Uploaded January 2021 | Updated September 2026, 2 weeks ago
6. JUBILUS for soprano, trumpet and percussive body sounds (1984) 9:29
The Ensemble Sospeso, New York: Lucy Shelton, soprano; Brian McWhorter, trumpet; David Rozenblatt, percussion; Gheorghe Costinescu, conductor
Jubilus was commissioned by the National Public Radio for the Radio Visions series in 1989. The first version of the work was broadcast the same year in the program entitled “The oldest Instrument.” The final version was completed in 1984.
The text sung by the soprano is non-semantic, using vocal techniques systematized by the composer in his Treatise on Musical Phonology.
The trumpetist acts as the instrumental counterpart to the soprano, while the percussionist carries the rhythmic structure that coordinates the other two performers. No instruments are used by the percussionist, whose sounds are produced by means of mouth, hands, and feet.
The composition is meant as an expression of rejoicing, both physical and spiritual, the latter aspect reflected also through hints of the word “alleluia” that can be heard at various points, especially toward the end.
G. C.
“The ‘Jubilus’ is the final florid phrase of the liturgical ‘Alleluia,’ but the text used here is non-semantic, related in sound to elements in the Romanian language. More significant is the way Costinescu pits the soprano—who sings sometimes conventionally, more often in spurts or gasps, double tones, with closed mouth, even on the inhale—against a trumpet which manages amazingly to approximate the parallel vocal emissions. It is a work of enormous vitality and originality.”
– Robert Croan, Pittsburgh Post-Gazette
composers.com
6. JUBILUS for soprano, trumpet and percussive body sounds (1984) 9:29
The Ensemble Sospeso, New York: Lucy Shelton, soprano; Brian McWhorter, trumpet; David Rozenblatt, percussion; Gheorghe Costinescu, conductor
Jubilus was commissioned by the National Public Radio for the Radio Visions series in 1989. The first version of the work was broadcast the same year in the program entitled “The oldest Instrument.” The final version was completed in 1984.
The text sung by the soprano is non-semantic, using vocal techniques systematized by the composer in his Treatise on Musical Phonology.
The trumpetist acts as the instrumental counterpart to the soprano, while the percussionist carries the rhythmic structure that coordinates the other two performers. No instruments are used by the percussionist, whose sounds are produced by means of mouth, hands, and feet.
The composition is meant as an expression of rejoicing, both physical and spiritual, the latter aspect reflected also through hints of the word “alleluia” that can be heard at various points, especially toward the end.
G. C.
“The ‘Jubilus’ is the final florid phrase of the liturgical ‘Alleluia,’ but the text used here is non-semantic, related in sound to elements in the Romanian language. More significant is the way Costinescu pits the soprano—who sings sometimes conventionally, more often in spurts or gasps, double tones, with closed mouth, even on the inhale—against a trumpet which manages amazingly to approximate the parallel vocal emissions. It is a work of enormous vitality and originality.”
– Robert Croan, Pittsburgh Post-Gazette
composers.com
