Pro-tip: No it doesn't ;). Don't think about your range continuing upwards with your head voice, think of it continuing downwards with your head voice... if that makes sense lol. reinforcing your head voice instead of thinking of it as needing to continually stretch your chest upwards makes for a much healthier production, and you will be surprised with the ease of the production compared to the type of sound you'll be making.
Can't help but think all that excitement and sense of anticipation in the opening is all but destroyed with the striking change of mood and yet repeating the same words. It's either one thing or the other.
+lotrringereras the tenors were In tune, but the sopranos dropped a quarter tone on the last high A. The notes in a piece being "frightening" does not give way for excuses. If you can't sing it, then work on it or don't sing.
How do they do the Quasi parlato section? That amazes me. Does the conductor just tell ten when to go to the next section or do they do it freely? Because they all seem to change around the same time.
+Jacob Moreno they say the words whenever they want, with the speed they want, and the conductor tells them when to change the tune, as if they are in the middle of a word no problem, they change the note but still end the "lyrics" (?) not english sry xd
That's helpful, thanks. Edit: So, as I've been told: *Quasi parlato* = Pretty much mumbled. *ad lib* = ad libito = Freely. Means there is no clear pronunciation, you can just say the words the way you want, louder, quieter, faster, slower, a bit sharper, a bit less accentuated, at any point. *Tempo individual* = You don't stick to a rhythm. Ooooh. Magnummys. Terium. Everyone just says their line however fast or slow they want. There is no bar length. Only the conductor shows when to switch to the next note. *Mysterioso* = Keep things obscure. Don't yell out: "Oh Magnum Mysterium!" over and over. Instead, mumble your lines, be a monk who's reciting lines in trance rather than a speaker for the public. *Iterari* = Repeated. *Ad lib* again means you just repeat the phrase as often as necessary within a bar. Ignore the note lengths, they're just there to show the tone. Maybe you'll say it seven times before the conductor changes the bar, maybe you've only finished saying "O magnum my--". When the conductor tells you to, you only switch to the next tone, but you keep talking normally, so you don't start over with "O" but you talk freely and only change to your tone. The effect is really cool when done properly. It's also very easy to do as you only need to remember one line and the next interval and you just stare the conductor down. Get schwifty.
^ explained very well here already but there's a similar section in eric whitacre's snow (5 hebrew love songs) which the university of utah do (very well) with a video in which u can see the director bringing them in at the right times, if u wanted to watch that!
My heart. My entire 81-yr-old heart.
Wonderful composition. Maybe my favourite magnum. I keep coming back to this version just because of that strong high tenor A note. Amazing stuff.
A refference recording. Totally amazed, doing with my choir, a blockbuster. Perfection, Javi Busto rules again.
this is honestly one of the most ethereal and entrancing pieces i've ever listened to.
Amazing Tenor 1 in the end of this song 🔥🔥
Javier Busto! excelente!
So...beautiful and...Peaceful...
I love the "shouty" tenor
Absolutely lovely setting of O Magnum Mysterium. Magnificent singing. A very difficult piece to pitch and get the rhythm right. Well done.
HOLY SHIT!! Listen at the end of the piece!!That first tenor is insane :O
I'm a first tenor and my range tops out at G# ):
Pro-tip: No it doesn't ;). Don't think about your range continuing upwards with your head voice, think of it continuing downwards with your head voice... if that makes sense lol. reinforcing your head voice instead of thinking of it as needing to continually stretch your chest upwards makes for a much healthier production, and you will be surprised with the ease of the production compared to the type of sound you'll be making.
Jhonny that is absolutely right, i can tell you have had some experience
Such a great performance!
another genius composer for choir!!!!! wonderful
Can't help but think all that excitement and sense of anticipation in the opening is all but destroyed with the striking change of mood and yet repeating the same words.
It's either one thing or the other.
beautiful piece of music
astoundingly beautiful.
I love the basses 😍
Love the D2 note especially!
The beginning is like a ghost of a child dancing on water's surface
Haha and that one tenor at the end
I love directing this work
Magnificent...
That Tenor 1 note at the end of the piece is amazing
That final flat soprano? The tenor tried but I could still her.
Haha same here! 🤣
Fabulous.
Fantastica!
This song is gorgeous! Hopefully with voice lessons I can sing the soprano part!
magnifique
Lovely...
beau.
Would have preferred an in tune last chord, but it was still beautiful.
XD that's asking a lot... being a tenor myself, I find that last chord frightening... after all, we have to go up to an A
isn't the last chord already in tune? a major...
lotrringereras the problem's not the tenors, but the sopranos :-) Until that, VERY beautiful piece and VERY beautiful rendition!
+João Oliveira He meant the choir's tuning.
+lotrringereras the tenors were In tune, but the sopranos dropped a quarter tone on the last high A. The notes in a piece being "frightening" does not give way for excuses. If you can't sing it, then work on it or don't sing.
exelente
How do they do the Quasi parlato section? That amazes me. Does the conductor just tell ten when to go to the next section or do they do it freely? Because they all seem to change around the same time.
+Jacob Moreno they say the words whenever they want, with the speed they want, and the conductor tells them when to change the tune, as if they are in the middle of a word no problem, they change the note but still end the "lyrics" (?) not english sry xd
That's helpful, thanks.
Edit: So, as I've been told:
*Quasi parlato* = Pretty much mumbled.
*ad lib* = ad libito = Freely. Means there is no clear pronunciation, you can just say the words the way you want, louder, quieter, faster, slower, a bit sharper, a bit less accentuated, at any point.
*Tempo individual* = You don't stick to a rhythm. Ooooh. Magnummys. Terium. Everyone just says their line however fast or slow they want. There is no bar length. Only the conductor shows when to switch to the next note.
*Mysterioso* = Keep things obscure. Don't yell out: "Oh Magnum Mysterium!" over and over. Instead, mumble your lines, be a monk who's reciting lines in trance rather than a speaker for the public.
*Iterari* = Repeated. *Ad lib* again means you just repeat the phrase as often as necessary within a bar. Ignore the note lengths, they're just there to show the tone. Maybe you'll say it seven times before the conductor changes the bar, maybe you've only finished saying "O magnum my--". When the conductor tells you to, you only switch to the next tone, but you keep talking normally, so you don't start over with "O" but you talk freely and only change to your tone.
The effect is really cool when done properly. It's also very easy to do as you only need to remember one line and the next interval and you just stare the conductor down. Get schwifty.
^ explained very well here already but there's a similar section in eric whitacre's snow (5 hebrew love songs) which the university of utah do (very well) with a video in which u can see the director bringing them in at the right times, if u wanted to watch that!
Ok, Busto!
wow :)
M'ha agradat, tant o més que la composició de Palestrina. La intepretació molt correcta.
What recording is this?
Lol I love the screlting tenor
is this the normal tempo?
Sounds so great, except for that Bass 2 that sticks out almost the entire time. :(
Excelente interpretacion muy pulcra!
I think this is slower than the beat on the sheet music.
great piece... unfortunately the ending didn't go down so well for the choir
I don't even hear it, really.. to me, the point of the last chord is that it's loud and exalting, it being in tune is less important. ;)
The tenor should've gone into head voice, oh lord. Beautiful piece nonetheless
I think the effect would be gone then. This is a massive Allelujah that kicks people out of their seats.
+LootFragg "kicks people out of their seats" LOL
Exactly what happened when i first listened to this piece
This video ua-cam.com/video/TpMJInzaepA/v-deo.html reminds me to Busto's magnum mysterium...
I think the sopranos a little bit flat at the end of this song
I don't.
The 1st tenor at the end was a bit too much