Kim André Arnesen: TUVAYHUN — Beatitudes for a Wounded World Nidarosdomens jentekor, Trondheimsolistene & Anita Brevik
Artist: Nidarosdomens jentekor, Trondheimsolistene & Anita Brevik
Composer: Kim Andre Arnesen (1980)
Album including Album cover Booklet (PDF)
Formats & Prices
|FLAC 96 / MCH||$ 22.50|
|FLAC 176.4||$ 18.90|
|FLAC 88.2||$ 15.80|
|DSD 128||$ 21.60|
- Kim Andre Arnesen (b. 1980):
- 1Tuvayhun: 1. The Poor in Spirit01:58
- 2Tuvayhun: 2. I am Poor10:57
- 3Tuvayhun: 3. The Merciful01:56
- 4Tuvayhun: 4. Forty Days and Forty Nights00:00
- 5Tuvayhun: 5. The Peacemakers00:00
- 6Tuvayhun: 6. What is Peace?03:50
- 7Tuvayhun: 7. The Meek02:09
- 8Tuvayhun: 8. Rachel's Song06:32
- 9Tuvayhun: 9. The Pure in Heart01:58
- 10Tuvayhun: 10. The Face of God08:03
- 11Tuvayhun: 11. I Hope02:56
- 12Tuvayhun: 12. Those Who Mourn02:21
- 13Tuvayhun: 13. Song for a Lily05:13
- 14Tuvayhun: 14. Those Who Hunger and Thirst for Righteousness01:40
- 15Tuvayhun: 15. Song for Justice00:00
- 16Tuvayhun: 16. Those Who Are Persecuted For Righteousness Sake01:45
- 17Tuvayhun: 17. Hold My Hand06:46
- 18Tuvayhun: 18. You are the Light08:33
Info for Kim André Arnesen: TUVAYHUN — Beatitudes for a Wounded World
Our world is wounded. All around us we see the cracks: the effects of environmental crisis, mass migrations, global pandemic, political polarization, growing income inequality, the rise of authoritarian regimes, unprecedented social change, and reticence or resignation on the part of many to do anything about any of it. And yet, our world is also a place of wondrous beauty, a beauty that surrounds us if we have eyes to see it. More than ever we need messages of hope and unity, messages that remind us of what we already know—that the world is beautiful, that people are beautiful, and if we come together, respect one another, bless one another, and open our hearts to be blessed in return—we might heal the despair, and repair the fractures that are threatening our fragile world.
In "TUVAYHUN—Beatitudes for a Wounded World" we seek to address this fragility, and the part we are called to play in healing it. "Tuvayhun" in Aramaic is the first word in each of the Beatitudes, "Blessed…" In the Sermon on the Mount from the Gospel of Matthew, Jesus likely spoke this exact word as he pointed out those who were especially blessed in the eyes of God; but his was not a predictable list. He did not say, "Blessed are the big donors" or "Blessed are the Church leadership" or "Blessed are those who pray the loudest.” Instead, he shocked his listeners by blessing not those who have joy, but those who mourn; not the righteous, but those who are poor in spirit; not the powerful, but the peacemakers, and the meek. He blessed the sinners, the broken, the marginalized.
TUVAYHUN responds to each of Jesus' blessings as if to say, "Yes, and…" These new texts illustrate how that blessing applies in the real world. It seems as though Jesus' words two millennia ago still resonate, and the types of people he sought to comfort with his blessings are still in need of that blessing, and the societal shortcomings he drew attention to then are still challenging us today.
The music of TUVAYHUN takes us on a journey through deep emotions and deeply human situations. The music moves in and out, occupying the liminal space between ancient and modern, sacred and profane. We move from semi-liturgical chant to lively folk dance, from rich orchestral layers to stark solos, from the familiar to the exotic, and back again. The music illuminates the many different peoples and experiences the texts evoke, and serves in sonic form as a reminder of the universal and enduring message of the Beatitudes.
One might think that each of the eight verses in the Beatitudes concerns a different group of people: the poor in spirit, the meek, the peacemakers, the merciful. However, these are not eight different groups of people, but instead are eight moral qualities that all of us can possess. We are all in need of these blessings, and we are all called to act as the agents of blessing.
Kirsti Huke, vocals
Mohammed Al-Majzoub, vocals
Hans Fredrik Jacobsen, flutes
Hans-Kristian Kjos Sørensen, cimbalom
Ruth Potter, harp
Espen Aalberg, percussion
Carl Haakon Waadeland, percussion
Anita Brevik, conductor
Ola Lindseth, string orchestra leader
Nidaros Cathedral girls’ choir was founded in 1992 and is one of five choirs in the Nidaros Cathedral. The choir is identified with a high level of artistic ability and a wide range of musical expression. We participate regularly in the cathedral’s services and produce our own concerts, both in the cathedral as well as independently in other locations. The concerts are in addition to many other exciting events such as tours, competitions, festivals, recordings, national or private events and others. The choir is comprised of approximately 85 members, with about 30 in the junior choir (ages 10-14) and about 55 in the senior choir (ages 14-19). There is also the training choir led by Johanne Bjørkhaug and is connected with the Trondheim Municipal Culture School. Anita Brevik is our Conductor and Artistic Director. She has been with the choir since it was established in 1992 and is a constant source of inspiration for the girls.
is the Conductor and Artistic Director of the Nidaros Cathedral Girls’ Choir. The choir was founded in 1992 and Anita has been at the helm since day one. Her systematic, conscious effort to refine and preserve the girl’s voices has resulted in a distinctive warm, homogenous sound, and which has become one of the choir’s trademarks. Anita is genuinely interested in striving for a choir which is both an arena for learning music as well as a project for growth and development. During some of the most important years in the girls’ lives they learn order, discipline, patience, and the value of quality and being prepared. For Anita, each individual voice and personality are the unique pieces that constitute the choir as a whole. Anita received The King’s Medal of Merit in 2018 for her dedicated work with the girls’ choir
It all started in 1988 with Trondheim’s Music Professor Bjarne Fiskum. His formidable ability to seek out talented young musicians, provide them with the skills to perform at their best and then to encourage them to give the maximum of themselves, became the driving force behind the early success of the ensemble. Øyvind Gimse continued the job as Artistic Director and created exciting and innovative projects. The ensemble soon became known for its energy and warmth. On its first foreign tour, London audiences wouldn’t stop clapping. Trondheimsolistene turned professional, but the spirit of youth stayed and student musicians became part of its constitution.
Major collaborations followed. Anne-Sophie Mutter sought-out the ensemble’s energy and verve and many others tapped into its openness and sensitivity. Geir Inge Lotsberg, Artistic Director since 2017, instilled a new meticulousness in the ensemble and began taking them down unfamiliar musical paths. As Artistic Partner, the dynamic cellist Alisa Weilerstein brought new dimensions to sound and mindset.
Trondheimsolistene is recognised for representing chamber music at the highest level. Passionate performances, innovation and innate musicianship are the watchwords and that is whether they are making critically acclaimed recordings, playing live from the Lofoten Islands to Berlin, or forging meaningful partnerships with musicians of all disciplines.
What makes them unique is that Trondheim always shines through. The close connection with the city, it’s nature and Norway’s ever-changing seasons is exactly what you hear in the unmistakable Trondheim sound – an authentic, honest and invigorating performance.