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ARVO PÄRT Organ Music · Choral Music
DANIEL JUSTIN · THOMAS LEECH LEEDS CATHEDRAL CHOIR · BENJAMIN SAUNDERS
“I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements - with one voice, with two voices. I build with the most primitive materials with the triad, with one specific tonality.” Arvo Pärt For Pärt (b. 1935), Estonian giant of contemporary music, it was not always so. His earliest works inhabit the neo-classical world, rapidly developing into complex textures retaining some sense of tonality amidst serial dissonance and dense collages of sound. Aggressive modernism, coupled with proscribed faith, took an inevitable path to censure from the occupying Soviet regime, and then to a crisis of artistic confidence precipitated by the banning of his 1968 work Credo. This brought about a silence where “He had reached a position of complete despair in which the composition of music appeared to be the most futile of gestures, and he lacked the musical faith and willpower to write even a single note.” Study during this period led Pärt to create a new style, far removed from what came before, and equally different from its avowed roots in the medieval period. Christened ‘tintinnabuli’, this technique emerges from a simple melodic voice embraced by an accompaniment taken from the tonic triad – the bell-like sound inspiring the label. Both choral and organ music featured here show the remarkable expressive resources found within such an apparently restricted frame; there are certainly many moments of ascetic detachment but these are balanced with a compelling range of emotion.
The Choral Works For a text of such significance there are remarkably few settings of The Beatitudes – both length and formula of the text an obstacle to musical development. In Pärt, we of course find a style ideally suited to answer these difficulties. Granite slabs of 2
sound come into focus over unyielding organ pedal notes, the message intensified in the silences. Intensity rises with pitch until the music is torn apart by the organ at the concluding Amen – the organ part (a harmonic mirror to the choral section) then dissolves rapidly. Contemporary with The Beatitudes is the massive Berliner Messe, written for the 90th Deutsche Katholikentage (Catholic Day) in 1990. Presented here in the version for choir and organ the Mass belies the easy categorisation of Pärt’s style as impersonal. Harmonic economy doesn’t prevent a romantic range of expression, from the yearning of the Kyrie, through the to the nervous heartbeat of the Sanctus and stripped-down Agnus Dei. Jagged text setting, with exposed lines and enigmatic fragments add dramatic purpose. Of particular note is the Credo, a major-key reworking of Summa – written in Estonia when all expression of faith was forbidden. The earlier Cantate Domino (1977) is an exemplar of the tintinnabuli style – a gently oscillating melodic line surrounded by a triadic accompaniment. Weight of expression is added through subtle changes to the scoring, the emphasis always following the weight of the text.
The Organ Works The complete organ works heard here (with the exception of the withdrawn 1997 Puzzle) explore (exploit?) the instrument’s capacity for stasis and to extract meaning from minimal resources – expressive states so much organ repertoire attempts to cover at all costs. The Mass – naturally an essential element of Pärt’s deep Catholicism – is found again in Annum per annum, a set of variations representing the Ordinary, and titled with the initials of the movements K, G, C, S, A. Hammering repetitions of the tonic chord serve as an introit – and the composer instructs the organist to switch off the organ’s blowers whilst continuing to play. The coda mirrors this, building from the last sounds of the Agnus Dei to the massive sound of the full organ. 3
More complex and harmonically aggressive is the epic journey of Mein Weg hat Gipfel und Wellentäler – inspired by a poem taken from the Livre des Questions by Edmond Jabes. The rise and fall of the lines follows the text – My road had its hours of greatness, its blows, its pain...My road. Yours. – and the complex texture demands total immersion. The hands divide in an augmented rhythmic canon, cut through with a cantus firmus pedal line (the form is remarkably similar to the Canon per Augmentatione in Bach’s Canonic Variations). Pari intervallo is one of the purest expressions of tintinnabuli, and one of the earliest (1976). In this tombeau for a friend, the melody unfolds in parallel lines between the alto and pedal, while the tintinnabuli voices simply repeat the e flat minor triad. There is an almost miraculous depth in this agonisingly bleak expression of grief. The panelled structure of Trivium takes us to an altar in a vast gothic cathedral, seemingly ancient melodies in formal symmetry around a stark central section. Written in the same year as Pari intervallo, the language is flexible in its expression, perfectly suited to the instrument. Popular imagination might place Spiegel im Spiegel (Mirror in the mirror) foremost amongst the composer’s output – minimalist and timeless. Its bare repetition and the possibility that this piece could unfold ad infinitum paradoxically making us aware of the passing moments – Pärt writes ‘[the] instant and eternity are struggling within us’. Here this iconic piece is heard in a 2010 transcription by Giovanni Battista Mazza.
