UNIVERSITY OF CINCINNATI

Date:______

I, ______, hereby submit this work as part of the requirements for the degree of: in:

It is entitled:

This work and its defense approved by:

Chair: ______

Time Versus Space: a relationship between music and the visual arts as revealed in Petr Eben’s Okna and Marc Chagall’s Jerusalem Windows

A thesis submitted to the

Division of Graduate Studies and Research of the University of Cincinnati

in partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

At the University of Cincinnati College-Conservatory of Music

May 02, 2005

by

Paula Hunter Swartz

BM, Oberlin College Conservatory of Music, 1992 MM, Yale University School of Music, 1995 MM, Yale University School of Music, 1997

Advisor: Robert Zierolf

ABSTRACT

The independent, distinct qualities of music and those of the visual arts may work together to create a new type of aesthetic experience. Petr Eben (b 1929) composed Okna, a “translation” of Marc Chagall’s Jerusalem Windows. Both the musical sounds and visual images evoke cultural associations. The relationship of imagery to religious tradition and how it is made manifest in the composition, along with the colors in which they are presented, shed light on Eben’s compositional choices. The reactions of human

subjects to the visual stimulus of Chagall’s art and the sonorities of Eben’s music are germane to this document. I explore the composer’s claim that this work provides a sonic interpretation of the visual realm, recapturing the beauty and power of the original. In this milieu, the independent, distinct qualities of music and those of the visual arts work together to create a new type of aesthetic experience.

ii

iii ACKNOWLEDGEMENTS

I would like to thank my husband, Suk Chul Kim, for his continued support of this project. In addition, I would like to thank Robert Zierolf for his invaluable help and advice. Finally, I would like to thank Petr Eben and Marc Chagall, the persons who provided me with more than a fascination. Mr. Eben gave me a wonderful reception when

I traveled to his home in Prague for the purpose of interviewing him. Meeting him was an unforgettable experience.

iv

CONTENTS

Page

Introduction……………………………………………………………………………1

Chapter One: The Life and Art of Petr Eben………………………………………….9

Chapter Two: The Life and Art of Marc Chagall…………………………………….16

Chapter Three: The Uniting of Two Forms of Art…………………………………...24

Chapter Four: The Analysis…………………………………………………………..27

Movement I: Reuben…………………………………………………………28

Movement II: Issachar………………………………………………………..44

Movement III: Zebulun………………………………………………………54

Movement IV: Levi…………………………………………………………..61

Appendix A…………………………………………………………………………..68

Appendix B…………………………………………………………………………..90

Appendix C…………………………………………………………………………104

Appendix D…………………………………………………………………………106

Works Cited………………………………………………………………………...110

v

Introduction

“. . . and if you wouldst make a likeness of me, paint sound.” –Ausonius

The focus of this document is an analysis of Okna by Petr Eben (b 1929) and how it was influenced by Marc Chagall’s Jerusalem Windows. I will deal with the cultural associations that the musical sounds and visual images evoke. The relationship of imagery to religious tradition and how it is made manifest in the composition, along with the colors in which they are presented, will shed light on Eben’s compositional choices.

Germane to my argument will be the reactions of human subjects to the visual stimulus of

Chagall’s art; Eben’s, the listener’s, and my own reactions will be presented and compared. I will explore the composer’s claim that this work provides a sonic interpretation of the visual realm, recapturing the beauty and power of the original. In this milieu, the independent, distinct qualities of music and those of the visual arts work together to create a new type of aesthetic experience.

A transcription of an interview with Petr Eben, conducted in his home by the present author, will be a primary resource for many of the ideas presented in this document. The interview will be included in its entirety in the appendix. In addition, I will compile a comprehensive listing of Petr Eben’s complete works. To my knowledge, no such document exists. An English translation will be provided for each title, as well as publication information, instrumentation, and duration, where available.

1 It is neither easy nor necessarily correct to classify the visual arts as a “spatial”

art, or music as a “temporal” art; within both of these art forms there is an

“interrelationship between time and space.”1 Even though music is literally temporal, it

also conveys a sense of space to the listener. Likewise, even though a picture is

essentially static, a line in space can only be drawn as a continuous succession of points

over time.2 This document will explore the many aspects that link the stained-glass windows of Chagall and Eben’s musical composition.

Okna (1976) is a work in four movements titled Modré Okno, Zelené Okno,

Cervené Okno, and Zlaté Okno (Blue Window, Green Window, Blood-Red Window, and

Golden Window) for trumpet and organ. Not only is the instrumentation of personal

interest, but also the subject matter—Chagall’s stained-glass windows in the Hadassah-

Hebrew University Medical Center in Jerusalem.3 Okna is a remarkable creation that perfectly exemplifies the relationship of music and the visual arts. An analysis of techniques shows that Eben’s compositional style is analogous to Chagall’s, and an exploration into what each artist has said about the purpose of his art reveals striking similarities.

Two aspects in particular—colors and images—will be investigated. The images and colors Chagall chose for the windows made a permanent impression on the composer’s mind; stained-glass windows intrigued Eben because “they are a source of light and are a view from reality to fantasy.”4 With regard to color, the phenomenon of synesthesia will be considered. Petr Eben’s mentor, Olivier Messiaen, was a synesthete—

1 Elena Bertola, “On Space and Time in Music and the Visual Arts,” Leonardo Vol. 5 (1972): 27. 2 Ibid., 28. 3 Jean Leymarie, The Jerusalem Windows (New York: Braziller Press, 1996), vii. 4 Kateřina Voncrovicová, Petr Eben (Prague: Panton Press, 1995), 124.

2 the hearing of certain sounds induced the visualization of certain colors—and this

sensation profoundly effected his compositions. His particular type of synesthesia is

referred to as “photism”—when another sense produces a visual5 sensation such as color

or shape.6 This peculiarity certainly interrelated the visual and sonic realms for Messiaen, but some may argue that the rarity of this trait makes it less of a factor for other composers and listeners. Others argue that it may be learned, just as we are able to learn a foreign language or a code. Messiaen expected that conductors and performers could learn his vision. He would mark in the score for the brass to “play red” and the woodwinds to “play blue.” Extramusical languages balance the idiosyncratic language of synesthesia, translating it into communicable terms.

One aspect that will be focused on in this document pertains to the question that was asked of Eben in an interview conducted by the present author: “Is [Okna] mostly based on the colors of the windows, or based mostly on the iconography?”7 If the listener knew nothing about the work previous to his or her first listening, would colors be evoked in the imagination of the listener? Or would it be more likely that the listener would hear the solemnity of the work and the religious subject matter of the tribes of

Israel on which the work is based? Upon playing a recording of Okna for my colleagues, each person was able to identify correctly the color of each movement without any prior extramusical information.8 Conceived of while looking at Jean Leymarie’s book

5 Other synesthesia may involve smell, taste, and/or touch. 6 Margaret Elizabeth McGinnis, “Playing the Fields: Messiaen, music, and the extramusical” ( Ph.D. diss., University of North Carolina, Chapel Hill, 2003), 126. 7 Paula Swartz, “An Interview with Petr Eben,” Appendix A (Cincinnati: transcribed October, 2004): 74. 8 University of Cincinnati Brass Seminar, Winter 2003. Students were supplied the following colors to choose from for the four windows: red, green, orange, black, blue, yellow, violet. A recording was played for each of the windows (in random order), and the students recorded the color that they associated with the sounds they were hearing.

3 containing pictures of Marc Chagall's Jerusalem Windows, Eben “just translated it into

music.”9

Okna is an excellent example of how Eben used musical resources of different

origins in complementary ways. In this work he used Gregorian chant, Hebrew melodies,

Russian Orthodox Church music, a Czech hymn, and his own original music. Much like

Messiaen and Wagner, he is able to use musical referents to convey extramusical ideas to the listener through his music.

The musical style of Okna is analogous to the inherent characteristics of stained- glass windows in that Eben allows each player a certain degree of improvisation, making each performance unique. Each person who views a stained-glass window sees it in his or her own light, depending on the particular moment the glass is viewed; the work must change with its environment. For example, the appearance of the color “yellow” viewed at high noon may be drastically different when viewed at dusk; likewise, the music may spark a different color depending on the conditions of the performance, i.e., the acoustics, the quality and quantity of organ stops available or used, and the musical choices made by the soloists.

National Public Radio carried a broadcast one morning regarding the visual artist

Dan Flavin.10 His art involves the use and arrangement of florescent lighting in various colors and shapes. When the curator was asked, “Isn’t your electric bill twice as high when Dan Flavin’s art is on exhibit?” He responded, “no, because there is no light needed

to illuminate the art; the art illuminates itself.” Dan Flavin’s art does not require

additional lighting provided by a museum, but most art requires someone other then the

9 Swartz, “An Interview with Petr Eben,” 76. 10 National Public Radio’s All Things Considered, October 6, 2004.

4 artist him- or herself to place the art in an appropriately lighted environment. This is a

reminder of how much visual art, even a motionless painting, changes and moves

according to the surrounding light, and how much it may vary according to the decisions

of a curator. This is very much like Okna, where its improvisatory quality allows for no

two performances to be alike. So, too, even still art changes over time; it dances

according to the light source.

Eben also stated that if it were not for the restrictions under totalitarianism, he

would have published the work entitled as he truly desired, Hommage á Chagall’s

Jerusalem Windows, with the movements bearing the titles Rueben, Issachar, Zebulun,

and Levi. Eben was baptized into the Roman Catholic Church and chose to devote his life

to this faith. However, at age fourteen he narrowly escaped death in the Büchenwald

concentration camp where he was sent because his father was Jewish. Eben’s relationship

with his father and Judaism was foundational for him throughout his life, while he also

had a deep respect for his mother’s Roman Catholic faith. “Eben” is a Hebrew word that

means rock, and “Petr” is derived from the Latin term for rock. Eben’s mother was of

Polish descent and known to be biased against mixed marriages—as ironically the Ebens

had.11 It is interesting that Eben’s name links both aspects of his parents’ faiths, representing the “rock” of both the Old and New Testaments. As we shall see, Petr

Eben’s music is steeped in his deep religious roots.

This same concept of diverse religious ideas working in complementary ways is present throughout Okna. The analysis of this work will focus on how Eben translates these religious ideas into musical material. For example, in Modré Okno the theme is inspired by Gregorian chant—the pure theme is unharmonized, unmetrical, modal

11 Voncrovicová, Petr Eben, 7.

5 (Phrygian), and easily sung; a contrary motion triplet figure in the accompaniment may be likened to the expanding and contracting of the ocean waves as pictured in the window; the falling and rising of the accompaniment in similar motion is not only analogous to the reflection of light through stained glass, but also to the movement of the fish in the sea.

This particular example shows how the independent, distinct qualities of music and those of the visual arts may work together to create a new type of aesthetic experience; without this mergence of musical and extra-musical information, the listener may visualize a child on a swing rather than ocean waves.

