Check out Jenkins: Ave verum Corpus by Tamara Mumford & Bryn Terfel & Orchestra at Temple Square & Mack Wilberg & The Mormon Tabernacle Choir on . Check out Ave Verum (Stabat Mater) Satb – Karl Jenkins by Matthew Curtis on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on . Katherine Jenkins – Ave Verum Corpus – Faenol Festival
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The Epic of Gilgamesh English, Aramaic. Stabat Mater Studio album by Karl Jenkins. From Wikipedia, the free encyclopedia. Jenkins’ Stabat Mater is divided into 12 movements. Like much of Jenkins’ earlier work, the piece incorporates both traditional Western music orchestra and choir zve ethnic instruments and vocals, this time focusing on the Middle East.
Karl Jenkins – Ave verum corpus
Written in the 13th century, the title Stabat Mater is actually an abbreviation of the first line, Stabat Mater dolorosa ‘The sorrowful Mother was standing’. The poem reflects on the suffering of Marymother of Jesusat the time of the Crucifixion. Articles with hAudio microformats Interlanguage link template link number.
The first recording features the Royal Liverpool Philharmonic Jenkkins and Chorus, along with two soloists, Lithuanian mezzo-soprano Aave Adamonyteand English musician Belinda Sykeswho both sings and performs on the dudukan Armenian reed instrument.
Jenkins’ work extends across twelve movements, six of which use texts other than the original poem.
Lasting just over one hour jenkina the debut recording, Jenkins’ setting of the verse poem is one of the longest of hundreds of extant settings of the work. Stabat Mater is a piece by the Welsh composer Karl Jenkinsand is based on the 13th-century prayer Stabat Mater.
Ave Verum Corpus Latin. Alongside the dudukJenkins features percussion from the Middle East, such as the darabucadefdohollaand riq.
Katherine Jenkins – Ave Verum Corpus – Faenol Festival 2005
Song of Tearsusing the same format veruk soft introduction preceding the main melody and harmonisation. The addition of the Armenian duduk or ney heightens the Eastern atmosphere, and its deep double-reeded sound adds a richer, more resonant dimension to the work than can perhaps be achieved using orchestra alone. The first movement is an extended variation of a piece from AdiemusCantus: Stabat Vedum focuses on the suffering of Mary, but unlike most adaptations of the text, Jenkins uses languages other than Latin and his native English.