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RITURGìA DI MILANO
(RITURG
ÌA OF MILAN)

Oratorio for narrators, choir and ensemble
(Fl., Ob., Cl., Fg., Cor., Tr., Pf., 1 Perc., 2 V., 2 Ve., 2 Vc., Cb.).
on hymns by S. Ambrogio
year of composition: 1994
dedicated to S. Ambrogio
I performance: Milano, Basilica di S. Ambrogio, 2.12.1994
narrators: G. Lazzarini, G. C. Dettori, S. Grandis
Divertimento Ensemble and Camerata Polifonica di Milano. dir: F. Dorsi
work property of the author
(the parts can be hired out)
available a live recording
WORK REGISTERED AT SIAE (Italian Authors and Publishers Association)




From left to wright: Giulia Lazzarini, Giancarlo Dettori, Davide Anzaghi and Fabrizio Dorsi during Riturgia's reharshals

Paolo Tarallo wrote of Riturgia di Milano in Il Corriere della Sera, 4/12/1994:

"In full Advent the striking music of Riturgia, for narrators, choir and instruments by Davide Anzaghi, rang through the ancient vaults of the Basilica of Saint Ambrose the other night, performed for the first time within the ambits of the musical review, 'Novurgia'.

The great Ambrosian church could not have been other than the natural seat for this work, which was woven together using numerous fragments of the hymn which Saint Ambrose himself conceived and wrote sixteen centuries ago, breathing new life into a form of sacred song which was born in far-off Syria, but could be definitively consigned to common liturgical use only here, as Saint Augustine testifies with emotion in chapter 16 of his Confessions.

The architecture of Riturgia  leans fundamentally upon the counterpoint between narrators and choir. The former declaim the Italian version of the hymns, while the latter sings the Latin version. Among these 'recitations' are inserted, entrusted to an off-stage voice, as well as four interludes. The whole is enclosed bewteen an instrumental Prelude and Postlude. The mechanism which governs the succession of each part showed itself to be fluid and the work assumed the calm and natural composedness of a ritual action in this way.

Anzaghi wanted the music to flow incessantly throughout the whole work, within which the voices played an important timbric role, exhalted by the precious diction of Giulia Lazzarini and Giancarlo Dettori (with the effective off-stage voice of the excellent Sonia Grandis) . . ."