The distinct laws of various religions exist in the specific, extractable musical materials used (a Hebrew melody, a Russian Orthodox hymn, or the plainchant associated with the Catholic church), but are combined to create something new. This new creation blurs the stark religious distinctions that humans have created over time; the result is harmonious, luminous color that presents an optimistic view of a world in which God is duly praised.

. . .This knowledge which makes us happy, as you find it in the writings of a Teilhard de Chardin, that the creation of the world is not finished and concluded, but that we can with every honest work, even with the lowest, most inferior work of our hands, however tiny, contribute to the accomplishment of creation. So all the more may the works of fine arts have the power to aid the spiritualization of the world, to assist the creation of a new universe and can lay claims to eternal value.12

Maybe the best solution to the problem of interconnecting two disparate art forms, as Mary Kuzniar of the Art Institute of Chicago suggests, is to avoid “verbal mediation” between the two art forms, dealing directly with both. Therefore, examining the two art forms concurrently may expose and explain how their characteristics complement one

12 Petr Eben, Untitled printed sheet that Petr Eben showed to Paula Swartz. There are three sections referred to as paragraph 1, paragraph 2, and paragraph 3. (Prague: November, 1996): paragraph 2.

6 another. According to Goldberg and Schrack, “There can be no music to see, nor can

pictures sound. But a one-to-one correspondence may be made using the structural

similarities in both arts.”13 For example, a visual pattern together with a musical pattern may achieve a symbolic meaning.14

This document is founded on the premise that the independent, distinct qualities

of music and those of the visual arts may work together to create a new type of aesthetic

experience. In each movement and window, counterparts with regard to color and image

will be discussed. A parallel discussion of color in music and art will involve an

exploration of the color theory of painting and of light, and this discussion will be driven

by the methods of Elena de Bertola,15 Alan Wells,16 and Judith Rothschild.17 In the sonic realm, ideas such as character (i.e., what is the character of the music that evokes the color red?) and frequency (i.e., why do certain frequencies evoke certain colors for synesthetes?) will be investigated. In the visual realm, the technical aspects of color, i.e., wavelength and frequency, will be presented in order to explain why most everyone is able to see and immediately identify colors.

Owing to Jean Leymaire’s highly descriptive text about Chagall’s Jerusalem

Windows, Eben was well aware of Chagall’s use of profound religious imagery. Eben himself spoke of this imagery and how he chose to “translate it into music.” I will use the

13 Theo Goldberg and Guenther Schrack, “Computer-Aided Correlation of Musical and Visual Structures,” Leonardo (Vol. 19, No. 1, 1986): 11. 14 Ibid., 14. 15 Bertola, “On Space and Time in Music and the Visual Arts,” 27-30. 16 Alan Wells, “Music and Visual Color: a proposed correlation,” Leonardo (Vol. 13 1980): 101-7. 17 Judith Rothschild, “On the Use of a Color-Music Analogy and on Chance in Paintings,” Leonardo (Vol. 3, 1970): 275-83.

7 writings of Roland Barthes18 and John Browne19 as models for dealing with the correlation of visual image and sound. A consideration of a connection between visual shape and musical form is beyond the purview of this document. Ultimately, through a parallel perspective, I hope to conclude that while music and the visual arts have their boundaries, a work of art may be a catalyst for sounds,20 and sounds may trigger images;21 the two art forms work together to bring deeper meaning to the performer’s and

to the audience’s experience.

18 Roland Barthes, Image Music Text, trans. Stephen Heath (New York: Hill and Wang, 1977). 19 John Browne, “Religious Symbolism in the Music of Olivier Messiaen,” The American Journal of Semiotics 13/1-4 (Fall 1996 [1998]): 277-309. John Browne’s interview with Petr Eben. 20 Sounds that are audiated, composed, or improvised. 21 Images that are visualized or created in a work of art.

8

Chapter One

The Life and Art of Petr Eben

The following quote will perhaps give the reader a glimpse into Petr Eben’s aspirations for his life and his work:

I believe that our century is profoundly lacking in gratitude: gratitude to those around us, to life itself and above all to its Creator. There are complaints, grievances and perhaps even indolence but no gratitude at all. So perhaps the most urgent task of Art is to praise, otherwise the stones would cry out.22

The music of Petr Eben presents an optimistic view of a world that is grateful to its creator, a world that praises God for the blessings of life. The greatest burden of his art is to praise God or else “the stones will raise their voices and speak.” Eben had one rule for himself, that he should never write an insincere note.23 For Eben, the music comes

more from the heart than from the brain.

Much of Eben’s work is neo-Gothic, incorporating plainchant and Hebrew

melodies. Eben’s views about the role of art come primarily from his Christian faith. He

uses Gregorian chant in many of his compositions, but his connection with the past goes

22 Petr Eben, preface to his organ work Laudes, 1964. 23 John Browne. Unpublished interview with Petr Eben (1990): 119.

9 far beyond the melodic inspiration. Eben believes that “a composer depends on

something outside himself, which is a gift from God,” and that contemporary music is in

a state of crisis because composers’ motives are far away from God. Eben sees the way

out of this dilemma as “a return to the faith in the sense of art and at the same time in a

humble acknowledgment and recognition of its serving function.”24

It is interesting to know the story behind a work of art, but this knowledge should not be necessary for the enjoyment of it. The present author’s first experience with the world of Petr Eben was at a live performance of Nedĕlní hudba; this listening was not prepared by any previous hearing or knowledge of the Czech composer. It was the beauty of the music itself, the combination of the tones that caught my imagination. Music is a message to the listener, and a composition is, for Eben, always “more than a problem to solve in a musical way.”25

Eben had visited Olivier Messiaen several times as an adult; although they

referred to each other as “colleagues,” Eben was greatly influenced by the several

meetings he had with Messiaen and considered him to be his teacher. “I knew [Messiaen];

we were several times talking together, so he told me how he felt about the colors. He

told me how he felt. It was something quite special for him.”26 Eben was well aware of

Messiaen’s photism and his thoughts on the relationship between sounds and colors.

While Eben himself claims that he is not a synesthete, he knows it is possible for one to relate on some level to Messiaen’s experience. Metaphors relating the senses are common, and it is stimulating to imagine how someone might see colors when listening to music.

24 Eben, Untitled printed sheet, paragraph 3. 25 Janette Fishell, The Organ Music of Petr Eben (Evanston, Illinois: Northwestern University Press, 1988), 239. 26 Swartz, “An Interview with Petr Eben,” 72.

10 My interview with Petr Eben will be crucial in explaining his perspective; as we shall see,

Eben’s relationship with Messiaen affected his use of musical referents with regard to

color.

When asked about how he composes, Eben responds that to write for organ, one

must really be an organist.27 Many of his compositions were written down only after he improvised on them for quite a long time. He believes that the longer he improvises on a piece, the better the structure and motives develop, and the more he can concentrate on the form. When composing for the organ, Eben says he must go into a local church such as the Tyn Church, St. Jakub’s Basilika, or Saint Mary of the Snows Church and compose at the instrument. All his other compositions are done at his table at home or at the piano.

It is clear that Eben has been greatly influenced by aspects of the Middle Ages.

This is supported by the discovery that certain aspects of his music are derived from medieval materials and techniques. Eben’s great interest in medieval and Renaissance literature, as well as the “stylized archaism” of his music, have been linked to the influence of his childhood home, Českỳ Krumlov, where he lived from age six through age fourteen.28

Eben grasps the medieval view of the composer as a craftsman, serving God and his community: “For centuries the composer was a member of a community which charged him with the task of praising God with his music. This was the situation from the time of Plainchant until Bach and Handel. Back then, the artist emancipated himself and lost his sociological place.”29 However, Eben combines musical expressions that go

27 Swartz, “An Interview with Petr Eben,” 77. 28 Vondrovicová, Petr Eben, 18. 29 Eben, Untitled printed sheet, paragraph 2.

11 beyond the Middle Ages, from Gregorian chant to his own complex, modern styles. In addition, Eben is comfortable improvising in several musical genres including jazz.

Music influences all of humanity, the composer’s own community, and finally the composer him- or herself. The composer is usually neither common enough to be a subject nor powerful enough to be universally acknowledged; consequently,

the artist finds himself after this personal exhibition in an extensive isolation: far away from nature and looking for unnatural abstract shapes in his pictures and technical sounds in his music; far away from human beings, breaking the connection with his predecessors, that is, with tradition, and not even trying to be understood by his contemporaries; far away from God—feeling himself as autonomous creator.30

Eben’s great potential in serving the local sacred community was concealed under totalitarianism; the floodgates opened wide, however, with the “Velvet” Revolution of

1989.31 This new beginning of the Czech Republic was and is an exciting, inspiring time

for the composer. Eben’s colleagues thought for years that he was crazy for writing music

for the organ and for the church, saying it would never be performed. But Eben followed

his inspiration even though it seemed his works might never have been accepted for their

true purpose by his own community.32

Petr Eben was born on January 22, 1929 in Zamberk and spent his childhood in

Český Krumlov. Eben describes the significance of living in Český Krumlov in his youth:

It’s true that I wasn’t born in Český Krumlov, but I lived there from age six until I finished school, and that is a period of time which is decidedly for every person a time which forms one’s character, and helped to form my artistic make-up. There, I lived through good times and bad times—my first active relationship with music, the burden of the war, my first love, and the death of my mother.33

30 Eben, Untitled printed sheet, paragraph 2. 31 Jana Marhounova, Czech Music In the Web of Life (Prague: Empatie Press, 1993), 118. 32 Ibid., 120. 33 Vondrovicová, Petr Eben, 18.

12

However, it was an impractical home for a composer because he could not receive

an education in music. There were no concerts, and the Nazis confiscated all the radios.

