WORLD TOURFOR PEACE AND UNITY

Asociación InternacionalJUAN PABLO II

S.E.R. Monseñor Pablo ColinoMaestro de Capilla de la Basílica

de San Pedro del Vaticano

T he idea of ecumenism is an idea of unity. It exists since the dawn of Christianity and is fundamentally a humanist concept.

Although this ideal is ancient, it received a new impetus in the Modern Times, thanks to the Second Vatican Council, under the teachings of John Paul II and Benedict XVI.

The Ecumenicon musical work tries to make this ancient dream of unity a reality in the modern world of the brothers in the faith of Christ.

The oratorio Ecumenicon, composed by the maestro Yuri Chugúyev, with the sacred texts prepared by the professor Luis Díez Huertas, is a musical work of great interest and of great value. Its moderate and modern language, at the service of a constructive and intelligent message, highly positive.

The ProjectThe Project

Ecumenism is a desire of understanding and unity between men. This is the profound inspiration of this ecumenical composition of the Russian composer Yuri Chugúyev

(Moscow, 1964).

It is a simple thought that we all have, but that few of us can express in such a sublime and eminent way, like it is presented in this great musical work of sacred music.

The Ecumenicon project is a cultural event linked to the ideas that, during centuries, have promoted unity, cultural and spiritual unity, for all men. The aim of this project is to leave an indelible mark upon the efforts that have yet to be realized in every field of the social, professional, political artistic and technological activity in our present-day society.

It is not a succession of concerts nor the presentation of a contemporary musical work. Adorned and based upon sacred texts, this is a strategy of communication with a worldwide repercussion through the promotion of 150 events on different continents, that will unite the most modern ideas and concepts with the expressive strength of music. At first we will use the direct impact of the concerts in representative places like churches or cathedrals with a great capacity and other adequate places for their realization. In second place the written press, the direct collaboration of TV, Internet, etc, as a way to diffuse the concerts, will be the elements that will have an effect on thousands of people who look for unity instead of rupture.

Without forgetting the International Solidarity's great challenge, one of the important points of the project, and without forgetting either the fund-raising that will benefit to the 5 continents, especially in the Third World.

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For that, the composer gives, in its entirety, the earnings of his royalty and the professional musicians who accompany him agreed to lower their fee. Lots of solidarity projects will benefit from this ecumenical impetus, without precedent in the sacred music history.

Ecumenicon comes from Greek (oikomenikós) and means: habited land, and as an adjective: universal, that extends to the whole world. Ecumenism is the movement that supports what is ecumenical, referring itself to the unity and the harmony of opinions and religious beliefs, above all Christian beliefs.

Although this ideal is ancient, it received a new impetus in the Modern Times, thanks to the Second Vatican Council.

The musical work Ecumenicon tries to make a reality this old dream of unity and harmony in the modern world. For this, it pushes people to get closer with their Jews and Muslims contemporaries because they acknowledge the elevation of the heart towards the Creator, always looking for a common denominator that takes our hand towards a better future.

We want to be able, through the promotion of this act of reconciliation through music, to append the basis for a better understanding between civilizations that preceded us and that still hold us until the threshold of the 21st century. Civilizations that need hope that can cross millions of spirits willing to complete successfully this fine goal. That is what we desire and we invite you to enjoy this moment through music to make it permanent in our lives.

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Mexico SpainPoland Germany Peru Ecuador

Argentina ChiliEE. UU. Slvovakia Colombia Philippines

AustraliaCzech RepublicIsrael/BelénAfricaItaly/VaticanFrance

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OratoriosOratoriosincluded in the musical workincluded in the musical work

I.- Ut ommes unum sint. (Concilio Vaticano II Cap.I)(Gá1latas 3.-27 28) (Con. Vaticano II)

2.- II.- Kryrie,eleison.3.- III.-Plegaria: In conspectu tuo vital meam.(Didajé)4.- IV.-Elección del pueblo de Israel.(Génesis 17.-9 10)5.- V.- Dios oye la oración de su pueblo(El pacto)(Éxodo 2.-24)6.- VI.-Promesa de que vendrá un Mesías

(Isaías 9.-6)7.- VII.-Llega el Mesías:(Lucas 2.-4 7) 8.- VIII.-butismo de Jesucristo (Mateo 3.-12 17)9.- IX.- Bodas de Caná (Juan 2.-1 10)10.- X.-Transfiguración en el Monte Tabor (Lucas 9.-28 35)11.- XI.-S.P.Q.R. El Senado y el Pueblo Romano.12.- XII.- Simul ergo cum in unum congregamur.

(Lectio in Coena)13.- Ubi caritas et amor (Lectio in Coena Domini)14.- Hoc Corpus tradetur (Lectio in Coena Domini)15.- XIII.-Crucifige,crucifige eum (Lucas 23.-17-29)16.- XIV.-O vos omnes (Antífona inn Sabbato Sancto)

(Ant.S. Santo) (Responsorio in Paraaceve)

17.- XV.- O cruz ave spes unica .(Isaías) (Responsorio in Parasceve)

18.- XVI.-Popule meus(Improperio in Parasceve)19.- XVII.-Ubi est, mors, victoria tua?

