Thursday
01. April 2010

Klangraum Krems Minoritenkirche

Tenebrae, factae sunt Ensemble Odhecaton

Ensemble Odhecaton: Allesandro Carmignani, Raoul le Chenadec, Gianluigi Ghiringhelli, Renzo Bez (countertenor); Alberto Allegrezza, Mauro Collina, Fabio Furnari, Paolo Fanciullacci, Vincenzo die Donato (tenor); Giovanni Dagnino, Philippe Roche (bass); Paolo Da Col (conductor)

SALVATORE SCIARRINO: Responsorio delle tenebre a sei voci (2001)
KRZYSZTOF PENDERECKI: Benedic amus Domino - Organum und Psalm 117 (1992)
GIACINTO SCELSI: Antifona (sul nome Gesù) (1970), Three Latin prayers (1970): Ave Maria, Pater Noster, Alleluia
C. GESU ALDO DA VENOSA: Tenebrae Responsoria, Sabb ati Sancti, a 6 (1611)

And there was darkness ... Music from the darkness sparkling at the Minorite Church on Holy Thursday: music between Renaissance and Modernity that towers above all times, from the mighty polyphonic creations of Prince Gesualdo da Venosa from Naples to the compositions by the Neapolitan Salvatore Sciarrino, who dives into the unique musical world of the former and who, against our loud world, gives significance to the shadows of sounds and the silence in between. Sciarrino deals with the person Gesualdo and his works in several compositions. In the opera “The deadly flower” he made the tragedy of Gesualdo’s life blossom, a life between revenge and guilt, musical heights and mental depths. The murders of his first wife, her lover and of a little girl were never solved, but Gesualdo practically confessed being complicit by escaping the victims’ families’ revenge to closed-off castles. His madrigals and clerical singings are characterised by painful harmonic turns and dissonant sections of sharpness, yet always—as if they wanted to escape guilt and fear—strive after the light and musical transcendence—even in the responsories to “Sabbato Sancto” whose echos magically light up almost half a millennium later in Sciarrino’s six-part responsories. It was also half a millennium ago that the first music appeared in print, black on white: the collection “Harmonice musices Odhecaton” came out in Venice. At the turn of the millennium a vocal group by the name of Odhecaton was founded in Italy, which now has, for over a decade, caused the vocal polyphony of the Renaissance and its overwhelming richness to sound-shine and connect with the present. In the dark-light world(s) of Gesualdo and Sciarrino the singers blend in the last singings of another Italian prince, Giacinto Scelsi, who managed to charm innermost oscillations out of music in the 20th century, and praise and bless the Lord with the passionate music by the Pole Penderecki. And there was light …

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