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Laudibus in sanctis (2008)

Uģis Prauliņš / Ugis Praulins

Laudibus in sanctis

composer Ugis Praulins (b1957)
composed for and dedicated to Stephen Layton and Trinity College Choir Cambridge   
Author of text: Bible. Psalm 150, paraphrased / Language: Latin 
Mixed choir a cappella SSSSSSAAAATTTTBBBBBB 

Year of composition: 2008 
Publishers: Musica Baltica / Edition Peters
Stephen Layton, Ugis Praulins +Ely Cathedral 

Rec Label: Hyperion Records CDA67747

Artists: Trinity College Choir Cambridge, Stephen Layton (conductor)
Duration 10'30
Recording date 6 August 2008. Recording venue Ely Cathedral, United Kingdom
Recording producer Adrian Peacock /Recording engineer David Hinitt

Hyperion usage "Baltic Exchange" (CDA67747) Disc 1 Track 16
Release date: February 2010.  Presentation: the 3rd of February, 2010, London; Latvian Embassy.
Hyperion web-store                                                       http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67747


Exultation of an altogether more flamboyant kind is the subject of Laudibus in sanctis. Specially written for this recording and dedicated to Stephen Layton, it is another example of Ugis Prauliņš undoctrinaire approach to composition, where "everything is possible and nothing is absolute", an open-hearted attitude Praulins attributes to his background in rock music. Also from rock music, surely, comes the insistent rhythmic drive of much of the music, while the filigree ornamentation is decidedly Baroque. Baroque, too, is the cast of this extended setting of Psalm 150 as a multi-sectional cantata, as are the sustained antiphonal writing and the solo/tutti exchanges. Yet for all its eclecticism of reference the piece has a compelling unity of purpose which reflects the unceasing joyfulness of the words. The sturdy opening pages are an exhaustive and exhilarating exploration of A minor; throughout the piece the chords are frequently of massive density, yet are never opaque, and for the final exhortation ("Let everything in the world that feeds upon the air of heaven") the composer summons up music of dazzling brilliance and abandon.
In the reverberating silence the last word, like the first, should go to Ugis Prauliņš: "That which moves you is what endures. This is the kind of music I strive for." All the music on this disc is without doubt moving (and much more besides), and like the resilience of the Baltic people in the face of intolerable oppression, it will surely endure.
Gabriel Jackson © 2010

Une exultation d’un genre plus flamboyant est le sujet de Laudibus in sanctis. Spécialement écrit pour cet enregistrement et dédié à Stephen Layton, c’est un autre exemple de l’approche peu doctrinaire de la composition qu’a Ugis Praulinš, où «tout est possible et rien n’est absolu», une attitude chaleureuse que Praulinš attribue à sa formation dans le domaine de la musique rock. L’élan rythmique insistant d’une grande partie de cette musique vient sans doute aussi de la musique rock, alors que l’ornementation en filigrane est nettement baroque. Baroque aussi le moule de cette longue mise en musique du Psaume 150 sous forme de cantate en plusieurs sections, de même que l’écriture antiphonale soutenue et les dialogues solo/tutti. Pourtant, malgré tout son éclectisme de référence, cette pièce possède une fascinante unité d’objectif qui reflète l’allégresse ininterrompue des paroles. Les solides premières pages sont une exploration exhaustive et grisante de la tonalité de la mineur; d’un bout à l’autre de l’œuvre, les accords ont souvent une grande densité (sans être jamais opaques) et pour l’exhortation finale «Que tout ce qui respire loue le Seigneur», le compositeur fait appel à une musique d’un éclat et d’un abandon éblouissants. Gabriel Jackson © 2010 /Français: Marie-Stella Pâris /http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67747

Jubel einer deutlich lebhafteren Art ist das Thema von Laudibus in sanctis. Dieses Werk entstand für die vorliegende Aufnahme und ist Stephen Layton gewidmet und ist ein weiteres Beispiel für Ugis Praulinš’ undoktrinären Kompositionsansatz, wo „alles möglich und nichts absolut“ ist—eine aufgeschlossende Einstellung, die Praulinš seinem Hintergrund in der Rockmusik zuschreibt. Ebenfalls von der Rockmusik stammt sicherlich der starke rhythmische Antrieb, der in vielen seiner Werke spürbar ist, während die filigranen Verzierungen deutlich barock sind. Barock ist ebenfalls diese ausgedehnte Vertonung von Psalm 150 als mehrteilige Kantate sowie der antiphonische Stil mit den Solo-Tutti-Dialogen. Doch trotz aller Eklektik verleiht die Zielsetzung des Stücks ihm eine Einheitlichkeit, was sich in der unaufhörlichen Freudigkeit des Texts widerspiegelt. Der robuste Anfang ist ein gründliches und anregendes Erforschen der Tonart a-Moll; die Akkorde in dem Stück sind häufig von einer enormen Dichte (jedoch nie undurchsichtig) und bei der allerletzten Ermunterung „Alles, was Odem hat, lobe den Herrn“ bietet der Komponist eine Musik schillernder Brillanz und einer gewissen Selbstvergessenheit auf.   Gabriel Jackson © 2010 /Deutsch: Viola Scheffel /http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67747


