| |  L'orang dégoutant (Claude Vercher/ Claude Vercher)
Perdue de vue (Claude Vercher)
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| | |  It is a text from an anthem sung during services in honour of Mary. It is a music very simple where we can feel some restraint serving the text as we can notice it in his other motets and vocal or sacred choral singings composed between 1887 and 1895 (e.g. O salutaris en B Major, Ecce fidelis servus for S.T., Bar and organ or l’Ave verum performed by 2 female voices accompanied by an organ of 1894). Maria, Mater Gratia was composed on March 1st, 1888 for 2 men voices or 2 female voices accompanied by an organ. It composed the second and last part of the opus 47 (the first one is composed of O salutaris in B Major for a voice and organ, a work that uses elements from a first (lost) version of 1878).
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Jules Massenet was born in 1842 in Saint-Étienne and died in 1912 in Paris. He was a renowned composer. He was also a teacher in Conservatoire de Paris. He also wan the Grand Prix de Rome. Several great composers were his students: Georges Enesco, Florent Schmitt, Ernest Chausson, and Gabriel Pierné. He was accused of sentimentality and unfairly unknown. We love to rediscover his melodies and sophisticated harmonies. A biennial festival in Saint-Étienne is organized as a tribute paid to him. His name was given to the conservatory of Saint-Étienne. “Marine” is the first part of the trilogy opus 2. This song was ordered by a trio of sopranos composed of three sisters from a good family. It was often the case by the end of the 19th century. The atmosphere is bucolic and charming. Part 3 can be sung by a mezzo-soprano. This duet can also be sung by choirs. It is even better when the song is sung with the two others from the trilogy.
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Originally composed in 1881 in collaboration with André Messager whose movements, Kyrie and O salutaris, were replaced in 1906 by Fauré's own Kyrie and Benedictus, itself a re-working of the Gloria discarded from the original version.
For women's voices (soli and choir).
Minimum delivery time 2 to 3 weeks. |
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