He was fascinated by music but had little chance of encountering it. “I remember once

going to buy something and passing an open window when I heard the Freischűtz of

Weber. I was so fascinated that I stood for an hour outside the window, very happy, but worried that someone might ask me what I was doing there.”34

At one point the Ebens lived in a house in Český Krumlov that the family affectionately referred to as Giselaheim; it was built in the same part of town as the Holy

Viský Church. Between the house and the church was a huge valley, about the distance of a kilometer. It created such an acoustic effect that when Eben opened his window on

Sunday mornings he could hear the organist practicing; it was so clear that he was able to recognize which songs would be played later in the morning service. This phenomenon had two meanings for Eben. The first meaning was symbolic—the spectacular sound of the organ bridged across the valley of sadness; the second meaning was very practical— he knew very quickly what would be played at the 10:00 AM Mass.35

Eben describes his childhood as a musical wilderness. If he wanted to hear

something, he had to play it himself. Eben points out that for most young people

nowadays things are just the opposite; they press a button and the music is there. He and

his brother Betrich sight-read everything they could find, including scores by Mozart,

Beethoven, Mahler, and Brahms. Eben believes that as useful as it is today to have access

to a wide range of recordings, it means that many musicians do not play from sight and

34 Martin Anderson, “Fifty Years of Plus and Minus,” Fanfare (July/August, 1996): 42. 35 Vondrovicová, Petr Eben, 18.

13 merely listen, and only half listen at that. “We are surrounded with too much sound to ever concentrate and therefore never get as much out of it as we could.”36

Eben was baptized into the Roman Catholic Church and chose to devote his life to

this faith. He maintained this faith along with personal and artistic integrity through forty

years of Communist oppression. When Eben looks back at his life, he realizes that he

spent those forty years under constant pressure, in danger, without freedom, and unable to

develop as he would have liked. Despite all of its problems, Eben feels that the life he

lived was ideal for his musical and spiritual growth. “It may appear a paradox, but it

seems for me to have been the optimal life. It’s astonishing.”37

In Okna, Eben used musical resources from the different aspects of his religious

life. In this work he took seemingly conflicting religious thoughts and combined them

into connecting harmonies. The musical style of Okna is the composer’s emotional

interpretation of the images and colors of the stained-glass windows. Eben allows each

player a degree of improvisation, for each time the images and color are viewed they

appear to be different. Each time a stained-glass window is viewed it changes with its

environment. Each Sunday I glance at the large stained-glass window at the rear of my

own church in Cincinnati; it has never appeared the same. So how can the music be concretely quantified in order to be a metaphor for the images and colors of Chagall’s windows?

With multi-sensory productions, such as Disney’s Fantasia, various art forms are

synthesized rather than juxtaposed. Writers often describe music with the metaphoral; a

musical timbre may be described as “bright,” a visual term. Points of “tension” and “rest”

36 Anderson, “Fifty Years of Plus and Minus,” 46. 37 Marhounova, Czech Music In the Web of Life, 121.

14 could be seen as a metaphor for human sensations, and it would be commonplace to use these terms to describe both Eben’s and Chagall’s art. “Some people see the world through rose-colored glasses, but Messiaen’s lenses were stained glass.”38 But aren’t we all looking through “stained glass,” a glass that is colored by our own experiences and perceptions?

38 McGinnis, “Playing the Fields: Messiaen, music, and the extramusical,” 126.

15

Chapter Two

The Life and Art of Marc Chagall

The life and art of Marc Chagall very noticeably parallels that of Petr Eben. For

Chagall the essential purpose of a work of art was symbolic, not formal. He clung to the twentieth-century doctrine that visual art must foremost be an accomplishment visually, and secondly, a construction using basic forms and colors.39 While Chagall was brilliant

with his use of color, what really mattered to him was the power of the art to affect the viewer emotionally—its ability to express and portray feeling. For Chagall, art, more than anything else, was a means to record his sensations, his memories, his moods, and his feelings about his life. These beliefs stated by the artist himself make it easier or give

license to apply metaphors to Chagall’s art. This may make deeper meaning more

communicable.

Marc Chagall was born in 1889 in Vitebsk, Russia. Two distinct groups

dominated this medieval town—peasants and craftsmen. Chagall’s family belonged to the

latter. This Jewish community was Hassidic, completely dominated by this mystical

religious movement steeped in a rich tradition of tales and legends. Chagall often

reminisced on this marvelous religious fervor from his childhood. But Chagall’s talent

drove him to Paris in 1910 to develop his own artistic style. Dreams and memory

39 Andrew Kagan, Chagall (New York: Abbeville Press, 1989), 89.

16 stimulated his imagination, and they were not hindered by rational or realistic

considerations.

Chagall returned to Russia in 1914, but the fear of being drafted into the army was

more than this pacifist could take. As a result, he took an office job in St. Petersburg with

his brother-in-law. Because this was considered essential work for the war, Chagall was

able to avoid being sent to the front.40 Life seemed to take a positive turn in September

1918 when he was appointed the Fine Arts Commissar in Vitebsk. At the beginning of

the Bolshevik Revolution art was highly valued, and Chagall enthusiastically thrust

himself into this new position. But he soon lost his trust in the Revolution when, while on

a trip to Moscow, his “free academy” became a “Suprematist institute.” He vehemently

disagreed with the Revolution’s new view of art. “I think the Revolution could be a great

thing if it retained its respect for what is other and different.”41

Chagall soon left his position as Commissar and moved in with his extended family in Moscow. Unfortunately for Chagall, government support for artists was determined by the political usefulness of their art. Because Chagall was low on this list, they lived in extreme poverty.42 There was no reason for him to stay in the Soviet Union, and he immigrated to Paris permanently. Although he had found himself very lonely in

Paris, he returned because he discovered that isolation is the price of freedom from political restrictions. “My homeland exists only in my soul,” sighed Chagall, far from his source of inspiration.43

40 Rainer Metzger and Ingo Walther, Marc Chagall: painting as poetry (Koeln: Taschen, 2000), 37. 41 Ibid., 47. 42 Ibid., 48. 43 Leymarie, The Jerusalem Windows, viii.

17 Although Chagall had experienced displeasure, suffering, and poverty, his art is

strikingly optimistic. He was devoted to rejoicing and appreciating the gift of life. “It is

our duty to color our own lives with shades of love and hope,” said Chagall at age eighty-

five. He was blessed with unbounded energy, resiliency, self-confidence, and fulfillment

in his art and his love for mankind. “In art, as in life, all is possible when conceived in

love.”44 Chagall never found it difficult to reconcile his personal beliefs with the truths of

Christianity. “I am” he said “something of a Christian in the fashion of St. Francis of

Assisi–I have unconditional love for other beings. I give love and I demand love, like a child.” He maintained a positive attitude throughout his life, writing in the eighties, “The end of life is a bouquet.”45

Chagall’s love for the Old Testament, his fascination with Russian art, and his

Hassidic vision of an ecstatic union with the divine were a preparation for this final triumph. Robert Delaunay, his mentor and friend, envisioned art to be “dynamic poetry of transparent color and light.” Chagall saw to it that his stained-glass windows were a painting in light. In his words, “the light [in the stained-glass] is the light of the sky, it is that light that gives the color!”46

44 Kagan, Chagall, 8. 45 Jean-Paul Crespelle, Chagall, trans. Benita Eisler (New York: Coward-McCann, 1970), 144. 46 Kagan, Chagall, 89.

18 47

47 Kagan, Chagall, 131. Chagall in his studio.

19 The Jerusalem Windows, commissioned by the Hadassah-Hebrew University

Medical Center, are the realization of Chagall’s sense of color, line, and image. There are definite lines of “radiant energy” that bring the visions to life. In the windows Chagall integrates personal imagery with images from ancient Judeo-Roman mosaics. Jewish law forbids the portrayal of the human face because it is considered an image of God. All human characteristics can be transferred metaphorically to animals, and the continuous metaphors of the Bible were naturally appealing to Chagall. Paul Claudel, in his essay on stained glass, asked, “Why not make use of all the ideas with which nature provides us— trees, foliage, the sea, all kinds of animals—all of them have a spiritual significance.”48

Thus each window is a blend of biblical themes and spirituality. The windows seem to be from the ancient past but actually belong to our own age.

The synagogue of the Hadassah-Hebrew University Medical Center, where the

Jerusalem Windows now glow from dawn to dusk, is a simple rectangle situated in the

Judean Hills west of Jerusalem. The huge lantern-turret in the center of the building is lighted by twelve large windows with round arches. They are situated as three windows on each of the four sides facing the cardinal points. The positioning is significant, as in

Scripture, when, under Moses’ leadership in the desert, the tribes camped in groups of three on each side of the Arc of the Covenant to keep watch at the four cardinal points.

Jacob blessed his twelve sons, prophesying characteristics over them and their futures.

These sons formed the twelve tribes of Israel.49

The authorities (Dr. Miriam Freund, the National President of Hadassah, and

Joseph Neufeld, the architect who designed the Hadassah-Hebrew University Medical

48 Leymarie, The Jerusalem Windows, vii. 49 Ibid., xiii.

20 Center) decided that the twelve windows were to represent the twelve tribes of Israel and were to be filled with stained glass. Each window would bear the name of one of the twelve tribes of Israel in Hebrew characters.50

In 1959 the aforementioned authorities went to Paris to see Chagall, and it was

decided at this meeting that he would design the windows. Chagall devoted two years of

his life to the windows, completely absorbed by his vision that the synagogue was “a

crown offered to the Jewish Queen.” When Chagall recalled working on the last details of

the windows, he remarked “When I climbed that ladder I was not so much interested in

finishing a detail as in spying out something that might be hidden up there. For it seems

to me that destiny obliges you to undertake certain kinds of work in your life, and that I

had to make stained-glass windows. I had to get myself into daylight.”51 Some of the reasons for the mysterious obligation Chagall felt toward stained-glass windows can be guessed at. After World War II, the creation of stained-glass windows gradually became a logical outcome for his preoccupation with colored substance and “light from behind the canvas” and his attachment to religious subject matter, an attachment that had existed since his Hassidic childhood and had been strengthened by the Nazi holocaust and the death of his wife, Bella.

In most of his work in stained glass Chagall was not concerned with subject matter. The windows for Jerusalem, however, posed a delicate problem, partly because of their location in the new state of Israel and partly because he agreed to abstain from his habitual representation of human beings. How, in view of this prohibition and of the relative scarcity of Jewish religious symbols, was he to proceed? In accordance with

50 Leymarie, The Jerusalem Windows, vii. 51 Izis Bildermanas, The World of Marc Chagall (Garden City, New York: Doubleday, 1968), 165.

21 Jewish precepts, the windows show no human images, only the names of tribes and

biblical quotations in Hebrew as well as candelabra, flowers, birds, fish, and other

animals. Chagall stated, “How is it that the air and earth of my home town Vitebsk, how is it that a thousand years of persecution find themselves mingled in the air and earth of

Jerusalem. I feel as if your tragic and heroic resistance in the ghettos has blended with my flowers, my beasts, and my fiery colors. I feel as if lines and colors weep from my eyes, although I am not crying.”52

Chagall began his work on the windows by doing a series of small black and

white drawings. In these he adapted his motifs to the round-arched Romanesque format

and indicated the distribution of zones of light and shade. Samples of glass corresponding

to the “Chagallian spectrum” were prepared in France. Since the glare of the Israeli sunshine has an effect on color that could not be anticipated in the soft light of the French countryside, the samples were taken to Jerusalem and tested at the site of the synagogue.

Finally, the windows were modified for stability and rhythm, were mounted in Rheims, and Chagall spent the next six months modifying and refining them. The twelve windows were then installed and now glow from dawn to dusk.

Chagall relied on Charles Marq, his collaborator, to design the glass fragments so that the seams in the final work filled the same role as the lines in his paintings. When he was satisfied that the windows were “jewels of translucent fire,” Chagall’s Jerusalem

Windows were exhibited first in Paris in June of 1961, then the following winter at the

Museum of Modern Art in New York. Hundreds of thousands of people saw these

extraordinary creations in Paris and in New York City.53

52 Bildermanas, The World of Marc Chagall, 71. 53 René D’Harnoncourt, Jewels for a Crown (New York: McGraw-Hill, 1962), 7-8.