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1 The Beatitudes [St Matthew chapter 5, vv. 3-12] Blessed are the poor in spirit: for theirs is the kingdom of heaven. Blessed are they that mourn: for they shall be comforted. Blessed are the meek: for they shall inherit the earth. Blessed are they which do hunger and thirst after righteousness: for they shall be filled. Blessed are the merciful: for they shall obtain mercy. Blessed are the pure in heart: for they shall see God. Blessed are the peacemakers: for they shall be called the children of God. Blessed are they which are persecuted for righteousness’ sake: for theirs is the kingdom of heaven. Blessed are ye when men shall revile you, and persecute you, and shall say all manner of evil against you falsely, for my sake. Rejoice and be exceeding glad: for great is your reward in heaven: for so persecuted they the prophets which were before you. Amen.
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BERLINER MESSE 2 Kyrie Kyrie eleison Christe eleison Kyrie eleison
3 Gloria Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis. Laudamus te. Benedicimus te. Adoramus te. Glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, Pater omnipotens. Domine Fili unigenite Jesu Christe. Domine Deus, Agnus Dei, Filius Patris. Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis. Quoniam tu solus sanctus. Tu solus Dominus. Tu solus altissimus, Jesu Christe. Cum Sancto Spiritu, in gloria Dei Patris. Amen. 6
BERLINER MESSE 2 Kyrie Lord have mercy Christ have mercy Lord have mercy
3 Gloria Glory be to God on high. And on earth peace to men of good will. We praise thee. We bless thee. We worship thee. We glorify thee. We give thee thanks for thy great glory. Lord God, heavenly King, God the Father almighty. Lord, only begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father. Thou that takest away the sins of the world, have mercy upon us. Thou that takest away the sins of the world, receive our prayer. Thou that sittest at the right hand of the Father, have mercy upon us. For thou alone art holy. Thou alone art the Lord. Thou alone art the most high, Jesus Christ. With the Holy Spirit, in the glory of God the Father. Amen.
4 Erster Alleluiavers zum Pfingstfest Alleluia. Alleluia. Emitte Spiritum tuum, et creabuntur: et renovabis faciem terrae. Alleluia.
4 First Alleluia Alleluia. Alleluia. Send thy Spirit, and they shall be made: and thou shalt renew the face of the earth.
5 Zweiter Alleluiavers zum Pfingsfest
5 Second Alleluia Alleluia. Alleluia. Come Holy Spirit, fill the hearts of thy faithful people: and kindle in them the fire of thy love. Alleluia.
Alleluia. Alleluia. Veni Sancte Spiritus, reple tuorum corda fidelium: et tui amoris in eis ignem accende. Alleluia.
6 Veni Sancte Spiritus Veni Sancte Spiritus, Et emitte coelitus Lucis tuae radium. Veni pater pauperum, Veni dator munerum, Veni lumen cordium. Consolator optime, Dulcis hospes animae, Dulce refrigerium. In labore requies, In aestu temperies, In fletu solatium. O lux beatissima, Reple cordis intima Tuorum fidelium. Sine tuo nomine,
6 Come, Holy Spirit Come, Holy Spirit, And send from heaven The ray of thy light. Come father of the poor, Come giver of gifts, Come light of hearts. Best comforter, Sweet guest of the soul, Sweet refreshment. Rest in labour, Cool in the heat, Solace in weeping. O most blessed light, Fill the inner hearts Of thy faithful. Without thy name
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Nihil est in homine, Nihil est innoxium. Lava quod est sordidum, Riga quod est aridum, Sana quod est saucium. Flecte quod est rigidum, Fove quod est frigidum, Rege quod est devium. Da tuis fidelibus, In te confidentibus, Sacrum septenarium. Da virtutis meritum, Da salutis exitum, Da perenne gaudium. Amen. Alleluia.
There is nothing in man That is not sinful. Wash what is unclean, Water what is dry, Heal what is wounded. Bend what is stiff, Warm what is cold, Put right what is wrong. Grant to thy faithful Trusting in thee Thy sacred sevenfold mystery. Grant the merit of virtue, Grant final salvation, Grant eternal joy. Amen. Alleluia
7 Credo 7 Credo Credo in unum Deum, Patrem omnipotentem, I believe in one God, the Father almighty, factorem coeli et terrae, maker of heaven and earth, visibilium omnium et invisibilium. of all things, visible and invisible. Et in unum Dominum Jesum Christum, And in one Lord Jesus Christ, Filium Dei unigenitum. Et ex Patre natum the only begotten Son of God. Born of ante omnia saecula. Deum de Deo, the Father lumen de lumine, Deum verum de Deo vero. before all generations. God from God, Genitum non factum, consubstantialem Patri: light from light, true God from true God. per quem omnia facta sunt. Begotten not made, of one substance with Qui propter nos homines, et propter the Father: nostram salutem through whom all things were made. descendit de coelis. Who for us men, and for our salvation came down from heaven. 8
Et incarnatus est de Spiritu Sancto ex Maria Virgine: et homo factus est. Crucifixus etiam pro nobis sub Pontio Pilato: passus et sepultus est. Et resurrexit tertia die, secundum Scripturas. Et ascendit in cĂƒÂŚlum: sedet ad dexteram Patris. Et iterum venturus est cum gloria judicare vivos et mortuos: cujus regni non erit finis. Et in Spiritum Sanctum Dominum, et vivificantem: qui ex Patre, Filioque procedit. Qui cum Patre, et Filio simul adoratur, et conglorificatur: qui locutus est per Prophetas. Et unam, sanctam, catholicam et apostolicam Ecclesiam. Confiteor unum baptisma in remissionem peccatorum. Et exspecto resurrectionem mortuorum. Et vitam venturi saeculi. Amen.
