Morten Lauridsen (b). author of text .. In Dirait-on Lauridsen magically evokes the wistfulness of the chansons populaires immortalized by Edith Piaf. Morten Johannes Lauridsen (born February 27, ) is an American composer. A National O Magnum Mysterium, Dirait-on (from Les Chansons des Roses), O Nata Lux (from Lux Aeterna) and Sure On This Shining Night (from Nocturnes). Buy Dirait-On (SATB) by Morten Lauridsen at Choral Sheet Music . This exquisite work is the fifth of a set of choral settings of poems.
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Morten Lauridsen – how he wrote “Dirait-on”
Well I think it’d be helpful to perhaps demonstrate on how virait pieces put together by using Dirait-on, because it’s become such a well-known piece. I always designed as a piece that had never been composed, always been there. I designed this piece in the style diraih a French folk song. And for that I wanted to use a chord that was very French, and I went to the music of Ravel and Debussy for a single sonority from which to gather my materials for a melody and for the harmony and for the overall piece.
And this is a chord that’s very much a favorite of theirs. I chose Revell and WC because we’re talking about early 20th century French music and lauridzen is when this French poem was written, in This particular chord which is simply a major tried with an added second, went on to provide all the material I needed for the composition of Dirait-on.
I decided that the piece would be accompanied by something that lauridsfn sound like a guitar. And so I took that chord and made it into this kind of passage for a guitar.
The same chord, just changed a little bit an inversion. Something else is in laugidsen base, and then I went ahead and derived the melody from those four notes from this chord.
It has to be simple. Because one of the characteristics of any folk song is its simplicity. It must be easily sung.
It must be able to pass down from generation to generation vocally and catchy as lauridsem. Now I repeat it but make it fresh with a new harmony, and change that last note around a little bit. Here it comes the last time. Now it’s time for a fresh note in melody writing.
And then I took the idea of Dirait-on so they say as a little repeated repeated refrain. And I do virait again, except to make it more interesting I offset it by one beat.
It is easily memorable. It’s got two parts.
And through the composition process each one of those two parts is treated in Canon and imitation with itself so someone goes And someone else goes And while that’s going on – a tenor will be singing a counter melody, a separate melody but made out of that ddirait material. And later on in the dkrait where the choir sings Panel says you know I’m going to play the first theme along with that The melody, the harmony, all come from this chord.
Dirait-on (So they say), Peermusic Classical – Hal Leonard Online
Then it’s treated with what I hope is sort of elegant understatement. And yet it retained its simplicity and charm as a simple little song. I get emails from people saying I love this song how do I get it out of my mind. And I write them back and say there’s no cure.
It was designed to go into your mind and never leave. But this is where you, for a composer you focus on your idea: What are the elements of a folk song? How do I tie the poem into history?
Les chansons des roses (Lauridsen) – from CDA – Hyperion Records – MP3 and Lossless downloads
How do I give it the flavor of the nationality, of the language it’s in? And there you go, that’s just the form number one.
It’s a gold mine for composers. Every one of those chords will be explored, all the facets of that particular passage will be explored compositionally. And this is through learning and technique and an understanding of history and of craft. And that’s how dare I told him about. Home Podcast Video Kids Connect. Team Compass August 7, morten. Team Compass August 7, alisa.