"Mikres Ikones" (translated from the Greek as "Small Pictures". In the Eastern Church, the Icon, being a representation or likeness of the sacred, is perceived as being sacred, in and of itself). In this program, Jouissance engages with works of quiet rapture, intense despair and violent celebration.
Program, Trinity College Chapel, 2003
KYRIE Hildegard of Bingen 12th C
This simple chant is used almost as punctuation as the instrumentalists, and especially the Shakuhachi, explore and comment on the nature of this entreaty in a manner that resonates from the Middle Eastern "Taqsim".
THE FALLEN WOMAN Kassia 9th C
Kassia's most well known composition is still sung in the Eastern Church at the end of the Vespers service of Holy Tuesday. Although written as a penitential hymn on Mary Magdalene, it has an underlying autobiographical aspect that has given the hymn legendary status in Greek culture.
EPITHALAMICA Peter Abelard 12th C
Abelard's bridal song is constructed upon the rich erotic imagery found in the 'Song of Songs'. The work resonates with earthy narratives of folk song, the same material is taken by the percussionist and is used as a springboard for his own improvisations. The voice enters and sings of the bride's search for the absent bridegroom and the percussionist returns to complete the improvisational frame around this work.
UNDE Hildegard of Bingen 12th C
This duet for soprano and shakuhachi explores and blurs the borders of text, timbre and melisma. The resultant reverie transcends the everyday in a moment of quiet rapture.
I YENNISI SOU, KHRISTE Byzantine 8th C
Troparion of the Nativity, this melismatic chant had its origins in the ancient Byzantine church of Antioch. It is preceded by an abstraction of a Taqsim, improvised on the contrabass.
EDESSA REJOICES Kassia 9th C
This hymn is a doxology written by Kassia to commemorate the martyrs and saints of Edessa; Gurias, Samonas and Abibus. The city Edessa rejoices that she has been enriched by the tombs of these saints.
Age review of this performance.