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Description
(Text)
Universal Edition steht für einen neuen Standard im Bereich der Studienpartituren. Die komplett neu gestalteten Partituren bieten einen beispiellosen Einblick in die Musik der letzten hundert Jahre. Es wird sorgfältig darauf geachtet, stets den besten verfügbaren Inhalt für diese Reise durch die Musikgeschichte auszuwählen. Jede Partitur wird zudem nach den neuesten Qualitätsstandards ediert.Die Neue Studienpartituren Reihe kombiniert historische Meisterwerke mit erstklassigen redaktionellen Inhalten, Vorworten und einer gut lesbaren, klaren Notation in der bewährten Universal Edition-Qualität.
(Table of content)
Kyrie · Gloria · Erster Alleluiavers zum Weihnachtsfest (ad lib.) · Zweiter Alleluiavers zum Weihnachtsfest (ad lib.) · Erster Alleluiavers zum Pfingstfest (ad lib.) · Zweiter Alleluiavers zum Pfingstfest (ad lib.) · Veni Sancte Spiritus (ad lib.) · Credo · Sanctus · Agnus Dei
(Text)
The Berlin Mass is intended to be sung liturgically during Pentecost, and includes the Veni Sancte Spiritus specific to that service. The gently unfolding repetition deliberately avoids dramatic and pictorial elements, exuding quiet dignity and a profound sense of joy. The vocal scores have almost no interpretive markings. Dynamics and tempi are left to the performers; it is their task to experience and communicate the rich spiritual possibilities offered in the music. The work is devout and transparent. For the willing listener, it can be a clear window into the soul. (Richard Brown)
The Berlin Mass was given its first performance (by Theatre of Voices) at the Catholic Days in Berlin during May 1990. The occasion was a celebration of Mass, and the music, scored for four singers and organ, had a strictly liturgical function. Pärt subsequently decided to orchestrate the work for strings and chorus, and also made many changes to details of the composition, most substantially to the accompaniment of the Sanctus. (Paul Hillier)
'... diatonic melodies, clearly defined rhythmic patterns, consonant harmonic textures that coalesce into long, arching spans during which time seems to stand still.' (Peter G. Davis, music critic)
Instrumentation:for mixed choir (SATB) and string orchestra to the accompaniment of the Sanctus. (Paul Hillier)
'... diatonic melodies, clearly defined rhythmic patterns, consonant harmonic textures that coalesce into long, arching spans during which time seems to stand still.' (Peter G. Davis, music critic)
Instrumentation:for mixed choir (SATB) and string orchestra
