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Joyeuse lumière/ Prélude au cantique/Ne craignez pas/ Cantique/ Postl

Joyeuse lumière/ Prélude au cantique/Ne craignez pas/ Cantique/ Postl

(Code: A111309268)
Those works, excerpts from "Vespers for Easter Time" was commissioned by Emmanuel MAGAT, musical director of the Maîtrise de la Cathédrale du Puy en Velay. After visiting the cathedral of Le Puy en Velay, Jean-Christophe ROSAZ was very much marked by the radiant spirituality that emanates from this place and kept in mind the fact that it is the start of a journey to Compostela. If the choice of the harp to accompany children's voices renews the colours of the genre, it is also a tribute to these women and men who set off from this high place, pilgrims symbolising the spiritual voice of each one of us, the harp referring to the original popular instrument that man could bring with him on the road. The different parts are relatively easy to interpret freely in the Magnificat, which can be sung as an isolated piece in a concert of sacred music. Renewing the writing and taking care of the relationship of each part to the whole, the composer was particularly careful to give unity to the unfolding of these Vespers.
9.90 EUR
56g
Discount on quantity
From20
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Joyeuse lumière (Lucernaire) (Jean-Christophe Rosaz)
Prélude au cantique (Instrumental) (Jean-Christophe Rosaz)
Ne craignez pas (Antienne) (Jean-Christophe Rosaz)
Cantique (Le Salut, La Puissance Et La Gloire) (Jean-Christophe Rosaz)
Postlude au cantique (Instrumental) (Jean-Christophe Rosaz)
Jésus dit aux disciples (Jean-Christophe Rosaz)
J’étais en larmes (Antienne Pour Le Magnificat) (Jean-Christophe Rosaz)
Magnificat (Pour Les Vêpres Du Puy) (Jean-Christophe Rosaz)

Those works, excerpts from "Vespers for Easter Time" was commissioned by Emmanuel MAGAT, musical director of the Maîtrise de la Cathédrale du Puy en Velay. After visiting the cathedral of Le Puy en Velay, Jean-Christophe ROSAZ was very much marked by the radiant spirituality that emanates from this place and kept in mind the fact that it is the start of a journey to Compostela. If the choice of the harp to accompany children's voices renews the colours of the genre, it is also a tribute to these women and men who set off from this high place, pilgrims symbolising the spiritual voice of each one of us, the harp referring to the original popular instrument that man could bring with him on the road. The different parts are relatively easy to interpret freely in the Magnificat, which can be sung as an isolated piece in a concert of sacred music. Renewing the writing and taking care of the relationship of each part to the whole, the composer was particularly careful to give unity to the unfolding of these Vespers.