Requiem Canticles
Identifieur interne : 000011 ( Main/Corpus ); précédent : 000010; suivant : 000012Requiem Canticles
Auteurs : Anthony PayneSource :
- Tempo [ 0040-2982 ] ; 1967.
Abstract
As its title implies, Stravinsky's latest work is by no means comprehensive in its choice of texts from the Mass for the Dead, and clearly shows an idiosyncratic and personal attitude. Of the seven main sections of the Mass as set by, say, Verdi, Stravinsky taps only three, the Introit, Dies Irae and Responsory (Libera Me), extracting from them six short vocal movements which are symmetrically framed and divided by three sections for the orchestra. Significantly, four of these settings use the Dies Irae text, a thirteenth-century Latin hymn whose persistently dramatic and memorable poetic imagery thus dominates the canticles and produces the groundplan: Prelude—Exaudi. Dies Irae. Tuba Mirum—Interlude—Rex Tremendae. Lacrimosa. Libera Me—Postlude. It will be seen that there is no use made of the Requiem Aeternam sections which colour most settings, and the impression is that the cautionary aspects of the Mass have cast their aura over the concept of the work as a whole. While providing suitable material for an essay in dramatic ritual, this choice also presents something of the composer's personal attitude to life and the hereafter.
Url:
DOI: 10.1017/S004029820003446X
Links to Exploration step
ISTEX:F65A9F1D4DCEEC38D995F1F815152385675D7BE6Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Requiem Canticles</title>
<author><name sortKey="Payne, Anthony" sort="Payne, Anthony" uniqKey="Payne A" first="Anthony" last="Payne">Anthony Payne</name>
</author>
</titleStmt>
<publicationStmt><idno type="wicri:source">ISTEX</idno>
<idno type="RBID">ISTEX:F65A9F1D4DCEEC38D995F1F815152385675D7BE6</idno>
<date when="1967" year="1967">1967</date>
<idno type="doi">10.1017/S004029820003446X</idno>
<idno type="url">https://api.istex.fr/document/F65A9F1D4DCEEC38D995F1F815152385675D7BE6/fulltext/pdf</idno>
<idno type="wicri:Area/Istex/Corpus">000011</idno>
<idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000011</idno>
</publicationStmt>
<sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Requiem Canticles</title>
<author><name sortKey="Payne, Anthony" sort="Payne, Anthony" uniqKey="Payne A" first="Anthony" last="Payne">Anthony Payne</name>
</author>
</analytic>
<monogr></monogr>
<series><title level="j">Tempo</title>
<title level="j" type="abbrev">Tempo</title>
<idno type="ISSN">0040-2982</idno>
<idno type="eISSN">1478-2286</idno>
<imprint><publisher>Cambridge University Press</publisher>
<pubPlace>Cambridge, UK</pubPlace>
<date type="published" when="1967">1967</date>
<biblScope unit="issue">81</biblScope>
<biblScope unit="page" from="10">10</biblScope>
<biblScope unit="page" to="19">19</biblScope>
</imprint>
<idno type="ISSN">0040-2982</idno>
</series>
</biblStruct>
</sourceDesc>
<seriesStmt><idno type="ISSN">0040-2982</idno>
</seriesStmt>
</fileDesc>
<profileDesc><textClass></textClass>
<langUsage><language ident="en">en</language>
</langUsage>
</profileDesc>
</teiHeader>
<front><div type="abstract" xml:lang="en">As its title implies, Stravinsky's latest work is by no means comprehensive in its choice of texts from the Mass for the Dead, and clearly shows an idiosyncratic and personal attitude. Of the seven main sections of the Mass as set by, say, Verdi, Stravinsky taps only three, the Introit, Dies Irae and Responsory (Libera Me), extracting from them six short vocal movements which are symmetrically framed and divided by three sections for the orchestra. Significantly, four of these settings use the Dies Irae text, a thirteenth-century Latin hymn whose persistently dramatic and memorable poetic imagery thus dominates the canticles and produces the groundplan: Prelude—Exaudi. Dies Irae. Tuba Mirum—Interlude—Rex Tremendae. Lacrimosa. Libera Me—Postlude. It will be seen that there is no use made of the Requiem Aeternam sections which colour most settings, and the impression is that the cautionary aspects of the Mass have cast their aura over the concept of the work as a whole. While providing suitable material for an essay in dramatic ritual, this choice also presents something of the composer's personal attitude to life and the hereafter.</div>
</front>
</TEI>
<istex><corpusName>cambridge</corpusName>
<author><json:item><name>Anthony Payne</name>
</json:item>
</author>
<articleId><json:string>03446</json:string>
</articleId>
<arkIstex>ark:/67375/6GQ-S8RHMM3F-W</arkIstex>
<language><json:string>eng</json:string>
</language>