(Corintios 15.-55)20.- XVIII.-Caeli enarrant gloriam Dei

(Salmo 18.-2 5)21.- XIX.-(Didajé.

Ignacio de Antioquia)22.- Amen.

PrincipalPrincipalBibliographical TextsBibliographical Texts

T he texts were chosen with quotations from the Bible, Liber Usualis, documents of the Second Vatican Council and a Greek document barely known: Didaje (or

Didaché or 12 apostles Doctrine), which is an ancient Christian text, non canoni-cal, prior to several books of the New Testament. Various versions exist in

Coptic language, Arabic, Georgian language and Latin. The short version dates back to the 5th century. It is thought that it was written between

the years 70 and 90, in Syria.

Ecumenicon is a revision of the texts that will mark men's destiny towards Ecumenism. Two Gregorian melodies are included: Ame, inspired by the Kirie from the Angelis Mass (VIII of the

Roman Kirie), which dates back to the 15th and 16th century. The other melody is an hymn, the most

beautiful one God can give to men in the name of love, which is the Maundy Thursday

Matins Lesson VIII. This Oratorio is the contribution of music to this unfilled

and unaccomplished desire of unity between all men before

organisms, states and all men from the 21st century.

Yuri ChugúyevYuri ChugúyevAuthor of the music Coauthor

texts selection

Luis DíezLuis Díez

B orn in Moscow, from the age of 6 he followed the

lessons given by the music school GNESIN and got his diploma at 25 years old, under the guidance of the maestro LUKIANOV. D.M.

From 1985 until 1990 he worked as a percussion soloist in different symphonic orchestras in Moscow. At that time, he participated in many CDs recordings, played on the radio and on tv. He took part also in tours in numerous countries such as post-soviet states, Germany, Czechoslova-kia, Greece, France, etc. He has been under the direction of very famous maestros such as Roczdestvenski, Fedoseiev, Poñkin, Penderesky, Zubin Meta, Antoni Ros Marba, García Asenso, Odón Alonso, Filippe Entremott.

Since 1991 he is working as a music teacher for the Philharmonic Orchestra in Malaga.

These last few years were dedicated to his musician status and also to the direction of his own company Pop Cor. Pop Cor extends itself recordings, edition, cinema for educative, cultural and promotional projects.

The first project is to record the oratorio Ecumenicon (mus. Yuri Chugúyev, biblical texts for 4 voices choir, soloist, reciting person, percussion). It was well received by the public and the critic and became a success for its author, above all for the ideas it represents: “the ancient dream of unity and harmony in our modern world”

A book and CDs dedicated to H.C.Andersen's bicentenary year of birth conceived, composed and led by him for a juvenile audience.

The third project is: "Andalucía en Sacro-Tecno", an audiovisual attempt about the representation of religious traditional events.

These past few years he also gave concerts in which he played his musical works as soloist.

B orn in Tétouan, Morocco in 1930, he studied at the

Pontifical University of Comillas and in the diocesan seminary of Malaga. He obtained his diploma in romance philology. Piano and Organ at the Superior Music Conservatory of Ceuta. Composer and harmony maker. Archive researcher in the S.I. Cathedral of Malaga. Director and Funder of the Orféon Universitario of Malaga. First price at the International Contest in Torrevieja (Alicante) for the best interpretation of Andalusia music. Second price in San Vincente de la Barquera at the International Contest of "Canción del Mar". First price of poetry at the International Contest of Día del Mar, in Malaga. Two second prices at the Andalusia International Contest of Villancicos, in Cabra (Cordoba).

He has done artistic tours in Italy, Yugoslavia, Austria, Denmark, Luxembourg, Portugal and all around Spain.

He was the president and funder of the Malacitana Choir Foundation, president and funder of the Andalusia Choir Confederacy, treasurer and funder of the Spanish Choir Confederacy.

Publications: · "Cachos de mí", collection of poems published by the University of Malaga.· Music and Musicians of the S.I. Cathedral of Malaga (s.XVIII).- 12 Volumes published by the Cultural Ministry of Andalusia. · Music and Musicians of the S.I. Cathedral of Malaga (s.XVIII).- 5 Volumes published by the Cultural Ministry of Andalusia.· Andalusia Popular Songs for children. 2 volumes published by Excma. Delegation of Malaga. Religious Music. Private Edition.· In Memoriam MANUEL RUIZ CASTRO, last maestro of the chapel of the S.I. Cahtedral of Malaga. Biographic book and CD with all his musical works. Private Edition.

Works in progress: Sephardi Jews Music.- (2 volumes)Music of the Judaeo-Spanish Romancero.- (2 volumes)Works for Choir with texts of F.G. Lorca (4 volumes)Moroccan Rhapsodies (Arabic works with Alpajurian origins)

CriticsCriticsI n Art History, there are cycles: focusing on music, a relatively young art, we saw periods of great simplicity, while other periods were

more baroque, all the time alternating.

