Lera Auerbach 72 Angels Netherlands Chamber Choir Peter Dijkstra Raschèr Saxophone Quartet MENU › TRACKLIST › English › Français › Deutsch
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LERA AUERBACH 72 ANGELS NETHERLANDS CHAMBER CHOIR PETER DIJKSTRA RASCHÈR SAXOPHONE QUARTET MENU › TRACKLIST › ENGLISH › FRANÇAIS › DEUTSCH LERA AUERBACH (*1973) 72 ANGELS IN SPLENDORE LUCIS 1 Angels 1 to 6 7’46 2 Angels 7 to 12 5’56 3 Angels 13 to 18 7’53 4 Angels 19 to 24 4’57 5 Angels 25 to 30 5’47 6 Angels 31 to 36 5’15 7 Angels 37 to 42 3’49 8 Angels 43 to 48 5’51 9 Angels 49 to 54 5’20 10 Angels 55 to 60 7’43 11 Angels 61 to 66 5’53 12 Angels 67 to 72 13’05 13 Amen 4’37 TOTAL TIME: 83’59 היוהו Вэxэвйа Vehevyah 1 לאל†י†י Елиэль Yeliël’ 2 לאט†יס Ситаэль Sitaёl’ 3 הי†מלע Элемийа Elemiyah 4 הי†ש†המ Махашийа Mahashiyah 5 לאהלל Лелахэль Lelahel’ 6 אהיכא Ахаийа Ahaiyah 7 לאתהכ Кахэтэль Kahetel’ 8 לאזיה Хазиэль Haziël’ 9 הי†דלא Аладийа Aladiyah 10 היא†ו†ל Лавийа Laviyah 11 הי†העה Ахайа Ahayah 12 לאזלי Йэзэльэль Yezel’el’ 13 לאבהמ Мебахэль Mebahel’ 14 לאר†י†ה Хариэль Hariël’ 15 הי†קמה Хакамийа Hakamiyah 16 היא†ו†ל Левийа Lеviyah 17 לאילכ Калиэль Kaliël’ 18 היול Лававйа Lavavyah 19 הי†להפ Пахалийа Pahaliyah 20 לאכלנ Нэлькаэль Nel’kaёl’ 21 ליא†יי Йейаэль Yeyaël’ 22 לאלהמ Мелахэль Melahel’ 23 היוהח Ха’эвайа Ha’evayah 24 הי†תהנ Нитайа Nitayah 25 אהא†י†ה Ха’айа Ha’ayah 26 לארתי Йоратэль Yoratel’ 27 הי†האש Шэ’эйа She’eyah 28 לאיר Рэйиэль Reyiël’ 29 לאמרא Ормаэль Ormaёl’ 30 לאכבל Лекабэль Lekabel’ 31 היש†ר†ו Васарийа Vasariyah 32 היח†ו†י Йехaвийа Yehaviyah 33 הי†חהל Лехахийа Lehahiyah 34 הי†ק†וכ Кавакийа Kavakiyah 35 לאנדמ Манадэль Manadel’ 36 לאינא Аниэль Aniël’ 37 הי†עמח Ха’амийа Ha’amiyah 38 לאעהר Рехаэль Rehaёl’ 39 לאזיי Йейазэль Yeyazel’ 40 להאהה Хахаэль Hahaël’ 41 לאכ†ימ Микаэль Mikaёl’ 42 הי†ל†וו Bэвалийа Vevaliyah 43 הי†להי Йелахийа Yelahiyah 44 היאלס Сеалийа Sealiyah 45 לאירע Ариэль Ariël’ 46 היש†ל†ע Асалийа Asaliyah 47 לאה†ימ Михаэль Mihaёl’ 48 לאוהו Вехэвэль Vehevel’ 49 לאינד Даниэль Daniël’ 50 הי†חשה Хaхашийа Hahashiyah 51 הי†מע Имамийа Imamiyah 52 לאנאנ Нанаэль Nanaёl’ 53 לאת†ינ Нитаэль Nitaёl’ 54 הי†בהמ Mебахийа Mebahiyah 55 לאויפ Поиэль Poiël’ 56 הי†מנ Нэмамийа Nemamiyah 57 לאל†יי Йейельэль Yeyel’el’ 58 לארחה Харахэль Harahel’ 59 לאצרמ Мицрaэль Mitzraël’ 60 לאבמו Вамэбэль Vamebel’ 61 לאהי Йехаэль Yehaёl’ 62 לאונע Анаюэль Anayuël’ 63 לאח†י†מ Мэхиэль Mehiël’ 64 הי†במד Дамэбийа Damebiyah 65 לאנקמ Манакэль Manakel’ 66 לאע†יא Эйаэль Eyaёl’ 67 היובח Хабахийа Habahiyah 68 לאאהר Рэхэль Rehel’ 69 הי†במי Ябамийа Yabamiyah 70 לאיה Хайаэль Hayaël’ 71 הי†וממ Мевамйа Mevamyah 72 ןֵמָא Аминь Эпилог: Amen Epilogue: NETHERLANDS CHAMBER CHOIR PETER DIJKSTRA CHIEF CONDUCTOR HELEEN KOELE, ANNET LaNS, MÓNICA MONTEIRO, ELISABETH BLOM, CRESSIDA SHARP, VARVARA TISHINA SOPRANO ELSBETH GERRITSEN, MARLEENE GOLDSTEIN, DORIEN LIEVERS, KASPAR KRÖNER, ÅSA OLSSON, JENNI REINEKE ALTO STEFAN BERGHAMMER, WILLIAM KNIGHT, JOÃO MOREIRA, HARRY VAN BERNE, FaLCO VAN LOON, ENDRIK ÜKSVÄRAV TENOR KEES JAN DE KONING, GILAD NEZER, JASPER SCHWEPPE, MATTHEW BAKER, FLORIAN JUST, HANS WIJERS BASS RASCHÈR SAXOPHONE QUARTET CHRISTINE RALL SOPRANO SAXOPHONE ELLIOT RILEY ALTO SAXOPHONE ANDREAS VAN