Agnus Dei (György Orbán)

Composer:

Words from composer

A fascinating example of cultural interference is to be seen how the world of Japanese engraving affects the impressionist art of painting (just think of Van Gogh). This phenomenon concerns me a lot, when I was looking for the plainest possible musical tools for Agnus Dei of my Requiem.

There is a melody in the bass (D#-E-F#-G#-B-D#-E) which is CONSTANT through the whole movement, repeated on cello, so in fact this is a “passacaglia bass”. Next to this melody, the three female parts have EVER CHANGING counterpoints, altering continuously, never being the same.

… Meanwhile the cello-bass slowly starts to ascend, getting higher and higher…