Yuri Chugúyev shows us his ECUMENICON that is close to minimalists but without being it completely. His sound is tonal and modal, simple and primitive, which is a compliment. His style is clear and direct; his mastery of the percussion makes that, in his music works, the rhythm is very important and the metric variety and the beat (a mix between binary and ternary elements), add something attractive to these models, simple to all appearances.

Yuri Chugúyev's creativity has to be highlighted. It uses little means for great results. He found this trait in great directors, in composers such as Mozart, Verdi or Britten, to name only great composers from the 18th, 19th, and 20th centuries, who are well-known for this trait. We find in his work “a capella” pieces performed by the choir, complete or not, with a subtle use of every instruments, going through melodic moments with the lyre, vibraphone, marimba, of xylophone (instrument with determined sounds), to other moments purely rhythmic, with all the variety of undetermined sounds accessories.

The choir also is in this duality with lyrical moments combined with others with great energy, in which emerge the primitive character we talked about, emphasized by the consecutive use of fourths and fifths.

“ECUMENICON” is a religious musical work that can easily enter the 21st musical repertory.

Miguel Ortega Composer, Director and Pianist

These last years I've had the possibility to work with Yuri Chugúyev and I found in him a fine and sensitive musician, with whom I always get along.

Our first collaboration dates back to the inauguration of the magnificent organ of the monastery Santa Mónica in Bilbao. This was the first representation of my concert for organ and timbales. Yuri's collaboration was splendid and contributed to the success of this first representation.

During this concert Yuri interpreted some of his works, in which there was “Plaza de la Merced”, with a xylophone. We saw that he his a magnificent musician but also an attentive and imaginative composer.

ECUMENICON is a work with another stature and another ambition. Great and original, not only in the idea but also in the concept. The theme of ecumenism and peace is now more than ever actual and important. For this, the selection of the texts and the theme is perfect.

On the other hand, the originality lies in the choice of the interpretors: choir with mixed voices, soloists, reciters, and a band of percussio-nists make this musical work unique. But the originality goes further and can be seen in the variety of rhythms and the way of using them, as well as in the modal character of the harmony. This is a modern musical work that can be heard with interest and joy.

I believe that, from the point of view of the theme as well as from that of the displacement of the stave, ECUMENICON is a musical work that deserves a bright future, and already since its first representation, it aroused interest and approbation from the public.

We hope that Yuri will offer us other musical works as fine as this one and still with that subtle imagination that he has.

Gorka SierraComposer, Director of the Choir of Bilbao

The first observation that suggests the reading of ECUMENICON is that the selection of the texts could not be done by any Christian but by someone who studied in a seminary, as it is the case of Luis Díez Huertas, a student from Malaga.

We can observe the rigorous selection of the same themes in the texts, but he also knowingly developed the main idea of ecumenism. He begins with on text of the Second Vatican Council, in which the apostle Paul reminds himself of the unity of the church: Ut omnes unum sint (May all be one). One body, one spirit, one Lord, one faith, one baptism. This is the spine of the Church: Unity.

At the beginning, like in every church, dispossessed of the condition of the Son of God because of the sin, we prostrate ourselves with humility and ask

God to have mercy of our misery and to illuminate our path with His presence, and by alluding to Ignatius of Antakya and to one of the

texts of the “Didaché”. He gives advices to the Philadelphians to behave like the Son of the true light.

In Genesis God chooses his people and invites him to walk next to Him, and instead of listening to his proposal He decides to make a deal with him and promises him the arrival of the Messiah, Principle of

Peace.

The narration goes further and, during an inspired song sang by the angels, arrive the Messiah. From this point the events of Jesus' public life are told: baptism, wedding at Cana, transfiguration on the

mount Thabor.

Enters immediately the realization of the process of Redemption that will unite all men (here can be guessed Jesus' ecumenical mission). My body will be given over in an act of LOVE. Because where there is love and charity, there is God. Exactly like the Passion with Barabas' liberation. There is one lamentation: Look if there is pain like my pain, in front of my friends' abandonment. Only the cross is hope. Then comes the complaint of a tormented God: My people, what did I do to you for you to hand me over to my enemies.

Jesus, when dying, shouted at God: why did You abandon me, and when the shadows arrive, he dies.

Paul, heading towards the Galataeans, wonders: Death, where is victory?

The oratorio uses texts from Saint Clement of Rome: Join with the Saints, because those who do will be sanctified. Saint Ignatius of Antakya sings the

hymn of unity and that the Eucharist be in the center of it.

The oratorio ends with the words: MARANATHA AMEN. A selection of the texts that goes way beyond a simple choice. The central theme

of the texts was used to establish beautifully the idea of ECUMENISM.

José María González RuizCanon of the cathedral S.I. of Malaga.