/ Choeur Mixte
SKU: HL.14006097
ISBN 9788759872222. Danish.
Programme Note CANTICA for cello and piano (1977)When in 1975 I had finished composing my Symphony no. 3 (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: The Year and Choral Hymn. These three tunes were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships, like proportional canons. For this reason they inspired me to write several choral and instrumental works in the following decade: Frost Psalm, Winter Cantata, the tuba octet Now all the earth is white with snow, Canticles (and others).Cantica, meaning song or singing, was composed (forthe Danish musicians Hans Erik Dechert og Kjeld Hansen) as a instrumental little brother the long, polyphonic choral pieces. As in these the canonical melodies in Cantica drift from foreground to background, from cello to piano. The melodies are simple, diatonic and in traditional rhythms and the surface of the music in a way traditional. The intention of the composer with this easily understood expression is to lead the listeners ears to the many internal, proportional developments. The story is in a way hidden between the lines. In the myriads of rhythmic and tempo relations the Golden Mean (near to 2:3:5:8: et cetera) plays an important role, like in nature. Among the experiences giving by this natural phenomenon are - perhaps - the musical points to be found (?).Per Norgard(1997).
SKU: HL.287427
Per Norgard's Cantica Concertante for Violoncello Solo and Chamber Orchestra (2012). Based on CANTICA for cello and piano (1977). The present orchestral version was edited by Steve Ferrein in collaboration with the composer. Parts are available on hire: hire@ewh.dk.
SKU: HL.49044338
ISBN 9790001200004. UPC: 841886024373. 7.5x11.0x0.178 inches. Latin.
In Cantica hat Heinrich Poos seine Vertonungen des Magnificat (1972), Nunc dimittis (1995/2005) und Benedictus (2009) in Form eines Triptychons zusammengestellt. Dementsprechend mochte der Komponist jedes einzelne dieser Stucke als eine Art musikalische Portratmalerei verstanden wissen. Der lateinische Text dieser neutestamentlichen Psalmen ist als 'vieltonige Zungenrede' in Partitur gesetzt. In jeder der bis zu sechs Stimmen wird er vorgetragen, 'sprechend' betont und dynamisch, agogisch sowie modulatorisch begleitet. Heinrich Poos versteht es in diesen drei geistlichen Werken fur gemischten Chor a cappella (SSATBB) einmal mehr, mittels einer gemassigt modernen Tonsprache hochste Klangexpressivitat und pragnante Ausdruckstiefe miteinander zu vereinen.
