| Description |
1 online resource (1 audio file) |
| Contents |
Maria gikk til kilden / Langeland (1:49) -- Fantasia sopra 'Christ Lag in Todesbanden', BWV 718 / J.S. Bach (5:30) -- Maria går til graven / traditional (5:31) -- Konzert G-Dur, BWV 592 (excerpts) / J.S. Bach (5:53) -- Noli me tangere - Mary Magdalene sees Jesus / traditional (4:19) -- Organ concerto in G major, BWV 592 / J.S. Bach (5:53) -- Noli me tangere - Mary Magdalene sees Jesus / traditional (4:19) -- Organ concerto in G major, BWV 592. Presto / J.S. Bach (2:02) -- Jesus viser seg for disiplene - Jesus forlater disiplene / traditional (6:15) -- Cello suite no. 6 in D major, BWV 1012 / J.S. Bach (12:08) -- Peter og Maria / traditional (:57) -- Cello suite no. 6 in D major, BWV 1012. Courante (3:13) -- Tell us the things that you remember / traditional (:56) -- Cello suite no. 6 in D major, BWV 1012. Sarabande / J.S. Bach (4:01) -- Mary's vision / Langeland (2:15) -- Cello suite no. 6 in D major, BWV 1012 / J.S. Bach (7:33) -- Peter's jealousy / Langeland (3:06) -- Allein Gott in der Höh sei Ehr, BWV 676 / J.S. Bach (5:29) |
| Summary |
The story of Mary Magdalene has been a source of comfort for many women, and research has shown that medieval ballads about Mary Magdalene are often sung by single mothers. Young women who were outcasts must have found some measure of consolation in the songs about Mary, who bore children with her father, her brother and a priest, but was cleansed of sin after doing penance in the wilderness for many years. But the possibility should not be overlooked that the songs could have been sung with a sarcastic undertone, becoming an unassailable and liberating weapon when there was no other recourse for rebelling against unjust treatment. The Mary Magdalene ballads, found in Solør, Telemark and Gudbrandsdalen, along with other folk tunes and improvisations, form the musical basis of the vocal element, where Sinikka Langeland uses the recitative form to tell the story while surrounded by works of Johann Sebastian Bach. The instrumental music is meant to intensify the emotions and atmosphere of the story although it is in itself, of course, some of the most beautiful music ever written. Bach/Vivaldi's well-known Concerto in G Major, "Christ lag in Todesbanden", BWV 718 and "Allein Gott in der Höh' sei Ehr", BWV 676 are played by Kåre Nordstoga on the famous Wagner organ in the Nidaros Cathedral, and Bach's Cello Suite in D Major, BWV 1012 (here in G Major) is played on the viola by Lars Anders Tomter. Langeland also improvises vocally to two of Bach's works. Between the texts that describe Jesus appearing to his disciples after the resurrection, she plays a 15-string kantele. The recording was made in the Nidaros Cathedral, and represents the continuation of a project of many years' standing to place Norwegian religious folk songs side by side with organ chorales by Bach, using the same hymn as a basis. Here Langeland is taking a freer approach, but is still pairing folk songs with works by Bach, as on her earlier recording of songs about the Virgin Mary |
| Performer |
Sinikka Langeland, vocals ; Lars Anders Tomter, viola ; Kåre Nordstoga, organ |
| Event |
Recorded 2008 February Nidaros Cathedral, Trondheim |
| Notes |
Sung in Norwegian |
|
Hard copy version record |
| Subject |
Mary Magdalene, Saint -- Songs and music
|
| SUBJECT |
Mary Magdalene, Saint. fast (OCoLC)fst00032964 |
| Subject |
Folk songs, Norwegian -- Norway
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Songs, Norwegian.
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Folk songs, Norwegian.
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Songs, Norwegian.
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| SUBJECT |
Norway -- Songs and music
|
| Subject |
Norway.
|
| Genre/Form |
Streaming audio
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Chamber music.
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Songs and music.
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Chamber music.
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Musique de chambre.
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| Form |
Streaming audio
|
| Author |
Langeland, Sinikka, composer, performer.
|
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Tomter, Lars Anders, 1959- musician.
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Nordstoga, Kåre, musician.
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