More music by George Flynn
George Flynn
Myoclonus I, from Pieces of Night
Myoclonus I, from Pieces of Night
George Flynn
The Density of Memory
The Density of Memory
George Flynn
Wound
Wound
George Flynn
American Nocturne I, from Pieces of Night
American Nocturne I, from Pieces of Night
George Flynn
Salvage
Salvage
George Flynn
American Nocturne II, from Pieces of Night
American Nocturne II, from Pieces of Night
George Flynn
Myoclonus II, from Pieces of Night
Myoclonus II, from Pieces of Night
George Flynn
American Nocturne III, from Pieces of Night
American Nocturne III, from Pieces of Night
George Flynn
Pieces of Night
Pieces of Night
George Flynn
Derus Simples
Derus Simples
Performances by same musician(s)
Sergei Rachmaninov
Piano Concerto No. 3 in d minor, Op. 30
Piano Concerto No. 3 in d minor, Op. 30
Wilhelm Bernhard Molique
Concertino in G Minor for Oboe and Orchestra
Concertino in G Minor for Oboe and Orchestra
Zakharia Paliashvili
Duet of Abesalom and Murman, from Abesalom da Eteri
Duet of Abesalom and Murman, from Abesalom da Eteri
Giuseppe Verdi
Judgement scene, from Aida
Judgement scene, from Aida
Giuseppe Verdi
Gia nella notte densa, from Otello
Gia nella notte densa, from Otello
Robert Waechter
Un ange
Un ange
Ludwig van Beethoven
Symphony No. 5 in c minor, Op.67 (Allegro)
Symphony No. 5 in c minor, Op.67 (Allegro)
Baljinder Sekhon
Pitch-Dark Path
Pitch-Dark Path
Classical Music | Ensemble Music
George Flynn
St. Vincent's Words Play
Recorded on 07/03/2009, uploaded on 07/03/2009
Musician's or Publisher's Notes
Complete list of performers:
DePaul University Singers
Clayton Parr, Conductor
Amanda DeBoer, Soprano
Natalie Colas, Alto
John Cottrell, Tenor
Chris Filipowicz, Bass
From George Flynn's notes:
St. Vincent's Words (19995), a cantata for mixed chorus, soloists, brass octet and string basses, was written for Fr. John Richardson, President of DePaul University at the time, to acknowledge his human values, his great love for music, and his support of the School of Music. I devised a general "shape" to the work, and perused St. Vincent's letters and other literature for a test to fit the shape. The final test is my arrangement, but all the lines are St. Vincent's. This test, in turn,influenced musical details within the broad shape.
The work opens in a celebratory manner, but eventually gives way to a quiet, meditative mood that features soprano and tenor solos. The mood evolves into a series of "lessons" for the chorus, for alto and bass solos, and, again, for the chorus, the latter transforming into a celebratory mood that recalls the beginning. The work ends quietly with St. Vincent's please for love and peace. The instruments serve not only to support the voices but also to provide interludes that connect the sections.
Thought music clearly of our time, St. Vincent's Words includes many features of older music, including Renaissance polyphony, chant-like intonating and a modal center most obviously present in the quieter sections.
George Flynn