#OLA GJEILO DARK NIGHT OF THE SOUL FREE#
Feel free to recommend similar pieces if you liked this piece, or alternatives if you didn't.Are you a beginner who started playing last month? Do you usually like this style of music? Consider writing about your experience and musical tastes.Do you like the artist? Is the transcription accurate? Is it a good teaching tool? Explain exactly why you liked or disliked the product.The concert was unique and honestly beautiful, and I am honored to have experienced it in its splendor. Powerful music with an equally powerful ensemble, as well as emotionally driven content, flooded my senses and I was, in the end, mesmerized with its faculty of influence and complete control. It was an enriching experience and almost overwhelming in the sound and acoustics that were provided. Such an experience honestly describes my own thoughts about the concert as a whole. It was also a musical challenge switching between time and key signatures at the drop of a hat – you always had to be on your toes while performing this one or you were completely lost.” There is something inherently powerful about being engulfed in a body of sound like that one, and I found myself close to tears every time we sang the entire piece. The harmonic tone and epic quality of the piece makes one feel as if there is an ocean of sound coursing through their veins. “My favorite piece to sing was ‘Dark Night of the Soul’ by Ola Gjeilo.
Holly Morgan ‘18, also a member of the Chamber Choir, further describes the epic: It’s exciting, as the orchestra perpetuates the whole ensemble towards an unknown destination. “Dark Night of the Soul” begins with the choir and string quartet performing in sync.
It’s also seldom but fun for choirs here to work with a string quartet.” It’s such a long piece, which means there’s a lot of music to dig into, and it’s just a gorgeous piece of music. “‘Dark Night’ was especially fun because it was minimalistically beautiful. “I love Gjeilo’s music a lot because of the beautiful textures he creates,” described Max Kasler ‘20, a member of the Chamber Choir. Written by Ola Gjeilo and sung by the Chamber Choir, the piece, like “Only in Sleep,” was thick in texture and design. “Dark Night of the Soul,” the essential piece which the concert surrounds in nature and body, is as complex as it is beautiful. To me, it sung as a piece of memory, as said in the song’s lyrics: “Only in sleep I see their faces, Children I played with when I was a child … Do they, too, dream of me, I wonder, And for them am I too a child?” Each chord progression was spotless in motion, and I was truly moved by their performance. In many ways, this piece reflects much of Women’s Ensemble’s strengths the accuracy in pitch and dynamics was astonishing. As the rest of the ensemble supports her, humming harmonies which function as a basis for the soloist, the piece in its entirety is a capella. It begins with a soloist, who sings the song’s namesake for the first time.
The first piece sung by the Women’s Ensemble that I personally enjoyed was Ēriks Ešenvalds’ “Only in Sleep.” A piece with layers and layers of musical voices entwining with each other, “Only in Sleep” holds a thick texture. This is the authority and power of a chorus. I had been transported from the space of a Chapel to an open space constricting walls became unobstructed paths, mindful silence became attentive listening. The concert itself was a meditative experience, and I found myself becoming contemplative in my thoughts and surroundings. To question the balance and where the line is drawn, as well as when art is considered an object or an experience - such things and more are what the Chamber Choir and Women’s Ensemble addressed in “Dark Night of the Soul,” their final concert of the year, which took place on Apr.