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DE PROFUNDIS Compositions for Orchestra and Choir Metropolitan HILARION ALFEYEV DE PROFUNDIS Compositions for orchestra and choir Russian National Orchestra Moscow Synodal Choir Metropolitan Hilarion Alfeyev (1966) De profundis DE PROFUNDIS example, St Matthew Passion, 2008). Yet modern cantatas are a thriving of dynamic articulation in the DE PROFUNDIS 13 De profundis (Psalmus 129/130) 5. 11 COMPOSITIONS FOR On this new album, Metropolitan realm for sacral themes. Metropolitan orchestral accompaniment. The Compositions for orchestra and choir 14 Levavi oculos meos in montes (Psalmus 120/121) 5. 26 ORCHESTRA AND CHOIR Hilarion’s works, on the one hand, Hilarion’s Stabat Mater has a four part fourth movement, “Paradiso Gloria”, 15 Super Flumina Babylonis (Psalmus 136/137) 3. 52 offer originality in each category, and, structure. The libretto is based on a tells of the grief of a mother, “seeing Stabat Mater 16 Laudate nomen Domini (Psalmus 134/135) 4. 28 Whoever desires to listen to serious on the other hand, are characterised thirteenth century text, Stabat Mater Jesus, given up to torture”, and of the 1 Stabat Mater 5. 59 17 Alleluia (Psalmus 148-150) 5. 07 music, and whoever has not lost the by a certain stylistic communality, dolorosa, by the Franciscan Jacapone compassion that the crucified saviour 2 Virgo virginum 5. 35 capacity to distinguish the genuine an individual, authorial discourse. If de Todi. The poetics of this cycle’s and his sorrowful mother expressed 3 Sancta Mater 5. 24 from the false, will surely be very the semantic side is characterised by expression is an organic combination for all humankind. The composer 4 Paradisi gloria 5. 27 Total playing time: 74. 05 interested in this recording. complexity and depth, on the musical of the traditional and the innovative, constructs an individualist-sonorant Metropolitan Hilarion (Alfeyev) is a constructive side there is a simplicity of musical motifs from the baroque era finale, thereby referring to tonal- Concerto grosso world famous theologian and historian, and perceptive accessibility. and artistic methods of the modern harmonic “simplicity”. The polyphony 5 Adagio molto. Allegro 4. 07 Svetlana Kasyan (soprano) tracks 3, 9, 10, 11 and 12 writer and composer. His music is a era. The first movement of the cantata, of layers this is the dynamic, orchestral 6 Adagio 4. 37 Artyom Dervoed (guitar) tracks 9, 10, 11 and 12 special type of “spiritual creativity”, Stabat Mater (2008-2011), a cantata “Stabat Mater”, is associated with, on choral medium that successfully 7 Finale 2. 47 Moscow Synodal choir tracks 1, 2, 4, 13, 14, 15, 16 and 17 a semantic field that is both cerebral for soprano, choir and orchestra, is the one hand, the passacaglia, and on summarises this artistic discourse. Tatiana Porshneva (violin), Maxim Khokholkov (violin), Sergei Dubov (viola) and vivid. yet another facet of Metropolitan the other hand it has characteristics Fugue on the B-A-C-H Motif and Alexander Gotgelf (cello) tracks 5, 6 and 7 Hilarion’s musical conceptual thinking. typical of the modern art of Concerto Grosso (2012) is a work that 8 Adagio molto 6. 17 On the whole, his works can be Working in large orchestral choral minimalism. The second movement, is best defined as aesthetic expressing Moscow Synodal Choir classified into two categories: liturgical forms, the composer focuses on the “Vigra virginum”, continues in the the beauty, sublimity and wonder of Canciones de la muerte Concertmaster: Alexei Puzakov and non-liturgical. Among the poetics of a genre that, historically, has polyphonic style, albeit submerged Christian culture. The artistic form is 9 Candil 2. 05 former are choral works intended for developed and changed considerably in the context of polytonality. The the result of the interaction of three 10 Canción de la muerte pequeña 2. 12 Russian National Orchestra performance in church services (All over time. Thus, Russian cantatas third movement, “Sancta Mater”, is movements. Together they create an 11 Falseta 1. 51 Conducted by Metropolitan Hilarion Alfeyev Night Vigil, 2006; Divine Liturgy, 2006). (by Tchaikovsky, Rimsky Korsakov, distinguished by a differentiation of association with the so called concerto 12 Gasela de la muerte oscura 2. 54 Among the latter are compositions Rachmaninov, Prokofiev) were mainly timbre (use of vocal and instrumental da chiesa, in which slow and fast Organ: Norbert Gembaczka meant for concert performance (for written on non spiritual themes. solos) through commencement tempos alternate. The cyclic form, the three part “grand four notes continues to excite modern the mood of the tragic poet Federico hidden in the Old and the Old is concert”, the contrast of tempos and listeners. Here it is worth recalling the Garcia Lorca, speaking in the language unveiled in the New”. Is this not the the overall melodic rhythmic style, words of Metropolitan Hilarion himself: of chromatic tonality, polyrhythms in ideal for the design of Metropolitan creates the image of baroque music “In Bach’s music there is something combination with Spanish intonations Hilarion’s De Profundis? (Corelli, Vivaldi, as well as Handel and universal, general, all encompassing. (in the melodies), and bolstered by the J.S. Bach). On the other hand, the As the poet Joseph Brodsky wrote, timbre of a guitar. music also sounds entirely modern. ‘In all music there is Bach, in all of us Metropolitan Hilarion’s orchestral there is God.’ Bach is a phenomenon De Profundis, (2008) is a special music, as well as his orchestral choral on an all Christian scale.” The fugue, in genre, based on the psalms of David. music, not only illustrates the diversity the definition of its internal structure, The libretto for this original five part of genres in his musical creativity, but presents a monolithic musical symphony contains both each part’s also demonstrates his “authorial style” formation with an ascending drama it local form (the content and mood as a phenomenon of modern music its is a sort of “spiritual ladder”, an aural of the selected psalm), as well as a essential sacral aesthetic core. movement of woe. general architecture for the entire cycle: “ascent from the depths of despair to Fugue on the B-A-C-H Motif (2012) Songs of Death is a reconstruction, the heights of prayerful jubilation and is a work that not only is a tribute presented in the score as a four part exalted praise for God.” Each part has to a well known tradition, but also a composition: “Candil”, “Cancionen de its musical form: passacaglia, fugue, personal interpretation of a symbol. la muerte pequena”, “Falseta”, and couplet, antiphons, and ceremonial For many famous composers of the “Casela de la muerte oscura”. These finale to three psalms with a reprise past and present, including J.S. Bach songs, which differ stylistically from the coda. Yet the presence of a general himself, the BACH cryptogram has composer’s later vocal instrumental drama creates a unified, multi layered become a universal symbol, and the works, are presented in a version for composition. In St. Augustine’s famous sense of the infinite contained in these voice and orchestra. The music reflects formula, “[t]he New Testament lies © Russian National Orchestra STABAT MATER THE MOTHER STOOD 2. Virgo virginum 2. Virgin of Virgins Fac me vere tecum flere, Make me truly weep with you, fac, ut tecum lugeam. that I may grieve with you. crucifixo condolere, grieving with Him who is crucified Fac, ut ardeat cor meum Make my heart burn 1. Stabat Mater 1. The Mother Stood Virgo virginum praeclara, Virgin of virgins, resplendent, donec ego vixero. so that I may live. in amando Christum Deum with the love of Christ, the God, mihi iam non sis amara, do not now be harsh towards me, ut sibi complaceam. that I may be pleasing to Him. Stabat Mater dolorosa The Mother stood sorrowing fac me tecum plangere. let me weep with you. 4. Paradisi gloria 4. The Glory of Paradise juxta crucem lacrimosa, by the cross, weeping Iuxta Crucem tecum stare, To stand by the cross with you, dum pendebat Filius. while her Son hung there; Fac, ut portem Christi mortem, Let me carry Christ’s death, Quis est homo qui non fleret, What man would not weep Te libenter sociare to be freely joined with you passionis fac consortem the destiny of his passion, Christi matrem si videret if he saw the Mother of Christ in planctu desidero. in lamentation, I desire. Cuius animam gementem, Whose soul, lamenting, et plagas recolere. and meditate upon his wounds. in tanto supplicio? in such torment? contristatam et dolentem sorrowing and grieving, In flammatus et accensus, Fired and excited pertransivit gladius. has been pierced by the sword. Fac me plagis vulnerari, Let me suffer the wounds Quis non posset contristari Who could not be sorrowful Per Te, Virgo, sim defensus by you, O Virgin, let me be defended Cruce hac inebriari of that cross, steeped Christi Matrem contemplari to behold the pious mother in die iudicii. on the day of judgement. O quam tristis et afflicta O how sad and afflicted Ob amorem Filii. in love of your Son. dolentem cum Filio? grieving with her Son? fuit illa benedicta was that blessed Fac me cruce custodiri, Let me be shielded by the cross, Mater Unigeniti! Mother of her only-begotten Son. 3. Sancta Mater 3. Holy Mother Pro peccatis suae gentis For the sins of His people Morte Christi praemuniri protected by Christ’s death, vidit Iesum in tormentis, she saw Jesus in torment Confoveri gratia. cherished by grace. Quae moerebat et dolebat Who wept and grieved Sancta Mater, istud agas, Holy Mother, bring this to pass, et flagellis subditum. and subjected to the whip. pia Mater dum videbat and trembled to behold crucifixi fige plagas transfix the wounds of Him who is Quando corpus morietur, When my body dies, Nati poenas inclyti.
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