Lament

Par PART ARVO. Arvo Pärt has been fascinated by the life and work of St Silouan of Athos (1866-1938) for many years. As early as 1991, the writings of Silouan inspired Pärt to his composition Silouan's Song, 'My soul yearns after the Lord ...' for string orchestra. Pärt's new work Adam's Lament is once again based on a text by Silouan, in which the monk laments Adam's pain over the loss of paradise. Silouan's sketches and writings are of great poetic power, and represent some of the most significant works in Russian poetry. The content and structure of the texts, which are sung in Russian, dictate the course of the music down to the smallest detail. Punctuation, syllable counts and word emphases all play decisive roles in the composition. 'For me, the name Adam is a collective term not merely for the whole of humanity, but for each individual, regardless of time, era, social class or religious affiliation. And this collective Adam has suffered and lamented on this earth for millennia. Our ancestor Adam foresaw the human tragedy that was to come and experienced it as his own guilty responsibility, the result of his sinful act. He suffered all the cataclysms of humanity into the depths of desperation, inconsolable in his agony.' Arvo Pärt To mark Arvo Pärt's Lifetime Achievement Award from the International Istanbul Music Festival, a new work was premiered at a concert featuring highlights from the composer's career: Adam's Lament for choir and orchestra. The piece was co-commissioned by the European Capitals of Culture for 2010 and 2011, Istanbul and Tallin respectively./ Répertoire / Chœur SATB et Orchestre à Cordes

Homage to Anish Kapoor and his sculpture 'Marsyas'. Par PART ARVO. Arvo Pärt about Lamentate: 'Lamentate is music for piano solo and orchestra. With respect to its form, however, the composition cannot really be described as a typical piano concerto. I chose the piano to be the solo instrument because it fixes our attention on something that is 'one'. This 'one' could be a person, or perhaps a first-person narrative. Just as the sculpture leaves the viewer with a light and floating impression in spite of its overwhelming size, the piano, as a large instrument, allowed me to create a sphere of intimacy and warmth that no longer seems anonymous or abstract. Overall, it could be said that my work is marked by two diametrically opposed moods. By way of slight exaggeration, I would characterize these two poles as being 'brutal-overwhelming' and 'intimate-fragile'. The two characters are not simply placed opposite one another, much rather being left to develop themselves in a conflict that runs throughout the entire work.'/ Répertoire / Piano et Orchestre

Pendant mes années d'enseignement avec Natalia Flament au CRR de Paris, j'ai apprécié son engagement et sa connaissance de la danse classique. Nous avons recherché ensemble la plus juste harmonie entre le mouvement de danse et la phrase musicale. Chaque exercice à la barre comme au centre possédait son propre caractère : sensibilité, poésie, nuances, dynamiques, couleurs, puissance grâce à la capacité de Natalia de traduire les mouvements chorégraphiques en phrase musicale. Les retenues, les résonances, les accents, les anacrouses étaient en parfaite liaison avec mes explications et mes exigences de qualité de mouvement. La diversité de son accompagnement donnait à chaque cours une ambiance particulière. Le travail avec Natalia à mon sens n'a pu se faire qu'avec une grande complicité et compréhension émotionnelle.

A Service for Tenebrae-The writing team of John Purifoy and Pamela Stewart have crafted a brief work for Maundy Thursday or Good Friday suitable for use as a Tenebrae service. Told from the historical perspective of the Gospels as well as from the Old Testament laments that foreshadow them Lamentations of the Lamb takes us on a journey through the final days in the life of Christ. Each anthem itself is a plaintive lament taken from these combined narratives. With a final stirring lamentation offered by creation here is a powerful ending to Holy Week in preparation for Easter. Songs include: A Gathering of Shadows The Table of Forgiveness Forsaken in the Garden In the Twilight of My Sorrow Come Ye Disconsolate Lamentation for the Lamb. Score and parts (fl ob vc) available on CD-ROM.

Par SCHNEBEL DIETER. Le travail est en deux parties. ' Lamento di Guerra I' a été écrit dans le sillage de la guerre du Golfe - une lamentation initialement plaintive tourne plus urgente et se termine en hurlant. ' Lamento di Guerra II ', déclenchée par les rapports des atrocités de la guerre civile yougoslave, a un caractère plus rituel. La notation pour la partie vocale est souple, mais la timbre ' dure ' désirée est probablement mieux atteint par une mezzo soprano ou alto./ Répertoire / Mezzo-Soprano et Orgue ou Synthétiseurs ou Accordé

from A Time for Alleluia-Uses: Good Friday Holy Week Scripture: Isaiah 53:3 - John 1:11 - Matthew 26:21-22 - John 3:16-17 - Galatians 2:20 A moving choral lamentation for the crucified Christ is presented in this anthem for Good Friday. From the shadows of Golgotha this poignant paean weeps with emotion through expressive music and cries of Kyrie Eleison. The anthem is dependent on two soloists that soar above the dramatic choral. The classic chorale Ah Holy Jesus is a sensitive ending to the piece.

While perhaps Tallis and Byrd's Lamentations are better known Robert White's Lamentations reflects a uniquely bleak and austere vision and is surely one of the composer's finest works. David Wulstan writes: 'This grief-stricken music is spellbinding.' Set for five voices the melancholy sound moves between expressive contrapuntal writing and block chords offering some remarkably bold harmonic shifts and revealing an exceptional depth of emotion. In keeping with the high standards of the previous Musica Dei Donum editions this edition has a running translation atop each system to facilitate performance. White's Lamentations is well suited for any good churchchoir or amateur or college chorus in a concert setting.