Home / Works / Davallament (Material de orquesta)

Delivery in 24h-72h (Peninsula work days)

Davallament (Material de orquesta)

Cantata de Nadal 2017 - vol. 13

Chamber orchestra


Reg.: CN0025a

248,10 €
P.V.P. (VAT included 4%) Add to cart

  • Ensemble: Chamber orchestra: With voice/choir.
  • Genres: Classical / contemporary: Chamber.
  • Lyric author: SUSANNA, Àlex
  • Language: Catalán
  • Product format: Particellas
  • Difficulty level: Advanced-superior
  • Period: 2nd half S. XX - XXI
  • Publishing house: Editorial Boileau
  • Collection: Cantata de Nadal
  • Measure: 31,00 x 23,00 cm
  • Lenght: 17'
  • ISMN: 979-0-3503-4076-5
  • Available in digital: No
  • Available for rent: No

Children Choir (or 4 Soprano Solo) and Mixed Choir
1 1 1 0 — 1 1 0 0 — tmp+1 — pf — str [5 stringed cb required]
perc: sus cym, wind chimes

Parts included in the sale of this material:
Woodwinds, Brass, Percussion: 1 of each
Strings: 6,5,4,3,2

Davallament [Descent] for choir and orchestra is a one movement work inspired by the same catalan poem Davallament by Àlex Susanna, based on the Erill la Vall Descent from the Cross. Is a set of seven 12th-century wooden sculptures from the Pyrenees village of Erill la Vall in Catalonia, originally painted, comprising a complete Romanesque Descent from the Cross sculpture group, which in Catalonia has the peculiarity that it is made up of seven figures.

This musical work is specially written for Advent, in order to unify Nativity and Passion, an Oratorium for Eros and Thanatos.

To describe this dark premonition for Christmas, specific sound constellations are to be heard, starting with long, slow descending gliding tones (visions of suffering), with reminiscences of Gregorian Chants, hieratic harmonies and isorhythmic, perpetual and minimalistic structures inspired by this medieval period, long sequences in 3/4 to honour the holy Trinity, illusions, hope, scenes of spirits whispering Latin textes from beyond, as if the sculptures would predict their own destiny, scenes of penance, and the mystic ending that builds slowly from the dissonance a CMajor chord that represents the slow and painful construction of the human kind, referring to the meaning of the last strophe: «What could we have done to help avoiding this pain? », in colourful orchestral soundscapes according to Cruixent.

In the last passage Cruixent uses the cybersinging technique. Is has been developed by Ferran Cruixent in 2010 with the work Cyborg, which the musicians play sounds with their smartphones while they are playing their instruments. In this case we can hear bell sounds from Munich Cathedral.

Kit Digital