Louis-Nicolas Clérambault – Suite du Deuxième Ton

Facebook –   / cristianorizzottovidalpessoa   Twitter –   / rizzott0   Book Cristiano for a concert – anywhere in the world! http://www.cristianorizzotto.com Cristiano Rizzotto, organ Cristiano Rizzotto Vidal Pessôa holds a master's degree in Sacred Music from East Carolina University (ECU). He will begin his doctoral studies at the University of Oklahoma in August 2013. Cristiano Rizzotto is the organist at the First United Methodist Church in Washington, NC. The 11 AM Service is broadcast live each Sunday on 98.9 FM, WNBR. Cristiano Rizzotto (24) worked as the organist at the Benedictine Abbey of Rio de Janeiro, Brazil, until July 2011. 1. Organ: Plein Jeu - 0:00 2. Et exultavit spiritus meus in Deo salutari meo - 2:57 3. Organ: Duo - 3:11 4. Quia fecit mihi magna qui potens est, et sanctum nomen eius - 5:27 5. Organ: Trio - 5:44 6. Fecit potentiam in brachio suo, dispersit superbos mente cordis sui - 8:33 7. Organ: Basse de Cromorne - 8:52 8. Esurientes implevit bonis et divites dimisit inanes - 11:05 9. Organ: Flûtes - 11:22 10. Sicut locutus est ad patres nostros, Abraham et semini eius in sæcula - 14:38 11. Organ: Récit de Nazard - 14:56 12. Sicut erat in principio, et nunc, et semper, et in saecula saeculorum - 18:16 13. Organ: Caprice sur les Grands Jeux - 18:34 Recorded live at St. Paul's Episcopal Church in Greenville, NC. Cristiano Rizzotto in Graduate recital. Friday, April 26, 2013 - 7:30 PM. Schola Cantorum: Chris Pharo Jordan Prescott Nick Voermans Steven Thomason - - Today, the organ accompanies congregational singing in church. At the time of Clérambault, however, the liturgy alternated unaccompanied singing with short versets played by the organist. This practice was called alternatim. A chant from the Mass Ordinary, such as the Kyrie, for example, would be split into several sections with even-numbered sections being sung by the choir and the remaining ones being replaced by organ versets. This practice seems strange from a modern perspective, but the alternatim practice was the prescribed method of worship throughout the Catholic Church and flourished in France from the 1400s into the early twentieth century. The alternatim performance was primarily an improvisatory practice. The requirement of a royal mandate for publishing meant that printed music was scarce, and the average organist would play approximate 8,000 versets over the course of a year. Nonetheless, some composers have left written examples, to serve as models to other organists. Therefore, the full complexity of this liturgical tradition is only partially revealed by examining the surviving organ literature. Clérambault's Suite on the Second Tone was intended to serve a liturgical purpose: to alternate with the words of the Magnificat, the earliest Marian hymn, taken directly from the Gospel of Luke (Luke 1:46-55). The name of each verset indicates what kind of registration is to be used, so a "Basse de Cromorne" indicates that this movement has a Cromorn solo on the bass, etc. The colors of the registrations reflect the text being played/replaced. They reflect the composer's view on each section of the prayer. Notice how powerfully Clérambault wrote for the words "My soul doth magnify the Lord" (Plein Jeu), and the "Amen -- So be it" (Caprice sur ler Grands Jeux), or how soft and sweet is the setting for "He hath received Israel his servant, being mindful of his mercy" (Flûtes).