Written in 2012 and revised in 2013, this work is
dedicated to the french choir Maitrise de Garçons de
Colmar and their director Arlette Steyer, as a form of
appreciation for their live performance of my Libera
me.
The beautiful poem of Friedrich Rückert embellishes
for itself this work.
The first and second theme of the piece are based on my
Liebeslieder No.5 - Du bist die Ruh (also a poem by
Rückert), presenting some variations in terms of
rhythm and form.
Technically...(+)
Written in 2012 and revised in 2013, this work is
dedicated to the french choir Maitrise de Garçons de
Colmar and their director Arlette Steyer, as a form of
appreciation for their live performance of my Libera
me.
The beautiful poem of Friedrich Rückert embellishes
for itself this work.
The first and second theme of the piece are based on my
Liebeslieder No.5 - Du bist die Ruh (also a poem by
Rückert), presenting some variations in terms of
rhythm and form.
Technically, the greatest difficulty of this work may
be the divisi required in several sections, specially
in the male voices.
In terms of structure, the main theme is introduced by
the Basses and Tenors and then repeated by the Sopranos
and Altos. A short section acts as a bridge to the
lyrical and passionate second theme, first introduced
by the male voices and then by all the choir.
The third theme, in a fugato style and in a faster
tempo, presents a wider harmonic diversity and several
modulations, leading the choir to the recapitulation of
the first theme.
The final coda, is in fact, the final piano part of
Liebeslieder No.5; the work ends the way it starts,
with only male voices.
PARTITION