Jury's reasoning The work is composed as an introduction to Pergolesi's "Stabat Mater". The great and demanding theme is thus Mary's suffering on the cross, and the short text (by Karin Moe) that forms the basis of Prime Preparation is shaped as the son's hymn to Mary; "Mother of Life". Approaching one of history's great works, […]
/ 01/04/2014 / codexThe work is composed as an introduction to Pergolesi's "Stabat Mater". The great and demanding theme is thus Mary's suffering on the cross, and the short text (by Karin Moe) that forms the basis of Prime Preparation is shaped as the son's hymn to Mary; "Mother of Life".
To approach one of history's great works, and expose oneself to direct comparison with a master, is of course risky. Contrary to what the additional instrumentation might suggest (trumpet and percussion), it does not happen with great details. On the other hand, we have been given a rare filigree work of a work, radically subdued in tone, and with an exceptionally fine-tuned economy of means. The way the composer makes the strings pulsate and live – without well-known clichés – right through the half-hour long work is both captivating and fascinating to listen to. The rest of the instrumentation is inserted sparingly and accurately into the whole.
This music “goes somewhere”; it is going to Pergolesi, but first it must be here and now, in our time. Without paraphrasing the predecessor in any easy or unambiguous way, the transition from the current to the past work feels both seamless and meaningful; yes, as the title suggests: a preparation.
The work is written for the Norwegian Chamber Orchestra, two vocal soloists, alto flute, trumpet and percussion.