3/26/2021 0 Comments Ola Gjeilo Pdf
Where The Spheres (Kyrie) feels ethereal, above and apart from earthly things, The City brims with nervous energy in its accompaniment and begins with a literal grounding in the sturdy bass line.In addition to CAE and the Pacific Youth Choir singing as he plays, we will all get to hear him improvising with his Juilliard friend Thomas Barber and as a soloist.
Despite his many classical compositions, he also has a passion for improvisation and jazz as both composer and performer, and some of his works combine his interest in choral music and improvisation. He has received the 2016 Brock Commission for a new work to be performed at all seven of the American Choral Directors Association Division conferences in the United States next year. We will be performing portions of both these works in tonights concert. Edgar Allan Poe (1809-1849) wrote this poem and published it in his first anonymous collection, Tamerlane and Other Poems, in 1827 when he was only eighteen, making the song even more appropriate for these young singers. It contrasts the cold light of the moon with the more welcoming light of the Evening Star, which may be the planet (and by implication, the goddess) Venus. Some critics have suggested that Poe was using the heavenly bodies to represent two specific women in his young life, but even this early work shows his exquisite poetic skill. Gjeilos studies at USC included film music, and Tundra paints visual images like the film scores he admires. Tundra grew out of a collaboration with Charles Anthony Silvestri (b. Collaboration between composer and poet is magic, Silvestri argues. It opens for the composer opportunities for organic and dynamic creation not possible with previously published poetry, and gives the poet the thrill and responsibility that his words will be sungnot readand will be heard attached to an emotional soundtrack. In this piece, the repetitive piano part and the sustained downward lines of the womens chorus induce a sense of being held in place in an unyielding landscape that knows its own strength; at the same time, a solo soprano voice soars above it like fast-moving clouds. He has written: Looking out from the attic window that Christmas in Oslo, over a wintry lake under the stars, I was thinking about how this terrible beauty is so profoundly reflected in the northern lightswhich, having grown up in the southern part of the country, I have seen only once or twice in my life. It is one of the most beautiful natural phenomena Ive ever witnessed and has such a powerful electric quality that must have been both mesmerizing and terrifying to people in the past. Even though the music is quite serene on the surface, both the music and the words are about a terrible, powerful beauty. The text comes from the Song of Solomon in the Bible, in which a man and a woman rejoice in their desire for each other; Jewish and Christian scholars have seen it as an allegory for Gods love for his people. He has written of this Kyrie: I wanted the musical evolution of the Mass to go from the most transparent and spacey to something completely earthy and grounded, from heaven to earth, so to speak. So in The Spheres, I used a kind of overlapping fade-in fade-out effect to give a sense of floating in space, in darkness and relative silence, surrounded by stars and planets light-years away. He achieves this striking effect in several ways: by dividing the choir into as many as sixteen separate vocal parts in places and by breaking up the very words into unconnected syllables that drift from one voice to another, softly overlapping in dissonance before resolving into new chords like church bells beyond the stars heard. It recalls Jesus words, Where two or three are gathered in my name, there am I in the midst of them, and it remains a frequent part of Maundy Thursday services. Gjeilos wonderful setting resembles early Gregorian chant versions in places, but here enhanced by his own added piano improvisation over the choir.
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