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feb
Seneste opdatering: 7/2-14 kl. 0648
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Jeg har altid kunnet lide Gregoriansk sang, og det er netop Arvo Pärt i vor tid. Dette stykker leder også tankerne hen på Schönbergs langt tidligere Verklärte Nacht, som jeg foretrækker i Jasha Horensteins version. Han var i øvrigt i København én gang i 1972, og dirigerede Radiosymfonikerne i bla. Brahms 2 symfoni, hvor jeg var så forudseende at sidde i salen. Orkestret spillede over evne.

“I love his music, and I love the fact that he is such a brave, talented man. He became involved in the Russian Orthodox church at a time when that was dangerous, and for the last 20 years he has written religious music for ensembles that might have existed in the middle ages. He’s completely out of step with the zeitgeist and yet he’s enormously popular, which is so inspiring. His music fulfils a deep human need that has nothing to do with fashion.”Steve Reich: The Reich stuff

The Trisagion (Greek: Τρισάγιον “Thrice Holy”), sometimes called by its opening line Agios O Theos or by the Latin Tersanctus, is a standard hymn of the Divine Liturgy in most of the Eastern Orthodox, Oriental Orthodox and Eastern Catholic churches. The hymn is of great antiquity, and perhaps much older than the event assigned by the Greek Menology as connected to its origin.

The tradition recounts that during the reign of Theodosius II (408-450), Constantinople was shaken by a violent earthquake, 24 September, and that whilst the people, the emperor and the Patriarch Proclus of Constantinople (434-446) were praying for heavenly assistance, a child was suddenly lifted into midair, to whom all cried out Kyrie eleison (‘Lord, have mercy’). The child was then seen to descend again to the earth, and in a loud voice he exhorted the people to pray : Holy God, Holy Strong, Holy Immortal, have mercy on us.’ After giving this exhortation, the child reposed. Trisagion

Trisagion, Dies Irae & Deum Verum


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Detta var ett ljuvligt avslut på kvällen! Tack för tipset Steen. Har “bokmärkt” Horenstein-inspelningen Genom åren har jag sökt mig till livespellningar av Verklärte Nacht. Schoenberg innan han gick åstad och skapade (vål?) tolvtonsmusiken är härlig.

Det finns inget i den doktrinära tolvtonsmusiken som har fångat mig.Var den egentligen inte till slut en återvändsgränd? Men kanske ändå nödvändig som mellanspel efter senromantiken för att möjliggöra en återgång till en förnyad tonalitet, som till exempel hos den mäktige Pärt?