CD Miserere. ECM New Series Scored for soloists, mixed choir, ensemble and organ. Duration 30—35 min. The composer has combined two texts of different origin and form: the prose text of Psalm 50 51 is interlaced with verses from the Dies irae part of the requiem.
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Despite the problems caused by the Corona-virus our Webshop and the contact forms on our website are fully available. You may also address your inquiries to customer-relations universaledition. Thank you for your understanding if our answer takes longer as usual because of the current restrictions. Your Universal Edition Team. Miserere begins on the stark note of human existence. A lone voice begins to sing. To give weight to what is said, a pause follows each word, appropriate to the sound and sense of the utterance.
The clarinet can accommodate itself to spanning large intervals, thus enabling it to sustain a two-beat against the three-beat rhythm of the singing voice. Each of its arpeggios is followed by a pause before the voice takes up the next word, making sophisticated use of the Hocket technique employed by medieval masters to separate the instrumental from the vocal lines.
Later, the warm, deep tones of the bass clarinet begin to provide the first connecting links of sound. That drama comes at the end of the world when the divine, assuming the musical form of the requiem's Dies Irae, breaks in upon the penitential world of man.
Between the fourth and fifth verses of the psalm an implacable drum-roll heralds the coming of the Day of Wrath and its rain of fire. The world of man is represented by singers holding the liber scriptus the Book of Life , who, totally dependent on God's grace, fall silent after a mighty crescendo, and remain so during the first seven stanzas of the Dies lrae interpolation.
Divine wrath bursts in upon the world with great power; the members of a heavenly choir consisting of angels, the twenty-four elders of the Apocalypse, and the four Evangelists' symbolic animals accompanied by King David take turns singing the prophetic text of Thomas de Celano died without pause and seemingly senza fine. How else could the day of Judgement be represented in the music of man except suddenly and unexpectedly, rendering all conventional methods of creating musical climax powerless?
A trombone proclaims the end of the world, its powerful notes resounding to the awesome event, while the sound of the trumpet leaps up from the molten core to shoot and dart above the fiery chaos.
Although the music has great power here, it does not overwhelm the listener. Following the silence coloured by the sound of the bell and after the seven stanzas of the Dies lrae, a new beginning unfolds. As at the opening of the work, it is once more a single unaccompanied voice that constructs the world of Miserere. The former tonic now becomes a leading tone, and the first melismata appear.
The music rises from the depths to higher spheres, slowly developing from a paralyzing despondency through the finer nuances of dance and then to fullness, depth, and surprising dramatic power.
The additional eighth stanza, Rex tremendae, succeeds in gathering up the enormous tensions inherent in the Miserere. During this segment, the five vocal soloists haltingly repeat some of the syllables from the text sung by the choir, so that, after the descent expressed in thefirst seven stanzas of the Dies lrae interpolation, the listener is finally transported upwards.
Universal Edition We shape the future of music. Search Shopping cart Your shopping cart is empty. More info Add to shopping cart. Work introduction Miserere begins on the stark note of human existence.
Hermann Conen. The complete perusal score PDF-preview. Location: Rouen FR Date: Press reviews. Previously Viewed Works.
Arvo Pärt: Miserere
Composed: ; Length: c. I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements — with one voice, with two voices.
Arvo Pärt: Miserere (ECM New Series 1430)
Suffice it to say that its magic lies in its stillness. For such an expansive piece—scored as it is for choir, soloists, organ, and ensemble—it is remarkably introspective. Its opening invocation of Psalm 51 fleshes out a corpus of spoken language made melody. A statement from the clarinet follows every word, not so much commentative as dialogic. Once harmony is introduced in the second vocal line, the pauses become even more gravid and rich in spatial detail.