Choir of Trinity College, Cambridge / Layton
Hyperion CDA67747  /Release date February 2010
Baltic Exchange is a stunning collection of unaccompanied choral works by four living composers, all written within the last decade. Gabriel Jackson's informative liner notes begin 'Singing lies at the heart of not just the musical, but the social and ritual life of the Baltic states' and this recording is certainly testament to that. Missa Rigensis written by the Latvian composer Ugis Praulins is a substantial piece and makes for a powerful opening. The Kyrie eleison is as dramatic as it is beautiful and the warmly resonant acoustic of the Lady Chapel of Ely Cathedral gives an added dimension to the sound. The subsequent movements demonstrate a variety of textures and harmonic ideas but with an underlying feeling of beauty and peace. Praulins often uses tonal clusters to great effect and in the Crucifixus creates a striking raindrop effect within the texture. He also writes for low bass in certain passages that adds a further depth and echoes the basso profundo style. Maija Einfelde's settings of three poems by one of Latvia's best-loved writers follow this. Here each movement is filled again with glorious harmonic colours, created from sustained tonal clusters. The four remaining shorter works are also performed superbly by The Choir of Trinity College, Cambridge, who are entirely at home with this music and create a suitably solid and authentic sound. Look out too for 'About 2500 Tigers' on the front cover.  Reviewed by Dawn Cooke

Publishers: Musica Baltica / Edition Peters 
Catalogue Nr.: MB 1434
ISMN: 979-0-69795-344-4 / Year of publication: 2014

Edited by Michael Zaugg!

Starting from 20 copies - 15% discount!

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Laudibus in sanctis Dominum celebrate supremum,
Firmamenta sonent inclita facta Dei.
Inclita facta Dei cantate, sacraque potentis
Voce potestatem saepe sonate manus.
Magnificum Domini cantet tuba martia nomen,
Pieria Domino concelebrate lira.
Laude Dei, resonent resonantia tympana summi,
Alta sacri resonent organa laude Dei.
Hunc arguta canant tenui psalteria corda,
Hunc agili laudet laeta chorea pede.
Concava divinas effundant cymbala laudes,
Cymbala dulcisona laude repleta Dei.
Omne quod aethereis in mundo vescitur auris,
Halleluia canat, tempus in omne Deo.

Psalm 150, paraphrased

Celebrate the Lord most high in holy praises:
let the firmament echo the glorious deeds of God.
Sing ye the glorious deeds of God, and with holy voice
sound forth oft the power of his mighty hand.

Let the warlike trumpet sing the great name of the Lord:
celebrate the Lord with Pierian lyre.

Let resounding timbrels ring to the praise of the most-high God,
lofty organs peal to the praise of the holy God.

Him let melodious psalteries sing with fine string,
him let joyful dance praise with nimble foot.
Let hollow cymbals pour forth divine praises,
sweet-sounding cymbals filled with the praise of God.

Let everything in the world that feeds upon the air of heaven
sing Alleluia to God for evermore.


CanadaSoundstreams presents 'Laudibus in Sanctis' (2008) by Uģis Prauliņš

CANADA premiere 24 Feb 2013 Canadian Connections

All Saints Anglican, Edmonton, Alberta
Sunday, 24 February 2013 - 2:30 PM 
Praulins: Laudibus in Sanctis
Ensemble: Pro Coro Canada.Conductor: Michael Zaugg

Michael Zaugg @michaelzaugg! Feb 25 such a fantastic afternoon with @VanChamberChoir and @ProCoroCanada - .... on a high. Laudibus ROCKED - #Praulins!!!
Retweeted by CantataSingersOttawa

When we got to the rehearsal, Pro Coro was practicing “Laudibus in sanctis” by Latvian composer Ugis Praulins (with lots of squiggles over the letters, but help me if I know how to do that on this computer). (Editor’s note: Ugis Praulins.) It is such a great piece filled with Baltic melodies, and they sing it so beautifully. I could see everyone in our group captivated by it, and all the fatigue we were feeling evaporate as we realized how good tomorrow’s concert is going to be. Vancouver Chamber Choir On Tour Feb 2013

2 Feb 2014 By Joanne Lam » February 20, 2014, 7:00 am Concert
Soundstreams: Canadian Choral Celebration at Koerner Hall
20 Feb 2014
Michael Zaugg and Pro Coro Canada took to the stage after intermission to perform U#is Prauli!" ’ Laudibus in Sanctis (2008), a euphoric composition set to the text of Psalm 150. This was by far the strongest and most assertive performance of the concert; Pro Coro’s singers demonstrated a strong sense of solidarity and confidence in their ensemble which was communicated quite magnificently through the music itself. Last of the program was Henryk Górecki’s Miserere (1981) which showcased solidarity in a different sense – namely, in the way breaths were drawn between words, which in turn gave shape to Górecki’s concerns about the state of political turmoil in Poland the year this piece was written. Laudibus in Sanctis made for a quietly intense (and as such, daring) conclusion to Soundstreams’ Canadian Choral Celebration, a gradual slow burn of voices which eventually brought the audience back to where the afternoon began: a choir, standing together in stillness and in silence, seeing with their ears.
Joanne Lam is a writer and cellist currently based in Toronto. http://joannelam.com/ @joannewklam