22 The stained-glass windows were permanently installed at the Hadassah-Hebrew

University Medical Center in February of 1962, and Chagall established himself as

unquestionably the most influential designer of stained-glass windows in the twentieth

century.54 The unveiling of the Jerusalem Windows was the beginning of the triumphant final chapter of his career. The essence of these windows lies in color, and words cannot describe Chagall’s color, its singing quality, its spirituality, its ability to touch the soul, and its effect on one’s imagination.

54 Kagan, Chagall, 91.

23 Chapter Three

The Uniting of Two Forms of Art

Eben and Chagall had a lot in common, including optimism, love, sincerity, and

contentment in their lives and in their art. The purity of purpose in their art is admirable

and inspiring. They seem to play parallel roles as far as how they affected the history and

outcome of twentieth-century art and music. They are both concerned with conveying

meaning or a message to the listener/viewer.

Okna is a remarkable creation that perfectly exemplifies the relationship of music

and the visual arts. It also shows how Eben’s compositional style is analogous to the

visual artist’s style. Eben had been asked for a long time to write for organ and trumpet,

and he finally found the subject of his inspiration when a friend showed him slides of

Chagall’s windows in the mid-1960s. Eben does not recall who showed him the windows

or exactly when,55 but the images and colors made a permanent impression on his mind.

Eben went to the museum and purchased the book titled The Jerusalem Windows, by Jean

Leymarie, to further his inspiration and recollection of the windows. When the Gallery of

Fine Arts in Cheb commissioned Eben to write a work pertaining to pictures, he had the

resources to follow through with his inspiration. Eben remains intrigued by these stained-

glass windows because they are a source of light and a view from reality to fantasy.56

Eben improvised Okna for about ten years before committing the work to paper.

When asked if he plays a piece the same way every time, he replied, “No, it’s not the same way. How I played it, and now, there would be quite a big difference because more

55 Swartz, “An Interview with Petr Eben,” 76. 56 Graham Melville-Mason, ed. A Tribute to Petr Eben to mark his 70th Birthday Year (Garstang: The Dvořák Society, 2000), 69.

24 and more one likes not to have free improvisation, but the structure and form.57 Okna was completed in 1976 and published in 1977. Because of the restrictions under totalitarianism, Eben could not publish the work entitled as he desired. Now, if the work were to be published again, it should really appear with the title Hommage á Chagall’s

Jerusalem Windows with the movements bearing the titles Rueben, Issachar, Zebulun, and Levi. But in 1977 his publishers Panton and Supraphon had to refuse the work if it

referred to the twelve tribes of Israel. Therefore, in order to have the work published

Eben used his second choice, Okna, which is Czech for windows. The predominant color in each window is used as the title of each of the four movements.58

It is evident to the present author that there was a very intimate relationship between Eben and Chagall. Eben sent Chagall a phonograph record of Okna recorded by

Vladislav Kozderka (trumpet) and Milan Slechta (organ). Chagall’s wife sent Eben a letter stating that Chagall had listened to it and was very delighted about it. In this letter,

Eben was invited to meet Chagall at his home in France. When Eben was about to visit, he received word that Chagall was in poor health so it was not possible to meet him. Soon after, Chagall died. “It was nice that he could hear it,” stated Eben, “It was a pity, I am

sorry I could not visit him.”59

To this date Eben has never been to Jerusalem to see the windows himself; it is

one of his most urgent ambitions to be able to visit Jerusalem and see the windows in the

light of the sun.

. . . it was one country where it was never allowed for us. I wanted to go there [in such a way that] nobody would know [about] it. But they said, “It is not possible, we would have to write it in your passport.”

57 Swartz, “An Interview with Petr Eben,” 81. 58 Ibid., 74. 59 Ibid., 77.

25 Of course, if I would then come back, they would see where I had been, then after that they would never let me out. So I could not go there. That was a pity.60

With travel restrictions now lifted, Eben plans to visit Jerusalem as soon as his schedule allows.

Eben remembers very fondly these words of Chagall:

There is something very simple about stained-glass windows—just materials and light. Whether it is in a cathedral or a synagogue, it is all the same—something mystical passes through the window. For me a church window represents the transparent partition between my heart and the heart of the world. If I create from the heart, nearly everything works.

These words of Chagall are similar to those of Eben stated above; Eben and

Chagall seem to have been cut from the same cloth.

60 Swartz, “An Interview with Petr Eben,” 76-7.

26

Chapter Four

Analysis

Whenever I examine all the works of the various kinds of art, I always feel very intensely that in actuality there is only one kind of art: that enraptured perception and reproduction of the reality around us and, at the same time, the struggle to be able to express still more that which is behind or above this reality. All the works of music, literature, or painting are only diverse branches, diverse aspects of a single art, whether they make use of the brush, the chisel, words, or sounds. —Petr Eben

The following pages contain an investigation of the correlation between Eben’s

Okna and Chagall’s Jerusalem Windows. Even though the composer has stated that there is no significance to the ordering of the four movements, the following analysis will be presented in the order in which the work was published. Following the title of each movement, i.e., the predominant color of each window, the literary contents from each window will be given, translated from the Hebrew. A plate is provided for each window reproduced from The Jerusalem Windows.61

61 Leymarie, The Jerusalem Windows, 7-47.

27

Okna

Movement I: Reuben (Modré Okno [Blue Window])

Jacob’s blessing inscribed on the window (translated from the Hebrew):

Reuben, you are my firstborn, my might, the first sign of my strength, excelling in honor, excelling in power. Turbulent as the waters. [Genesis 49:3-4]

Not included in the window, the Scripture further refers to Reuben:

You will no longer excel, for you went up onto your father’s bed, onto my couch and defiled it. [Genesis 49:4]

Let Reuben live and not die, nor his men be few. [Deuteronomy 33:6]62

The first movement of Okna is Reuben, or the Blue Window, and is marked con

moto persistente. The persistence of Reuben models the constant motion of nature, the

waves of the sea, and the stability of power. It maintains this fluidity even at transitional

moments. For those who study and perform this music, Eben suggests that it should be

played in a coherent, fluent manner.63 The performer should have a clear sense of direction and avoid halting the music to change registrations. Most of all, one should maintain a consistent tempo and “appreciate a sense of drive from the beginning to the end.”64 Also present is the unstable characteristic of water, creating a paradox that is analogous to the Tribe of Reuben, whose instability is evidenced in the Hebrew scripture.

It is clear that Eben intended to portray something beyond the music itself.

62 Leymarie, The Jerusalem Windows, 1. 63 Fishell, The Organ Music of Petr Eben, 25. 64 Ibid., 26.

28 65

65 Leymarie, The Jerusalem Windows, 7.

29 Reuben is also the opening window in Chagall’s cycle, reflecting the nature of

this eldest son of Jacob and Leah, generous but hot-tempered. His powers were

moderated for fear of his instability. The window is a Cerulean blue over a white base.

The transparency of this window evokes a freshness and clarity like the moisture of one’s

breath on a cool morning. The predominately thin texture of the first movement of Okna,

which is often two or three lines in counterpoint, creates harmony as imposing and pure

as this breath of creation.

But how are we immediately able to identify the color blue through the music?66

Extramusical associations increase music’s accessibility for listeners, especially non-

musicians. While non-synesthetes may find it difficult to relate to the experience of

synesthetes such as Messiaen or Scriabin, interrelationships between colors and sounds

are deeply steeped in history.67

Aristotle related a series of colors to the seven musical notes and the seven known planets. Sir Isaac Newton, after experimenting with the color spectrum, was able to draw conclusions that associated astronomy, music, and color. Musical intervals we associated with color bands of the spectrum, and red, orange, yellow, green, blue, indigo, and violet were associated with the diatonic scale.68 Louis-Bertrand Castel found that sound mimicked light; he proposed that there are the same number of sounds as colors, and he built an instrument that related colors and notes. Castel’s associations are of greater interest to the present author because his associations involve the color theory of painting rather than physics. “Castel broke from cosmology and invented the notion of artistic

66 See page 3, footnote 8. 67 Lawrence E. Marks, “On Colored-Hearing Synesthesia: cross-modal translations of sensory dimensions,” Psychological Bulletin 82/3 (1975): 305. 68 Isaac Newton, Opticks (1704).

30 syntheses.” His ideas have provoked debate among philosophers and theorists ever since

December 1754 when he demonstrated his clavecin oculaire. 69

The tribe’s blessing appears at the top of the window, inside the sun, which identifies the Divine presence with cosmic light. The presence of the main theme in the music is like this source of light; the triplet figures throughout are like the glimmering of the supple shapes of the glass fragments in the windows, comparable to the fluidity of the luminous color. The fish and birds flourish like the blessing of the tribe of Reuben. The blazing red at the lower right perhaps refers to the love apples Reuben found in the fields and offered to his mother Leah. The excitement of the presence of red in this window is perhaps analogous to moments of excitement in the music.

In measure 10 (example 1, measure 3), where the motion is interrupted rhythmically and texturally,

Example 1

at circle 7 (example 2), where the intervals of the theme are expanded to their greatest extent and the organ interrupts the texture with both rhythmic excitement and expansive leaps,

69 McGinnis, “Playing the Fields: Messiaen, music, and the extramusical,” 130.

31

Example 2 and just before circle 8 (example 3) where the most blazing statement occurs.

Example 3

32 Eben used a compositional technique that the present author will refer to as

“warping”—the expansion or contraction of the intervals in a theme without losing its

original overall shape. This creates space in music—according to Winckel, a

“psychological space.” The listener has a feeling of space, a contracting and expanding of

wind and waves about them.70 Sometimes Eben used formal structures in his warping treatment, such as in Laudes where he used a specific multiplication of intervals; more

often, he used a more improvisatory approach, such as in Okna.

The dynamics, which are, of course, linked to the organist’s registral choices and the size of the organ itself, give the impression of sounds or an imagined object proceeding and receding in space. Likewise, we are able to see Chagall’s work as he conceived it in time based on the succession of plates provided in the example below.

Even without these plates the viewer can scan through the window from left to right, from lower to upper, or from its surface to its depth; these actions occur over time.

70 F. Winckel, “Architecture et musique spatiale,” Bull Groupe d’accoustique musicale, No. 51 (1970): 7.

33 71

This first movement is a “Theme and Variations,” and the theme is varied through rhythmic and intervallic augmentation and diminution. The movement progresses through various tonalities, uncharacteristic of most “Theme and Variations,” but this progression is more like a view through a kaleidoscope; light is refracted, but the combination of all the rays of refracted light continue in the same direction as the original source. The tri- tone relationship is emphasized within a single line (example 4),

Example 4

71 Leymarie, The Jerusalem Windows, 4-5.

34 and the tritone relationship is emphasized between tonalities (example 5, measure 2).

