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The Rock (1979) |
oratorio - soloists, chorus and orchestra - 67'
The spiritual journey from darkness to light is a subject which has inspired many of the world's greatest works of art. With this awe-inspiring awareness I have chosen the Revelations of St John the Divine as the main text for The Rock. Being an important element in many other religions as well as Christianity, the expression of divine revelation has allowed me to draw on a wide range of sources, from The Koran to T.S. Eliot.
The work is designed in three main sections which may be described as:
1: The Throne of God - based on the Revelations of St John;
2: Dies Irae - a multi-lingual section;
3: Lux Aeterna - which includes e.e. cummings, T.S. Eliot and St. John.
Each of the texts expresses an interpretation of the main substance either obliquely, or by analogy, so that time is able to draw a curtain over the passage of the centuries. Modern Man's quest of the soul is the same as it was for people in the age of Dante or of St John.
In structure the work is woven around fragments from the Mediaeval Worcester School. Until these isolated manuscripts were recovered from book bindings and wrappers to bundles of accounts early in this century, fourteenth century music was almost a blank page in English history. The present work has attempted to discover a framework for their presentation, using a technique well-known to mediaeval composers, who drew on the plainchant for their settings of the Liturgy. All the material derived from the Worcester fragments is based on the edition of Dom Anselm Hughes in Worcester Mediaeval Harmony.
The first section opens with a Worcester fragment, 'Sursum corda', in praise of God, which introduces the full chorus and orchestra, along with the tenor soloist in the magnificent chapters from St John, describing the throne of God and the vision of the Lamb, the four beasts, the elders and the seven angels. The orchestra makes much of the images of colour and precious stones, gradually dominating the chorus in a short vigorous interlude.
A tenor solo describes the passing of the book against a not-too-literal accompaniment of heavenly harps, anticipating the anthem of the choir in blessing, honour and glory of God and the Lamb. Before their anthem the Ripeino (boys) chorus is introduced in a quiet rendering of the opening 'Sursum corda' fragment, but with words from St John.
Part two pronounces statements on the Day of Judgement, beginning with an introit on 'Salve Sancta Parens' from the Worcester fragments - a plea for mercy before the call to Judgement. (Michelangelo's portrayal in the Sistine Chapel featured strongly in the composer's motivation for this movement). The 'Libera me' emerges from the silence following the opening of the seventh seal. The sounding of the seventh trumpet is announced and the choruses sing of the coming of the Day of Judgement in several languages. The texts for this section are derived from the Koran, St John the Divine, St Colomba's 'Dies Irae', Psalm 130:1-3 from Johann Walter's setting, and Blake's Vala. Setting several texts in different languages all at the same time is a reflection of the macaronic techniques of mediaeval secular music. In the present context it serves as the basis for antiphonal choruses weaving and converging on a prolonged statement of The Day of Judgement.
The shrouded element of continuity throughout this section is the 'Libera me' plainchant from the Liber Usualis. The statement which stands in relief at the height of this climax is from Blake's Vala: "Then fell the fires of Eternity with loud and shrill sound of Loud Trumpet thundering along from heaven to heaven A mighty sound articulates: 'Awake, ye dead, and come to Judgement from the four winds! Awake and Come away!' " An extended orchestral interlude follows based on the seven angels with their seven trumpets, represented in canonic and invertible interplay of horns and trumpets with all elements of the orchestra.
Part three, which can be described as a 'Lux Aeterna', begins with a duet by contralto and soprano soloists on words of E.E. Cummings, and tilts the spectrum of associations towards twentieth century experience: "now does our world descend the path to nothingness ..." From the slow-moving calmness of the setting a gradual intensification of orchestral colour changes the awesomeness of The Last Judgement to a florification of optimism; the palindromic form of reflection giving way to transformation: "... arise my soul; and sing". The ripieno chorus responds with Alleluyas based on a Worcester setting. They are repeated and transformed between statements of St John and T.S. Eliot, culminating in an affirmation of Christ as The Rock of Salvation:
"Now shall you see the Temple completed ...
The formed stone, the visible crucifix,
The dressed altar, the lifting light,
Light,
Light,
The visible reminder of Invisible Light."
The serene close of the work is in sharp contrast to its central section - a setting of 'Veni Sancte Spiritus': "Come, Holy Spirit and send forth the ray of thy light..."
© Edwin Roxburgh