Context

Performance

Instrumentation

f bl.kör

Classification

Blandad kör a cappella

Andliga sånger

Subject heading

Xp

Xs

Language

swe

First performance

Date

1984-11-10

Location

Jacobs kyrka, Sthlm

Performers

Chorus Hafniensis, dir Sören Kich Hansen

Background

Tribute to

mor

Comments about the work

There is an objectivity about Thomas Jennefelt's relationship with the textsemployed in his Five Motets. They are intended, almost in the manner of musicdrama, as a dialogue between God and man, and musically they take the formof a suite. First of all, in Dagar skall komma, (Behold the days come) the Lord speaks ofthe new convenant with His people. Simplicity of rhythm and part-writing herecreates the earnest insistence readily associated with an opening movement.By restricting volume and melodic movement, however, the composer canrapidly alternate between dramatic flamboyance and tranquillity. The samepredilection for clear, immediately effective structures can be found in thetuneful cantilena which stands out against the undulating movements -reminiscent of minimalism - of the unaccompanied movement Bön (Prayer)which in dramatic terms represents man's reply to the voice of God. The sameclarity occurs in the choral movement "groping" its way through the introductorysounds of the organ in Ni skall söka mig (Ye, shall seek me) in which the Lordaddresses a new appeal to man. In the second unaccompanied piece, Du som är min Herre (Thou who art my,Lord), where once again man speaks, this time affirming the call of God, wehave a juxtaposition of contrasting sections: a translucent purity when the textbegins by speaking of total surrender - more eruptive movements when thewords refer to the anguish of emptiness and doubt (a "heart dead and divided");and the antithesis between one's own weakness and the fire of heaven issimilarly emphasized. In the dramatically charged Hosanna, the listener experiences an ambiguity.Man has seen the Son of David, but is this a reality in which lie can put histrust? After an introductory episode of rejoicing, the mood changes, viapoly-rhytmic choral speech and organ clusters, to one of uneasiness, and thethrobbin forte of the final A minor chord is if anything one of anguish. Text: Roland Horovitz. From Phono Suecia nr 25 (1987)

List

The work

Composer

Thomas Jennefelt

Lyricist

Karl-Gustaf Hildebrand

Title

[Fem motetter] 2. Bön

Composition year

1984

Information

Identification number

102187

Publication year

1985

Work administrator

Gehrman (Gehrmans Musikförlag)
Box 42026
Stockholm
Phone: vxl 08-610 06 00
Email: [email protected]
Web: www.gehrmans.se

Edition number

6259

Format

SCORE

Reference to physical copy

L-1151

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