Example 5

Although this theme is not easily linked to a specific existing chant melody, it is inspired by Gregorian chant. This is evidenced in its character; the pure theme is unharmonized, unmetrical, modal (Phrygian), and easily sung. In example 6, the pure theme is segmented into four parts, and a letter is assigned to each part; following are the variations of that theme through warping treatment.

35

Example 6

In the introduction (example 7), parts A and B of the theme are foreshadowed in the organ pedal. These parts are slightly warped through the lowering of the final pitch, and, in part B, through the alteration of the fourth pitch to E natural. Although the music

36 is notated with clear note values, there is no meter indicated, and there is no real sense of

meter portrayed to the listener. The triplet figures are not heard as groups of threes, but

rather as alternating groups of fours and fives created by motion.

Example 7

At circle 1 (example 5, measure 2) the trumpet is established as the soloist, leaving the organ as accompaniment. This sensation is based on the fact that the trumpet states the pure theme while the organ flows independently underneath. The contrary motion figure in the accompaniment may be likened to the expanding and contracting of the ocean waves as pictured in the window, or it may be an interpretation of the glimmering light that shines through the stained glass. The direction of the lines is perhaps more important than the actual pitches. In the seventh measure after circle 1

(example 8), the accompaniment is shown to fall rapidly in similar motion, and in the

37 next measure it reflects upward. This is not only analogous to the reflection of light

through stained glass, but also to the movement of the fish in the sea and the sea itself.

Example 8

But how can we be sure that the listener would hear this? As Sartre said, “In order to draw the riches of my perception would require infinite time.”72 We cannot; the real heart of the matter is the music’s ability to bring out the meaning buried deep within the art and vice versa. Okna does not exist without Chagall’s Jerusalem Windows, and the power of the visual art has been amplified by Eben’s composition.

The warping process continues at circle 2 (example 9) along with the addition of embellishments. This process is improvisatory and based on the movement of the line, i.e., up, over, down, and through. Parts A, B, and C no longer gravitate to one resting tone, and the arch shape of part D is ballooned upward. The organ accompaniment serves the theme rhythmically, using hemiola to represent the unstable waters.

72 J. P. Sartre, L’imaginaire (Paris: Gallimard, 1940), 24.

38

Example 9

After a flowing interlude that uses material from the introduction, the organ becomes the soloist at circle 4 (example 10), and the trumpet turns into the accompanist.

Here the theme is not warped; all four of its parts retain the same intervallic relationships as the theme stated by the trumpet at circle 1, but transposed up a minor third. The theme is harmonized by the organ, but maintains its organum-like qualities through the use of parallelisms in contrary motion. Although this variation is chordal, it preserves the transparency of the movement through homophony, open harmonies, and frequent doublings. The theme uses strict note values but never feels metrical, retaining its improvisatory, chant-like character.

39

Example 10

At circle 5 (example 11) the organ and trumpet function concurrently as soloists and accompanists. The organ (example 11, upper staff) states the theme in short note values, creating a rhythmic accompaniment, while the trumpet (example 11, lower staff) hints at the theme during the use of accompanimental material.

Example 11

The organ and trumpet become equal partners at the conclusion (example 12, circle 9), and each function both as soloist and accompanist. The pure statement of the A part of the theme appears, followed by a warped B part of the theme. The two instruments finally come to an agreement and state the parts of the theme concurrently, creating an optimistic, decisive finish.

40

Example 12

There are splashes of various other colors in the window besides its overall

Cerulean blue laid on a white base. There are flowers placed at the lower right; when compared with over 1000 color standards as presented in the Pantone Book of Color, these flowers match the color 19-1760, “scarlet.”73

This same scarlet is “echoed” among the birds in the sky. Splashes of green appear in the

73 Leatrice Eiseman and Lawrence Herbert, The Pantone Book of Color (New York: Harry N. Abrams, Inc., 1990), 61.

41 middle and upper portions of the work; these may be identified as “lily green” along with

a darker “vineyard green.” There is one episode of a violet color amidst the fish in the

lower left. This is the subtle “purple heather.”

As stated above, the associations between sound and color are deeply grounded in

history and culture. The example below provides a summary of the correlation of color

and notes. For E. G. Lind, the frequency of light corresponds to the frequency of sound.

The frequencies of colors are much greater than those of sounds, therefore the

parenthetical frequencies must be multiplied by 108 Hz for the actual frequency of the light tone, i.e., red is 476 x 108 Hz.74

Note Newton Castel Finn Lind Maryon 1700 1720-1735 1881 1900 c. 1920 C red blue red 259 Hz-red (476) red C# sea green, blue-green vermillion red-orange D orange green, bright green orange 289 Hz, orange (511) orange D# olive, yellow-green yellow orange-yellow E yellow yellow yellow-green 322 Hz, yellow (546) yellow F green apricot, yellow-orange, green 342 Hz, green (588) yellow-green aurora F# orange blue-green green G blue red turquoise blue 385 Hz, blue (630) blue-green G# crimson blue blue A indigo violet indigo 427 Hz, indigo (665) blue-violet A# agate, blue-violet, violet violet light purple B violet indigo purple 485 Hz, violet (721) violet-red

With an overall sense of Cerulean blue and the secondary colors lily and vineyard

green, Newton, Finn, Lind, and Maryon would come to some agreement around the pitch

F-sharp. Castel, with his reverse order, would associate these colors with C-sharp. The

purple heather would be associated with A-sharp, showing agreement by all five persons.

Hans Heinz Stuckenschmidt included Scriabin’s color wheel in his Twentieth-

Century Music textbook (1969). It is reproduced in the example below. Scriabin’s color

74 Alan Wells, “Music and Visual Color: a proposed correlation,” Leonardo (Vol. 13, 1980): 104.

42 wheel in the form of the circle of fifths was provided in his Promethée; it is interesting

that E and B as well as E-flat and B-flat form a color pair.

It is clear from the interview that Eben did not have a correlative scheme in mind

when composing Okna. However, the curious similarities between these researchers indicate that there is something natural in the interrelationship of sound and color.

However subconscious it may be, it is possible that listeners link sounds and colors in similar ways without even knowing it. The highest pitch in the trumpet part occurs three measures from the end on B-flat, the enharmonic equivalent to A-sharp (purple heather).

The bass motion of the movement suggests a strong center around F-natural; with

Newton, Finn, Lind, and Maryon pointing toward F-sharp as linked to the Cerulean blue,

Castel’s vote for C-sharp allows for the compromise to F-natural. In other words, if the numeric value 6 is assigned to F-sharp and the numeric value 1 to C-sharp, the average of the findings of the theorists results in the numeric value 5, or F-natural.

43 Movement II: Issachar (Zelené Okno [Green Window])

The first verse of Jacob’s blessing is inscribed on the window (translated from the

Hebrew):

Issachar is a raw-boned donkey Lying down between two saddlebags. When he sees how good is his resting place And how pleasant is his land, He will bend his shoulder to the burden and submit to forced labor. [Genesis 49:14-15]75

In contrast with the first movement, Issachar is a point of relaxation. It opens with a lazy blues solo by the muted trumpet over the dark string timbre of the organ. This is shown in the example below. Eben indicates the use of a “hush-hush” mute, which, to the knowledge of the present author, does not exist. Perhaps Eben is referring to the

“whisper” mute commonly used in jazz performance. Eben is satisfied by the use of a soft, dark mute, such as the cup mute, the one chosen for most recordings.

Example 13

75 Leymarie, The Jerusalem Windows, 41.

44 76

76 Leymarie, The Jerusalem Windows, 47.

45 There is a very strong jazz tradition in the former Czechoslovakia, and it is most

noticeable at election time when the politicians fill the squares with jazz bands displaying

their party’s colors. The fact that Eben has an enormous respect for jazz musicians is

evident by a statement he made in an interview with Martin Anderson:

The jazz tradition can’t influence “normal” concert pianists. It’s sad that if you ask a good pianist, who can play Chopin, Liszt, and composers like that, to play a folk tune, he’ll say “Well, it’s not in my repertoire.” That’s something which you find all over the world.77

The sleekness of the music may have been inspired by the twining snakes that completely frame the window. This ornamental scrollwork is an ancient symbol of fertility and wisdom. Issachar was born to Leah after a long period of sterility, a period that ended thanks to the mandrakes that Reuben brought to her. The whole window is rich with grass, fruit, flowers, and vines. The tribe toiled hard and was richly rewarded; it loved its defenseless land so much that it accepted its servile position rather than leaving the land to go to war.78

The soft green window sharply contrasts not only Rueben, the Blue Window, but

also its red companion windows on the south wall of the synagogue. Judith Rothschild, in

her Leonardo article, “On the Use of a Color-Music Analogy and on Chance in

Paintings,” discusses how colors may illogically change as a result of the surrounding

colors. For example, in her “Portugal, II', oil on canvas,” Rothschild was able to make a

band of grayed yellow appear to be green. This was the result of placing the band

between large areas of cool red and orange. “The effect is achieved by means of the

relationships between this small area and its surroundings.”79

77 Anderson, “Fifty Years of Plus and Minus,” 48. 78 Leymarie, The Jerusalem Windows, 1. 79 Judith Rothschild, “On the Use of a Color-Music Analogy and on Chance in Paintings,” 279.

46 This type of juxtaposition is also evident in the music, which Eben describes as an

Oriental pastorale80—a relaxing walk through a pasture. The scene moves from the sheep grazing on the fruitful land to a resting donkey with its blue head. The tempo of the music constantly changes, like the luxurious vegetation and animals on the soil. This second- movement motive featuring the ascending fifth (example 14, measure 2) is a harbinger to the second theme of the fourth movement (example 15, measure 3), linking this movement to the last:

Example 14

Example 15

80 Fishell, The Organ Music of Petr Eben, 100.

47 Circle 3 (example 16) introduces a change in character with the 8’ flute and 1’

flute registration gap in the organ, creating a sparkling accompaniment under the urgent,

more excited trumpet part. The listener hears these bright flutes registered along with the

muted trumpet as a stark juxtaposition against the lyrical, legato cantabile at circle 4,

where the trumpet is now open (this is not marked in the score, an error), changing to a

darker color. The organ registration changes to Flauto Salizionale and features slurred,

parallel 6/3 chords. The meaning of these two individual musical passages changes

because of their juxtaposition against each other; i.e., if the entire piece were all legato

parallel 6/3 chords, as at circle 4, there would be less of a sense of traveling through

space from one occurrence to another, and the listener would not hear this part as a point

of relaxation.

The section commencing at circle 3 uses a unique, improvisatory compositional

technique; the organ and trumpet are rhythmically and stylistically independent of each

other. The organ score is labeled ben ritmico and staccato, while at the same point the trumpet score indicates a piacere and is marked with slurs. The organist repeats a pattern

at one pitch level and listens for the trumpet’s shift to the new pitch level; the two

independent parts meet at these points where the tonality shifts.