And was incarnate by the Holy Spirit of the Virgin Mary: and was made man. He was crucified also for us under Pontius Pilate: suffered and was buried. And the third day he rose again, according to the Scriptures. And ascended into heaven: and is seated at the right hand of the Father. And he shall come again with glory to judge the living and the dead: whose kingdom shall have no end. And I believe in the Holy Spirit, Lord and giver of life: who proceeds from the Father and the Son. Who with the Father and the Son is worshipped, and glorified: who spoke through the Prophets. And in one holy, catholic, apostolic Church. I confess one baptism for the remission of sins. And I await the resurrection of the dead. And the life of the world to come. Amen.
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8 Sanctus Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Osanna in excelsis. Benedictus qui venit in nomine Domini. Osanna in excelsis.
8 Sanctus Holy, Holy, Holy Lord God of Sabaoth. Heaven and earth are full of thy glory. Hosanna in the highest. Blessed is he that cometh in the name of the Lord. Hosanna in the highest.
9 Agnus Dei Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus Dei, qui tollis peccata mundi: miserere nobis. Agnus Dei, qui tollis peccata mundi: dona nobis pacem.
9 Agnus Dei Lamb of God, that takest away the sins of the world: have mercy upon us. Lamb of God, that takest away the sins of the world: have mercy upon us. Lamb of God, that takest away the sins of the world: grant us peace.
10 Cantate Domino 10 Cantate Domino canticum novum [Psalm 96] 1. O sing unto the Lord a new song: sing 1. Cantate Domino canticum novum: unto the Lord, all the whole earth. cantate Domino, omnis terra. 2. Sing unto the Lord, and bless his name: 2. Cantate Domino, et benedicite nomini ejus: be telling of his salvation from day to day. annuntiate de die in diem salutare ejus. 3. Declare his glory among the heathen: 3. Annuntiate inter Gentes gloriam ejus, and his wonders to all people. in omnibus populis mirabilia ejus. 4. For the Lord is great, and cannot worthily 4. Quoniam magnus Dominus, et be praised: he is more to be feared than laudabilis nimis: all gods. terribilis est super omnes deos. 5. As for all the gods of the heathen, they are 5. Quoniam omnes dii Gentium daemonia: but idols: but it is the Lord that made Dominus autem coelos fecit. the heavens. 10
6. Confessio, et pulchritudo in conspectu ejus: sanctimonia et magnificentia in sanctificatione ejus. 7. Afferte Domino, patriae Gentium, afferte Domino gloriam et honorem: afferte Domino gloriam nomini ejus. 8. Tollite hostias, et introite in atria ejus: adorate Dominum in atrio sancto ejus. 9. Commoveatur a facie ejus universa terra: dicite in Gentibus quia Dominus regnavit. 10. Etenim correxit orbem terrae, qui non commovebitur: judicabit populos in aequitate. 11. Laetentur coeli, et exsultet terra: commoveatur mare, et plenitudo ejus: gaudebunt campi, et omnia quae in eis sunt. 12. Tunc exultabunt omnia ligna silvarum a facie Domini, quia venit: quoniam venit judicare terram. 13. Judicabit orbem terrae in aequitate, et populos in veritate sua.
6. Glory and worship are before him: power and honour are in his sanctuary. 7. Ascribe unto the Lord, O ye kindreds of the people: ascribe unto the Lord worship and power. 8. Ascribe unto the Lord the honour due unto his Name: bring presents, and come into his courts. 9. Let the whole earth be moved at his sight: tell it among the heathen that the Lord has reigned. 10. For he has made the round world that it cannot be moved: and how that he shall judge the people righteously. 11. Let the heavens rejoice, and let the earth be glad: let the sea make a noise, and all that therein is. Let the field be joyful, and all that is in it. 12. Then shall all the trees of the wood rejoice before the Lord, for he cometh: for he cometh to judge the earth. 13. And with righteousness to judge the world, and the people with his truth.
