John Casken
The Dream Of The Rood
(for Four Voices and Instrumental Ensemble)
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John Casken
The Dream Of The Rood
(for Four Voices and Instrumental Ensemble)
- Besetzung 4 Singstimmen und Ensemble
- Komponist John Casken
- Serie Musik unserer Zeit
- Ausgabe Studienpartitur
- Verlag Schott Musik
- Bestell-Nr. ED13468
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Lieferzeit 1-3 Arbeitstage
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Beschreibung:
Text freely adapted by the composer from the Anglo-Saxon poem
Studienpartitur - 4 Singstimmen (Countertenor, 2 Tenöre und Bass) und Ensemble - englisch
The Anglo-Saxon poem The Dream of the Rood was probably written in the 8th Century and is the earliest dream-vision poem in Old English. A fragment of the poem from the section that describes the crucifixion can be found carved on the Ruthwell Cross in Dumfriesshire, and set in stone at a time when Ruthwell was part of the ancient kingdom of Northumbria. In responding to a commission for the Hilliard Ensemble, I was keen to find a dramatic text, but one that would also invite a musical response appropriate to the very nature of this kind of vocal quartet. Writing for the Hilliards together with a mixed instrumental ensemble, and for a generous cathedral acoustic, has had a strong influence on the types of textures and sonorities I have used. The structure of the work is dictated by the form of the poem, but the music could also be seen as consisting of a sequence of motets with both vocal and instrumental interludes.
John Casken.
Studienpartitur - 4 Singstimmen (Countertenor, 2 Tenöre und Bass) und Ensemble - englisch
The Anglo-Saxon poem The Dream of the Rood was probably written in the 8th Century and is the earliest dream-vision poem in Old English. A fragment of the poem from the section that describes the crucifixion can be found carved on the Ruthwell Cross in Dumfriesshire, and set in stone at a time when Ruthwell was part of the ancient kingdom of Northumbria. In responding to a commission for the Hilliard Ensemble, I was keen to find a dramatic text, but one that would also invite a musical response appropriate to the very nature of this kind of vocal quartet. Writing for the Hilliards together with a mixed instrumental ensemble, and for a generous cathedral acoustic, has had a strong influence on the types of textures and sonorities I have used. The structure of the work is dictated by the form of the poem, but the music could also be seen as consisting of a sequence of motets with both vocal and instrumental interludes.
John Casken.