Example 16

48 Circle 3 is perhaps a musical interpretation of the tiny bird outlined in black,

perched on the donkey’s back. A glimpse into Chagall’s sense of humor is revealed with

this tiny bird, for it represents the weight of slavery on the tribe’s back, a very light

burden to bear for this particular tribe. The high-pitched pipes in the organ and the light-

hearted agility of the trumpet are only slightly bound to one another due to the

compositional technique used here.81

Circle 4 (example 17) presents a new idea altogether. The rhythmic displacement in the organ creates the sensation of two coexisting meters, duple and triple. The parallelism may be likened to the organum of the Middle Ages, and an inference to fauxbourdon.

Example 17

The first inversion chords of the organ descending in parallel motion, together with the legato cantabile line in the trumpet create a sense of relaxation. The first motive is developed and expanded further by the trumpet, flowing and relaxed, as the organ music changes to contrary motion in the fifth measure after circle 4 (example 18, measure

81 Leymarie, The Jerusalem Windows, 41.

49 2), where the pitch level and energy of the trumpet heightens. The trumpet and organ together form a two-part texture with accompaniment.

Example 18

At circle 5, marked marcato and a piacere, the organ has a very interesting solo

(example 19, excerpt). It is unique to organ literature because the manuals are rhythmically independent of the organ pedal solo. It is derived from the trumpet solo at circle 3 (example 16, page 48) and transposed a tritone. The performer must think of these two opposing statements autonomously (i.e., the manual part versus the pedal part), with only occasional points of coordination.

Example 19

Excitement builds and then releases with the glissando in the organ pedal, which descends two octaves and a fifth (example 20).

50

Example 20

Circle 6 is identical to circle 3, and circle 7 is a variation based on the first theme

combined with the second. Following is a dramatic stringendo, where the trumpet and organ music meld together. This effect is created by the registration, dynamics, and the unison texture. The gesture of the intertwining hands in Chagall’s scene was perhaps the inspiration for Eben’s melding of the two instruments in the music. According to tradition, Issachar was to be the tribe of scholars because of its agreement with the commercial tribe, Zebulun. The two most intense shades of the window, emerald and scarlet, color the two hands in blessing. The scarlet hand on the right, its fingers intertwined with the fingers of the left, holds up Issachar’s blessing engraved in a white tent. “Rejoice,” Moses said, “Zebulun in thy going out and Issachar in thy tents.”82

Circle 8 is almost identical to circle 4 and leads back to the opening harmonies, this time a major third lower, an even more relaxed pitch level. Circle 9, marked Tempo I, is comparable to the beginning of the movement at a lower pitch level for the organ, and the trumpet part is displaced by an octave. The movement ends in much the way it began

(example 21). The first two motives are restated while the third is left out. The organ music disappears as though falling asleep in the grass.

82 D’Harnoncourt, Jewels for a Crown, 36 and 39.

51

Example 21

The colors of this window feature various greens such as “foliage” green, “silver” green, and the darker “black forest” green.83 The blues from Rueben make a cameo

appearance in this window also; these blues are also found in the neighboring windows

on the south wall, linking the three visually. The reds in this window are somewhat duller

than the reds of the nearby windows; they may be identified as “cranberry” or “coral”

reds. The same shade of violet from Rueben makes a small appearance on the left side of

the window. Using the chart provided on page 40, we find that the reds correspond to the

pitch C, the greens to F, the blues to G or G-sharp, and the violet to B.

If we follow the music through the space of the window as described above, we

may find correlations between colors and pitches. At circle 3 I described the high pitches

on the organ as representing the tiny bird. The staccato chords at circle 3 place G and G-

sharp against each other, linking the music to the blue color of the tiny bird. The trumpet

part at circles 3 and 4 features the relationship between pitches B and C; the trumpet’s

florid ornamentation always returns to these pitches. The tiny bird is perched on the red

83 Eiseman and Herbert, The Panton Book of Color, 117.

52 donkey’s back; this is analogous to the tiny bright flute pipes in the organ perching above the lower trumpet timbre.

53 Movement III: Zebulun (Cervené Okno [Blood-Red Window])

Inscribed on the window (translated from the Hebrew):

“Zebulun”

Jacob’s blessing of the tribe of Zebulun:

Zebulun will live by the seashore And become a haven for ships; His border will extend toward Sidon. [Genesis 49:13]

The blazing red of this window, the multicolored fish, and the glimmer of light off the surface of the sea were clearly the inspiration for Eben’s textural, motivic, and rhythmic choices. The movement is marked Risoluto e drammatico, and, with the exception of moments of hesitation, drives forward at quarter note =120. The fire of the piercing sunset over the sea and the speeding fish are represented in the introduction, measures 1-3 (example 22), where the organ manuals are in unison with the addition of a slightly varied pedal, creating a heterophonic texture. Eben did not necessarily intentionally create a heterophonic texture here, but it could have been a result of the technical restrictions of pedal playing on the organ.

Example 22

54 84

84 Leymarie, The Jerusalem Windows, 39.

55 The falling chords leading into circle 1 (example 22, measure 3) are like the

glimmer of the sun off the scales of the wet fish as they dive in and out of the waves. The

fast chunky chords of the organ and the sharp tritone stabs by the trumpet that follow

(played marcato) are motives present throughout the movement, constantly jarring the

listener. There is a discrepancy between the organ score and the trumpet score in terms of

the articulation of this motive. Eben prefers that the tritone motive by the trumpet be

tongued, not slurred, as incorrectly indicated in the organ score (examples 23 and 24).

Trumpet score:

Example 23

Organ score:

Example 24

The dizzying flashes of this window, especially in the sunset and in the lower right of the scene, were created by scraping or rubbing off paint with a finger or with the tip of a brush. In the organ part at circle 3 (example 25, measure 3) the motion of the

56 organist’s hands and fingers while playing is not unlike the artist’s technique; it increases

suppleness and relieves tension.85

Example 25

This organ rippling from the manuals accompanies a folk-like tune by the trumpet, which is echoed out of phase in the organ pedal, creating a cross-rhythm.

Circle 4 is a variation of circle 1. The organ echoes the trumpet stabs with two cluster chords repeated at the discretion of the performer. The organ dramatically drops out on the trumpet’s approach to the climax on high B-flat. Circle 5 is an organ solo; it is a chromatic unison passage marked forte with a tritone in the pedal part. The Hebrew

85 Leymarie, The Jerusalem Windows, 33.

57 characters in the window spell out the name of the tribe in a chromatic fashion, their

unevenness made even more apparent by the dark lines breaking the window into twelve

parts. The size and color of the characters make them very clear and present, not unlike

this aforementioned organ solo. A meno mosso section ensues echoing the stabbing motives, its placid character providing the necessary relief from them. The registration is lighter; only a single line is present (example 26).

Example 26

A new motive is presented by the trumpet at circle 6 (example 27), its shape alluded to previously in the organ arpeggios. These gentle legato gestures refer back to the fiery stabs. The sixteenth dotted-eighth rhythmic pattern in the organ accompaniment is based on triads and is polytonal.

58 Example 27

A question and answer session appears at circle 7, along with the pesante, slargando cadential formula leading to the transition and restatement of the introduction at circle 8. The playful trumpet solo ensues at circle 9 with the triplets in a descending arpeggio pattern. Circle 10 is an organ solo (example 28). This organ solo is perhaps the most technically demanding passage for the organist. A steady ostinato by the left hand, based on the cadential formula, must work against the independent flourishes by the right hand, and under all that the pedal interjects with dyads.

59 Example 28

Circle 11 contains the tritone by the trumpet, marked piano, with a gentle, soft cluster by the organ. Circle 12 has a new skipping motive by the organ, with the trumpet over the top creating a different mood, flowing lyrically and expanding intervals.

There is a return to Tempo 1 at circle 13 and a return of the material from the opening of

the movement. The organ ascends to a climax with clusters as the trumpet lingers on a

high pitch. There are 11 trumpet stabs at the end and the organ joins for the final twelfth

stab (example 29). These are like the twelve blazing sections of glass in Chagall’s

window. The movement ends in two tonalities, the organ ending in C minor and the

trumpet implying B major. The historians in the chart on page 42 have associated red

with the pitch C, the final, lowest pitch in the organ pedal.

Example 29

60 Movement IV: Levi (Zlaté Okno [Golden Window]

Moses’ blessing is inscribed on the window (translated from the Hebrew):

He teaches your precepts to Jacob and your law to Israel. He offers incense before you And whole burnt offerings on your altar. [Deuteronomy 33:10]

Not included in the window, the Scripture further refers to Reuben:

He said of his father and mother, “I have no regard for them.” He did not recognize his brothers or acknowledge his own children, But he watched over your word And guarded your covenant. Bless all his skills, O Lord, And be pleased with the work of his hands. Smite the loins of those who rise up against him; Strike the foes until they rise no more. [Deuteronomy 33:9, 11]

The whole work is a tribute to Chagall, but the final movement is the most spiritual and the most meaningful homage Eben pays to Chagall. Eben used a Russian

Orthodox hymn for the organ (example 31). This hymn occurs along with a collage of various Jewish synagogue chants by the trumpet (example 30). Both are present together, creating beautiful harmony, yet are entirely independent of one another.

61 86

86 Leymarie, The Jerusalem Windows, 23.

62

Example 30

Example 31

In an interview with the present author, Eben had this to say about Levi:

In this case, I thought it would be nice to show the character of Chagall, two things that were typical of him. One was that he was from Russia, so of course he was a Russian first, and the other is that he was a Jew. I wanted to show that, and therefore I used for the organ one motive which is very often played in Russian Orthodox churches. When I was in Rome, I also went sometimes to these Orthodox Masses [to observe] their way; this [hymn] very often was played. Also this hymn was used (I forgot about this when I used it) [by] Tchaikovsky. He wanted a typical Russian song, so he used that one. So I used that for the organ to show the Russian way, of course, the spiritual Russian way. And then for the trumpet, I was inspired by Hebrew melodies. I was studying some of these old (before Gregorian Chant) melodies that were used. Therefore, they are the two things, the Russian and the Hebrew.87

Moses belonged to the descendants of Levi. These are those who will function as priests, who will mediate between God and the people, upholding the Holy Law. The golden color, the divine light, defines this window as sacred. It appears even more sacred

87 Swartz, “An Interview with Petr Eben,” 55.

63 between the blue window of Simeon and the red window of Judah. The Tablets of the

Law bear the central verse of Moses’ blessing, which sums up the function of the Levites.

