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| Latest update: | 06-04-2024 |
Charles Villiers Stanford
1852 - 1924
Ireland
| C.V. Stanford |
Charles Villiers Stanford (30/09/1852 - 29/03/1924), an Anglo-Irish composer, conductor, and teacher who greatly influenced the next generation of British composers; Ralph Vaughan Williams, Sir Arthur Bliss, and Gustav Holst were among his pupils. He was born in Dublin.
Requiem
♫ 01. Introit
© Naxos 8.555201-02
♫ 02. Kyrie
© Naxos 8.555201-02
♫ 03. Gradual
© Naxos 8.555201-02
♫ 04. Sequence - Dies irae
© Naxos 8.555201-02
♫ 05. Offertorium
© Naxos 8.555201-02
♫ 06. Sanctus
© Naxos 8.555201-02
♫ 07. Agnus Dei et Lux aeterna
© Naxos 8.555201-02
| Period: | Romanticism |
| Composed in: | 1896 |
| Musical form: | mass |
| Text/libretto: | Latin mass |
| Duration: | 80'43'' |
| In memory of: | Lord Frederic Leighton |
| Label(s): | Marco Polo 223580 |
| Naxos 8.555201-02 |
This requiem, opus 63, is for soprano, mezzosoprano, tenor, bass, choir and orchestra.
It contains:
01. Introit: Adagio (08:03)
02. Kyrie: Allegro tranquillo ed espressivo (04:40)
03. Gradual: Larghetto (04:38)
04. Sequence - Dies irae: Allegro moderato ma energico (30:21)
05. Offertorium: Allegro (11:37)
06. Sanctus: Allegro non troppo (10:07)
07. Agnus Dei et Lux aeterna: Tempo di marcia funebre (11:01)
It contains:
01. Introit: Adagio (08:03)
02. Kyrie: Allegro tranquillo ed espressivo (04:40)
03. Gradual: Larghetto (04:38)
04. Sequence - Dies irae: Allegro moderato ma energico (30:21)
05. Offertorium: Allegro (11:37)
06. Sanctus: Allegro non troppo (10:07)
07. Agnus Dei et Lux aeterna: Tempo di marcia funebre (11:01)
| Source: | booklet of cd Naxos 8.555201-02 |
♫ 01. Introit
© Naxos 8.555201-02
♫ 02. Kyrie
© Naxos 8.555201-02
♫ 03. Gradual
© Naxos 8.555201-02
♫ 04. Sequence - Dies irae
© Naxos 8.555201-02
♫ 05. Offertorium
© Naxos 8.555201-02
♫ 06. Sanctus
© Naxos 8.555201-02
♫ 07. Agnus Dei et Lux aeterna
© Naxos 8.555201-02
Charles Stanford was a prolific and popular composer in the later Victorian era. Since then there has been a backlash.
His reactionary views on Ricard Strauss and Debussy, among others, didn't endear him to younger musicians, to whom his creative gifts seemed over-rated. In such works as his Requiem for his artist friend Lord Frederic Leighton (English Classicist painter and sculptor, 1830-1896), however, Stanford can be heard at his finest. To mark, the city charter centenary Nottingham Bach Society included the 1897 Requiem in the weekend concert under Paul Hale. It was quite unfamiliar to the singers and players. The way they brought out its beauties did them great credit.
There were moments of vigorous drama, as well as striking lyrical passages. The use of indiviual accompanying instruments at various stages was both apt and original.
A soprano from Stanford's native Dublin led the solo singers. Sinead Blanchfield, Maria Jones, John Christodoulou and Simon Murray-Green made up one of the loveliest solo teams the city has welcomed in recent seasons. The concert opened on more familiar ground with Bach's motet Lobet den Herrn. For the most part it's intricacies were neatly negotiated. Accompanist Gary Sieling switched from organ to harpsichord for Bach's First Brandenburg Concerto, stylishly performed by the scaled-down band. And the full orchestra prefaced the Requiem with a tuneful Elgar's Imperial March.
His reactionary views on Ricard Strauss and Debussy, among others, didn't endear him to younger musicians, to whom his creative gifts seemed over-rated. In such works as his Requiem for his artist friend Lord Frederic Leighton (English Classicist painter and sculptor, 1830-1896), however, Stanford can be heard at his finest. To mark, the city charter centenary Nottingham Bach Society included the 1897 Requiem in the weekend concert under Paul Hale. It was quite unfamiliar to the singers and players. The way they brought out its beauties did them great credit.
There were moments of vigorous drama, as well as striking lyrical passages. The use of indiviual accompanying instruments at various stages was both apt and original.
A soprano from Stanford's native Dublin led the solo singers. Sinead Blanchfield, Maria Jones, John Christodoulou and Simon Murray-Green made up one of the loveliest solo teams the city has welcomed in recent seasons. The concert opened on more familiar ground with Bach's motet Lobet den Herrn. For the most part it's intricacies were neatly negotiated. Accompanist Gary Sieling switched from organ to harpsichord for Bach's First Brandenburg Concerto, stylishly performed by the scaled-down band. And the full orchestra prefaced the Requiem with a tuneful Elgar's Imperial March.
| Author: | Peter Palmer |
| F. Leighton (dedicatee) |