Pitz | Motety i Jutrznia
05. Motet 5
09. Motet 9
The album “Motety i Jutrznia”, should be regarded as a multidimensional work, where each of its elements, beginning from the title to the choice of instruments and compositions, is treated symbolically and with intention. Reference to the medieval form of church music of motet, is founded on the wish to reveal the sacredness of music, going beyond the entertainment canons to the higher stratum of reception, understanding of the sound, rhythm, murmurs, rustles and all of the components of the composition, directing the emotions released by the art, similarly to the ways man was achieving that through the different forms of religious cults.
Motet, as the form used to convey this conception, is the best example of it, because it has existed for many years as the form of sacred music in opposition to the secular genres of verse and chorus songs. The same conception was chosen to compose and select the pieces for this album. When you hear a chorus or a verse being mentioned, it is purposely extended, distorted, deformed, maybe sometimes to the limits of the traditional conception of the music.
The next aspects of the album are intertwined with the symbolism referring to the dawn mass (polish “jutrznia”) which is the first service from which the day should begin with still before the sunrise. That is why the album is thought of as a loop, with motets recorded without gaps, and the dawn mass at the end, as the harbinger of the new. The more murky beginning of the album, restrained, nocturnal, is slowly yielding ground to the new motets, which are brighter and more colorful (thanks to coloring added by the next instruments played by Sebastian Mac – guitar, motet 9/10 and Vasen Piparjuuri – electronics, motet 10/11, and by changes in motorik and coloratura of wind instruments, bass and drums) to finally find the outlet in the early dawn mass.
There is one more important element indispensably connected with the making of the album “Motety i Jutrznia” - improvisation. Intentions, constructions, form, symbols do not contradict the improvisation, just the opposite, the improvisation is here the essence of emotions, which we tried to portray and compare to the ecstasy available to believers and followers of the old religious cults.
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