Last August, the choir of Oxford Scores Vocal Ensemble conducted by Maestro Thomas Primrose took part in some important events in the liturgical and concert Trieste and Friuli-Venezia Giulia on the Feast of the Assumption of the BVM.
In the first edition of this exhibition, entitled "Music for the Spirit", the choir took part in liturgical celebrations in the Chapel of Our Lady of the Rosary Civica di Trieste, with the rite of St. Pius V, with an S. Sung on the eve of the second and Solemn Vespers in Latin. The choir has also performed in a concert of sacred choral music in the same church, which was repeated in the following days at the Parish Church of St. Lorenzo Ronchi and the Patriarchal Basilica of Aquileia.
Despite its short history, this choir has established itself in England, where he to his credit numerous concerts in Oxford and in other major cities.
Both liturgies that in the concerts, the choir has been facing a challenging and eclectic repertoire is technically and musically. During the festival, the choir presented a program really polychromatic, polyphonic rinscimentale move naturally from Italian to English and English, is attached to the Gregorian chant an overview of sacred music that has touched some of the greatest composers, genres and styles of Europe and the world from the Renaissance to the first 900.
The voice choir has shown impressive potential. Each element of the choir, being professional singer, has been able to make full use of their vocal technique according to the different tracks and determining the manner sonorita'in always appropriate to the context. The use of vibrato, for example, was moderate in the polyphony - where it is almost an ornament in the cantus firmus and delays in counterpoint - but it has been widely using the shell into pieces by Rachmaninov and Stanford, as part of the color and style of these songs clearly inspired postromantica. The voices, though young, have not failed to power and expressiveness. The freshness of the sound, especially in female voices, well suited implementation of the old footage, in which the upper voices, originally entrusted to the childcare must be made with great clarity.
L ' intonation of the choir was excellent, even considering the weather does not favor certain activities and the choice of singing a repertoire entirely a cappella, that is, without instrumental accompaniment. This shows a good discipline on the part of each choir member in the use of diaphragmatic muscles, which helps to support the sounds and to avoid "slippage" in the intonation so typical of many amateur choirs.
The quality of ' together voice was noticed immediately by the public: for example, in the passages where there are changes in weather or rapid rhythms fugure the choir has always been to "move together", highlighting a sense of unity of interpretation purely choral and never individual. This is characteristic of many English choirs, where each choir member is used to listen to not only himself but also other singers and is aware of its contribution to the collection. Many have noted the general synchronous breathing and order execution. Great accuracy and a "team" were seen especially in the songs and double choir, of considerable complexity, the choir has been able to render more spectacular and dramatic both in the church of the Rosary that the still most historic setting of the Patriarchal Basilica of Aquileia.
Despite many rumors, not exciting, the English pronunciation of Latin, the pronunciation of this choir has proved far better than expected, if the consonants "t" and "c" were still taste the Anglo-Saxon, all the vowels were pronounced perfectly and the diction and 'was very clear. The acoustics of the Blessed Virgin of the Rosary, especially good from the choir, helped to amplify the sound in the nave of the church.
One of the most valuable of the executions last month was undoubtedly the great variety in dynamics music. Master Primrose was able to present various styles with "colors" appropriate: in the polyphony he left that the various contrapuntal lines emerged naturally from the musical texture and unfolded with ease. Much more expressive and full of light and shade, crescendos and accents were rather postromantici tracks, where the contrasts are extreme, from the most intimate pianissimo to the most exuberant very strong. The executions have demonstrated skill and musicality, and therefore all were greeted by a large and enthusiastic audience. The event has found a worthy conclusion in Aquileia, where the notes of the chorus Vocal Ensemble Scores have resonated in the evocative atmosphere of the packed Basilica and gave all those present moments of great spirituality.
Associazione "Amici della Musica" Luigi and Federico Ricci
In the first edition of this exhibition, entitled "Music for the Spirit", the choir took part in liturgical celebrations in the Chapel of Our Lady of the Rosary Civica di Trieste, with the rite of St. Pius V, with an S. Sung on the eve of the second and Solemn Vespers in Latin. The choir has also performed in a concert of sacred choral music in the same church, which was repeated in the following days at the Parish Church of St. Lorenzo Ronchi and the Patriarchal Basilica of Aquileia.
Despite its short history, this choir has established itself in England, where he to his credit numerous concerts in Oxford and in other major cities.
Both liturgies that in the concerts, the choir has been facing a challenging and eclectic repertoire is technically and musically. During the festival, the choir presented a program really polychromatic, polyphonic rinscimentale move naturally from Italian to English and English, is attached to the Gregorian chant an overview of sacred music that has touched some of the greatest composers, genres and styles of Europe and the world from the Renaissance to the first 900.
The voice choir has shown impressive potential. Each element of the choir, being professional singer, has been able to make full use of their vocal technique according to the different tracks and determining the manner sonorita'in always appropriate to the context. The use of vibrato, for example, was moderate in the polyphony - where it is almost an ornament in the cantus firmus and delays in counterpoint - but it has been widely using the shell into pieces by Rachmaninov and Stanford, as part of the color and style of these songs clearly inspired postromantica. The voices, though young, have not failed to power and expressiveness. The freshness of the sound, especially in female voices, well suited implementation of the old footage, in which the upper voices, originally entrusted to the childcare must be made with great clarity.
L ' intonation of the choir was excellent, even considering the weather does not favor certain activities and the choice of singing a repertoire entirely a cappella, that is, without instrumental accompaniment. This shows a good discipline on the part of each choir member in the use of diaphragmatic muscles, which helps to support the sounds and to avoid "slippage" in the intonation so typical of many amateur choirs.
The quality of ' together voice was noticed immediately by the public: for example, in the passages where there are changes in weather or rapid rhythms fugure the choir has always been to "move together", highlighting a sense of unity of interpretation purely choral and never individual. This is characteristic of many English choirs, where each choir member is used to listen to not only himself but also other singers and is aware of its contribution to the collection. Many have noted the general synchronous breathing and order execution. Great accuracy and a "team" were seen especially in the songs and double choir, of considerable complexity, the choir has been able to render more spectacular and dramatic both in the church of the Rosary that the still most historic setting of the Patriarchal Basilica of Aquileia.
Despite many rumors, not exciting, the English pronunciation of Latin, the pronunciation of this choir has proved far better than expected, if the consonants "t" and "c" were still taste the Anglo-Saxon, all the vowels were pronounced perfectly and the diction and 'was very clear. The acoustics of the Blessed Virgin of the Rosary, especially good from the choir, helped to amplify the sound in the nave of the church.
One of the most valuable of the executions last month was undoubtedly the great variety in dynamics music. Master Primrose was able to present various styles with "colors" appropriate: in the polyphony he left that the various contrapuntal lines emerged naturally from the musical texture and unfolded with ease. Much more expressive and full of light and shade, crescendos and accents were rather postromantici tracks, where the contrasts are extreme, from the most intimate pianissimo to the most exuberant very strong. The executions have demonstrated skill and musicality, and therefore all were greeted by a large and enthusiastic audience. The event has found a worthy conclusion in Aquileia, where the notes of the chorus Vocal Ensemble Scores have resonated in the evocative atmosphere of the packed Basilica and gave all those present moments of great spirituality.
Associazione "Amici della Musica" Luigi and Federico Ricci
