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The title of this work (composed in 2016), meaning « musical funeral » in German, obviously pays tribute to the famous work written in 1636 by Heinrich Schütz. The very 'raison d'être' of the composition is to express and amplify the sense of the biblical verses used in its seven movements. The tonal, nearly archaic, harmony used here is in no way a statement of postmodernism, but only the way that the composer thought the most fitting with the severe polyphony and distinctive atmosphere of this work.
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