<originalGenre><json:string>research-article</json:string>
</originalGenre>
<abstract>As its title implies, Stravinsky's latest work is by no means comprehensive in its choice of texts from the Mass for the Dead, and clearly shows an idiosyncratic and personal attitude. Of the seven main sections of the Mass as set by, say, Verdi, Stravinsky taps only three, the Introit, Dies Irae and Responsory (Libera Me), extracting from them six short vocal movements which are symmetrically framed and divided by three sections for the orchestra. Significantly, four of these settings use the Dies Irae text, a thirteenth-century Latin hymn whose persistently dramatic and memorable poetic imagery thus dominates the canticles and produces the groundplan: Prelude—Exaudi. Dies Irae. Tuba Mirum—Interlude—Rex Tremendae. Lacrimosa. Libera Me—Postlude. It will be seen that there is no use made of the Requiem Aeternam sections which colour most settings, and the impression is that the cautionary aspects of the Mass have cast their aura over the concept of the work as a whole. While providing suitable material for an essay in dramatic ritual, this choice also presents something of the composer's personal attitude to life and the hereafter.</abstract>
<qualityIndicators><score>6.832</score>
<pdfWordCount>2660</pdfWordCount>
<pdfCharCount>14931</pdfCharCount>
<pdfVersion>1.4</pdfVersion>
<pdfPageCount>14</pdfPageCount>
<pdfPageSize>488.88 x 722.88 pts</pdfPageSize>
<refBibsNative>false</refBibsNative>
<abstractWordCount>181</abstractWordCount>
<abstractCharCount>1148</abstractCharCount>
<keywordCount>0</keywordCount>
</qualityIndicators>
<title>Requiem Canticles</title>
<pii><json:string>S004029820003446X</json:string>
</pii>
<genre><json:string>research-article</json:string>
</genre>
<host><title>Tempo</title>
<language><json:string>unknown</json:string>
</language>
<issn><json:string>0040-2982</json:string>
</issn>
<eissn><json:string>1478-2286</json:string>
</eissn>
<publisherId><json:string>TEM</json:string>
</publisherId>
<issue>81</issue>
<pages><first>10</first>
<last>19</last>
<total>10</total>
</pages>
<genre><json:string>journal</json:string>
</genre>
</host>
<ark><json:string>ark:/67375/6GQ-S8RHMM3F-W</json:string>
</ark>
<categories><inist><json:string>1 - sciences humaines et sociales</json:string>
</inist>
</categories>
<publicationDate>1967</publicationDate>
<copyrightDate>1967</copyrightDate>
<doi><json:string>10.1017/S004029820003446X</json:string>
</doi>
<id>F65A9F1D4DCEEC38D995F1F815152385675D7BE6</id>
<score>1</score>
<fulltext><json:item><extension>pdf</extension>
<original>true</original>
<mimetype>application/pdf</mimetype>
<uri>https://api.istex.fr/document/F65A9F1D4DCEEC38D995F1F815152385675D7BE6/fulltext/pdf</uri>
</json:item>
<json:item><extension>zip</extension>
<original>false</original>
<mimetype>application/zip</mimetype>
<uri>https://api.istex.fr/document/F65A9F1D4DCEEC38D995F1F815152385675D7BE6/fulltext/zip</uri>
</json:item>
<json:item><extension>txt</extension>
<original>false</original>
<mimetype>text/plain</mimetype>
<uri>https://api.istex.fr/document/F65A9F1D4DCEEC38D995F1F815152385675D7BE6/fulltext/txt</uri>
</json:item>
<istex:fulltextTEI uri="https://api.istex.fr/document/F65A9F1D4DCEEC38D995F1F815152385675D7BE6/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Requiem Canticles</title>
<respStmt><resp>Références bibliographiques récupérées via GROBID</resp>
<name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name>
</respStmt>
</titleStmt>
<publicationStmt><authority>ISTEX</authority>
<publisher scheme="https://publisher-list.data.istex.fr">Cambridge University Press</publisher>
<pubPlace>Cambridge, UK</pubPlace>
<availability><licence><p>Copyright © Cambridge University Press 1967</p>
</licence>
<p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</p>
</availability>
<date>1967</date>
</publicationStmt>
<notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note>
<note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note>
</notesStmt>
<sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Requiem Canticles</title>
<author xml:id="author-0000"><persName><forename type="first">Anthony</forename>
<surname>Payne</surname>
</persName>
</author>
<idno type="istex">F65A9F1D4DCEEC38D995F1F815152385675D7BE6</idno>
<idno type="ark">ark:/67375/6GQ-S8RHMM3F-W</idno>
<idno type="DOI">10.1017/S004029820003446X</idno>
<idno type="PII">S004029820003446X</idno>
<idno type="article-id">03446</idno>
</analytic>
<monogr><title level="j">Tempo</title>
<title level="j" type="abbrev">Tempo</title>
