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I have mixed feelings about this one. The mirror (or symetrical) writing at times seems contrived, and is rather hard (which is usually a black mark in my book), but the switch to traditional harmony is effective. I could see why you might do this in solo quartet. This is a peice that will quickly expose intonation problems in a chior.
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I sung it in my choir. It took us about 5 or 6 rehearsals to accomplish a fairly decent performance.
The key in this case was to think G as the main note or tonic in the first section. Coming back to a unison
could be problematic in this style; resolutions are not very clear. Still the memorization of a note sequence pattern could be a solution.
I must say this is probably one of my favorite choral pieces by Tavener