LAURIDSEN SONETO DE LA NOCHE PDF

Lauridsen: ‘Soneto de la Noche’ A setting of Pablo Neruda’s 89th Sonnet performed by the University of Southern California Chamber Singers, conducted by. composition details, parts / movement information and albums that contain performances of Soneto de la Noche, for chorus on AllMusic. Morten Lauridsen . Soneto de la Noche from Nocturnes (excerpt) Composed by Morten Lauridsen Poem by Pablo Neruda Performed by The Singers on Mid-Winter Songs. I am so .

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Soneto de la Noche, for chorus | Details | AllMusic

Though several of his most often-performed pieces are single a cappella motets, composer Morten Lauridsen tends to specialize in choral cycles. The Raymond W.

Brock Memorial Commission for the national convention of the American Choral Directors Association was awarded to Lauridsenand he responded with a cycle of three choral pieces 3 Nocturnes dealing with the deep and sensual evocation of lovers in the evening, each highlighting different aspects of how they love each other in nocturnal touching.

The outer movements embody the more obvious enticements of a nocturnal touching of body on lover’s body: As a surprising counterpart to these deeply erotic settings, Lauridsen chose to craft his middle movement of the Nocturnes around the 89th sonnet from Pablo Neruda ‘s “Cien Sonetos de Amor,” a piece of poetry in which the touching of the lovers is envisioned after a death.

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The nocturnal intimacy here at the center of Lauridsen ‘s cycle may be as passionate as that of the framing movements, and perhaps even more profound, signaled by the choice for Soneto de la Noche to compose without the piano accompaniment.

Neruda ‘s sonnet speaks in the voice of a lover who envisions intimacy even at the moment of death: Lauridsen treats the first two quatrains of his text in similar fashion, harmonically rich but tonally grounded with only brief flights of internal melodic escape from the predominant lauridxen. On the line “I want all that I love to keep on living,” Lauridsen asks for a faster tempo and a somewhat brighter harmony, concluding the first three lines with a soli flowering in the soprano voices as he imagines his love continuing to flourish.

Soneto de la Noche, for chorus

A sudden harmonic shift brings sonic brightness to his vision of her continuing presence, loving the world, and proving the reason for his song. Lauridsen closes the song with a return to the opening text and opening harmonies, in a somewhat more distant musical guise; single voice parts now intone some of the words of the lover’s hope, which before had been sung in confident choral homophony.

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