|
« Back ⇧List⇧ Next » |
Description regarding my composition of the Wessobrunner Prayer
I was attracted to the task of comparing the mini-Orff style and the traditional spiritual composition technique. While Orff seeks a linear string, where can lead to a fanalen outcry, and so refuses the classical harmonic structure of the glory of God in favor of natural spontaneity and validity of prayer, the authenticity of the petitioner (similar to the Carmina Burana), I compromised a song form alto I, alto II, baritone, alto I.
The Wessobrunn Prayer certainly includes in parts A one to three pagan ideas of creation as significant natural, Christology and confession of sin are completely left out, the focus is knowledge theologically on the reverence of the Creator. In part B, the actual prayer part, the request resulting from this reverence discussed around the right faith, the adversary is discarded as a seducer for evil in favor of good.
Thus, begins part A in the neutral contemplative parallel key of E major, the emphasis still is the main key of G major on the wonders of creation (measure seven), which modulates through B flat major, ultimately forming the double dominant F major, in part A one (measure twenty-four) the void before creation, in part A two (measure forty-eight) God emphasised as the author of all creation. The creation is here described in its attributes as a descending sequence, it is without the Creator worthless and intended solely for the defense against evil, to do good (part A three).
The right understanding of creation, however, requires the right faith. This is yet restored in measure eighty et seq. from G major as a double dominant in F major, however all of part B is strictly maintained in G major, the believer is not returned to God, but the metamorphosis takes place in part A three acceptance of faith is the meaning of creation, it finally effects the anticipated redemption in the final chord.
I used the samples of MuseScore for the mp3 file because the composition has not yet been performed.
I have reduced the lyrics now subsequently to the predetermined length, the character and content of the play should not change significantly. The "nook and cranny" are featured, which can describe the geometric space, as well as the time concept of finitude, which was not. Coherence is the Old Testament presentation of God's righteousness as a straight "right" way.
Scroll to preview or Click to open
I was attracted to the task of comparing the mini-Orff style and the traditional spiritual composition technique. While Orff seeks a linear string, where can lead to a fanalen outcry, and so refuses the classical harmonic structure of the glory of God in favor of natural spontaneity and validity of prayer, the authenticity of the petitioner (similar to the Carmina Burana), I compromised a song form alto I, alto II, baritone, alto I.
The Wessobrunn Prayer certainly includes in parts A one to three pagan ideas of creation as significant natural, Christology and confession of sin are completely left out, the focus is knowledge theologically on the reverence of the Creator. In part B, the actual prayer part, the request resulting from this reverence discussed around the right faith, the adversary is discarded as a seducer for evil in favor of good.
Thus, begins part A in the neutral contemplative parallel key of E major, the emphasis still is the main key of G major on the wonders of creation (measure seven), which modulates through B flat major, ultimately forming the double dominant F major, in part A one (measure twenty-four) the void before creation, in part A two (measure forty-eight) God emphasised as the author of all creation. The creation is here described in its attributes as a descending sequence, it is without the Creator worthless and intended solely for the defense against evil, to do good (part A three).
The right understanding of creation, however, requires the right faith. This is yet restored in measure eighty et seq. from G major as a double dominant in F major, however all of part B is strictly maintained in G major, the believer is not returned to God, but the metamorphosis takes place in part A three acceptance of faith is the meaning of creation, it finally effects the anticipated redemption in the final chord.
I used the samples of MuseScore for the mp3 file because the composition has not yet been performed.
I have reduced the lyrics now subsequently to the predetermined length, the character and content of the play should not change significantly. The "nook and cranny" are featured, which can describe the geometric space, as well as the time concept of finitude, which was not. Coherence is the Old Testament presentation of God's righteousness as a straight "right" way.
Recommended:
Perhaps appropriate:
download
Free notes
|
| Performance: | NOT subject to notification (ASCAP, BMI, GEMA etc.) |
| orchestration: |
Mixed choir a cappella
Choir>SATB
|
| Language in song: | German |
| Quantity of pages: | 5 |
| Visit: | 5446 |
Preparation for next contest