<p>The aged Simeon takes the new-born Jesus in his arms, recognises his significance and celebrates this moment in a paean of praise as the fulfilment of his life. In Matsushita’s motet this song of praise, the “nunc dimittis”, stands at the centre of the composition. Here, the triad of C–F sharp–G, used for the word “hodie – today” at the beginning, symbolically combines with a Gregorian-like motif, revolving around the central note of B flat in whole-tone movement, and which is used to represent the Virgin Mary. The work ends with a mystical wash of sound, a whole-tone cluster which emerges from the aleatorically repeated basic motifs of the work, and fades away to nothing. <br /></p><p>Vocal range: S1: f'-as'' / S2: d'-fis'' / A1: c'-d'' / A2: b°-d'' / T1: g°-as' / T2: g°-fis' / B1: c°-cis' / B2: E-c' </p><p>World premiere: 22.7.2012, Tokyo, Japan (Collegium Cantorum Yokohama, Ko Matsushita)</p>
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Composer
Ko Matsushita
| 1962
Reviews
Allen Werken des japanischen Komponisten Ko Matsushita ist eine fesselnde abwechslungsreiche Harmonik eigen, welche von modalen Flächen über häufig verwendete diatonische Mixturen und Ganztonfolgen bis zu extrem spannungsgeladenen Akkordballungen führt, aber genau dadurch stets interessant bleibt und die Ausführbarkeit im Bereich des für ambitionierte Kammerchöre Machbaren belässt...
Andreas Boltz, Kirchenmusik im Bistum Limburg, 1/2015
Warum man sich dieser Stücke annehmen sollte - Matsushita setzt den Text seiner Drei Marianische Motetten klanglich hervorragend um.
Christoph Stockmeyer, Musica Sacra, 5/2014
...Matsushita bedient sich ... verschiedener Stilelemente (von Gregorianik bis zu Clustern und Aleatorik) und kommt dabei zu überzeugenden, klanglich wie deklamatorisch reizvollen Ergebnissen.
singende kirche, 3/2014
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