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Robert Moran Trinity Requiem CD

13 tracks, 1.07.45 innova Recordings on June 17, 2011 15:24

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    Robert Moran
    Trinity Requiem

    innova 244
    Release: September 6, 2011

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    Trinity Requiem
    (Commemorating the 10th Anniversary of September 11, 2001)
    1. Introit 4:33
    2. Kyrie 4:56
    3. Psalm 23 3:42
    4. Offertory 2:58
    5. Sanctus 3:33
    6. Agnus Dei 2:56
    7. Pie Jesu 2:28
    8. In Paradisum 4:44
    The Trinity Youth Chorus and Members of Trinity Choir, Trinity Wall Street
    Robert Ridgell, conductor

    Seven Sounds Unseen
    9. 1 3:16
    10. 2 14:06
    11. 3 5:14
    Musica Sacra
    Richard Westenburg, conductor

    12. Notturno in Weiss 8:12
    The Esoterics
    Eric Banks, conductor

    13. Requiem for a Requiem 7:03
    Philip Blackburn Remix

    Total: 68:08

    TRINITY REQUIEM (2011)
    Commemorating the 10th Anniversary of September 11, 2001

    The Trinity Youth Chorus and Members of Trinity Choir
    Trinity Wall Street
    conducted by Robert Ridgell

    Executive Producer: Linda Hanick
    Engineering: Leonard Manchess, Tom Durak (New York)

    Melissa Attebury, Associate Director
    Wesley Chinn, Assistant
    James Blachly, Assistant
    Eric Dudley, Assistant

    Choir
    Kiana Bartholomew
    Luthian Brackett*
    Chloé Combs
    Cecilia Gault
    Johanna Go
    Jalene Lipowitz
    Hannah O’Sullivan
    Molly Quinn*
    Melanie Russell
    Hannah Sklover
    Virginia Warnken*
    Jelani Wiltshire
    Peter Yao
    Allison Zhao

    *Trinity Choir Member

    Instrumentalists
    Alexander Hermann, Organ
    Jennifer Hoult, Harp
    Aminda Asher, Cello
    Veronica Parrales, Cello
    Sara Wolfe, Cello
    Miho Zaitsu, Cello

    The Trinity Youth Chorus is the voice of youth in Lower Manhattan, providing a unique musical environment for young singers. A collective of community choirs, the chorus offers music education and performance opportunities for girls and boys, ages 5-18. The program emphasizes the social aspect of singing, brings together collaborative neighborhood partners, and teaches the importance of building bridges within the community.

    Notes on TRINITY REQUIEM

    When Robert Ridgell asked me to compose the TRINITY REQUIEM for his youth chorus as part of the 10th Anniversary of Sept. 11th, 2001, a commissioned score, my immediate reaction was “No, Robert.... having a youth choir sing a Requiem strikes me as slightly ghoulish and a bit unnerving. Let me think about this”. Directly after this conversation, I began to get ‘flash-backs’ of numerous stories I had heard throughout my life of children who had lost their entire families from plagues, wars, endless catastrophes, vicious governments, etc. I told Rob that I had heard of a specific story of a little girl in Kosovo, maybe no more than 8 years old, whose parents and brother of age 6 had been murdered; she was found daily at the grave of her brother, and had completely lost the ability to speak. “Rob, this is what ‘our’ Requiem is about, these thousands and thousands of kids left with nothing. A friend of mine in England, as a little child, was sent off to Wales during the Nazi bombings of London. He returned to London at the end of the war to find that both his parents had been killed. I was speechless. Luckily we have the ability to attempt some expression of grief through our music. Let’s get going with this project now”.

    9/11/2001? Most of the voices in this Trinity Youth Chorus are of young people born in 2000. The World Trade Center attack would mean nothing to them... But knowing and seeing on television children’s lives destroyed time and again would have a deep impact. We recorded the Trinity Requiem in November 2010; a very intense and moving experience for everyone involved. At the conclusion of In Paradisum, many of us were in tears. One note concerning the Offertory: I based this short movement upon the bass line of the famous Pachelbel Canon, using that organ statement for my own musical canon for the four celli. The first four notes of the Pachelbel ‘bass line’? Where had I heard those before? They are used as the “Parsifal” chimes, courtesy of Mr. R. Wagner. And even with our concern for eliminating New York City street sounds during this recording, we couldn’t totally succeed. During the opening of the Offertory, one hears a siren passing the church. We decided that this ‘alarm’ was, although ‘not in the score’, worth keeping as a reminder that the World Trade Center, ten years before, had just been behind Trinity.