ZOELEN TENOR SAXOPHONE OSCAR TROMPENAARS BARITONE SAXOPHONE › MENU H LIS 72 angels – IN SPLENDORE LUCIS ENG BY LERA AUERBACH 72 Angels is an expansive work for mixed choir and saxophone quartet. It is structured in the form of 72 prelude-evocations and an epilogue (“Amen”). Each prelude sets one of the 72 names derived through an arcane interpretation of Exodus 14:19-21. Angelic beings, spiritual guides, higher energies or messengers are a common theme throughout many belief systems in human history. In addition to the concept of angels shared by the Abrahamic religions of Christianity, Islam and Judaism, there are the Devas and Apsara of Buddhism and Hinduism, the Amesha Spenta, Fravashi and Yazatas of Zoroastrianism, to name a few. As with my Requiem: Ode to Peace, the intent for 72 Angels is to focus on that which is shared among different cultures in their religious, spiritual, esoteric and mythological traditions. I wish to put emphasis on that which unites us through shared connections. These 72 evocations celebrate all angels in all their multifaceted variations. In essence, 72 Angels is a long, intense prayer, full of passion and hope. Perhaps exodus continues today within every one of us, as we break away from our bondages of limited preconceptions and prejudices. The sound of the saxophone quartet is limitless in its colour and expression. It contains the ancient raw power of the shofar; it evokes the wildness of beasts; it can imitate powerful trumpets or delicate woodwinds; it brings forth the sombre sound of a church organ or a mystical glass harmonica. A saxophone quartet can blend with the choir or lead it; it can ignite the fire while transcending its burn. The 72 preludes are interconnected and performed without pauses, creating a continuous composition rather than 72 separate short pieces. Structurally, the work divides into two parts at prelude 36 and in three sections at preludes 24 and 48, representing unity and division: two in one (duality) and three in one (trinity). At these demarcation points, all of the already-introduced names of angels are recited . The piece concludes with Amen, a quiet postlude-meditation. My wish is for each listener and performer to embrace his or her personal interpretation of 72 Angels. H LIS 72 ANGELS: NAME DERIVATION ENG It is said that the waters were divided upon Moses’ invocation of the Explicit Name, a name found encoded in the descriptive verses in Exodus 14:19-21. It is composed of 216 letters and divided into 72 three-letters sequences. The 72 three-letter sequences are revealed when the three verses are aligned one above the other and read boustrophedonically: the first from right to left, the second from left to right, and the third from right to left. In Hebrew, each of the verses is comprised of 72 letters. The names are then are added to the ( הָי ) or -Yah ( לֵא ) read from right to left, and vertically from top to bottom. -El sequences to form the names of 72 Angels. 19 And the angel of God, which went before the camp of Israel, removed and went behind them; and the pillar of the cloud went from before their face, and stood behind them: 20 And it came between the camp of the Egyptians and the camp of Israel; and it was a cloud and darkness to them, but it gave light by night to these: so that the one came not near the other all the night. 