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Benjamin Saunders was born in Warrington and educated at George Heriot’s School in Edinburgh. He received his first organ lessons at the age of sixteen at St Mary’s Metropolitan Cathedral, Edinburgh and two years later won an Organ Scholarship to Downing College, Cambridge, where he studied with Peter Hurford. Upon graduating, he held organist posts at the Cathedrals of St Giles’ Edinburgh, Blackburn, and Chester and continued organ studies with David Sanger, Ann Bond and Michel Bouvard. In 2002, Saunders was appointed Director of Music for the Diocese of Leeds, leading the department at Leeds Cathedral. Under his leadership the Cathedral has become the centre of England’s largest choral programme, made up of 2500 children meeting weekly. This comprises six boys choirs, six girls choirs, 45 school choirs, a choir school and a professional adult choir. During this time, he has been privileged to act as consultant and adviser to a number of the UK and Ireland’s other musically pre-eminent cathedrals. He has been a guest speaker at academic and professional conferences throughout the UK and the United States. As an organist, his repertoire includes classical, popular and jazz works, some familiar and others new or recently rediscovered. He has also transcribed many orchestral works for the organ and these arrangements often form a popular part of his concert programmes. Saunders has performed to HM the Queen, Princess Anne and US President Carter and worked with conductor Carl Davis and jazz virtuoso Dick 12
Hyman. Solo tours have led him to give organ recitals in Russia, France, Italy, Holland, Germany, Austria, Slovenia and the United States. Major international recitals have included Koenigsberg Cathedral in Kaliningrad (Russia), Cologne Cathedral, Perugia Cathedral, Berlin Cathedral, Stuttgart Abbey, the Basilica of St Lorenzo in Florence and the Church of the Incarnation in Dallas. He has also been a drummer in two rock bands and keyboardist in the Edinburgh International Jazz Festival. Benjamin Saunders can also be heard on three other recent Brilliant Classics releases as an accompanist for the complete works of Maurice Duruflé, organ soloist for the complete works of Georgi Mushel and conductor of choral works by Arvo Pärt.
Daniel Justin was born in Bristol in 1990. He obtained a music scholarship to Downside School in Somerset aged 10, and began studying the organ with Christopher Tambling and David Bednall. He continued his studies at The University of Huddersfield with Dr Graham Cummings, graduating in 2011 with a BMus (First Class honours), and in 2012 with a MMus (Merit). Daniel focussed his postgraduate study towards improvisation, an art form for which he has a great deal of passion. During his time at Huddersfield, Daniel held the Organ Scholarship at Wakefield Cathedral, working for a year as Assistant Director of Music. He moved to Leeds Cathedral as Assistant Organist in 2011, 13
becoming Cathedral Organist in 2013. Daniel is the conductor of Morley Music Society and Ecclesia, a recently formed chamber choir based in Leeds. Daniel has played live on national television, and on BBC Radio 2, 3, and 4, and has performed regularly on the Radio 4 LW Daily Service. His playing can be heard on CDs from Wakefield and Leeds Cathedrals, more recently as an accompanist on the Brilliant Classics release of the complete choral works of Maurice Duruflé.
Thomas Leech enjoys a reputation as an outstanding and inspirational organist and choral director. As the Director of the Diocese of Leeds’ internationally acclaimed Schools Singing Programme he manages one of the most innovative and successful choral programmes in the country, involving some 45 schools and over 2500 children weekly, with its choirs broadcasting regularly on BBC radio and achieving international competition and concert success. Tom combines this with his role as Musical Director of Bradford Festival Choral Society and frequent appearances as an organist, guest conductor and workshop leader, with recent projects as diverse as Paco Peña’s flamenco Requiem por la Tierra, Britten War Requiem and the choral soundtrack for the film London Fields. He has given numerous recitals in venues including King’s College, Cambridge, 14
St. Paul’s Cathedral and Westminster Abbey, recording credits include the complete choral works of Duruflé and he has broadcast on BBC1, Radio 2, Radio 3, Radio 4, Classic FM and Radio France. website www.thomasleech.com or twitter @thomas_leech Leeds Cathedral Choir comprises separate boys and girls treble sections and a semiprofessional adult choir. The children are all drawn from local state schools and the adults are mostly students at higher education institutions around the city. The choir sings daily services of mass and vespers at the Cathedral with a repertoire rooted in the Catholic traditions of Gregorian chant and polyphony. As one of the leading Catholic choirs in England, the singers have broadcast many times on BBC television and radio and made numerous CD recordings. Further information at the choir can be found at www.dioceseofleedsmusic.org.uk
Recording: 30-31 March, 1 April and 18 May 2014, Leeds Cathedral, UK Recording engineer: Craig Golding (Leeds College) and Buphinder Chaggar (Hotdog Productions) Publisher: Universal Edition, edition sikorski (14) Cover image: Philippa Baile p & © 2015 Brilliant Classics
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