Pro Coro Canada performed a work by Latvian composer Ugis Praulins.
Pro Coro Canada, led by Michael Zaugg, fared better. Zaugg led a spirited performance of Laudibus in Sanctis by the Latvian composer U#is Prauli!". Boldly and rhythmically chordal, it was something that a top-notch chamber choir could really sink its teeth into. Zaugg went straight to the heart of this rich and powerful piece.

'Laudibus in Sanctis' (2008) by Uģis Prauliņš was performed by Pro Coro Canada and Michael Zaugg (conductor) at the 'Canadian Choral Celebration' concert on February 2, 2014 at Koerner Hall (Toronto, Canada). 

Zaugg mounted the podium once more to conduct both ensembles in two Mendelssohn motets and the PCC alone in another gorgeous piece, Laudibus in Sanctis by another Latvian composer, Ugis Praulins.
Michael Zaugg, director of Cantata Singers of Ottawa. Photo by Michael Zaugg.
Canadian Connections III Cantata Singers of Ottawa with Pro Coro Canada
1 Jun 
Perhaps the most challenging is Latvian composer Ugis Praulins’ Laudibus in Sanctis. “He’s one of those composers not many people have heard of, but people are starting to get excited about him. His composition is full of depth and complexity, but it’s very tuneful and melodic. It’s very rich and thick. There are 24 voices in the choir and there may be 20 different rhythms going on at any one time.”
Sirens Pro Coro Chamber Choir Sunday, June 1 at 2:30 p.m. All Saints Cathedral 10035 – 103 St.
Choir lures audiences with Sirens

Pro Coro closes season with mystical journey

By: Anna Borowiecki | Posted: Saturday, May 31, 2014 06:00 am * St. Albert Gazette *


16 Apr 2015 


Risto Joost, conductor

Musis Sacrum, Concertzaal
Vancouver Chamber Choir presents: PRO CORO CANADA (Edmonton)
Vancouver, British Columbia, Canada

8:00 p.m. Friday, 22nd May 2015
Pro Coro Canada
Michael Zaugg, Artistic Director
Another SOLD-OUT success of Pro Coro Canada at the opening concert of the 2014-2015 season in the frame of Alberta Culture Days. 
1700 people came to hear the choir, with guest Richard Eaton Singers, in a staged performance of Talbot’s Path of Miracles.
Critics are saying
Zaugg led a spirited performance of Laudibus in Sanctis by the Latvian composer Uģis Prauliņš. Boldly and rhythmically chordal, it was something that a top-notch chamber choir could really sink its teeth into. Zaugg went straight to the heart of this rich and powerful piece.
This was by far the strongest and most assertive performance of the concert; Pro Coro’s singers demonstrated a strong sense of solidarity and confidence in their ensemble which was communicated quite magnificently through the music itself.
The performances themselves were stunning: ... the best choral singing I have heard in this classical music season.    http://www.michaelzaugg.info

(2016) Westminster Choir Performs In Princeton, November 6
The Westminster Choir, conducted by Joe Miller, will present a concert titled “A Thousand Years to Live” on Sunday, November 6 at 3 p.m. in Bristol Chapel on the campus of Westminster Choir College of Rider University in Princeton. Tickets are $20 for adults and $15 for students and seniors. To order call (609) 921-2663 or go to www.rider.edu/arts. The program will explore the gifts and challenges each day’s 24 hours present to the world. It will reflect on the words of American Shaker Ann Lee, “Do all your work as though you had a thousand years to live, and as you would if you knew you must die tomorrow,” which conclude Paul Crabtree’s composition The Valley of Delight: Death and Resurrection. The program will also include Ugis Praulins’ Laudibus in sanctis; Kile Smith’s “Yes, It’s beautiful” from The Consolation of Apollo; Brahms’ Abendstandchen and Warren Martin’s Great Day, as well as other works. Setting the standard for choral excellence for 96 years, the Westminster Choir is composed of students at Westminster Choir College, a division of Rider University’s Westminster College of the Arts. It has been the chorusin-residence for the prestigious Spoleto Festival USA since 1977, performing both in concert and as the opera chorus. Joe Miller is conductor of the Westminster Choir and the Westminster Symphonic Choir. He is also director of choral activities at Westminster Choir College of Rider University. In addition to his responsibilities at Westminster Choir College, Dr. Miller is artistic director for choral activities for the renowned Spoleto Festival USA.