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Der Himmel hat eine Thraene geweint
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Written in 2012 and revised in 2013, this work is dedicated to the french choir Maitrise de Garçons de Colmar and their director Arlette Steyer, as a form of appreciation for their live performance of my Libera me. The beautiful poem of Friedrich
film music classical music bruno miranda
Bruno Miranda, neoclassical and film music composer
Bruno Miranda was born in 1971, in Lisbon, Portugal. His first musical knowledges were taught by his grandmother, a former soprano and piano teacher. Later on, he studied music at the Lisbon National Conservatory where he graduated in 1994. During his course at the Conservatory he presented himslef as soloist on several piano recitals. At the Conservatory, he studied Analysis and Composition Techniques, from the classical and romantic period to the contemporary music (atonal, serial, etc). In order to improve his composition skills, he attended several seminars and also had private lessons of composition and orchestration with well known teachers from the Conservatory. In 1995 we was admitted in the Film Scoring major at the Berklee College of Music. He wrote several works for orchestra, piano, voice , choir, always in a tonal language of which he is a great defensor. Since 2003, he is performing an accompaniment to a baritone, having played in several voice and piano recitals. He also has a degree in Management.
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#1,144 today Peak #76
#532 in subgenre Peak #25
Author
Bruno Miranda
Rights
Bruno Miranda
Uploaded
April 16, 2013
Track Files
MP3
MP3 4.1 MB 160 kbps 3:36
Story behind the song
Written in 2012 and revised in 2013, this work is dedicated to the french choir Maitrise de Garçons de Colmar and their director Arlette Steyer, as a form of appreciation for their live performance of my Libera me. The beautiful poem of Friedrich Rückert embellishes for itself this work. The first and second theme of the piece are based on my Liebeslieder No.5 - Du bist die Ruh (also a poem by Rückert), presenting some variations in terms of rhythm and form.Technically, the greatest difficulty of this work may be the divisi required in several sections, specially in the male voices. In terms of structure, the main theme is introduced by the Basses and Tenors and then repeated by the Sopranos and Altos. A short section acts as a bridge to the lyrical and passionate second theme, first introduced by the male voices and then by all the choir. The third theme, in a fugato style and in a faster tempo, presents a wider harmonic diversity and several modulations, leading the choir to the recapitulation of the first theme. The final coda, is in fact, the final piano part of Liebeslieder No.5; the work ends the way it starts, with only male voices.
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