Ola Gjeilo: Sunrise Mass (豆瓣)

又名: 日出弥撒
表演者: Majorstua Kammerkor / Tore Erik Mohn
流派: 古典
专辑类型: 专辑
介质: 数字(Digital)
发行时间: 2013-06-13
出版者: Meribel Music

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简介 · · · · · ·

　　Composer Ola Gjeilo has earned degrees from the Norwegian Academy of Music in Oslo, the Royal College of Music, London, and the Juilliard School, New York. He has also studied film composition and scoring at the University of Southern California. He has received many commissions and prizes, has beenm Composer-in-Residence for the Grammy-award winning Phoenix (Arizona) Chorale... (展开全部) 　　Composer Ola Gjeilo has earned degrees from the Norwegian Academy of Music in Oslo, the Royal College of Music, London, and the Juilliard School, New York. He has also studied film composition and scoring at the University of Southern California. He has received many commissions and prizes, has beenm Composer-in-Residence for the Grammy-award winning Phoenix (Arizona) Chorale, conducted by Charles Bruffy, and has been featured on PBS. His music is receiving worldwide attention. Gjeilo’s musical inf luences include classical, jazz, and folk music, in particular Keith Jarrett, Philip Glass and John Adams. He has created a number of scores for short f ilms; his interest in this medium is palpable in the tone-painting (portrayal of visual effect through sound) in the Sunrise Mass for Choir and String Orchestra (2008) that we perform today.
　　Gjeilo describes the opening movement, The Spheres, as “f loating in space, in deep silence, between stars and planets.” The choir and orchestra enter divisi and pianissimo, each singing a single syllable from the Kyrie text, taking over from each other with another syllable of the same or a different word. The two choirs weave under and over each other, each making crescendo and diminuendo, the entries dovetailing, sometimes creating a deliberate dissonance as they overlap.
　　Gjeilo says: “There isn’t anything wrong with dissonance, as conf lict and discord is a natural part of life and necessary for all positive development and maturation. And in most areas of society, conf lict is something we very much want to resolve. But in a great deal of avant garde art, the goal seems to be to stay in the conf lict itself, which to me becomes a way of just inf licting the listeners with our own neurosis. Dissonance and high chromaticism is important to explore; the Modernists were brave to delve into parts of the human psyche that are dark and edgy, but I do think they got somewhat stuck in that. A lot of art pushed audiences away for some time. I think people naturally and instinctively want to experience transcendence, resolution and the feeling of redemption, joy and peace that the resolving of discord can yield.”
　　There are four sections to The Spheres, and every section is based on the same mostly minor-mode harmonies, simple but laden with feeling, often descending in equidistant pairs. The f irst three sections, calm and ethereal, each use just one line of text. They end with a fermata on a minor chord; then the strings, like the rays of the sun, rise in a powerful crescendo in two dramatic, ascending unison scales. The choirs return, now united, for a climactic fortissimo recapitulation of the plea for mercy. Shifting meters intensify the urgency, changing from 4 to 3 and occasionally to 2, seemingly at random. When the choir alights on a C minor chord, the baleful voice of the solo violin emerges and, offsetting the previous powerful upward scale surges, now sinks resignedly by small steps. A dark, soulful viola brief ly aff irms the violin as all the strings end on a simple unison C.
　　The eponymous second movement, Sunrise, opens orchestrally with a long solo for the f irst violins over luscious, mostly major choral sonorities, warm and reassuring, like a hazy sun rising ever so slowly over a nebulous early-morning horizon. The choir sopranos take up the violin melody, transposed, on the Gloria text. Gjeilo has said he imagines this line as angels singing a subtle, dream-like incantation. As if from deep within the earth, the lower three voices sing Et in terra pax. With excitement, the strings set up a rapid moto perpetuo, over which the choir sings Laudamus te. The movement peaks as a regal march, with the choir’s stately intonation of Domine Deus, Rex caelestis. The perpetual motion returns for the closing section, Qui tollis peccata mundi. The movement comes full circle with the opening melody returning, f loating quietly at f irst with Quoniam tu solus sanctus, then warming: Tu solus altissimus, Jesu Christe / Cum Sancto Spiritu in gloria Dei Patris. The a capella simplicity of the closing Amen imbues it with pathos.
　　The City is based on the Credo text, which Gjeilo calls “the most powerful and assured text in the mass. ‘I believe’ is a strong statement.” The music mirrors this gravity and opens with the strings in “a fast, unforgiving,and relentless accompaniment.” Tremolos, fast-moving lines, and shifting keys provide the solemn background for the solemn f irst line, sung solmenly in the men’s low register in the key of D minor. The women join the men, streaming powerfully forward with the text and eventually coming to a quiet resting place. Out of this, the women intone, chant-like, Qui propter nos homines… This beautiful music gives way to the grave, harsh motif of the crucif ixus, sung by the whole choir in unison rhythm, the mellif luous descending interval patterns of the f irst movement now angular and jagged. Another shift of mood occurs at et resurrexit when the major mode and optimistically ascending lines prevail. The urgent tremolo strings of the opening return and lead to a potent coda, the choir dramatizing the compelling text in augmented note values above the furious motion of the strings.
　　The final movement, Identity, reprises the opening motif of The Spheres, now sung on Sanctus. Like the calm after a storm, Identity sets the scene for sunlight to burst through the clouds. It does so in the reassuring, tender, embracing music of The Ground. Gjeilo comments, “The chorale, beginning at Pleni sunt caeli… is the culmination of the Mass, and it’s called Identity & The Ground because I wanted to convey a sense of having ‘arrived’ at the end of the Mass; to have reached a kind of peace and grounded strength, after the long journey of the Mass, having gone through so many different emotional landscapes.” The composition ends with a hushed Dona Nobis Pacem; at f irst only the choir sings, reverentially; then a beseeching solo violin joins in, and f inally the whole ensemble, slowly and quietly, almost motionless, comes to rest on a widely spaced major chord, as if reaching across the length and breadth of the earth for peace.

曲目 · · · · · ·

1. The Spheres
2. Sunrise
3. The City
4. Identity & The Ground

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Ola Gjeilo: Sunrise Mass

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0 有用 糯米糊了 2021-02-20 01:04:26

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