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... sadly - either they have changed the formatting - or my li'l chromebook is no longer strong enuff - but I can no longer easily catch these : the wheel indicating 'loading' just goes round-and-round-and-round.
Happily I have an ancient pc which still works - and mme v has a newer and even more powerful machine which does the trick...
[ ... ooh matron! ]
.
I have been there too, v, and in my case it just fixed itself after quite a long time. I was glad, therefore, to tune in yesterday with complete confidence, and sure enough..... it worked. So nice, since it was my birthday.
Pared down in this performance to restore the (?hypothesized?) original scoring without Trumpets and Timps. As a former Timpanist, my spirits rebelled when I read this, but the resulting sound is remarkably successful - and it does mean an extra quarter-hour in the pub, I suppose!
Performed by an ensemble of sixteen players, led by harpsichordist Lars Ulrik Mortensen, and recorded last October in the now-familiar Contemporary Music venue, the Muziegebouw aan 't IJ in Amsterdam.
It's now some 9 years since Monica Hugget and Ensemble Sonnerie recoeded reconstructions of early versions of the 4 Orchestral Suites, including a version of BWV1069 without trumpets and timps. Very fine it is too.
It's now some 9 years since Monica Hugget and Ensemble Sonnerie recoeded reconstructions of early versions of the 4 Orchestral Suites, including a version of BWV1069 without trumpets and timps. Very fine it is too.
Does this one omit trumpets and timps too?
I am impressed by Lars Ulrik Mortensen, once I got used to how much he waves his arms around.
Many thanks, Bryn - I'd never seen that release before.
In the case of BWV 1066 the version we all know and love is the early one, i.e. neither JS or any of his sons messed around with it later. All three others are presented in 'reconstructions' of earlier versions than those that have come down to us. They were recorded in September 2007 and released in 2009, pitched at A415.
There is a (to me) cryptic reference in the commentary, perhaps through my not being a Christian.
Simeon’s Song of Praise – also known as the Nunc Dimittis – was not only sung at the Feast of the Purification on 2 February, but was also given a regular place in the daily Mass at the close of day in monasteries. With the words of the Light of the World in mind, people could go to sleep in peace.
Can anyone expand on the link to 'the Light of the World'? It isn't in the text anywhere. I only know the famous pre-Raphaelite painting.
Thank you vinteuil. I thought the commentary read as if there was some older and deeper, more 'formal', linkage between the Nunc dimittis imagery and that of the 'light of the world', but apparently not.
Not that this has any impact on the quality of the piece which I really enjoyed. Friday mornings have a whole extra aspect, wondering what's coming this week.
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