Questa versione della Messa “Piccolo Magnificat “è stata pensata per
gli amici delle Giornate di approfondimento per animatori musicali
«Celebriamo Cantando» promosse dalle Figlie della Chiesa alla Domus
aurea di Roma e giunte nel settembre 2013 alla decima edizione.
Anche la prima versione scritta per la comunità delle monache agostiniane di Lecceto, è consultabile su questo sito:
http://www.gianmartinodurighello.it/messa-piccolo-magnificat/
Scritta per la Comunità delle Monache agostiniane dell’Eremo di Lecceto (2013)
written for the choir Gialuth, Roveredo in Piano, dir. L. Benedet
Published by Ed. Ente Rassegne Musicali, Loreto (Itlay)
With the Messa in onore della Madonna di Loreto, written in the summer of 1992, Gianmartino Durighello won the International competition of composition organized by the Ente Rassegne of Loreto for the Seventh Centenary of the Translation of the Holy Home. The Mass was performed for the first time in Loreto (April 23rd, 1995) and it was broadcast live by Rai Uno.
«(…) 61 composers from nine nations took part in the competition organized in 1992 by the “Ente Rassegne Cappelle Musicale N. S. di Loreto” on the occasion of the 7th Centenary of the Sanctuary of the Holy Home. The selection committee: Hans Bernard (Germany), Jean-Francois Duchamp (France), Mario Lanaro (Italy), Carlo E. Semini (Switzerland) awarded the 2nd prize (the only one awarded) to the Mass by the composer Gianmartino Durighello from Belluno. In the five pieces of the Comune Missae the text is given in a monodic and contrapunctual way, in the style of Gregorian Chant; the rhythm follows the words. The music is written in a modal-politonal way. An unusual feature is that the four voices enter on vowels, obtaining one single melodic line with a range of two and a half octaves.
The Kyrie and the Agnus are very short, the Gloria and the Credo are a little longer. The Sanctus is particularly spiritual. The style is economical, the text is declaimed without any retorical repetitions. We could call it “Missa Brevis”. In my opinion it recalls the intentional sobriety of Faurè and Hindemith, but in this work there is the desire to express the liturgical text with a contemporary language(…) ».
Sante Zaccaria (Bollettino Ceciliano, n. 12,1994)
