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Berliner Messe

composer
1990; commissioned by the 90th Deutsche Katholikentage in Berlin; originally for four solo voices and organ; also for choir and organ or choir and strings
author of text
Ordinary of the Mass plus additional liturgical texts

 
Commissioned by the 90th Deutsche Katholikentage in Berlin, 1990. The original version was for four solo voices and organ, but subsequent versions exist for choir and organ—as here—and choir and strings. The Credo is particularly interesting in that it is virtually a re-incarnation of the earlier Summa—but this time in a major key. Summa was written at a time when profession of faith was outlawed in Estonia; hence Pärt’s diversionary title for a setting of the Creed. The switch from minor to major clearly celebrates the greater freedoms enjoyed in post-Communist Europe.

from notes by Meurig Bowen © 1998

Cette œuvre fut commandée en 1990 par les 90e Deutsche Katholikentage de Berlin. La version originale pour quatre voix solistes et orgue fut suivie de versions pour chœur et orgue—comme ici—et pour chœur et cordes. Le Credo est particulièrement intéressant en ce qu’il est presque une ré-incarnation du Summa antérieur—mais cette fois dans une tonalité majeure. Summa fut écrit à une époque où la profession de foi était hors-la-loi en Estonie; d’où le titre choisi par Pärt pour faire diversion. Le revirement de mineur à majeur célèbre clairement les libertés plus grandes dont on jouit dans l’Europe post-communiste.

extrait des notes rédigées par Meurig Bowen © 1998
Français: Hypérion

Auftraggeber für dieses Werk war 1990 der 90. Deutsche Katholikentag. Das Original war für vier Vokalstimmen und Orgel bestimmt, doch es liegen spätere Versionen für Chor und Orgel vor—wie hier—sowie für Chor und Streichinstrumente. Das Credo ist besonders interessant insofern es praktisch eine Reinkarnation des früheren Summa ist—doch dieses Mal in einer Dur-Tonart. Das Summa wurde zu einer Zeit komponiert, als das Glaubensbekenntnis in Estland verboten war, weshalb Pärt den ablenkenden Titel für die Vertonung des Credo wählte. Der Wechsel von Moll zu Dur drückt ganz offensichtlich Freude über die größeren Freiheiten im postkommunistischen Europa aus.

aus dem Begleittext von Meurig Bowen © 1998
Deutsch: Anke Vogelhuber

Recordings

Pärt: Berliner Messe & Magnificat
CDH55408

Details

Movement 1: Kyrie
Track 1 on CDH55408 [3'26]
Movement 2: Gloria
Track 2 on CDH55408 [3'42]
Movement 3: Erster Alleluiavers
Track 3 on CDH55408 [0'54]
Movement 4: Zweiter Alleluiavers
Track 4 on CDH55408 [1'09]
Movement 5: Veni, Sancte Spiritus
Track 5 on CDH55408 [5'33]
Movement 6: Credo
Track 6 on CDH55408 [3'52]
Movement 7: Sanctus
Track 7 on CDH55408 [3'23]
Movement 8: Agnus Dei
Track 8 on CDH55408 [3'08]

Track-specific metadata for CDH55408 track 4

Zweiter Alleluiavers
Artists
ISRC
GB-AJY-98-96004
Duration
1'09
Recording date
11 January 1997
Recording venue
Romsey Abbey, Hampshire, United Kingdom
Recording producer
Mark Brown
Recording engineer
Antony Howell & Julian Millard
Hyperion usage
  1. Pärt: Berliner Messe & Magnificat (CDA66960)
    Disc 1 Track 4
    Release date: May 1998
    Deletion date: October 2013
    Superseded by CDH55408
  2. Pärt: Berliner Messe & Magnificat (CDH55408)
    Disc 1 Track 4
    Release date: August 2014
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