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Richard Danielpour

Darkness in the Ancient Valley w/Nashville Symph.

Release Date: September 8, 2011

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Creators + Innovators
1 Darkness in the Ancient Valley I. Lamentation  
2 II. Desecration  
3 III. Benediction  
4 IV. Profanation  
5 V. Finale_Consecration  
6 Lacrimae Beati  
7 A Woman's Life I. Little Girl Speakings  
8 II. Life Doesn't Frighten Me  
9 III. They Went Home  
10 IV. Come and Be My Baby  
11 V. Let's Majeste  
12 VI. My Life Has Turned to Blue  
13 VII. Many and More  
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Award-winning composer Richard Danielpour, one of the most gifted and sought-after composers of his generation, has attracted an impressive array of champions; his commissioners include such celebrated artists as Yo-Yo Ma, Jessye Norman, Dawn Upshaw, Emanuel Ax, Fredericka von Stade, Thomas Hampson, the Kalichstein-Laredo- Robinson Trio, Gil Shaham, Sarah Chang, Philippe Entremont, the Guarneri and Emerson String Quartets, the New York City and Pacific Northwest Ballets, the New York Philharmonic, Philadelphia, Vienna Chamber and Stuttgart Radio Orchestra, San Francisco, Pittsburgh, and National Symphonies, Orchestre National de France, Chamber Music society of Lincoln Center, Santa Fe Chamber Music Festival and many more. 

Darkness in the Ancient Valley is a symphony in five movements, commissioned by the Nashville and Pittsburgh Symphonies. The fifth movement, which includes a soprano voice, was written for Hila Plitmann. The text comes from an English translation of a Rumi poem (Divan 1559), and involves a woman who refuses to retaliate against her husband, or lover, in spite of his abusive and cruel behavior.  Lacrimae Beati means “Tears of the Blessed One,” the blessed one in this instance being Mozart. The title also refers to the source material for this ten minute work – the Lacrimosa from Mozart’s Requiem. It is generally assumed that the first eight bars of the Lacrimosa are among the last that Mozart wrote.  A Woman’s Life was composed in the summer of 2007 for Angela Brown who premièred the rôle of Cilla in Margaret Garner (2005). While I was consistently impressed by her artistry and power onstage (she sang the rôle in Philadelphia and Cincinnati), I was especially taken with her graciousness and deep compassion for all of her colleagues.

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