Posts Tagged: Wolfgang Rihm


21
Mar 17

Darkness is the future

As part of our 2016-2017 season we’re giving each of our core singers a turn at the helm of the blog. The below post below comes from our soprano, Charlotte Mundy.


“Darkness is the future. The present and past are daylight and the future is night. But in that darkness is a kind of mysterious, erotic, enveloping sense of possibility and communion… people have often taken on things that seemed hopeless – freeing the slaves, getting women the vote – and achieved those things.” – Rebecca Solnit

Ekmeles’ program of Passion settings coming up on Monday has gotten me thinking about paradox. A proper telling of the Passion story needs to embrace paradox – the horrific pain and uncertainty of crucifixion needs to sit right up against the miraculous glory of resurrection – and the 21st century Passion settings we’re performing on Monday are beautifully paradoxical.

Wolfgang Rihm’s Sieben Passions-Texte plays with our feelings of knowing (joy!) and not knowing (fear!). To my ear the music oscillates constantly between order and chaos – the voices slip from unison to atonality to brief chord progressions that make tonal sense for a few seconds, and back to atonality. The text is Latin, the stereotypical language of institutional certainty, but it’s incomplete, it only tells fragments of the story. It’s up to you whether to read along with a translation or to give up on that level of understanding and just let the sound wash over you.

In one of my all-time favourite pieces of music, David Lang’s The Little Match Girl Passion, H. C. Andersen’s little match girl is substituted for Jesus. Lang tells the whole story in English and uses starkly neutral words and harmonies. Somehow, maybe because it takes some structural cues from J.S. Bach’s St. Matthew Passion, the form of the piece is so perfectly balanced, it feels like a force of nature rather than something man-made. By never projecting a particular emotion onto the story, Lang gives us the space to hear every word of it as simultaneously horrible and sublime.

If you’ll allow me a little naive optimism here – I think in dark times like these, complex music can help us understand, on a level deeper than intellect, that nothing is ever all good or all bad. No situation is hopeless, the unknown is fertile territory, and by working hard together on things we care deeply about, the way Ekmeles spends hours practicing pieces that took months or even years to write, it’s possible to create new, beautiful (if complex!) realities that no one could have previously imagined.


17
Mar 17

Lenten inspiration

As part of our 2016-2017 season we’re giving each of our core singers a turn at the helm of the blog. The below post below comes from our countertenor, Tim Keeler.


You guys, we’re in Lent!

Everyone knows that the best music is sad music and that the best sad story is the Passion story. Lent, therefore, is the best time for music. That’s why I’m excited.

Ok maybe I made a few exaggerations and assumptions just then, but it is true that I get pretty pumped about Lent. From Allegri’s “Miserere” to Bach’s St. Matthew Passion, it just doesn’t get any better.

Just so we’re all on the same page, Lent is the time in the Christian calendar between Ash Wednesday and Easter Sunday. It lasts for 40 days and the end coincides with the commemoration of the Passion story. The Passion story follows Jesus Christ from his entrance into Jerusalem on Palm Sunday and ends with his crucifixion on Good Friday. Easter is technically not in Lent, so all the happy stuff about resurrection and eternal life gets left out. So Lent is, in a nutshell, sad. And sad music is juicy and dramatic!

Our next concert features a bunch of this juicy, sad music. Ekmeles will perform two different Passion settings – one each by David Lang and Wolfgang Rihm – and parts two versions of the Seven Last Words of Christ – by Haydn (performed by Attacca Quartet) and Schütz. While they are all inspired by the same Lenten story, these compositions are all drastically different. Lang’s work is sparse, delicate, and isn’t even explicitly about Jesus. Rihm’s Sieben Passions-Texte is harmonically complicated, tonally ambiguous, but texturally very simple. Haydn’s collection of seven instrumental sonatas contains no text at all, but each movement is inspired by the same seven sayings that Schütz sets in his work, which is an early German Baroque masterpiece.

Each piece is incredibly expressive in its own way. The shared Lenten inspiration brings out emotion and drama in these disparate compositions. This concert is thus a perfect encapsulation of why I get excited about Lent – we get drama, musical ingenuity, and passion (!) from four very different composers. See you there!


21
Jan 17

Music Mondays: Last Words

Ekmeles reprises David Lang’s 2008 Pulitzer Prize-winning the little match girl passion, this time as part of a passion-themed concert also featuring works by Wolfgang Rihm and Schütz, with the Attacca Quartet performing Haydn.

  • David Lang – the little match girl passion (2008)
  • Wolfgang Rihm – Sieben Passions-Texte (2001-2006)
  • Heinrich Schütz – The Seven Last Words of Christ and St. Matthew Passion, excerpts (1645, 1666)
  • Joseph Haydn – The Seven Last Words of Christ, string quartet version (1783/1787)

Ekmeles personnel for concert


6
Feb 12

Wolfgang Rihm String Quartets

Though it’s not vocal music, it is music by an incredibly prolific and wonderful composer of vocal music, and I think a great decision on the part of a publisher to reach out electronically:

Universal Edition has put online the scores to each of Wolfgang Rihm’s string quartets, celebrating their performance at the 5e Biennale de quatuor à cordes. It’s a wonderful opportunity to peruse these scores at your leisure, without leaving the comfort of your desk!