Around the Torah burn candles that, according to Chagall, generate a mystical light. The

combination of these contrasting religious and musical themes form one of Eben’s

greatest moments. This is not unlike the golden light of the window.88

As indicated by the inscription, “He offers incense before you,” scent is another intimate connection humans have with God. As mentioned above, other forms of synesthesia may involve fragrance. According to E.T.A. Hoffmann “it is no empty metaphor, no allegory, when the musician says that color, fragrance, and light appear to him as sounds, and that in their intermingling he perceives an extraordinary concert.”89

Hoffman takes the metaphor further in the following poem:

Nature is a temple where living pillars Sometimes let forth confused words; In it man goes through forests of symbols Which watch him with familiar looks.

Like long echoes which from a distance mingle Into a shadowy and deep unity, As vast as night and light, Perfumes, colours and sounds reply to one another.

There are perfumes fresh as children’s flesh, Sweet as oboes, green as meadows, And others corrupt, rich and triumphant,

Sharing the capacity of expansion that infinite things have, Such as amber, musk, balsam and incense, Which hymn the transports of the mind and the senses.90

88 Leymarie, The Jerusalem Windows, 17. 89 E.T.A Hoffmann, Musical Writings, Kreisleriana, 164. 90 Simon Baron-Cohen and John Harrison, Synaesthesia: classic and contemporary readings (Oxford: Blackwell Publishers, 1997): 99-100. Messiaen knew this poem.

64

The development begins after the opening chorale section (example 32). In

contrast to the opening, the organ’s solo at circle 3 is constructed of disjunct, staccato

chords in a mixed meter. This section sounds like the light of the sun shining through the

golden, dazzling window.

Example 32

A hymn from Eben’s own Antiphons and Hymns (example 33) is quoted at circle

4 by the trumpet accompanied by parallel, open fifths by the organ.

Example 33

There are fiercely dissonant sections in this movement, especially before circle 4 and circle 9 (example 34), and the result is an amazing realization in sound of the power of the Holy Law represented in the window. The harmonic tension is resolved at circle 9

65 with the final, dramatic statement of Eben’s hymn from his Antiphons and Hymns in B- flat major, the movement’s opening key.

Example 34

66 Chagall had said that he wanted the colors to extend beyond the limitations of the

edges of the windows. He wanted to create a temporal quality in the visual color. The

visual artist Alan Wells often said that his goal was to make the color akin to the “flow”

he found in music, akin to its “temporal quality.” Chagall’s Jerusalem Windows do have

an enormous sense of flow between one another and beyond. The medium of stained

glass allows for this flow of color to appear in the air between, reflected off the particles

of the dust in the air, seeping into every crevice. The same may be said of the music. It

echoes, and echoes, and perhaps the sound never actually dies. It would be both of these

artists’ dreams to be able to touch the listener in physical space and psychological time.

This touch would only be successful if the experience contained a meaning that would

change him or her; this meaning would be different for each person.

In this work the powers of two forces, music and art, merge. One can view the

Chagall windows in Israel without ever hearing of Petr Eben or Okna and be overwhelmed with amazement of the work’s ability to journey from reality to fantasy, from the tangible to the intangible, from the human to the divine. One can listen to the musical work of Petr Eben and experience the same sense of awe. But the combination of the independent, distinct qualities of the music and those of the stained glass work together to create a new type of aesthetic experience.

Eben and Chagall succeeded in their artistic endeavors. They remained true to their faith and their art, they bring beauty and love to all they do and to all those who experience their work, and they perhaps give creation a glimpse into the world of the divine.

67

APPENDIX A

An Interview with Petr Eben91 by Paula Hunter Swartz

Paula Swartz: How often have you been interviewed?

Petr Eben: A lot. Too many to count.

Swartz: Have you been interviewed mostly by Czechs?

Eben: Mostly with Czechs and Germans. I was quite a long time in Germany, very often for concerts. During the time of the totality [sic], then I had the chance sometimes to go to Germany. It was quite agreeable for us. In Eastern Germany one could go nowhere; it was very, very complicated. Here, normally it was not allowed, but if somebody was invited, mostly in sport and in art, they would pay the way and so on. So, then it was possible because here in our country I was writing a number of spiritual works and it was not possible to publish here, and in Germany they had the chance to publish. I had the duty to always show it to our two publishers, Supraphon and Panton. If both

Supraphon and Panton said “No, we are not interested, we cannot publish that,” then it was possible Baerenreiter Verlag and some others also in Austria. I also had some very

91 Paula Swartz, transcribed in Cincinnati, 2004, from a recorded interview at the composer’s home in Prague, November 29, 1996. Upon discovering the composer’s phone number in the Prague telephone directory, the present author called Eben, and he extended an invitation to his home for an interview.

68 interesting commissions in Austria. The second organ concerto was published by, I don’t

know if you know, Hans Haselboeck and Martin.

Swartz: Yes, I do know them. Martin Haselboeck came to Yale and I took a lesson with him.

Eben: You know both, the father is Hans Haselboeck, and the son Martin, yes. So, it was the father who created the organ in the new Hall of the Radio of Austria and he wanted to present that this organ was able to do all the styles. That means the old style,

Romantic, and modern. There were three organ concerts to present when this hall was opened. They wanted a modern one so they asked me to write for the modern one. It was the second organ concerto which was with the United Music Publishers. Another thing that was very interesting for me was the Vienna Philharmonic Orchestra. They wanted at the Mozart Festival in Salzburg to do one concert which could be in some way in connection with our country so they invited the Mozart Praga Symfonia. So they asked me to write something good for Mozart. So, I wrote it. It’s named “Prague Nocturne” where I had to do things which were performed also. It was performed in Salzburg by the

Vienna Philharmonic Orchestra. It was also very interesting for me. And now after the

Revolution, there was the third one also a very nice commission for me. It was for the

Diamantic Jubilee of the Archbishop of Salzburg. It was fifty years of his acceptance as a priest—something like that, so they asked me to do something that could be performed during the Mass. It could be a sort of concert work for [congregation], orchestra, instruments, and so on, but what they wanted was that it should be during the Mass. So nowadays, it’s better to write an Ordinary—that means: Kyrie, Gloria, Credo, Sanctus,

69 and Agnus Dei. Because, nowadays, after the second Vatican, they want always that the

people should be singing. For the composers nowadays it is better to write the Proper—

the pieces which are between—the Introitus, the Gradual, the Offertory, and so I chose its

name, “The Sacred Symbols,” an Offertory which I wrote for them. And it was very well

performed also. So sometimes I have very nice contacts with the other countries. So it

was quite, quite nice. While the [congregation], when the people are singing, that was

also a condition from the Radio France, for it was a famous festival so they asked me to

write something. It must be something where the people could sing also with the choir

and organ. So I wrote “Missa Cum Populo,” the Mass with the people in the church.

What’s the English term for the people in the church?

Swartz: The congregation.

Eben: Yes! This Mass for the congregation, “Missa Cum Populo” needs professional choir, but a unison part for congregation, and then organ and four brass players, all in Latin.

Swartz: That sounds wonderful. Who published it?

Eben: Baerenreiter published—but appeared here on the Panton CD where is the

Second Organ Concerto and “Vox Clamantis.” That was interesting—so the choir was able to study some time before, but, in this case, because it was a festival, the congregation couldn’t practice some weeks before, but just the people who come to the festival. So they come at half past ten so that at 11:00 we start with the radio, and we must be ready, so that in half an hour’s time, the people must be able to learn so that it

70 must be really easy. So I did it and it was sung quite well. So it was really necessary that it be quite easy. In half an hour the people can study it and it can be O.K.

Swartz: Is there a store in Prague where I can purchase the score?

Eben: The CD you mean?

Swartz: No the score.

Eben: Oh, the score. I’m quite afraid it’s not out there. I think you would have to order it from Baerenreiter. Well, I wanted to speak about during totalitarianism, when it was very difficult. So I was quite happy that I could go to some other countries also for me in the years ’78 and ’79. I was in England, in Manchester, Northern College of Music so I was teaching composition there. So that was important for me, I got contacts with a lot of persons there. It was very nice.

Swartz: After the revolution in 1989, did things change a lot for you?

Eben: Yes, of course. Sometimes I’m quite astonished that the people are not now grateful enough. Well, there are other problems of money and so on, it’s true, but nevertheless some things are wonderful. But it’s so easy to go [travel]. When I went to another country it was sometimes so difficult to go; they always were looking for everything that you had with you, and you had to ask a half-year before. You had to order all the papers and visas that you needed and so on. And then on the borders it was really very, very disagreeable, because you never knew if they would send you back and so on.

Now you go and just show your passport. It’s very agreeable now, quite a lot of other

71 things that we are now culturally. Well, the culture is maybe more now interested to do things where they can invite the people. So that means they do a lot of works—always there’s the Mozart Requiem (laughs), all these things, that’s a little bit more the economic view on the art. So, it’s sometimes now a little bit complicated for the modern music, because if there would be something modern they say, “well, the people won’t come.”

So, I know that when I was teaching composition after the Revolution, some of my students really said, “well, that’s horrible when we write something for orchestra so it will be performed just when I am finishing my degree.” Of course, the Academy would then give one concert for a graduating student—to present an orchestral work—but after that, if he’s not well known, and he’s a young composer, nobody would be able to order an orchestra work. That’s the economical view now. I hope it will be after some time a little bit better. I hope so. But other things are really wonderful also when one sees how the towns are really repaired, or the palaces and churches and so on. For forty years, they just left everything, so it was really in a bad state, and now sometimes I feel very proud when I see a new house repaired. Of course, it will take a long time, for instance, the organ. That’s really a problem, because for forty years nobody (nobody who was working in some way with the State in the profession of teaching in the school or something) was allowed to play during the Masses. So that in the smaller towns and villages, it was mostly the teachers who knew how to play the organ and then they were also teaching in the school, so the only people who were allowed to play were people who were in no way connected with the State—laity or “normal” people. If you were a teacher in a State school you were not allowed to go to church or serve in the church. These people of course did not play well, and they did not understand anything about the organ. That

72 caused this situation of now that the organs are really in a very, very bad state. Also in

Prague one of the good ones is in the Tyn Church, but it’s very necessary to repair, and

there’s a very nice organ in the Rudolfinum, but it’s very, very difficult to register for it.

Quite a lot of money if you want to pay 40,000 kč or something like that, it’s very high what they want for that. And then in the Jakub’s church there is quite an organ in a bad state. The other organs are not in a good state.

Swartz: I read that there is a church in Cheb where you often compose.

Eben: Yes, in Cheb there is quite a nice organ by Milan Šlechter is his name, at the Academy and he made the projections of this organ which was very agreeable. And there are several other churches. One of them is the St. Franciscan church, and also the

Santa Clara church was made a museum, as a gallery, and therefore it was possible always to play it. Of course, when I went there—this was typical also—sometimes when there was an exhibition with some pictures and so, it was sort of a gallery. From 10-5 it was not possible to practice, but from 5 to midnight I could work there. So, before that I was just working in the back, just writing. I wrote quite a lot of things, Organ Concerto,

Chagall Windows, it was quite agreeable at that time. But it was about 180 km from

Prague, so it was not easy to go there. But because I was teaching I had to go every

Friday or Tuesday or so. Nevertheless, I needed the organ. But nowadays I have this

(gestures towards his electronic organ)—not too inspiring. But when I want to try

something on an organ, I always must go in some church when I am inspired, and have

all the themes, and the motives and the structure and forms of the composition so then of

73 course I can work here and try to do something. It’s not bad, but in some way, not the same as another organ.

