Saturday
16. March 2013

Klangraum Krems Minoritenkirche

6.30 p.m. Podium discussion
“Where the light comes from“
Prof Philipp Harnoncourt (theologian)
Prof. Dr. Renee Schroeder (molecular biologist)
Nicolas Altstaedt (musician)
Rainer Lepuschitz (moderation)

In cooperation with GLOBArt academy

7.30 p.m. concert
YOUTH CHOIR “KAMĒR…” (Latvia)
Janis Liepins (conductor)
Rihards Zalupe (percussionist)
Edgars Saksons (percussionist)
Mathilde Hoursiangou (celesta)

Nicolas Altstaedt (cello)

Ernst Kovacic (violin)

25,-/22,-

In cooperation with Air Baltic
Chorszene Niederösterreich

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YOUTH CHOIR “KAMĒR…” & NICOLAS ALTSTAEDT & ERNST KOVACIC Songs of the sun and the moon

In the beginning was the creation, which has been praised as the act of God ever since. The monk Francis of Assisi praises the Creator in the prayer for the creation of the world in the name of all beings, Lord Brother Sun, Sister Moon, Brother Wind, Sister Water, Brother Fire, Mother Earth and Sister Death (the respective genders correspond to the Old Italian language Francis of Assisi wrote the prayer in). The Tatarian composer Sofia Gubaidulina did not touch the hymnic expression of the monk’s poetry, but put his words into a plain singable sort of music for choir and the singer under the instruments, the violoncello. After the phrases of the glorification of the celestial bodies, the four elements and life, the cellist (in Krems the German-French musician Nicolas Altstaedt) abandons his instrument to turn to a big drum before he and his sweet glissandi on the flexatone enter a responsory with the choir.

For the glorification of death – back at the cello – he ascends into the highest registers. The work was dedicated to the Russian cellist Mstislav Rostropowitsch, whose glowing nature inspired Gubaidulina to this composition. In order to spark further hymns to the celestial bodies of the sun and the moon, the choir “Kamēr …” sent out composition commissions into the world and to its home country Latvia. From there, iridescent songs of the moon reached the throats of the singers. Juris Karlsons allowed the Greek myth of Selene, the Goddess of the Moon, who, in her love, baths the shepherd in magic moonlight every night, to beguile him into a full-moon vocalise. Following the words of a Latvian folk song, Evija Skuķes’ singing draws a monumental moon cycle as it rises far away in the East from a desert or from behind a riverbank and shines onto the spirited mystic of the night. Ēriks Ešenvalds has the moon emerge from the sea of clouds as a lonely, pale, slightly distanced and cold companion of the night, following the atmosphere of the poem “The New Moon” by the US-American poet Sara Teasdale. Pēteris Vasks transformed the vastness of the Latvian landscape to choir vocalises rising from meditative depths to a monumental horizon, home to the Creator.