He began to fill his notebooks with the ancient chant melodies and they came to influence his well known compositional form known as Tintinnabuli. Members sing the offices of Gregorian Chant daily in Latin at the Church of the Transfiguration, a modern day abbey rooted in the Benedictine tradition. This daily worship profoundly influences their approach to the music they sing in worship and in concert. For over thirty years since their founding in , they have studied and performed the works of over composers ranging from Gregorian Chant to the 21st Century. Striving to present the true intention of the composer and to bring to life the music and vision as the composer himself would have liked to hear it portrayed, conductor, Richard K.
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John Passion, which would become the culmination of the tintinnabuli style. He eventually finished the work in and it was published in Since then, it has been recorded three times, and remains one of his most popular works. The St. John Passion is a through-composed setting of the text of John 18—19, preceded by a short introduction Exordio and followed by a brief conclusion Conclusio.
In addition, there are four solo instruments, oboe, violin, cello and bassoon, organ and SATB choir. The work lasts about 70 minutes and is not broken into movements. Tonally, the work centers on a series of overlapping fifths : D-A-E-B. The rhythmic values are established by the text. Each character has a basic note value, and this is lengthened depending on the punctuation and its position within the phrase.
Since a period at the end of a sentence generates a note longer than does a comma in the middle of it, the hierarchy of the textual phrases is reflected in the music. Value assignment:  In the last word of a phrase ending with a comma, the stressed syllable would be medium. In the last word of a phrase ending with a colon or period, each syllable would be long.
In the first word of a new sentence or phrase beginning after a colon , the stressed syllable would be medium. In the last word in a phrase ending with a question mark, each syllable would be medium. Otherwise all syllables are short. Each section begins with a different solo voice, an instrument then joins it, and this pattern continues until all 8 are sounding. In the case where a T-voice is presented alone, the M-voice is simply implied.
Christ always has the longest and lowest notes, creating a stark contrast with the other characters. The pitch center for Christ is E, and it is accompanied by a drone and T-voice in the organ. For the turba, the pitch center is again E. The alto and bass voices, again always playing an M role, are mirrored, and the soprano and tenor T-voices alternate above and below the M-voices. While both are centered on E, the M-voices use E Phrygian against E major in the T-voices; this makes for striking cross-relations between G-natural and G-sharp, though the two never sound at the same time.
Pilate, like Christ, is accompanied only by the organ, but sings in faster rhythmic values and has a higher tessitura. Paul Hillier , dir. Tauno Satomaa , dir.
John Passion, which would become the culmination of the tintinnabuli style. He eventually finished the work in and it was published in Since then, it has been recorded three times, and remains one of his most popular works. The St.
Arvo Pärt: Passio