Artist: Bavarian Chor, Radio Symphony Orchestra, Howard Arman
Album: André Caplet: Le miroir de Jesus
Genre: Classical
Release Date: 2023
Audio Format:: FLAC (tracks) 24 bit, 48 kHz
Duration: 01:00:32
Total Tracks: 18
Total Size: 596 MB

Tracklist:

01. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 1 “Miroir de joie”: I. Prelude (07:01)
02. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 1 “Miroir de joie”: II. Annonciation (02:23)
03. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 1 “Miroir de joie”: III. Visitation (02:12)
04. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 1 “Miroir de joie”: IV. Nativite (02:54)
05. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 1 “Miroir de joie”: V. Presentation (02:51)
06. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 1 “Miroir de joie”: VI. Recouvrement (03:41)
07. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 2 “Miroir de peine”: I. Prelude (04:42)
08. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 2 “Miroir de peine”: II. Agonie au jardin (03:26)
09. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 2 “Miroir de peine”: III. Flagellation (02:23)
10. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 2 “Miroir de peine”: IV. Couronnement d epines (03:01)
11. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 2 “Miroir de peine”: V. Portement de croix (03:36)
12. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 2 “Miroir de peine”: VI. Crucifixion (03:30)
13. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 3 “Miroir de gloire”: I. Prelude (03:16)
14. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 3 “Miroir de gloire”: II. Resurrection (03:00)
15. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 3 “Miroir de gloire”: III. Ascension (03:03)
16. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 3 “Miroir de gloire”: IV. Pentecote (02:26)
17. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 3 “Miroir de gloire”: V. Assomption (02:00)
18. Bavarian Chor & Radio Symphony Orchestra, Anke Vondung & Howard Arman – Le miroir de Jesus, Book 3 “Miroir de gloire”: VI. Couronnement au ciel (04:59)

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Le miroir de Jésus (The Mirror of Jesus) for mezzo-soprano, women’s choir, strings and harp – the last major work composed by the French composer André Caplet in the spring and summer of 1923, based on fifteen poems by the French writer Henri Ghéon – was subtitled “Mystères du rosaire” (Mysteries of the Rosary). The mystical work, whose form and genre defy the usual categorisations, revolves around the most important stations in the life of Jesus, told from the perspective of the Virgin Mary and mirrored, as it were, in her gaze. Each of the three parts consists of an extended instrumental prelude and five episodes: The first begins with the Annunciation, recounts the Visitation of Mary, the birth of Christ and his time in the Temple of Jerusalem. The second part turns to the mysteries of pain: the scourging of Jesus, the crown of thorns, the way of the cross and the agony and finally his death. The last reflects on the “Glorious Mysteries”: Jesus’ Resurrection, Ascension, Pentecost and finally Assumption and Coronation. A mezzo-soprano takes the perspective of Mary. Occasionally the voice changes to recitation or even recitative, but the singing always serves the text, guarantees its comprehensibility and at the same time interprets the words through musical means. Later, the choir introduces the respective title of the poem and also emerges at a few, but all the more significant points: at the end of the first rosary, it reinforces the message of Ghéon’s text with a Latin biblical quotation and later with praises such as “Sanctus” and “Alleluia”. In “Le miroir de Jésus”, Caplet found a musical form for the mysteries of the ancient Passion story that brings past and present into a peaceful synthesis.