<idno type="pISSN">0040-2982</idno>
<idno type="eISSN">1478-2286</idno>
<idno type="publisher-id">TEM</idno>
<imprint><publisher>Cambridge University Press</publisher>
<pubPlace>Cambridge, UK</pubPlace>
<date type="published" when="1967"></date>
<biblScope unit="issue">81</biblScope>
<biblScope unit="page" from="10">10</biblScope>
<biblScope unit="page" to="19">19</biblScope>
</imprint>
</monogr>
</biblStruct>
</sourceDesc>
</fileDesc>
<profileDesc><creation><date>1967</date>
</creation>
<langUsage><language ident="en">en</language>
</langUsage>
<abstract xml:lang="en" style="text-abstract"><p>As its title implies, Stravinsky's latest work is by no means comprehensive in its choice of texts from the Mass for the Dead, and clearly shows an idiosyncratic and personal attitude. Of the seven main sections of the Mass as set by, say, Verdi, Stravinsky taps only three, the Introit, Dies Irae and Responsory (Libera Me), extracting from them six short vocal movements which are symmetrically framed and divided by three sections for the orchestra. Significantly, four of these settings use the Dies Irae text, a thirteenth-century Latin hymn whose persistently dramatic and memorable poetic imagery thus dominates the canticles and produces the groundplan: Prelude—Exaudi. Dies Irae. Tuba Mirum—Interlude—Rex Tremendae. Lacrimosa. Libera Me—Postlude. It will be seen that there is no use made of the Requiem Aeternam sections which colour most settings, and the impression is that the cautionary aspects of the Mass have cast their aura over the concept of the work as a whole. While providing suitable material for an essay in dramatic ritual, this choice also presents something of the composer's personal attitude to life and the hereafter.</p>
</abstract>
</profileDesc>
<revisionDesc><change when="1967">Published</change>
<change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-09-5">References added</change>
</revisionDesc>
</teiHeader>
</istex:fulltextTEI>
</fulltext>
<metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration>
<istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType>
<istex:document><article article-type="research-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id>
<journal-title>Tempo</journal-title>
<abbrev-journal-title>Tempo</abbrev-journal-title>
<issn pub-type="ppub">0040-2982</issn>
<issn pub-type="epub">1478-2286</issn>
<publisher><publisher-name>Cambridge University Press</publisher-name>
<publisher-loc>Cambridge, UK</publisher-loc>
</publisher>
</journal-meta>
<article-meta><article-id pub-id-type="doi">10.1017/S004029820003446X</article-id>
<article-id pub-id-type="pii">S004029820003446X</article-id>
<article-id pub-id-type="publisher-id">03446</article-id>
<title-group><article-title>Requiem Canticles</article-title>
<alt-title alt-title-type="left-running">TEMPO</alt-title>
<alt-title alt-title-type="right-running">REQUIEM CANTICLES</alt-title>
</title-group>
<contrib-group><contrib><name name-style="western"><surname>Payne</surname>
<given-names>Anthony</given-names>
</name>
</contrib>
</contrib-group>
<pub-date pub-type="ppub"><season>Summer</season>
<year>1967</year>
</pub-date>
<issue>81</issue>
<issue-title>Stravinsky's 85th Birthday</issue-title>
<fpage seq="5">10</fpage>
<lpage>19</lpage>
<permissions><copyright-statement>Copyright © Cambridge University Press 1967</copyright-statement>
<copyright-year>1967</copyright-year>
<copyright-holder>Cambridge University Press</copyright-holder>
</permissions>
<abstract abstract-type="text-abstract"><p>As its title implies, Stravinsky's latest work is by no means comprehensive in its choice of texts from the Mass for the Dead, and clearly shows an idiosyncratic and personal attitude. Of the seven main sections of the Mass as set by, say, Verdi, Stravinsky taps only three, the Introit, Dies Irae and Responsory (Libera Me), extracting from them six short vocal movements which are symmetrically framed and divided by three sections for the orchestra. Significantly, four of these settings use the Dies Irae text, a thirteenth-century Latin hymn whose persistently dramatic and memorable poetic imagery thus dominates the canticles and produces the groundplan: Prelude—Exaudi. Dies Irae. Tuba Mirum—Interlude—Rex Tremendae. Lacrimosa. Libera Me—Postlude. It will be seen that there is no use made of the Requiem Aeternam sections which colour most settings, and the impression is that the cautionary aspects of the Mass have cast their aura over the concept of the work as a whole. While providing suitable material for an essay in dramatic ritual, this choice also presents something of the composer's personal attitude to life and the hereafter.</p>
