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Adventus Domini nostri Iesu Christi (CD)

Adventus Domini nostri Iesu Christi (CD)
Subtitles & Versions
Consisting of: 1. O Sapientia / 2. Magnificat I (Magnificat anima mea) / 3. O Adonai / 4. O Radix Jesse / 5. Magnificat II (Ecce enim) / 6. O Clavis David / 7. O Oriens / 8. Magnificat III (Fecit potentiam) / 9. O Rex gentium / 10. O Emmanuel / 11, Magnificat IV (Suscepit Israel) / 12. Finale (Amen)
Composer / Arranger: MOČNIK Damijan
Text Author: Liturgical / Worshiping Text [Catholic]
Choir: Slovenian Chamber Choir
Conductor: VATOVEC Marko
Detailed Scoring: an advent cantata for soprano solo, SATB double choir and percussion ensemble
Instrumentation Index: PERCUSSION ENSEMBLE: Percussion 1: Chimes Metal / Crotales / Darabukas / Field Drum / Glockenspiel / Thunder Sheet / Timpani / Triangle / Wood-blocks (3) // Percussion 2: Campane / Claves / Gongs (5) / Gran Cassa / Tam-tam / Thunder Sheet / Tom-toms (5) / Triangle / Vibrafono // Percussion 3: Campane / Cymbals a2 / Gongs (5) / Marimba / Suspended Cymbals (3) / Tam-tam / Triangle / Vibrafono
Availability: Last copies!
Product Type: CD



a cantata for Soprano Solo, SSAATTBB Choir and Percussion Ensemble
O Sapientia
Magnificat I (Magnificat anima mea)
O Adonai
O Radix Jesse
Magnificat II (Ecce enim)
O Clavis David
O Oriens
Magnificat III (Fecit potentiam)
O Rex gentium
O Emmanuel
Magnificat IV (Suscepit Israel)
Finale (Amen)

by Borut Loparnik

The cantata Adventus Domini nostri Jesu Christi (The Coming of Our Lord Jesus Christ), for soprano solo, SSAATTBB choir, and percussion ensemble shows this design in Močnik's compositions. In consort with Christmas, the selection of texts is profound. There is the "O" anthiphons − full of symbolism, and the Canticle of the Blessed Virgin, a Magnificat. The first set of texts are intended for a cappella choir and percussion instruments – which the composer uses as metaphors for ancient rapturousness; the Magnificat texts are entrusted to the soprano solo, which in four appearances expresses the zeal of an ecstatic soul. Both are bound together, although they differ in their composition. The choral part is rich sounding, rhythmically vibrant; its dynamic ranges are large; the harmonic structure is diatonic; polyphonic passages often canonical; and the percussion is complementing and expanding. All work, including the soloist, consistently in unison, often upgraded with melisma. The melisma are rhythmical and chromatic and are often in strict sequence. After the introductory choral movement (typical of Gregorian chant), we hear the first appearance of a solo soprano, always following thereafter from two choral-percussion movements. The “Finale” (12th movement) is joined by all participants, each in their own style, Amen.
Damijan Močnik wrote the cantata in 2007, and in the same year, on December 16th, the cantata was premiered by the performers of this recording on the stage of the Slovenian Philharmonic in Ljubljana, Slovenia.

by Damijan Močnik

Every year, during the seven days before Christmas Eve (December 17-23), I sing Advent prayers at Vespers in my church. Singing the famous "O” antiphons is a rite well-rooted in the Slovenian Catholic tradition. As a composer, these texts present me with a rich symbolism that suggests creative and interesting sound images. When Marko Vatovec, guest conductor of the Slovenski komorni zbor (The Slovenian Chamber Choir from Ljubljana, Slovenia), commissioned me to write a lengthy composition for the choir's Advent concert, I decided to make a setting of the “O” antiphons. From the beginning of the score, I've melodically rooted all seven antiphons in Gregorian chant. With the micro-canon's unison and fifth, the chant is awash in a palette of sound which is enhanced and colored by various percussion instruments. However, the chant keeps reappearing in recognizable form, like a phoenix rising from the ashes. In the middle five antiphons, the text dictated very different sound images, therefore the chant is recognizable only here and there. For example, the pleading word "veni" (come) is a "red thread" throughout the text, always presenting a G-major chord as a foundation to the entire cantata. Percussion instruments not only color the choral sound, but they also provide direct comments on the text, sometimes taking over the driving momentum of the music. Specific choices of percussion instruments are used to enhance the meaning of the words. For example, in the 4th movement “O Radix Jesse” (O Root of Jesse) only wooden instruments are used, and in the 6th movement “O Clavis David” (O Key of David) metal instruments predominate. The text of the Magnificat, the Song of Mary, is scored for an unaccompanied soprano voice, thereby providing a stark contrast of performing forces: the full-sounding 8-part mixed choir with a rich palette of percussion instruments juxtaposed to a very expressive solo vocal line. The virtuoso writing in the solo literally embodies each individual word, as if imprinting the text onto the memory of performer and listener alike. With the final antiphon, “O Emmanuel,” the chant is heard again, sounding first with percussion, then with choir. The chant is further harmonized in the ancient fauxbordon style, repeated and interlaced in a broad palette of sound. The Amen sounds a final solemn statement with its musical repetition of all seven names for the coming Saviour.
Damijan Močnik, December 2007

Ex Tax: 12.30€
  • Model: ASCD 9.002
  • Weight: 80.00g
  • UPC: 383005020002