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Credo

Arvalo

PrembuloI choose the vihuela fantasias 13 and 14 of Luys de Narvez to be played in the

prembulo, firstly for the delicate sonorous quality of the vihuela, and will be less likely to

intrude onto the brief video that will be playing on the adjacent room. Secondly I chose

these two fantasias in particular because they are short and have a very close relation to

each other, Fantasia 14 leading on and giving a closed feeling to Fantasia 13. While at the

same time fulfilling a circular characteristic that is important in exception music, as you

dont want the music to have a noticeable repeat point.

Creo en diosI feel the entire JS Bach cello suite in would be suited to the exhibition for Creo en

dios. I chose in particular the Suites played by cellist Yo-Yo Ma, what influenced me to pick

this piece was reading an article about Steve Jobs hearing Yo-Yo Ma play the cello suites toldhim

You playing is the best argument Ive ever heard for the existence of God, because I dont

really believe a human alone can do this1

As the halls are so big and have a similar theme I felt it was best to link these rooms through

the music while at the same time keeping the circular characteristic.

The second piece I chose to represent the final room is Hossein Alizades Jameh

Daran, I wanted to choose a piece of music that would reflect the eastern art which is

represented. Alizade is an Iranian composer, however the use of western instruments along

with traditional eastern instruments in this piece gives a distinctive east meets west feel.

Perfect for the setting in which the art is presented.

1Anon, Apples Tribute To Steve Jobs, Yo-Yo Ma, And The Prelude From Bach.

Available at:http://www.macstories.net/links/apples-tribute-to-steve-jobs-yo-yo-ma-and-the-prelude-from-bach/ [Accessed February 11, 2014].

http://www.macstories.net/links/apples-tribute-to-steve-jobs-yo-yo-ma-and-the-prelude-from-bach/http://www.macstories.net/links/apples-tribute-to-steve-jobs-yo-yo-ma-and-the-prelude-from-bach/http://www.macstories.net/links/apples-tribute-to-steve-jobs-yo-yo-ma-and-the-prelude-from-bach/http://www.macstories.net/links/apples-tribute-to-steve-jobs-yo-yo-ma-and-the-prelude-from-bach/

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Creo en JesucristoIn order to reflect the wide range of centuries present in this exhibit I turned to Franz

Schubers String quartet No. 14 in D minor Death and the Maiden, the opening of this

piece the quartet is to sound like a Viol consort, from here the music changes rapidly and

ranges in emotions, which I feel are representative of the art work depicting Jesus Christ, as

both range from the polar opposites of emotion representing death and life. There is also a

feeling of evolution in this piece as it reaches forward from the sonority of the viol consort

through baroque, classicism to finally arrive in the 19th

century and Romanticism, not unlike

the room in which the music resides with its variety of eras represented in art.

Creo en el Espritu SantoAs the room for this part of the exhibit is considerably smaller than other rooms, I

felt it was more appropriate to use choral music. This will give an intimate feel while keeping

the fuller sound of which a choir is capable. The piece is an arrangement of Gaudete by

Michael McGlynn performed by the Irish choir Anna. I chose this choir as they are of a very

high quality and representative of a modern choir while at the same time the song of choice

Gaudete is a 16th

century carol.

Creo en la ResureccionFor the final room I have chosen the orchestrated arrangement by Edward Elgar of

the Fantasia from the Fantasia and Fugue in C minor. I chose this piece for personal reasons;

as this piece is of a great influence to me and I have no doubt that when others that hear

the piece will be moved as I have been. I came to choose this piece as I found that only the

sound of the full and mastery orchestration by Elgar, which gives this piece its awe inspiring

feeling can mirror that range and depth of art depicting the resurrection.