Graham Ross & The Dmitri Ensemble
Text in the comments.
The structure of the third movement is mirroring the liturgy, where the text is normally sung three times, each time at a higher pitch as the cross is slowly unveiled and revealed to the people. Here the main theme also begins with two basses, rises with the tenors, and then again with two altos. As the theme rises, it becomes more and more passionate and developed, starting out as primal sounds in the lowest registers, until becoming a fleshed-out theme sung by the altos. The many grace notes give the theme a middle-eastern flavor.
The statements of the main theme are intertwined between sections of heavenly beauty that you never want to end. The contrasting B section of this movement is one of the only moments in the piece with stable harmonies, consistent rhythm, and a unified, clear texture. These changes feel very refreshing and satisfying, and along with a gorgeous modulation accumulate into an extremely beautiful and moving section.
0:00 - theme A, sung by two basses. With plenty of ornamentation in the voices, as well as the use of a drone in the orchestra, the theme wouldn't feel out of place in an Arabic prayer chant.
1:06 - Theme B. A very dissonant note in a solo violin appears, but through a beautiful modulation, that note becomes a consonance and we're introduced to stable harmony, rhythm, and a melody for the first time in the piece.
2:03- Theme A, sung by the tenors with even more ornamentation.
3:10 - Theme B with more voices.
4:02 - Theme A sung by two altos.
5:18 - Theme B.
6:03 - Accompaniment from theme B merges with the melody of theme A in a passionate outburst in the strings.
7:15 - In another breathtaking moment, two high sopranos take over the solo violin line from theme B, singing Christ's words.
Seven Last Words playlist: [ Ссылка ]
