In October and November of 2004, a group from Ann Arbor,
Michigan presented the premiere of The Breath of the Spirit
style='font-style:normal'>, a work for organ, flute, and two narrators. The
work was presented in four concerts in New York and Paris, and was the result
of a two-year collaboration from many talented artists working in the sacred
arts.
The text in this work is a series of nine poems by the
American poet/playwright Ken Gaertner. The music is composed by Gregory
Hamilton, and the work was commissioned and premiered by Duo Pneuma: Marilyn
Mason, organ; and Donald Fishel, flute. The poems were narrated by Frank Hankey
and Margo Hammond (New York), and Michael Lonsdale and Françoise Thuries
(Paris).
The genesis of this work began in 2002 when poet Ken
Gaertner conceived a poetry cycle of nine poems, entitled The Breath of the
Spirit. The poems, rich in spiritual and
visual imagery, reflect on the inner life of several biblical characters: the
Virgin Mary, Herod, Mary Magdalene and Thomas, Jesus and Judas.
A mutual friend of both Marilyn Mason and Ken Gaertner
suggested that the poems could be combined with new music to form a performance
cycle. We were reminded of Dr. Mason’s many performances around the world
of the Chemin de la Croix by
Dupré (a Mason specialty). It was thought that if a composer could be
found, this new work would be a contemporary complement to the Dupré.
Duo Pneuma commissioned the composer Gregory Hamilton to
create a score to accompany the poems in February of 2004. There are ten
movements (an overture and a musical piece that follows each poem), and each
piece is intended to “comment” on the preceding poem. Two of the
movements (the Overture and Judas
style='font-style:normal'>) are for solo organ, and two are for solo flute (Mary
Dancing and Herod
style='font-style:normal'>). In collaboration, the poet and composer intended
the work to touch Christians in their faith journey. The work, though not
“liturgical” per se, reflects the spiritual intent of the rituals
of the church, and creates a kind of ritual of its own.
On the other side of the Atlantic, the festival
“Toussaint” was being planned for 2004. This annual festival takes
place at a major European capital each year, during the week leading up to All
Saints day (www.Paris-toussaint2004.org). Promoted and planned by the European
Catholic bishops and cardinals, its aim is to promote the Christian faith
through the “new evangelism” of John Paul II, and to promulgate the
Gospel through all the media and art forms we have today—music, dance,
literature and the visual arts, combined with liturgical celebrations occurring
in all the Paris parishes. The festival draws over 5000 participants from the
European Union for 250 events in all the churches in Paris. Many organ-based
events were included, such as recitals by Parisian organists Carolyn Shuster
Fournier, Olivier Latry, Jacques Taddei, Vincent Warner and others.
In 2003, our producer traveled to Paris to meet with the
bishops and cardinals planning the festival for Paris. The Breath of the
Spirit was found to be perfect for the aims
of the festival, and in January 2004 we received an invitation to premiere the
work in Paris. We also received a gracious invitation to present the U.S.
premiere of the work in New York City at the Church of the Holy Trinity in
Manhattan. Holy Trinity is an Episcopal congregation with a long-established
music program and fine concert series all directed by Stephen Hamilton (no
relation to the composer) who is also dean of the New York chapter of the AGO.
The church features fine acoustics and a 48-stop Rieger tracker organ, an
instrument of color, beauty and power. Dr. Hamilton was of great assistance to
us both during the pre-concert publicity and rehearsals, and also during the
performance. The narration was beautifully performed in New York by Frank
Hankey and Margo Hammond.
After New York, we arrived in Paris three days later. The
church of St. Augustine in north-central Paris is a large 19th-century parish
edifice, which seats well over 1000 and boasts a 50-stop Cavaillé-Coll
instrument in an unaltered state. Historically significant and tonally
beautiful, this organ was the first instrument to receive the Barker lever in
the late 19th century. The instrument has all the great stops associated with
Cavaillé-Coll, including some of the most powerful reeds we experienced
in Paris. The two concerts here were very well attended and received with great
appreciation. Several audience members remarked that the combination of poetry
and music had moved them to tears. Many came for all three performances in
Paris! We received great assistance and support from the Emmanuel Community and
their artistic director Petronille Tijardovic.
For our last performance, the bishops placed us in the
venerable Cathedral of Notre Dame. Due to the fact that the festival was going
24 hours a day in the cathedral, we were only able to rehearse briefly at 6:00
in the morning! Nevertheless, the cathedral did not fail to cast her charm and
inspiration, and we sensed that this concert was the culmination of over two
years of preparation. Dr. Mason chose to perform the work on the
“smaller” 25-stop choir organ, a tracker by Merklin. The organ, responsive
and tonally rich, featured beautiful flutes, and an effective en chamade
style='font-style:normal'> reed, unusual for a smaller instrument. Dr. Mason
and flutist Don Fishel brought to this performance both virtuosity and
sensitivity. The cathedral proved to be the perfect venue, providing a sense of
awe and majesty, yet a surprising sense of intimacy and contemplation. The two
fine narrators for the Paris performances were Michael Lonsdale and
Françoise Thuries. We were pleased that the work made a significant
spiritual impression on the large audience attending. Many thanks to all associated
with this endeavor!
