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The Whole Machine of the World
Clássico/Música de coral • 1992 • Lírico: Julian of Norwich, Plato, Beatrice of Nazareth
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The Whole Machine of the World
Instrumentação |
coro misto |
Composição para |
Coral |
Tipo de composição |
Partitura vocal |
Editora |
Zae Munn |
idioma |
Inglês |
dificuldade |
Difficult |
duração |
9'0 |
This piece is subtitled "Women Mystics Speak: Dame Julian of Norwich, Diotima in Plato's Symposium, and Beatrice of Nazareth."
The piece begins with Julian of Norwich's words about the soul and body being enclosed in the goodness of God. Diotima, from Plato's Symposium, then speaks of the eternal sameness of God's beauty, with the music expressing this sameness by returning always to the same pitch. Beatrice of Nazareth's ecstatic vision is the centerpiece of the work: a mechanistic, mixed meter pattern sets the words "the whole machine of the world as if it were a wheel" and a glissando effect emphasizes the turning of a large wheel. The machine image recedes to reveal Beatrice's intense longing for unity with God, expressed in a series of solos sung over an intense and unresolved choral chord. The machine image comes to the foreground once more, then recedes again to allow Julian to speak of the image of a hazelnut and to end the work with the essential words of the opening: "soul and body, clad in the goodness of God and enclosed." The Whole Machine requires an accomplished choir. It has demanding rhythmic counterpoint and a number of solos for each voice part. Commissioned and premiered by the South Bend Chamber Singers, Nancy Menk, conductor.
PERMISSION IS GRANTED TO DUPLICATE (DOWNLOAD OR COPY) SUFFICIENT COPIES OF PARTS FOR PERFORMANCE. ZAE MUNN'S MUSIC IS LICENSED BY ASCAP.
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