Naji Hakim

This variation on Noël Nouvelet develops, in an ornamental texture, a popular French Renaissance carol inspired by the incipit of the Marian gregorian hymn, Ave maris stella. / Orgue

The edition is the second part of the commissioned work Our Lady's Minstrel. The through-composed music of Three Poems takes up verses from the English translation of Le Jongleur de Notre-Dame, a tale from medieval France. The piece Prelude and Dance for clarinet and organ (ED 22298) is the first part of the whole work and separately available. / Soprano Et Orgue

Ce travail par le compositeur et organiste Naji Hakim, né à Beyrouth en 1955 et actuellement vivant en France, a été commandée à l'occasion du 450e anniversaire de la Religionsfrieden d'Augsbourg (paix religieuse d'Augsbourg). Initialement composé pour ténor et quatuor à cordes (ED 9970), le travail a été arrangé par Hakim, qui a créé plus de versions pour ténor et orchestre à cordes (étude score ED 9969) et pour ténor et orgue. Il a inclus les citations suivantes se référant à la paix de l'ancien et le Nouveau Testament : premier livre de Moïse 08:11, Luke 1:79 et John 14:27. / Tenor (Soprano) Et Orgue

auf Texte aus der Bibel. Par HAKIM NAJI. Die Taube (The Dove) was commissioned by ”Kirchenmusik bei St. Anna Augsburg” to celebrate the 450th anniversary of the 'Augsburger Religionsfrieden' (Religious peace of Augsburg). It is based on three biblical verses related to peace : Gen. 8/11, Luk. 1/79, Joh. 14/27. The music is through composed and develops the character of the verses with contrasted string textures, putting in relief the expressive vocal line, declamation of light and happiness. The work exists in three versions : 1. for Tenor and string quartet, 2. for Tenor and string orchestra, 3. for Tenor and organ. First performance : by Robert Sellier, Tenor, Capella St. Anna Streichquartett, St. Anna Augsburg, Festkonzert zum Hohen Friedensfest, 8 August 2005. Gen.8/11 : ”And the dove came in to him in the evening; and, lo, in her mouth was an olive leaf pluckt off. ” Luk. 1/79 : ”To give light to them that sit in darkness and in the shadow of death, to guide our feet into the way of peace. ” Joh.14/27 : ”Peace I leave with you, my peace I give unto you. ” '...to guide our feet into the way of peace.' (Luke 1,79) Words and music bind people together to form fellowships which guide us into the way of peace. Singing or playing together combine bodies and souls, so that our rhythm and breathing becomes one - a sense of belonging to one another is created which instils the very nature of peace. So it is that by becoming an integral part of the music, our feet are guided 'into the way of peace'. In Luke chapter 1, both Maria and Zechariah are carried away, body and soul, in hymns of thanksgiving. They let God´s melody resound in their bodies. Ignatius, one of the Early Fathers of the Church, might have drawn his inspiration from them when he wrote to the Christians of Ephesus around the year 100, 'Let God´s melody resound in you.' The melody of our life is a single voice within God´s great melody; an everlasting celestial melody, in which we join together as integral parts - with time, we are gradually shown which chords we are given to touch and which chords to form with one another. God´s inextinguishable melody has an infinite galaxy of variations. As you would know, a variation is rooted but limitless. At our christening, God gives us a variation - an inextinguishable variation because of his promise, 'I am with you always, even to the end of the age.' (Matthew 28, 20). Deeply rooted as we are, God leads us through. He calls us to Life out of His Eternity, He lets his melody reverberate in us and finally calls us back, when we die, to His everlasting future. Let God´s melody resound in you and guide your feet into the way of peace./ Répertoire / Ténor et Quatuor à Cordes

Der Tanz wird eingeleitet durch den doppeldeutigen Rhythmus 6/8 - 2/4 vor der Exposition eines festlichen Themas, in dem sich hüpfende und leichte Perioden mit Abschnitten mit perkussiven Akkorden in den Händen abwechseln.Eine kantablere zentrale Episode geht der Wiederholung voraus. Der baskische Fandango endet immer mit einem anderen Tanzschritt, dem Arin Arin im 2/4-Takt, hier charakterisiert durch Skalen im daktylischen Rhythmus, die den Charakter voller Leben und Freude weiterführen. / Orgue