Expressions (HAKIM NAJI)

Par HAKIM NAJI. Naji Hakim's sonata consists of three movements and is composed in the spirit of classicism, both in its harmonious expression and in its structure. Each sentence is preceded by a poetic fragment by Katia-Sofía Hakim. / Niveau : Intermédiaire / Répertoire / Harpe

on the Introit of the Feast of the Epiphany. Par HAKIM NAJI. This toccata is based on the introit to the Christian Epiphany festival and solemnly announces the appearance of the Lord. As a toccata, the work is an introduction to Hakim's Adoration (Schott, ED 22614) for voice, flute and organ, a paraphrase of the first three introitus to Epiphany. The Toccata develops a series of symphonic variations with virtuoso movements that emphasize the expressiveness of the words of the Gregorian text: 'Ecce advenit dominator dominus: et regnum in manu ejus, et potestas, et empium. Deus, judicium tuum regi da: et justitiam tuam Filio regis. '(' Behold, the Lord, the ruler, comes: and the kingdom is in his hand, and the power and the dominion. 'God, give your judicial office to the king: and yours Justice to the son of the king. ') (Malachi 3: 1, I Chronicles 29:12, Psalm 71: 1, 10, 11). / Niveau : Intermédiaire / Répertoire / Orgue

Sonata Vasca - Euskal Sonata. Par HAKIM NAJI. This sonata is articulated in three movements built on Basque themes. The Obertura, presents in a powerful and solemn setting the melody of Agur Jaunak. The Nocturno, is a slow and expressive variation on the melody of Haurtxo ttipia. The conclusive movement, Feria, is a set of variations on the melody of Kinkiri-Kunkuru. / Niveau : 3 / Répertoire / Piano

auf Texte aus der Bibel. Par HAKIM NAJI. Die Taube (The Dove) was commissioned by ”Kirchenmusik bei St. Anna Augsburg” to celebrate the 450th anniversary of the 'Augsburger Religionsfrieden' (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : ”And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. ” Luk. 1/79 : ”To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. ” Joh.14/27 : ”Peace I leave with you, my peace I give unto you. ” '...to guide our feet into the way of peace.' (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, 'Let God´s melody resound in you.' The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, 'I am with you always, even to the end of the age.' (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace./ Répertoire / Ténor et Quatuor à Cordes

Mit seinem Geist est basé sur la chorale Ein' feste Burg ist unser Gott par Martin Luther et Psaume 46 et développe un ensemble de huit variations. Le mouvement d'ouverture éclate en avec une texture toccata ressemblant débordant de joie. Variation II est une ornementation expressive de la mélodie dans le triplé. La variation III est une harmonisation de la choral accompagnée d'un mouvement perpétuel à la main gauche, symbolisant le flux évoqué dans Psaume 46, 5. L'image du flux est rappelé dans la variation IV, avec un développement avec élégance qui coule de la mélodie. Variation v est une méditation Pacifique avec la mélodie dans la main gauche. Par contre les chiffres très animé variation VI, avec ses abondantes arpèges, un flux fort inextinguible - elle culmine sur un carillon brillant radiant avec joie. Variation VII est une harmonisation chorale contemplative. La variation concluante rappelle l'ouverture avec son caractère enjoué et dansant. / Orgue

The Last Judgment is a through-composed symphonic tableau that follows the structure of the text of Matthew underlining it in a figuralistic manner. Other scriptural references are also to be found: an image of the sun that turns dark (Acts of the Apostles 2: 20) and before the gathering of the nations twelve chords representing the thrones for the judgment of the twelve tribes of Israel (Matthew 19: 28). The thematic material combines original figures with Gregorian chant: the Gloria from the Missa de Angelis; the Alleluia of the Epiphany; Dies irae the sequence from the Requiem Mass; In paradisum theburial antiphon. The sections in recitative style follow the declamatory rhythm of the corresponding verses in Arabic the composer’s mother tongue. Finally the registration requires a symphonic style organ such as the Goll organ in Memmingen Germany at which the composer prepared the orchestral expression of this work.