Nour-Web-Picts-16White is the predominant color in Nour’s repertoire, as Alba, the title of its first album suggests. White symbolises light ; both the interior light of the Persian soufis, and that reflected onto the faithful by the stained glass windows in Western cathedrals. White is the color of the passage of night to dawn, of darkness to light ; the color of purity and wisdom. Zoroastrians wear white garments to worship the purifying fire, the muslim pilgrims who pray around the Kaaba in Mecca all wear white, and so do priests and devout Christians. White light is also the combination of all contrasting and diverging colours put together.
White unifies and so does Nour’s music.




The following repertoire (which lasts approximately an hour and a half) will introduce you to the different sources from the Oriental and Western repertoires which Nour interprets simultaneously.


FIRST PART: around 42 minutes

1 – Gloria Patri I / Besme Allah (01:53)               A capella
• Fragment of “Fateheh” Surate from the Holy Qoran.
• Antiphonaire and Introïtum in the 6th tonality from “Graduale Romanum”

2 – Santa Maria amar/Mariam moghadass (15:50) 1 line_icon 2 line_icon 3 line_icon  Voices and Instruments
• Melody and text from the Kurdish folklore
• Cantigas No.7 from the “Cantigas de Santa Maria” (Alfonso X el sabio, 13th c.)

3 – Novus Annus / Fasle no’ (05:13) 1 line_icon 2 line_icon      A capella
• Melody and text from the Kurdish folklore.
Nour-Web-Picts-27• French conductus from the “Ecole Saint Martial de Limoges” (12th c.)

4 – Cunctissimus concanentes…/ Sama’ (05:00)               Voices and Instruments
• Mowlana Rumi’s poem (13th c.) & Melody from the traditional persian repertoire.
• Melody and text from the Spanish “Red book” from Montserrat abbey: “Llibre vermell de Montserrat” (14th c.)

5 – Pange melos (07:50)               Voices and Instruments
• French anonymous conductus (13th c.)
• Instrumental arrangement for : Duduk, kamantche, oud and percussion. Dedicated to the victims of the Bam earthquake.

6 – Zakaria (06:00)               Voice and percussions
• Fragment from «Mariam» Surate extract from the Holy Qoran
• Fragment from Saint Lucas Gospel (Lc 1, 13, 14, 15) – Graduale Romanum – in the 7th tonality.

SECOND PART: around 35 mn

7 – Alleluia / Setayesh (05:00) 1 line_icon      A capella
• Folk tale and Heiran’s chant from the Kurdish region of Turkey.
• Alleluia verse in the 4th tonality, (David’s psaulm 20, 4) from Graduale Romanum

8 – ALBA / Sahar (06:50) 1 line_icon 2 line_icon      A capella
• Poem from the french troubadour Girault de Bornelh (11th c.) sung in Occitan.
• And poem from Hafez’s «Ghazaliat». (14th c.)
Music : Christophe Rezaï

9 – Uterus Hodie… / Tavalod (12:20) 1 line_icon      Voices and Instruments
• Poems from « Baba Taher » (11th c.) – Persian radif in « Mahour ».
Nour-Web-Picts-54• Conductus from « école Saint Martial de Limoges » (11th c.)

10 – Gloria patri II / Besme Allah (01:00)               A capella
• Antiphonaire and introitum in the 7th tonality from Graduale Romanum.
• Fragment from «Hamd» Surate extract from the Holy Qoran.

11 – Miragres fremosos / Mo’jezeye ziba (10:00) 1 line_icon 2 line_icon   Voices and Instruments
• Cantigas No.37 from « Cantigas de Santa Maria » (Alfonso X el sabio, 13th c.)
• Melody and text from « Ourami »’s folklore of Kurdistan.


12 – Villancico / Payekoobi (03:40) 1 line_icon      Voices and Instruments
• Danse from Lorestan’s folklore named « danse for 3 steps »
• Villancico from the 16th c.

13 – Lullaby / Lalai (04:10) 1 line_icon      A capella
• Kurdish lullaby arranged for 6 voices
Music : Christophe Rezaï