</abstract>
<counts><page-count count="10"></page-count>
</counts>
<custom-meta-wrap><custom-meta><meta-name>pdf</meta-name>
<meta-value>S004029820003446Xa.pdf</meta-value>
</custom-meta>
<custom-meta><meta-name>series</meta-name>
<meta-value>1</meta-value>
</custom-meta>
<custom-meta><meta-name>seriesText</meta-name>
<meta-value>New Series</meta-value>
</custom-meta>
</custom-meta-wrap>
</article-meta>
</front>
</article>
</istex:document>
</istex:metadataXml>
<mods version="3.6"><titleInfo lang="en"><title>Requiem Canticles</title>
</titleInfo>
<titleInfo type="alternative"><title>TEMPO</title>
</titleInfo>
<titleInfo type="alternative" lang="en" contentType="CDATA"><title>Requiem Canticles</title>
</titleInfo>
<name type="personal"><namePart type="given">Anthony</namePart>
<namePart type="family">Payne</namePart>
<role><roleTerm type="text">author</roleTerm>
</role>
</name>
<typeOfResource>text</typeOfResource>
<genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre>
<originInfo><publisher>Cambridge University Press</publisher>
<place><placeTerm type="text">Cambridge, UK</placeTerm>
</place>
<dateIssued encoding="w3cdtf">1967</dateIssued>
<copyrightDate encoding="w3cdtf">1967</copyrightDate>
</originInfo>
<language><languageTerm type="code" authority="iso639-2b">eng</languageTerm>
<languageTerm type="code" authority="rfc3066">en</languageTerm>
</language>
<abstract type="text-abstract" lang="en">As its title implies, Stravinsky's latest work is by no means comprehensive in its choice of texts from the Mass for the Dead, and clearly shows an idiosyncratic and personal attitude. Of the seven main sections of the Mass as set by, say, Verdi, Stravinsky taps only three, the Introit, Dies Irae and Responsory (Libera Me), extracting from them six short vocal movements which are symmetrically framed and divided by three sections for the orchestra. Significantly, four of these settings use the Dies Irae text, a thirteenth-century Latin hymn whose persistently dramatic and memorable poetic imagery thus dominates the canticles and produces the groundplan: Prelude—Exaudi. Dies Irae. Tuba Mirum—Interlude—Rex Tremendae. Lacrimosa. Libera Me—Postlude. It will be seen that there is no use made of the Requiem Aeternam sections which colour most settings, and the impression is that the cautionary aspects of the Mass have cast their aura over the concept of the work as a whole. While providing suitable material for an essay in dramatic ritual, this choice also presents something of the composer's personal attitude to life and the hereafter.</abstract>
<relatedItem type="host"><titleInfo><title>Tempo</title>
</titleInfo>
<titleInfo type="abbreviated"><title>Tempo</title>
</titleInfo>
<genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre>
<identifier type="ISSN">0040-2982</identifier>
<identifier type="eISSN">1478-2286</identifier>
<identifier type="PublisherID">TEM</identifier>
<part><date>1967</date>
<detail type="title"><title>Stravinsky's 85th Birthday</title>
</detail>
<detail type="issue"><caption>no.</caption>
<number>81</number>
</detail>
<extent unit="pages"><start>10</start>
<end>19</end>
<total>10</total>
</extent>
</part>
</relatedItem>
<identifier type="istex">F65A9F1D4DCEEC38D995F1F815152385675D7BE6</identifier>
<identifier type="ark">ark:/67375/6GQ-S8RHMM3F-W</identifier>
<identifier type="DOI">10.1017/S004029820003446X</identifier>
<identifier type="PII">S004029820003446X</identifier>
<identifier type="ArticleID">03446</identifier>
<accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1967</accessCondition>
<recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource>
<recordOrigin>Copyright © Cambridge University Press 1967</recordOrigin>
</recordInfo>
</mods>
<json:item><extension>json</extension>
<original>false</original>
<mimetype>application/json</mimetype>
<uri>https://api.istex.fr/document/F65A9F1D4DCEEC38D995F1F815152385675D7BE6/metadata/json</uri>
</json:item>
</metadata>
<serie></serie>
</istex>
</record>
Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/DiesIraeV1/Data/Main/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000011 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Main/Corpus/biblio.hfd -nk 000011 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien |wiki= Wicri/Musique |area= DiesIraeV1 |flux= Main |étape= Corpus |type= RBID |clé= ISTEX:F65A9F1D4DCEEC38D995F1F815152385675D7BE6 |texte= Requiem Canticles }}
![]() | This area was generated with Dilib version V0.6.33. | ![]() |