Ubi caritas et amor, Deus ibi est./Where charity and love are, God is there.Ĭongregavit nos in unum Christi amor./Christ’s love has gathered us into one.Įxultemus, et in ipso iucundemur./Let us rejoice and be pleased in Him. The text that is at the centre of the work can be seen below: Ubi Caritas is entrancing, to say the least, and Gjeilo’s use of crunchy harmonies and choral colour are so very effective. Gjeilo composed Ubi Caritas in 1999, after singing, and being influenced, by Maurice Duruflé’s a cappella work for choir with the same name. Gjeilo takes inspiration from the traditional chant that Duruflé also used, but then added his own twist to the text to make it come alive in a different way. I felt a lot less creative doubt, and I just began to enjoy composing in a new way.” I started to write more music that reflected what I listen to. So, this is the principle I work with now. If we don’t enjoy our own music – audiences won’t either. This should be the benchmark of all that we composers are looking for. What does my teacher want me to do? What are others expecting from me? Is my music modern enough? Is it too pretty? Is it too cerebral? We get caught up in these things and distracted from the core question – what is it that I really love?” “I think it is real easy to get caught up in external factors and questioning oneself. His use of improvisation, jazz and classical conventions amalgamate to create some truly stunning pieces of music. Gjeilo talks at length about ‘finding your music voice’, and how it is a common barrier for composers: Gjeilo’s style is still being found to this day. “It is a beautiful, lyrical piece, with very attractive harmonic colours.”
Ubi Caritas became one of the first breakthrough works for Gjeilo in America, with Randall Stroope commenting that:
Ubi Caritas is an interesting work as it is an impressive work for a choir to perform well, however, it is still accessible for ensembles ranging in experience and standards.
It is said that Gjeilo’s earlier choral music was a lot more conventional in terms of the classical style it often resembled. Julliard School, New York City, where Gjeilo studied composition After this, Gjeilo then moved to New York to study composition at the prestigious Julliard School, where he graduated in 2006. Gjeilo’s wide breadth of styles and his formal training all feed into his ever-developing choral style of composing, which is what he is perhaps most well-known for now. His keen ear enabled him to be experimental in his compositional style from a young age.Īfter high school, Gjeilo received lessons from composer and pianist, Wolfgang Plagge, which then lead him to receive formal composition education at the Royal College of Music in London.
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From an early age he was exposed to a range of different genres of music, but he took a special liking to both jazz and classical choral music. Gjeilo began playing piano, and gravitated towards jazz improvisation. Gjeilo mainly learned music by ear, but did learn how to read music from age 7. Ola Gjeilo was born in 1978, in Sandvika, Norway.
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