"The Prize Is Still Mine" Libretto by Michael Petry
"A Prussian Requiem" Libretto by Michael Petry
"Requiem Addendum" Libretto by John Powell Latin Translation by Charles Anthony Silvestri
Music by John Powell
Produced by John Powell Philharmonia Orchestra & Voices Conducted by José Serebrier Tenor: Javier Camarena Baritone: Steven Pence Eric Whitacre Singers Conducted by Eric Whitacre Los Angeles Gospel Singers Conducted by Edie Lehmann Boddicker Solo Vocal: Judith Hill Recorded by Mike Hatch Mixed by John Traunwieser Music Transcriptions by Batu Sener Additional Music Preparation by Jill Streather, Ann Barnard & JoAnn Kane Music Services Orchestrational Consultancy: Emlyn Singleton Watford Colosseum Stage Recordist: Michael Gerrard Watford Colosseum Crew: Tim Brinkman & Therese Carpenter Artwork by Michael Petry Musician Contractors & Managers:
For A Prussian Requiem: Rachel Jones & David Welton For Requiem Addendum: Claire Long & Meg Davies For The Prize Is Still Mine: Edie Lehmann Boddicker Executive Producer: Dan Coleman, Modern Works Music Publishing Publicity: Carla Parisi, Kid Logic Media
Special Thanks: to Michael Petry, José Serebrier, David Welton, Eric Whitacre, Gavin Greenaway, Emlyn Singleton, Tony Silverstri, Victoria Schofeld, Peter Gelb, Dan Coleman, Laura Engel, Mark Graham, Nancy Buchanan, Dr. Lawrence Piro, Dr. Chester & Chris Griffiths, Cindi Hilfman, Rebecca Wade, Tamasine Hanson, Shawn Murphy, Germaine Franco, Travis Barker, Jesi Nelson, Amanda Jones, Tracie Turnbull, Aylin Sener
Javier Camarena, Matthias von Orelli, Steven Pence, Edie Lehmann Boddicker, Omar Crook, Elin Carlson, Monique Donnelly, Amy Fogerson, Fletcher Sheridan, Steve Amerson, Randy Crenshaw, Reid Bruton
Philharmonia Orchestra Management: Rachel Jones, Fiona Martin, James Williams, Tom Spurgin, Per Hedberg, David Thomas, Tim Cotter, Hannah Bellamy, Steve Brown, Barry Brown, Natasha Riordan-Eva; The Philharmonia Chorus & Richard Harding, Stephan Bevier & Mike Brennan
for Oliver Powell
Dedicated to Melinda Lerner (1959 - 2016)
The Hubris Of John Powell On the centenary of the First World War, I decided to compose a "war requiem;" an act of grand hubris I thought, and in that very idea, I found my story: "How did the war begin?" With this hubris came anxiety. Could I transcend my established identity as a "film composer" and finally communicate the complexities of my feelings on such a distant subject?
My study of WWI would have to extend beyond my own conjecture and overactive empathy. As I planned the requiem, I reviewed the scenes of muted conflict holding Europe and its empires in a constant geopolitical standoff. I eventually found the historical character to serve as protagonist in my new work: General Helmuth von Moltke. When polled by the Kaiser as to possible offerings of peace by other countries on the night before the conflict began, his reply was an indignant hissy fit that could plausibly have been the reason that war went from "inevitable" to a reality. My own hubris paled in comparison.
But a requiem seemed too ambitious a work for me to start without a warmup, so my frequent collaborator, Michael Petry, provided inspiration for a separate project. From my part in the recordings of an installation piece written with Gavin Greenaway, the elements of The Prize Is Still Mine appeared. With its strange mix of styles - gospel and early 20th century romanticism, this composition for voices and orchestra tells a story of triumph and rejuvenation. With the completion of a project that celebrated genuine pride, I felt able again to examine the false pride that led to the First World War, and returned to A Prussian Requiem emboldened.
Even before the work on this new work began, my wife Melinda's health was starting to decline; the main reason I was taking less work in Hollywood. But I never really would have believed what the future held; a chilling admission of the power of optimism in the face of a universe capable of such chaos. As the requiem took shape, Melinda began fighting a battle she was destined to lose. My utter confidence in perfect outcomes (my hubris) seems similar to the mass delusion that military conflicts can be "over by Christmas."
And so, a year later, as the sound of A Prussian Requiem died at its first performance in London's Royal Festival Hall, so did Melinda. I was holding her hand as my phone rang with congratulations from England that I could not hear nor
comprehend. What had I done? Had my hubris brought forth pain and suffering the way General von Moltke's had on the last days of August 1914? Is that how the world works? A neurotic man sees all patterns leading back to him. What narcissism arises from the evolutionary functions that led humanity to success? But at times of great sorrow, we can find sharp needles in vague haystacks if they give us solace.
The next work I needed to write became obvious. A requiem to a Requiem. Neither A Prussian Requiem nor Requiem addendum are truly what they say they are, but merely the fumblings of my heart, communing with those I have lost.
John Powell, Los Angeles, 5:50am November 25th 2017
Release date : 06/15/2018
The Prize Is Still Mine (14:29)
A Prussian Requiem - I. Introduction To Moltke - II. The March (4:50)
A Prussian Requiem - III. Beware The Bear (2:06)
A Prussian Requiem - IV. We, The Glorious Dead - V. Easy (6:27)
A Prussian Requiem - VI. The Papers Of Peace - VII. Let The Rails Roll - VIII. Victory Is Ours (9:32)
Write your own comment here (in english please)
This zone is only to post comment, not to ask for CD downloading, copying or trading ! Each comment can be possibly edited or deleted to ensure it is suitable for public presentation.
This is a highly underrated album. It's nothing short of a masterpiece, a modern opera. The choir is beautiful, and the choice of gospel for the first track gives it a unique identity, though I'm not sure how well it meshes with the orchestra. It feels a bit off, but will hopefully improve for me on further listens.
The composition, has to me, elevated Powell to the status of the second best living composer (Williams is still first for now). It's pure orchestral beauty and mastery with variety of texture, color, and style, with seamless tonal transitions. The complexity rivals some of the great works of the past.
It's strange to me that this is called "choral works". Sure the choir is an important element, but it really should be named "Hubris Symphony", or "Hubris: The Opera", because that's the status the album deserves.
This would be really nice that as the release is only available for download, we had the choice to download it in a better quality than the CD itself. We have no material piece in the hands, at least we would like to have such a contentment. I do have no action in Qobuz, but that should be a mandatory place for a download only music, for music lovers who like pure instrumental music. ;) I'll be waiting for it !
Nicolas, Webmaster
2018-06-15 19:50:44
Hubris: Choral Works by John Powell is now available to stream worldwide on all digital platforms! 😎
Also available to download in 192k/24bit high-resolution from johnpowellmusic .com CDs on https ://bit.ly/2lcQ5Ig :) and coming soon to Amazon and other retailers!
Thank you, everyone, who was a part of this record! Enjoy 🎶🎺
Nicolas, Webmaster
2018-06-15 19:51:52
John just precised this point, i was just too impatient ;)
Create Topic
