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Track(s) taken from CDA67747

Pater noster

composer
1994; Vilnius; published in 1999
author of text
Luke 11: 2b-4

Trinity College Choir Cambridge, Stephen Layton (conductor)
Recording details: August 2008
Ely Cathedral, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt
Release date: February 2010
Total duration: 6 minutes 36 seconds

Cover artwork: About 2500 Tigers (2008) by Charlie Baird (b1955)
Private Collection / Bridgeman Art Library, London
 
1
Pater noster  [6'36]

Other recordings available for download

Royal Holloway Choir, Rupert Gough (conductor)

Reviews

'A fascinating collection of choral works … centring on a Mass setting by Latvian Uģis Prauliņš … probably the single most impressive moment in the work is the end of the Credo, whose increasing waves of spoken affirmation of faith are haloed by bell-like choral roulades … Einfelde's music is altogether more introverted, darker than that of Prauliņš but beautifully crafted and jewel-like … [Angelis suis Dominis and Pater noster by Miškinis] are works of absolutely luminous beauty' (Gramophone)

'The Choir of Trinity College Cambridge enjoys the urgent heartbeat of this music … Missa Rigensis contains many wonders, including a buoyant Gloria which vanishes magically into the long acoustic perspectives of the Lady Chapel, Ely Cathedral, where this disc was most sensitively produced and engineered  … Stephen Layton conducts this music with all the rigour, colour and craft characteristic of his work' (BBC Music Magazine)

'Stephen Layton conducts vital and immaculate performances. These works must be quite taxing and they’re not always as simple or as straightforward as they may sound. The singing is a pure joy from first to last. The recording lends an appropriately reverberant aura to the music. This splendid release perfectly complements Hyperion’s disc devoted to Dubra’s choral music, enthusiastically reviewed here a few months ago (Hail, Queen of Heaven). This disc will appeal strongly to all lovers of imaginative choral music, but others—I am sure—will find much to relish' (MusicWeb International)

'Soaring melodies, folklike tunes, drones with religious gravity, and stylized speech are all encompassed by these works, the biggest among them being Uģis Prauliņš' Missa Rigensis—one of the most original and personal settings of the Mass text imaginable. Best of all, this is a disc to live with: There's much to enjoy on first hearing, but all the pieces have dramatic new revelations on subsequent encounters' (The Philadelphia Inquirer, USA)
Vytautas Miškinis’s Pater noster opens with pulsing cluster-chords; the effect is hushed and expectant. Gradually, unsynchronized entries in the lower parts build a static, aleatoric texture whose glowing E minor modality is subtly piqued by G sharps from the basses. The mood is prayerful and meditative. There is one ecstatic fortissimo outburst but elsewhere the dynamic rarely rises above pianissimo; the gentle pulsation is ever-present and, shepherded by a lone soprano’s endlessly repeated Amens, the work eventually recedes into inaudibility.

from notes by Gabriel Jackson © 2010

Le Pater noster de Vytautas Miškinis commence par des clusters puissants; l’effet est feutré et plein d’attente. Petit à petit, des entrées non synchronisées dans les parties graves construisent une texture statique aléatoire dont la modalité radieuse de mi mineur est subtilement piquée au vif par des sols dièse des basses. L’atmosphère est à la prière et à la méditation. Il y a un éclat fortissimo extatique, mais ailleurs la dynamique monte rarement au-dessus de pianissimo; la douce pulsation est omniprésente et, guidée par les Amen indéfiniment répétés d’un soprano solitaire, l’œuvre s’estompe finalement jusqu’à l’inaudible.

extrait des notes rédigées par Gabriel Jackson © 2010
Français: Marie-Stella Pâris

Vytautas Miškinis’ Pater noster beginnt mit pulsierenden Cluster-Akkorden, doch ist hier der Effekt eher gedämpft und erwartungsvoll. Allmählich baut sich durch unsynchronisierte Einsätze in den unteren Stimmen eine statische, aleatorische Textur auf, deren strahlende e-Moll-Modalität in subtiler Weise von mehreren Gissen der Bässe angebohrt wird. Die Stimmung ist andächtig und meditativ. Einmal findet ein ekstatischer Ausbruch im Fortissimo statt, doch sonst geht die Dynamik über Pianissimo fast nicht hinaus. Das sanfte Pulsieren ist stets spürbar und das Werk geht schließlich—angeführt von einer einzelnen Sopranstimme, die das Amen unaufhörlich wiederholt—in Unhörbarkeit über.

aus dem Begleittext von Gabriel Jackson © 2010
Deutsch: Viola Scheffel

Other albums featuring this work

Miškinis: Choral Music
CDA67818
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