21 And Moses stretched out his hand over the sea; and the LORD caused the sea to go back by a strong east wind all that night, and made the sea dry land, and the waters were divided. While these 72 names are sourced from Kabbalah, an ancient tradition of study and exegesis of the Old Testament, they could be interpreted as an origin for the modern concept of angels shared by the Abrahamic religions of Judaism, Christianity and Islam. H LIS ENG The Hebrew alphabet has no vowels. Pronunciation was learned verbally from generation to generation and varied according to regional dialects. Transliterations to other languages approximate the sounds to the target language. The transliteration used in this work searches for commonality among Indo-European languages, as well as clarity and ease for the singing voice. H LIS LERA AUERBACH ENG Lera Auerbach is one of today’s most sought after and exciting creative voices. She is not only among the world’s leading composers but also an impressive virtuoso pianist, conductor, visual artist and writer. Auerbach was born in the city of Chelyabinsk in Russia. At the age of 17 she left the Soviet Union to a new life in New York, studying both composition and piano at The Juilliard School. She also graduated from the Hannover University of Music, Drama and Media in Germany. Auerbach’s published catalogue comprises more than 130 works for orchestra, opera and ballet as well as works for choir and chamber music. Her music is performed by leading soloists such as Gidon Kremer, Leonidas Kavakos, Vadim Gluzman, Hilary Hahn, Vadim Repin, Daniel Hope, Kim Kashkashian and Gautier Capuçon. Conductors that have performed her orchestral compositions include Christoph Eschenbach, Vladimir Fedoseyev, Neeme Järvi, Vladimir Jurowski, Charles Dutoit, Andris Nelsons, Edward Gardner, Osmo Vänskä, and Alan Gilbert, among many others. She has collaborated with choreographers and stage directors such as John Neumeier, Aszure Barton, Goyo Montero, Terence Kohler, Sol Leon, Paul Lightfoot, Reginaldo Oliveira, and Christine Mielitz. Production of her large scale works have taken place at the Hamburg State Opera Theater, Theater an der Wien, Lincoln Center in New York, the Canadian State Ballet, the National Ballet of China, the Royal Danish Theater, the Nuremberg State Theater, the Finnish State Theater, the Stanislavsky Theater in Moscow, the Nederlands Dans Theater, the San Francisco Ballet Theater, and the Salzburg State Theater. Lera Auerbach has been drawing and painting all her life as part of her creative process and in 2009 began sculpting. Her visual art is exhibited regularly, included in private collections, and it is represented by leading galleries. She has published several books of poetry in Russian as well as Excess of Being, a collection of aphorisms about life as an artist. H LIS NETHERLANDS CHAMBER CHOIR ENG For more than eighty years, the Nederlands Kamerkoor (Netherlands Chamber Choir) has enjoyed a place at the top of the international choral world.