For today’s venture into the world of classical music we bring you two recent releases with a distinctly ecclesiastical flavour.
Alberto Ginastera & Alfred Schnittke, The Choir Of St. Ignatius Loyola (MSR 1251)
The Choir Of St. Ignatius Loyola's director Kent Tritle, is one of America’s leading choral conductors and organists. Amongst other roles he is the founder and Musical Director of Sacred Music in a Sacred Place, and oversees a program that produces an incredible 400 plus services with music a year.
Argentinean Alberto Ginastera (1916-1983) was one of the leading Latin American musicians of the twentieth century. His early career saw him produce work which was often of a nationalistic style, although after the Second World War his music reflected the change in Argentinean society with its strong ‘European’ influences. This shift in style also perhaps reflected the fact that his parents were Catalan and Italian by birth.
In the mid 1940’s he visited America for the first time. With Peron in power in his homeland he was forced to resign from his post in the National Military Academy and took a role in the United States to effectively exile both himself and his family. Lamentations Of Jeremiah, Opus 14, written in 1946, and based upon the Jewish lament of the destruction of Jerusalem arguably reflects his own sense of exile.
The opening movement “O Vos Omnes” would seem to capture some of his anger and frustration in a dramatic movement of thinly veiled aggression and anxiety. The second movement, “Ego Vir Videns”, is beautifully performed within a cloyingly sombre atmosphere.
The third movement “Recordare” rises in dramatic intensity towards its majestic finale. A sense of yearning, gives way to one of hope, both powerful emotions expertly and triumphantly conveyed within this live recording.
Alfred Schnittke was born in 1934 in the German speaking Volga region of Russia. His musical training in Vienna resulted in Austro-German influences within his subsequent compositions.
The Concerto For Choir was premiered in 1985. During the work Schnittke expertly creates a near orchestral texture within the various elements of the choir which is reminiscent of fellow Russian Rachmaninoff in their complexity.
The four sections are taken from the third chapter of the Book Of Lamentations by the Armenian monk Saint Grigor Narekatsi (951-1003) and reflect rapturous praise to God, hope of redemption, and humble prayer. At a time of political oppression in his homeland the piece evokes a spirit of resilience within the human condition that is both uplifting and rewarding.
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