
It is a solid piece with thematic unity, and the TELARC recording features the lowest note ever recorded for home use; a good test when shopping for subwoofers.
@@KeithOtisEdwards I actually had forgotten about that piece, it'd been years since I had last listened to it. It still comes off as a fantasy, but which naturally flows from section to section. Can hardly go wrong with Poulenc, honestly.
Yet again, one of Holst's best late works is wrecked by abysmal conducting. Try the Imogen Holst version with Janet Baker.
Hickox simply had no affinity with Holst's music and ignored scores by habit.
Wtf