Duración:08:04 Vistos:10852 veces
Descripción:Stereo: http://br.youtube.com/watch?v=3gg4QTSwJMw&fmt=18
Dieterich Buxtehude (1637 - 1707).
Schola Cantorum Basiliensis.
Maria Christina Kiehr (Soprano).
Rosa Dominguez (Soprano).
Andreas Scholl (Alto).
Gerd Türk (Tenor).
Ulrich Messthaler (Basse).
Dir. René Jacobs.
To all my friends and subscribers.
Membra Jesu Nostri:
Membra Jesu Nostri (English: The Limbs of our Lord Jesus), BuxWV 75, is a cycle of seven cantatas composed by Dieterich Buxtehude in 1680, and dedicated to Gustaf Düben. The text, Salve mundi salutare - also known as the Rhythmica oratio - is a poem written by Medieval poet Arnulf of Louvain (d. 1250). It is divided into seven parts, each addressed to a different part of Christ's crucified body: feet, knees, hands, side, chest, heart, and head.
1. Ad Genua.
"Ad ubera portabimini,
et super genua blandicentur vobis."
Salve Jesu, rex sanctorum,
spes votiva peccatorum,
crucis ligno tanquam reus,
pendens homoverus deus,
caducis nutans genibus.
Quid sum tibi responsurus,
actu vilis corde durus?
Quid rependam amatori,
qui elegit pro me mori,
ne dupla morte morerer.
Ut te quaeram mente pura,
sit haec mea prima cura,
non est labor et gravabor,
sed sanabor et mundabor,
cum te complexus fuero.
"Ad ubera portabimini,
et super genua blandicentur vobis."
Biography:
Dietrich Buxtehude, who identified himself as Danish, was seemingly born in Oldesloe about the year 1637, the son of an organist and schoolmaster. His father moved briefly from Oldesloe, in the Duchy of Holstein, to Helsingborg as organist at the Mariekirke there and soon after to the Danish city of Helsingør, Hamlet's Elsinore, as organist at the St Olai Kirke, a position he held for some thirty years, until his retirement in 1671. Buxtehude was taught by his father and from 1657 or 1658 until 1660 was organist at the Mariekirke in Helsingborg, a city separated from Helsingør by a narrow stretch of water. His next appointment was at the Mariekirke in the latter city. In 1668 he was elected organist at the Marienkirche in Lübeck, where he succeeded Franz Tunder, who had died the previous year, following custom by marrying Tunder's younger daughter. Tunder's elder daughter's security had already been assured by her marriage to Samuel Franck, Cantor of the Marienkirche and the Catherineum Lateinschule, the choir-school that provided singers for the services of the Marienkirche.
At the Marienkirche in Lübeck Buxtehude made some changes in the musical traditions of the church, establishing a series of Abendmusik concerts given now on five Sunday afternoons in the year, events that attracted wide interest. As an organist Buxtehude represented the height of North German keyboard traditions, exercising a decisive influence over the following generation, notably on Johann Sebastian Bach, who undertook the long journey from Arnstadt to Lübeck to hear him play, outstaying his leave, to the dissatisfaction of his employers. Handel too visited Lübeck in 1703, with his Hamburg friend and colleague Mattheson. By this time there was a question of appointing a successor to Buxtehude, who was nearly seventy and had spent over thirty years at the Marienkirche. The condition of marriage to his predecessor's daughter that Buxtehude had faithfully fulfilled proved unattractive, however, to the young musicians of the newer generation and the succession eventually passed to Johann Christian Schieferdecker, who married Buxtehude's surviving daughter, predeceased by four others, three months after Buxtehude's death in 1707.
For a long time knowledge of Buxtehude's works was limited to the organ works and his major sacred choral works. Along with other Baroque composers, Buxtehude was "rediscovered" in the mid-nineteenth century, and his organ works were republished as an example of the style current before J.S. Bach. Interest in his chamber music works, however, has only gathered momentum in recent years. In these Buxtehude frolics with great imagination between learned contrapuntal traditions and a freer, more fanciful style. On the whole. Buxtehude's imagination is amazing, and gives his works a lively, improvisational feel. With our present-day fully-rounded picture of Buxtehude's works we can unhesitatingly count him as the greatest composer of the northern European Baroque in the period between Heinrich Schütz and J.S. Bach.
Duración:06:20 Vistos:857494 veces
Descripción:Directed by Lasse Gjertsen
Copyrights: Casa Musicale Sonzogno, Milan, 2007
This is a music video for the italian cellist Giovanni Sollima, on two of his compositions; "Terra Aria" and "Concerto Rotondo". Enjoy!
www.sonzogno.it
So this is the project I've been working on for the last 5 months, and heres how part 1 of it is made:
On the six arms parts, which by the way took most of the time to make, I filmed Sollima playing the different layers of cello after each other. I then edited the video frame by frame in Photoshop (remember, it's 25 frames per second of video), cutting his arms out from the other layers and pasting it on top, matching the movement of the cello. This was done ca 4000 times, by myself.
The clouds were actually filmed in my backyard, sped up 1250 times. The birds we're filmed in my town, Larvik, Norway on clear blue sky, so that I could use blue screen keying to put them on top of the clouds. It's hard to notice, but the birds are moving in half speed slow motion. I also had to stabilize the motion of the birds, since I filmed it with handhelt camcorder. The sequence was cut together using After Effects and Premiere.
The forest, river sequence was photographed in a forest in Arona, Italy. I took a picture ca. every five meters, and morphed the images together using WinMorph, matching the pace of the music.
The zooming sequence is very hard to explain. Basically, the first 8 seconds after it starts zooming and when you see Mr Sollima's face is real photos. The rest inbetween are "painted" in Photoshop by me.
The rest of this part is merely editing in Premiere and After Effects. Allright!
