Miserere (MO)
Paginas interiors
Contenidos generales
This ‘Miserere’, dedicated to my wife Hélène Giraudier, is trully the work whose completion has taken me the longest. I started in 1997 and, having composed its introduction, first theme and second idea, I let it fall into slumber while I was entangled in other projects.
In that second idea, I had introduced an element coming from a ‘Sanctus’ for soprano and organ, on a text by Verlaine (1995) and which I had also used in the first movement of my ‘Triptic de Sinera’ (1996).
Years later, I took the ‘Miserere’ from where I had left it. I composed the fugato part in the Allegro moderato I had started years before, and that leads to a conclusive reprise of the first movement.
Years later, I took the ‘Miserere’ from where I had left it. I composed the fugato part in the Allegro moderato I had started years before, and that leads to a conclusive reprise of the first movement.
I had initially projected a soloist soprano voice integrating in the second part (Adagio) and I arranged it towards a kind of restatement of the introduction, linked to the first theme. The collective prayer character of the text spurred me to
introduce, near the end, the participation of the audience - just as I had already done in my Christmas cantata ‘Ho sap tothom i és profecia’ on a poem by J.V.Foix (1973) and in ‘He mirat aquesta terra’ on a text by Salvador Espriu (1994), which constitutes the third movement of the ‘Tríptic de Sinera.’
This ‘Miserere’ was premiered on the 8th June 2013 at the Maison Internationale de la Cité Universitaire de Paris by the Chorale and Orchestre de la Cité Internationale Universitaire, conducted by Italo Marchini.
Narcís BONET
introduce, near the end, the participation of the audience - just as I had already done in my Christmas cantata ‘Ho sap tothom i és profecia’ on a poem by J.V.Foix (1973) and in ‘He mirat aquesta terra’ on a text by Salvador Espriu (1994), which constitutes the third movement of the ‘Tríptic de Sinera.’
This ‘Miserere’ was premiered on the 8th June 2013 at the Maison Internationale de la Cité Universitaire de Paris by the Chorale and Orchestre de la Cité Internationale Universitaire, conducted by Italo Marchini.
Narcís BONET
Instrumentos
Voice (S, A, T, B), 2 Flutes, 2 Oboe, 2 Clarinet in Bb, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Trombone, Harp, Drums, Percussion, Violin I, Violin II, Viola, Cello, Double BassCaracterísticas técnicas
Duración
9'40"
Medidas
26 x 33 cm, vertical
Encuadernación
Adhesive binding in the general music score. Staple in the part books
Número de páginas
182
Número de páginas
34
Número de Particelas
21
Número de páginas de las particelas
148
ISMN
979-0-69210-826-9
Editor
DINSIC Publicacions Musicals
Publicaciones relacionadas
Partitura
Miserere
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This ‘Miserere’, dedicated to my wife, Hélène Giraudier, is certainly the work that has taken me the longest to finish. I started in 1997 and, after having composed the introduction, the first theme and the second idea, i set it aside, delayed by other projects. In the second idea, I had introduced an element from a ‘Sanctus’ for soprano and organ on a text by Verlaine (1995), that I had also used in the first movement of my ‘Tríptic de Sinera’ (1996). A year later, I took up the ‘Miserere’ where I had left it and I composed the fugato part in the Allegro moderato that I had started years before and which leads to a conclusive reprise of the first theme.
I had initially thought of a soprano soloist merging in in the second part (Adagio) and I dressed it, turning it into a re-exposition of the introduction, linked to the first theme. The text’s collective-prayer-ish character prompted me to introducing, at the end, the participation of the audience, as I had already done in my Christmas cantata ‘Ho sap tothom i és profecia’ on a poem by J.V. Foix (1973) and in ‘He mirat aquesta terra’ on a text by Salvador Espriu (1994), that conforms the third movement in ‘Tríptic de Sinera’.
The Autor
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La clasificación del nivel de una partitura normalmente viene determinado por el grado de dificultad técnica del instrumento o voz. En los casos de obras para formaciones instrumentales diversas, orquestales, vocales, etc. el nivel se determina atendiendo a la complejidad general de la obra, no a la de sus instrumentos en particular. Es muy importante conocer este criterio porque las obras de conjunto aparecen también en los listados específicos de cada uno de sus instrumentos o voces que participan en él, pero el nivel que se indica es el de la formación instrumental-vocal.
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14.50 €