    Program notes for SEVEN SOUNDS UNSEEN (1992)

    Back in 1992, as a commission from the Catalyst Series of BMG, I composed SEVEN SOUNDS UNSEEN for 20 solo voices for Richard Westenburg and his Musica Sacra. Two short sections surround the extended middle part, which uses text-fragments from many letters of friend John Cage to me over a period of 30 years (he had given me the original manuscript of his book, “M”, and I ‘dipped’ into some of these pages, taking statements that had such a musical ‘ring’ I had to include them). Each of the three parts asks for a different stage arrangement of the various voices for no other reason than to move sounds around for the actual recording. After I completed the score and sent it on its way to Westenburg (actually hand-delivered to the producer of the recording, Andre Gauthier), I looked forward to attending the actual recording and hearing this work for the first time “outside of my head” and with hopes that what was ‘internally heard’ would manifest itself in the studio performance. The entire day, spent in the studio, was amazing from start to finish, the singers producing such magic.

    Producer: Andre Gauthier
    Engineer: Anthony Salvatore

    Notturno in Weiss (2006)

    The Esoterics, Eric Banks, director. With guest harpists Alexis Odell and Melissa Walsh
    (Notturno in Weiss also appears on their album Sonettaria, Terpsichore Records. www.TheEsoterics.org)

    Anne Dame
    Anthony Balducci
    Betsy Bæskens
    Brad Fanta
    Curtis Man
    Dan Luethy
    Doug Rank
    Erin Harlan
    Gretchen Hubbert
    Jamie Balducci
    Jennifer Gosnell
    Jeremiah Oliver
    Jessica Spears
    Jim Peterson
    Kathea Yarnell
    Keith Horlock
    Kevin Fansler
    Lorri Froggét
    Maria Drury
    Mary Wieneke
    Merideth Burness
    Michæl Seidel
    Mitchell Baier
    Rick Sipe
    Sam Beckert
    Sean Glenn
    Shawna Avinger
    Sheri Doyle
    Steve Shelton
    Vanessa Ament
    Whitney Wishart
    Will Thayer-Daugherty

    Recording engineer: Rick Lyman
    Recording producer: Brian Fairbanks
    Recording editor: Al Swanson

    Notturno in Weiss [Nocturne in white] (2006)
    Poem by Christian Morgenstern
    Translated by Eric Banks

    Die steinerne Familie,
    The family of stone,
    Aus Marmelstein gemacht,
    Fashioned from marble,
    Sie kniet um eine Lilie,
    Kneels unto a lily,
    In totenstiller Nacht.
    In the deathly still of night.

    In totenstiller Nacht
    [textless]

    Der Lilie Weiß ist weicher
    The white of the lily is softer,
    Als wie das Weiß des Steins,
    Than the white of the stone,
    Der Lilie Weiß ist weicher,
    The white of the lily is softer,
    Doch das des Steins ist bleicher
    Yet that of the stone is paler
    Im Weiß des Mondenscheins.
    In the white of the moonlight.

    Die Lilie, die Familie,
    The lily, the family,
    Der Mond in sanfter Pracht,
    The moon in gentle splendor,
    Sie halten so Vigilie,
    They each hold their vigils,
    Wetteifernde Vigilie,
    Their emulating vigils,
    In totenstiller Nacht.
    In the deathly still of night.

    REQUIEM FOR A REQUIEM (2011)
    Composer and environmental sound-artist Philip Blackburn created this audio collage of several of Robert Moran’s recorded tracks on the innova label. It takes its cues from some of his favored compositional techniques: long loops, cascading textural layers, spatial distributions, and shamelessly heart-rending harmonies.
    www.PhilipBlackburn.com

    BIO

    Robert Moran has traveled many musical paths since 1957 when he began his study of 12-tone music in Vienna with Hans Erich Apostel and completed his Masters with Luciano Berio and Darius Milhaud. He has composed for solo instruments and intimate chamber groups; created musical compositions incorporating 100,000 performers, radio and television stations, skyscrapers, and airplanes; and has collaborated with Phillip Glass to compose minimalist opera scores. Moran compositions range from the absurd theatre piece Divertissement Number One (1967), in which performers react to the sight and sound of popcorn popping, to the sinister yet funny Alice in Wonderland (2011) for the Scottish Ballet.

    Throughout his career Moran has been careful not to ally himself with any specific school of composition. Musicologist and critic Walter Simmons noted that Moran “has passed through most of the ‘isms’ that have comprised the contemporary music landscape of the past 50 years.” This freed him to explore whatever musical form interested him at the moment, and his numerous musical excursions led to the development of his unique style.

    The 2011 Ruhr Triennale, Oberhausen, Germany commissioned Moran's BUDDHA GOES TO BAYREUTH, composed for two choruses and two string orchestras, conducted by Rupert Huber. In 2012 Ballet West will premiere THE LOTTERY, based upon the short story of Shirley Jackson and choreographed by Val Caniparoli.

    Also by Robert Moran on innova:
    Open Veins (627)
    Mantra (714)
    Cabinet of Curiosities (792)

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