John the Divine, NYC), with music evoking an organ, ecstatic plainchant, stained glass windows, and many different kinds of shimmering light. The first movement can be equated with a gothic cathedral (St. The three movements of “Lightmass” evoke living architectures and urban spaces – outward manifestations of inner experience, a living building as a divine body. Thomas Hooten, Christopher Still, Andrew Bain, David Rejano Cantero, Norman Pearson, Joanne Pearce Martin Movements:
October 1st 2016 at Walt Disney Concert Hall, Los Angeles.Lightmass (2016) 24’ for brass quintet and synthesizerĬommissioned by Los Angeles Philharmonic Association The title is a latin word which has various meanings, including a current of air, wind, air, breath, the vital principle, life, and soul. This is contrasted by more the more primal sound of the introduction, a kind of chanting pattern that evokes both meditative breathing and the low bass voices of Tibetan Buddhist ritual. Envisioning the trio as a kind of ecstatic consort music, I arranged the lamento motif using a heterophonic texture, where each instrument plays simultaneous variations on the same melody. The “lamento motif” has a long history in Western music, dating back to the “Lamento di Tristano” of the 13th century, all the way through works by Purcell, Monteverdi, and Bach. The trio uses a melodic fragment from Sumna as its basis, a kind of “lamento motif”of a descending melodic figure, expressing sadness or grief. These form part of a group of works inspired by ancient vocal traditions of the east and west, in particular the vocal styles of Hildegard von Bingen, Sephardic music of Medieval Spain, and Tibetan Buddhist chant. “Anima” for three cellos, was written as a response to “Sumna” a work of mine for solo viola da gamba. A mystery rite evoking expansive and boundlessly connected experience. This recording celebrates a long collaborative history, while our relatively unscripted approach allows for new discoveries each time the piece is performed live.
#LUCIFORM MARIO DIAZ DE LEON FULL#
The full dynamism of the trio emerges in response, balancing ethereal passages with tight unison gestures. In Rebekah’s incantatory solo, she brilliantly embodies a primal feeling of mystery and longing. The rhythmic figure heard in the opening melody is derived from the “sat-nam” chant of kundalini yoga, which roughly translates to “truth is my name.” The long sustained tones on “nam” are ornamented with melodic flourishes inspired by Algerian gasba flute music, alongside the colorful noise of Ciat-Lonbarde and Moog synthesizers.
Jung’s Mysterium Coniunctionis, a treatise on his extensive study of alchemy. I chose this title in tribute to its myriad historical associations, in particular the Eleusinian Mysteries and C.G. Premiered by Claire Chase, Joshua Rubin, Rebekah Heller (ICE)Īugust 4th, 2016 at Time Spans Festival, Colorado Mysterium (2016) 14’ for flute, clarinet, bassoon, and electronicsĬommissioned through ICE’s First Page Program Score available at Project Schott New York Barry creates virtuosic contrasts between rapid-fire arpeggios and breath tones, Marianne evokes amazing fluidity and color, while Alex alternates between heavy riffs and ecstatic gestures that dance on the threshold of syncopation and pointillism. Talea’s playing on this recording strikes a balance between fierce precision and transformational nuance.
#LUCIFORM MARIO DIAZ DE LEON SERIES#
The arpeggiating woodwinds summon a distorted synth line, leading to a series of riff-oriented sections that cycle back into each other. In tribute to these ideas, Sacrament uses repetition and variation to explore connections between speed and resonance, spaciousness and overload, growth and decay. The above quote by Teilhard elegantly encapsulates an essential aspect of this thought, in which sacramental experience is not proscribed by church authority, but is radically accessible through celebration of body-centered biocentric kinship. In Rosemary Radford Ruether’s Gaia and God, she advocates for a ‘sacramental tradition’ of earth healing, linking historically heretical proponents of immanent divinity from Irenaeus to Whitehead. “Matter is spirit moving slowly enough to be seen.” – Teilhard de Chardin Premiered by Talea Ensemble: Alex Lipowski, Barry Crawford, Marianne Gythfeldtįebruary 17 th, 2017 at National Sawdust, Brooklyn photo by Paula Court Cycle and Reveal by Mario Diaz de Leon Sacrament (2017) 13’ for flute, clarinet, marimba, and electronicsĬommissioned by Katarina Pistor and Carsten Bonnemann
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