Artist(s): Roberto Abbondanza, Mauro Tortorelli, Rodolfo Bonucci, Bibiana Carusi, Angelo Colone, Nello Salza, Alessandro Albenga, Coro Musicanova, Orchestra da Camera “B. Marcello”, The City of Rome Contemporary Music Ensemble, Nova Amadeus Chamber Orchestra, Monesis Ensemble, Flavio Emilio Scogna, Vocal Ensemble Flos Florum, Fidelis et Amati Orchestra
Period: 21ts Century
Catalogue No.: C00022
“Extraordinary Jubilee of Mercy”, a collection of sacred pieces, much like a “sound vault”, illustrates the concept of sacred music in its broadest meaning through different types of frescoes. Not only as liturgical music for traditional sacred worship, but also as a collection of pieces that were not originally intended for this use. This collection is able to show periods, forms, styles and authors in an ideal combination of sacred matter that is confessional, metaphysical and transcendent.
At the center of “vault” is the figure of the Estonian composer Arvo Pärt, who dedicated part of his musical journey to the concept of the “spiritual”, to the recovery of the ancient western music and to the study of liturgical texts and church songs. Pärt is represented by two songs, Summa, for choirs, 1977, and Vater Unser, featuring both guitar and vocals. In Summa, Pärt puts music to the Latin text of Credo in a syllabic form: each note, one syllable, the twelve notes of the core theme represent the number of apostles, the 42 repetitions that form the structure of the piece are to indicate the generations that came from Abraham until Christ. The emptiness that characterizes the final chord is meant to symbolize the eternity of God. The circular structure of Summa, a symbol of fullness and immutable perfection, is designed to enhance not only the individual sonic detail but also the repetitive and ritual dimension of prayer. Vater Unser, composed in 2005, and dedicated to Pope Benedict XVI by Pärt in 2011, in celebration of the sixtieth anniversary of his ordination. It is a simple and strict canon on the text of the Gospel according to Matthew (6: 9-13): here the sacred Austro-German musical tradition intersects with Schubert’s echoes and references the compositional style adopted by Pärt himself in numerous works written for treble voices in the 1960s and 70s. […]