Category: Organ / Sacred Music
The rose - is the symbol of Venus, of Holy Mary, but also unites love with thorns and suffering!
The name “A ROSE IS A ROSE IS A ROSES” comes from the American poet Gertrude Stein in her poem SACRED EMILY (1913)
The atmosphere of these interludes contains something of the mysterious symbolism associated with the rose, whose dual nature embodies love, innocence, piety and oerfect beauty - as well as pain, desire and those thorns. Some of the interludes are fine and delicate, while others are brusque and harsh, yet essentially they belong together: "A Rose is a Rose...' - and some secrets remain unfathomable.
The sound examples below are published on CD “Im Namen der Rose” Label Ambiente Audio.
With Click on the 1st photo below you may see a short Trailer on YouTube.
Duration: 9:30 (2:30, 2:00, 1:10, 1:20, 2:30)
Publisher of notes/sheet music: Schott Musik International , ED 9920 , 1999
Instrumentation: Organ
Solo instruments: Orgel
Introduction: In my Requiem "The Name of the Rose" for countertenor (or alto) and organ these interludes mark out the five sections of the composition, which consist of a hymn to the Virgin (the Rose), a text focusing of mediaevel cruelty (the Thorn) and a Latin Requiem mass. The atmosphere of these interludes contains something of the mysterious symbolism associated with the rose, whose dual nature embodies love, innocence, piety and oerfect beauty - as well as pain, desire and those thorns. Some of the interludes are fine and delicate, while others are brusque and harsh, yet essentially they belong together: "A Rose is a Rose...' - and some secrets remain unfathomable.
World premiere: 10.06.2003, Spitalkirche Ingoldstadt (Ingolstadt organ days 2002)
Performers at world premiere: Johannes Skudlik
Press reviews for world premiere: Interview with 'Musica Sacra', issue 6/2006: Pleasantly the conceivable, logical kind of the composition with Schneider's composition is pleasant and logical. His inspirations are useful, developable and persuasive. He remains bound to the tonality in a refreshing way without being hackneyed
Records: 1999
