There follows a sinuous melody in 3/4 time (yes: slow waltz tempo in a march!), with tied notes demarcated by rapid turns and mordants, somewhat as bagpipe players must do because the wind cannot be interrupted. Starting as a traditional grand march, the piece soon loses momentum and arrives at a questioning pause. This was an era in which upper-class Europeans were fascinated with all things chinoise and japonaise. 25 by Camille Saint-Saëns (1835 - 1921) is no typical march! It was composed in 1869 for a gala evening of the Union Centrale des Beaux-Arts, which was concerned with the relationship of art and industry and featured an exhibition of oriental art. The Charles River Wind Ensemble doesn’t typically play marches, but Orient et Occident, Op. Chen, and two works by Western composers inspired by themes of the Orient. This program features two works by Japanese composers, one by the Chinese Dr. Th at holds true for original compos itions for wind ensemble (or, as often called outside the U.S., “wind orchestra”). Sometimes we f orget that the great European tradition isn’t the only source of won derful music. Suite Symphonique, “The Aurora” (1999) - Masamichi Amano.Variations on a Korean Folk Song (1965) - John Barnes Chance.Dragon Rhyme (2010) - Chen Yi - (Mvt.2: Energetically).The architectural form and ritual performed in this space harmonized with the Byzantine philosophical and mystagogical explanations and enabled the religious experience of nearness to the divine.We close the 2022-23 season with music “from a diffe rent direction.” The material fabric of the building and its acoustics together with the liturgy performed by Hagia Sophia's officiating clergy and the chants sung by the choirs formed the character of the cathedral rite. Within its walls, a rich multisensory experience was created through the integration of architecture, music, acoustics, and liturgy. ![]() Yet, it is the liturgy with its large congregation, officiating clergy, and numerous choirs that brought about the effect of being transported to a place in between heaven and earth. Equally impressive is the interior decoration of gold mosaics and marble. Its daring architecture of cascading dome and semi-domes reflects a unique vision of beauty and power introduced by the emperor Justinian (527–565). It tackles the notions of ‘catholicity’ and ecumenicity with which the world has come to know Pärt from the lens of his Orthodox faith, and extending outwards across geographical, cultural, political, and spiritual borders."Īnd Keywords Hagia Sophia, the former Orthodox Christian cathedral of Constantinople, is the single most important monument that survives from Byzantium. It examines the ‘aural architecturality’ of tintinnabulation, through hermeneutic and phenomenological theories surrounding iconography and light mysticism. It examines the broader connotations of Pärt, the icon, and spirituality providing insights into his 2010 performance in Istanbul. This thesis considers the ways in which we view Pärt as mediator for sacred music in a secular, postmodern environment, through Orient and Occident and historical perspectives of the icon in Byzantine Orthodox traditions. I suggest that Orient and Occident is an exposition of his own inner Orthodoxy, and a musical mediation of his Orthodox faith in relation to other faiths, Christian or otherwise. He has suggested letting the music “speak for itself,” as a symbol to convey his own inner spiritual thoughts. Throughout Pärt’s compositional career, he has declined to comment in depth on his own spirituality, and he has left it to his audience to draw their own conclusions. Several reviews suggest that Orient and Occident shares similarities with Near-Eastern music, or the characteristics of Islamic cantillation. Its idiosyncratic use of dissonance, string techniques, and modal vocabulary is atypical of his tintinnabuli works. The work is a wordless tintinnabuli setting of the Nicene-Constantinopolitan Creed. In the year 2000, Pärt composed the work Orient and Occident for string orchestra. Although a self-professed Orthodox Christian (to which he converted in 1972), he has composed choral works for Catholic, Orthodox, and Anglican services. His tintinnabuli technique has led him to great success both in and outside of the Classical music world. ![]() "Arvo Pärt is a contemporary sacred composer who is recognized for developing what he has referred to as the ‘tintinnabuli’ compositional technique.
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