by In 2006 an early medieval manuscript, the Faddan More Psalter, was discovered in a moor in Central Service. The collection of psalms on its 60 pearl pearls was only partially decipherable, but the idea of this precious artifact, which was kept in peat and mud for more than 1,000 years, began the imagination of David Fennessy, whose half an hour was commissioned, the imagination of David Fennessy, whose psist age takes the psis psalter Bog-Kantata, which was on the selection.
Instead of putting the surviving text fragments from the discovery himself, Fennessy faced “a piece of music that was even buried and dug in the moor for centuries” and asked the dramatic Marina Carr for a number of texts that might have lived and were kept in it. Your contributions are free, laconic and alluding, and Fennessy’s treatment of you, sometimes as a solo arias that sometimes involve eight singers, are also economical. The vocal cables often only develop through continuing parking spaces from the associated baroque ensemble of organ, records and strings that either grumble in the bass or sing at high heights, although the instrumental textures only occasionally climb into Merde. The result is strangely powerful and direct, in a completely convincing way.
With the exception of the harp of a JAWs, the worldwide, the opening and closing department of his cantata, the bass-heavy instrumental ensemble, which Fennessy uses, is identical to that of Bach for his actus tragicus BWV 106, which was three baroque pieces, which had the premiere with the premiere that was conducted by John Buton Prevents, who was headed by John Button, was with the Prevents, who was out of date by John Button. The fifth of Jan. Dismas Zelenka’s woe was freed by the tenor Ed Lyon with dramatic immediacy, while the soprano Nardus Williams and Bariton Roderick Williams make the comforting solo opportunities that were offered by Telemann’s funeral cantata by Daniel.
• Repeated at Greyfriars Kirk, Edinburgh, on March 7th
