The Foundation - News

June 2010
Rodion Shchedrin at the 59th International Organ Festival in Nuremberg

“The search of human beings for spirituality and understanding – their way between birth and death” is this year in the centre of attention of the International Organ Festival (ION) in Nuremberg. It commemorates the end of the Second World War, its 65th anniversary in this year. This subject finds its powerful expression in the motto of the festival – “Vita et Mors – Mors et Vita/Life and Death – Death and Life”. Rodion Shchedrin and his works are in the middle of the program of this important event in the world of sacred music.

Shchedrin’s liturgy “The Sealed Angel” in a production of Lars Scheibner, which was performed by the Berlin Radio Choir and conducted by Stefan Parkman, opened the festival in the majestic St Lorenz Church on 4th June 2010 in Nuremberg. This choreographic version of the liturgy by Lars Scheibner has been already successfully performed in many places since its first performance in 2005. This production made everywhere – also here in Nuremberg – a strong impression on the audience. It accentuates the connection and the interplay between modern dance, Russian orthodox singing, a flute and two boys' voices. That kind of interpretation of the liturgy reflects together with the impressive light effects the eternal process of human existence – the constant cycle, to which everybody is subject during life. The combination of various artistic styles is remarkable, presenting new ways in the performance of choral music.

One highlight of the Organ Festival was the world premiere of Shchedrin's latest work “Dies irae” for three trumpets and three organs, which was commissioned by the International Organ Festival Nuremberg and performed on 5th June 2010. Shchedrin’s source of inspiration during the creation of this composition was the book of woodcuts by Albrecht Dürer “The Apocalypse” (Apocalipsis cum figuris: The book of Revelations). This book made Dürer after its release in 1498 immediately famous, especially because it expressed the apocalyptic visions of many people in that particular time. The end-time of the earth as showed by Dürer in his book is even today of great interest to many Christians.

The seven symbolic end-time trombones, which play a particular role in the last book of the Bible and that might be the reason, why they are illustrated in the woodcuts by Dürer, could be before Shchedrin’s face when he took the decision to use the trumpets in the composition. After all the characteristic trait of brass instruments is generally to announce upcoming events. Which event is announced by the trumpets is obvious in Shchedrin’s work – Dies irae, the day of wrath of God. Beside of this the St Lorenz Church in Nuremberg is equipped with three organs (named: main organ, organ of St Lorenz and organ of St Stephen). That situation gave a great opportunity to the composer to write a work for three organs, all playing in the same time. Those who know the intensely religious Shchedrin will find a symbolic meaning in the use of the figure “three”. This can be taken for the illustration of trust and confidence of a faithful believer in the triune God, who protects his people through all the ages.

“Dies irae” is dedicated to a very good friend of Shchedrin – the Russian poet Andrei Voznessenski, who died of a serious illness just a few days before the premiere († June 1st, 2010). Voznessenski was a celebrated cult figure of the Russian intelligence and youth of the 60s and 70s. In abroad he was respected as “one of the greatest living poets of all languages” (Robert Lowell). Shchedrin und Voznessenski were good friends through their whole life, both in private and in artistic life. As a young man Shchedrin said one time: “Those people, who had the greatest influence during my life on me, are my father, Lilya Brik and Andrei Voznessenski.” The work “Poetorium”, a concert for a poet, a female voice, mixed chorus and symphony orchestra, was created as a result of the “distress by Voznessenski’s poems”. (Rodion Shchedrin)

The premiere of “Dies irae” started with a minute’s silence in memory of the deceased poet. “I'm sure, he went to the eternity. For a great artist the way into eternal life begins immediately with the moment of leaving this world. As a great creative spirit he knew this and had faith in this.” (Rodion Shchedrin)