Conclave: Music requires wisdom as well

Marcello Filotei – Vatican City

“The tradition is the care of fire, not ash,” said Gustav Macarer. Therefore, returning constantly to the same text to give a different look was not a problem for an author. In any case, the question is how to address it, the will to accept it, or the desire to reverse it or simply the courage to face this. If one decides to enter the great alphabet of dough music, it is difficult to avoid I came to Creator The song is specifically thinking at such moments because it is not just a prayer of the liturgy, but the authentic spiritual model: a request directed at the Holy Spirit so that it does not surround wisdom, which was imprisoned in the need for the need for these days.

Written in Latin in the ninth century, which is attributed to some security to Rábano Mauuro, ABBOT and Le at the Palaatina School in Carlomagno, this anthem has preserved the same message for several centuries, but music has adopted completely different forms, adapting to the language of each era and reflects different visions of philosophy. Wandering in the musical history of this field is an encyclopedia, but in a few lines, we can refer to some fixed points, difficult to ignore. Giovanni Perluigi Da in Renaissance, Gustav Macar in Qaeda Romantic Symphony and Morris Dorvie in France of the twentieth century.

In a sterina and an invisible balance

The first is a kind of fun that in the sixteenth century, only when a new Treedetine reform was imposed on sacred music, assumed the task of guaranteeing the clarity of the text without giving up polyphony. Several voices overlap, but believers did not lose a word. I copied it from I came to Creator It is a transparent spiritual structure: the voices are followed at a counterpart in a counterpart, but the word is always clear. Here the soul is the inner light, and the Gregorian melody that derives everything remains as Singing company The artistic term used when the melody is the basis for multi -vertebral formation. The sound is abstract, pure, immortal. This is the creative spirit of Palestrina.

Mahaler and spirituality as overall

However, for Maheer, it moves in the heart of another romantic in the nineteenth century, at a time when the idea of ​​the sacred was shattered and it is reunited in the new synthesis, it is a real retreat. The anthem resonated in the vast opening of the eighth reserve, known as the “symphony of a thousand” for the huge number of immediate translators required. This work consists in 1906, and it combines the ancient Latin text with the end of Faust from its Goethe, and the merge of theology and philosophy into one tension. Thus, the protest against the creative spirit becomes a simple prayer, but at the beginning of the Symphonic-Myistic journey.

Macrir al -Quds al -Quds is perfect as a whole, which it means for him. For this purpose, there is a need at one time, one time is needed, mixed cycles, mixed cycles, 8 individual players, children’s choir, large orchestra, heavenly, piano, hardium, organ, and quantity of rhythm simultaneously. Thus, his attack I came to Creator It becomes an explosion of light, which is a type of big explosion, as it is not only comfortable with the soul, but, above all, the vital principle, the breathing that moves the universe. His music was not directed to the churches, but to the theaters, the world, for all human beings. Mahaler seems to be more visited than meditation, in the middle of a romantic style, the time to search for infinity through art.

Duruflé and the lost holy Hanna

After that, the comprehensive explosion, in the twentieth century, at a time when wars were distinguished and a strong crisis of meaning, Morris Dorovvie felt the need to look back, return to traditions, and search for a key to giving a new shape to the sacred. for him I came to Creator From 1930, it is written for members alone. The text disappears, the melody remains only, which arises and disappears in a very joint flow.

As St. Dytian-Monte’s player in Paris, Durovah was deeply rocky for Gregory’s fools, but he also felt the need to re-read this hymn in light of what happened in the history of music. When he looks around him, Debosi and Rafil see with his repeated harmony, he cannot ignore them, and in fact, he does not want to do so. for him creator It is contemplated without words, a sound gesture raises instead of saying. Do not confirm, but questions.

Text, three visions, one breath transmitted from the engineering rigor of the Palestrina, to the symphony conspiracy, to reflect on Duruflé. he I came to Creator It explains how sacred music is a long conversation with the invisible and how it displays every era in those words its own idea of ​​God, spirit, and creation. At least when you take care of the fire, instead of ash worship.