Robert Moran: Trinity Requiem

Robert Moran: Trinity Requiem - Innova - INNO 244 - 726708624422

Label: Innova
Catalog No: INNO 244
Format: CD
Release Date: 2011-09-06
Number of Discs: 1
Running time: 1 hr. 8 min.
Mono/Stereo: Stereo
UPC Code: 726708624422

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Notes & Reviews:

Moran was commissioned by Trinity Wall Street (the 'Ground Zero' church) to write a Requiem for their youth chorus to commemorate the 10th anniversary of September 11, 2001. The result is a heartfelt and heavenly work for angelic voices with organ, harps and cellos. Its simplicity and direct appeal rival that of Faure himself and it is sure to become a standard repertory work. While many of the singers were barely born at the time of the attacks in New York, the composer found inspiration in the all-too common grief found in war zones around the world (such as Kosovo and London) when children suddenly lose their families to violence.

Listeners will note the synchronicity recorded on tape during the Offertory; a siren passed by during the best vocal take and could not be edited out. It becomes a touching reminder of the context of this work and the personal authenticity of these fine musicians.

An ethereal work of incredible beauty is produced by the combination of youth choir, organ, harp and cellos. The other selections are no less effective. It is great to have the Musica Sacra recording of Seven Sounds Unseen available once again. Robert Moran is one of the world's great living composers of choral music. This CD, with its beautiful performances of exquisite music, is a must have for all music lovers. - Marvin Rosen, Classical Discoveries

Premiere Performance: Trinity Wall Street Church, New York City, NY, September 7th

Cathedral of St Paul, MN, Sept 11th

Notes & Reviews:

When conductor Robert Ridgell approached Robert Moran requesting a Requiem written for the Trinity Youth Choir of Lower Manhattan in honor of the tenth anniversary of the September 11 attacks, the composer was initially hesitant, but eventually agreed and the result is Trinity Requiem. He has admirably hurdled the challenges of the commission, writing a piece with vocal parts that can be managed by children, but with enough musical substance not to trivialize the event it memorializes. Moran is a genuine eclectic whose output includes massive avant-garde projects like a piece written for 40 church choirs, 20 marching bands, and virtually every willing performer from an entire medium-sized American city, and a piece for 39 automobile horns and their lights, radio and television stations, dancers, airplanes, and again, just about anyone willing to make a contribution to the whole. He also has a gift for understated lyricism, which he puts to excellent use in the Requiem. The children's parts are simple and the harmonic language is tonal, and with the addition of an organ and accompanying instrumental ensemble playing music of more complexity he creates a work of real power and depth, as well as some magically delicate sonorities. It's a radiant, altogether lovely work that should be within the performing capabilities of many community or church children's choirs. The album also includes two of Moran's previously released choral works, Seven Sounds Unseen performed by Musica Sacra led by Richard Westenburg and Notturno in Weiss sung by the Esoterics led by Eric Banks. They both convey the tone of hushed awe and mystery characteristic of the Requiem. The extended middle section of Seven Sounds Unseen (which uses a text by John Cage) is especially gorgeous, a luminous harmonic cloud that's harmonically static but that's animated by the leisurely drift of constantly morphing textures and vocal lines. The sound quality is variable and some of the changes in ambience between sections of the Requiem are distracting. The album should be of special interest to fans of lyrical new choral music. ~ Stephen Eddins



Reviews

I just don't "feel" it...
I really tried to like this disc, but I played the "Trinity Requiem" through twice before deciding it does nothing for me. This contemporary take on an ancient text needs to make its impact independently of its association with the September 11 attack; instead it only produces a succession of vaguely pretty sounds. The Kyrie is numbingly repetitious, rambling on for nearly 5 minutes in search of a melody. During the instrumental Offertory, a siren can be heard in the street outside--in the spirit of "found music," the producers decided to leave it in. I don't think it adds anything except a distraction. The children are rather distantly recorded; consequently, the words don't come over as they ought (and they are not to be found in the booklet). "Seven Sounds Unseen" and "Notturno in Weiss" are more of the same, for mixed adult voices, which at least provide more harmonic color. I admit I am not the best audience for minimalist music; others may be more receptive.
Submitted on 02/12/12 by Jim D. 
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Works Details

>Moran, Robert : Trinity Requiem (Commemorating the 10th Anniversary of September 11, 2001), for chorus & ensemble
  • Performers: Jennifer Hoult (Harp); Veronica Parrales (Cello); Alexander Hermann (Organ); Sarah Wolfe (Cello); Miho Zaitsu (Cello); Aminda Asher (Cello)
  • Conductor: Robert Ridgell
  • Ensemble: Trinity Youth Chorus
  • Running Time: 28 min. 3 sec.
  • Period Time: Contemporary
  • Form: Choral
  • Written: 2011

>Moran, Robert : Seven Sounds Unseen, for chorus
  • Conductor: Robert Westenberg
  • Ensemble: Musica Sacra
  • Running Time: 3 min. 19 sec.
  • Period Time: Contemporary

>Moran, Robert : Notturno in Weiss (Nocturne in White), for chorus
  • Performers: Melissa Walsh (Harp); Alexis Odell (Harp)
  • Running Time: 8 min. 14 sec.
  • Period Time: Contemporary
  • Written: 2006

>Blackburn, Philip : Requiem for a Requiem, remix (after Moran's Trinity Requiem)
  • Running Time: 7 min. 3 sec.
  • Period Time: Contemporary
  • Written: 2011