[Regarding Okna]:

Swartz: Is your composition mostly based on the colors of the windows, or based mostly on the iconography?

Eben: I was inspired, I could say, by more than only the colors. I know that

Messiaen in his way always had the idea of colors. It was very interesting. I knew him; we were several times talking together, so he told me how he felt about the colors. He told me how he felt. It was something quite special for him. In my piece, of course, I was more inspired by meaning because I chose from the Jerusalem windows of course. There are the twelve tribes of Israel. I have chosen four of them, and so this was Rueben,

Issachar, Zebulun, and Levi. Of course, it was published here, so it was not possible to write the Jerusalem Windows, it was not possible to write the four tribes. No, no they said, you must only write if you have chosen the blue window, the green window, the red window, etc.

Swartz: Do you think you would have given the movements different names if you had written them after 1989?

Eben: Now, if it should appear it must be really Reuben, Issachar, Zebulun, and

Levi, and that was totally inspired the sort of these types I knew from the Old Testament how they lived, what was their historical way of living, and what their characters were like. So that for instance, Issachar, though he was living in nature, nice, pastoral setting,

74 they were often under someone’s authority even from Israel, they had to serve. But nevertheless in quite a nice way. Whilst the Red window—that means Zebulun—they were using more the sea, so they were very often using the ships and so therefore also they’ve shown in this picture the water with two fishes. This was a dramatic picture; it was quite often (Eben stops speaking). But I really can’t tell you all that. And the last one of course, the Levi, that means that it is one type of very high professional priest in Israel, had a function in the church, therefore the picture is made as an altar where you can see the typical things in the Temple. In this case, I thought it would be nice to show the character of Chagall, two things that were typical of him, one was that he was from

Russia so of course he was a Russian first, and the other is that he was a Jew. I wanted to show that, and therefore I used for the organ one motive that is very often played in

Russian Orthodox churches. When I was in Rome I also went sometimes to these

Orthodox Masses just to view of their way so [the Russian Orthodox hymn Eben used in the fourth movement of Okna] very often was played. [Eben plays the hymn] Also, it was used and I forgot when I used it, that Tchaikovsky used it because he wanted to express the French so he wanted a typical Russian song, so he used that one. So I used that for the organ to show the Russian way of course, the spiritual Russian way. And then for the trumpet, I was inspired by Hebrew melodies, I was studying some of this old—before the

Gregorian chant—these melodies that were used. Therefore, they are the two things, the

Russian and the Hebrew.

Swartz: Those were sung melodies not played on instruments?

75 Eben: Yes. It was like after that started the Gregorian chant and so before that it was sung without accompaniment.

Swartz: Why did you go to Jerusalem? Did you go just to see the windows or did you go for another reason?

Eben: It was quite interesting how sometimes one is inspired as a composer by poetry, sometimes by pictures. It was for me in the year ’55 or something like that, somebody invited me somewhere and showed me these Chagall windows from diapositives [slides], and this was for me something lovely, I really couldn’t forget it. I had it in my mind. And then, after 1965, I viewed the monography, so there I got the commission from the Gallery in Cheb. They asked me because they knew that I was working there, if I would write a work that was inspired by pictures. In this moment when

I said yes something that will be from an artistic work—from pictures or statues—so in this case, I immediately thought it would be wonderful if it would be for organ, if it would be the Chagall windows, because it is something with light, so it would not be enough for only the organ, I would love to have also the trumpet to represent festivity.

Interesting was that I had it in my mind very real with these Chagall windows, but I forgot who showed it to me, where it was, where they invited me, if it was with some friends, if I was young, I forgot it, but I didn’t forget the windows. I had it very clearly in my mind. So then I went to the museum and asked for the book. I took the book with the pictures onto the organ, and just translated it into music. So I was very inspired. I had to see them so I had the book, and later I even got some slides.

76 Swartz: Did you go to Israel?

Eben: Well, that was a pity, it was one country where it was never allowed for us,

and when I was in ’78-’79, perhaps it was because it was during Christmas time, I had

not to teach, I thought I could go there, but I didn’t want them to write it in my passport,

just write it on a list or something. I wanted to go there and then nobody would know it.

But they said it was not possible, we would have to write it in your passport. Of course, if

I would then come back, they would see where I had been, because then after that they

would never let me out. So I could not go there. That was a pity. Now I was invited for

spring, but that is just at the time of my opera, which I am now writing, so I asked them if

it could be next year, in the autumn or something, but I would love to go there. It would be very interesting. I know that when I was in Chicago, there in the gallery, I saw some pictures of Chagall, in the time that I was there it was not allowed that there would be some copies or some photos. It was only the pictures in the gallery—wonderful pictures in the Chicago gallery. I was very happy that I could send a gramophone disk, not a CD at that time, but I did send Chagall a record when he was just ninety years old to his jubilee. And of course it was a lot of preparation, so his wife sent me a very nice letter, that he was really very, very happy about it, that he listened to it, and he liked it very much, and they invited me that I should meet with him. And that was just when I had the next year this Missa Cum Populo that I wrote for the congregation. That was in the summer in July. So I wanted to go then, and she said well, it was very, very hot just then, so it wasn’t really possible, so she said then perhaps next year or so we could meet. So I am quite sorry that I could not meet him. He was not in a good state. So, then he died, but

77 nevertheless it was nice that he could hear it; it was a pity, I am sorry I could not visit

him.

Swartz: Do you have plans to go to Jerusalem?

Eben: Yes, yes; I was invited in the spring of 1997, but because there I have just the performance of my church opera which I am writing, so I had to ask them to use another term, maybe in autumn ’97 or in spring ’98. I would be very happy to go there.

Because, I know, whoever was there, all the people say it was something that is very spiritual, very exciting for them. Now it is also very dangerous. Have you been there?

Swartz: No, I have not, but I would very much like to go. When you see those windows now, do you hear them?

Eben: I could say that, yes, because one is now so connected to these pictures, windows. You are right, so when I see them, there is immediately the music. It was sometimes also performed in the United States. You have performed them, yes. I just, I have it also on CD which I have here. The lady who played the organ, her first name is

Melody [Melody Peterson, CCM graduate]. (laughs) It’s very interesting, but I have the

CD of course.

Swartz: What is your favorite performance?

Eben: Well, I have several. This is one of my most played works. I think that one of the best was with an English organist who played almost all of my works. He’s now

78 the director of [The Academy of Music] in London, David is his name [David

Titterington] and he is very, very good. He’s the director of The Academy of Music there,

organ department. He’s a very good player. He had also a very good trumpeter. I don’t

remember his name. Really, very good. But always I’m quite happy with these

recordings, these CDs. I think I have it somewhere. I could even show it to you (he

looks). A list of my CDs.

Swartz: I have some questions about how you compose. It’s probably different in different cases, but I know for the organ, at least, you compose at the instrument. I wonder if you know what you want ahead of time, and you just experiment until you get what you want? Or, if it’s more experimenting with sound, or it you have already seen the piece all the way through in your head?

Eben: One thing that is very important. I had a very good teacher of composition.

His name was Jiři Pavel. When here was a professor of organ, Rheinberger was his name, so he asked my professor if he would write for him an organ concerto. And my professor said, “look, I would write concertos for all the instruments, for harp, or for trumpet, or whatever, on instruments which I never would have played, it would be no problem. But organ, that I would never write, because that must be someone who must really play the organ because he plays not only with his hands, but also with his feet.” He said, “that was impossible. I could never, never accept that. But I can perhaps tell you that my student plays the organ.” So then for Rheinberger I wrote my first organ concertos, which of course, they didn’t like because during totalitarianism they didn’t like the religious themes, and also not the organ. They thought that the organ was something which was

79 (shrugs). My first organ concerto, the name was “Symphonia Gregoriana.” It was included with some Gregorian chant, they said if so, you must just write organ concerto but not “Symphonia Gregoriana.” But when I think about how I worked, there are two things: Quite various—some of my works were made when I was quite a long time improvising at the organ (especially “Job”) because “Job” when I wrote it, I first played as improvisation with a speaker for maybe two, three years, also in London, in a festival, also in Paris, Notre Dame, and so on. Of course, when one plays it a longer time, so it’s more and more better structure, more motives. Then more and more you are concentrated on the form. So that after one or two years, you feel how the structure can be, and then I stop with playing the improvisations, I made “Job.” This of course is a little bit in another way than the improvisations in a composition, it’s also more complicated so that I left it to my colleagues and I didn’t play it more. But nevertheless, one can feel that it was inspired by the improvisation. And there are several things, also for instance the “Two

Chorale Fantasies,” one was done during ’68. I don’t know if you have seen it. Because there was here one young student who, you know about that, Jan Palach, when he died they wanted immediately that [something] should be published. The speaker of the

University and some other person, they asked that I should improvise on the organ. Here at that time when there was made a recording, it was one year before it appeared, but this appeared after three days. Everybody made it without any money, just to present this thing. The second of these organ compositions was on Wenceslas which I improvised. So some works are very inspired by improvisation. Even now there will be [improvisation] if

I were to survive another cycle for the whole evening like “Job.” Now I am playing a cycle which is called “The Labyrinth of Eros and Paradise of the Heart.” That is a work

80 by Comenius. Because it is a very interesting work, I like it very much. It is 400 years

old, but it is so actual, so interesting.

Swartz: Comenius was a philosopher?

Eben: Comenius was a Bishop of the Moravian Brethren church. He had to leave our country because his church was no longer allowed.

Swartz: So he was also a composer? He wrote some music?

Eben: No, he was a teacher—writer of pedagogy. But yes, he wrote two or three songs, but mostly he used (Eben stops speaking). I have also “Cantica Comeniana.” I did some of his chorales. When he was in Amsterdam, he made a songbook of his chorales where he translated into Czech some of the German and Polish chorales. It was translated into Czech and there they were used in performance. He was really a wonderful person.

So I had the first performance of this work in Melbourne at an organ festival and then I did it in Westminster Cathedral in London and in Edinburgh and Rome, Berlin, Vienna, and so on, Leipzig, Gewanthaus. Again, I think that maybe when I finish the opera quite a lot of organists ask me if I will write [the Comenius piece] down and stop my playing.

Swartz: Did you play it the same way every time?

Eben: No, it’s not the same way, but of course as with “Job,” if you could some way see the first time in Melbourne, and how I played it, and now, there would be quite a big difference. Because, more and more one likes not to have free improvisation but the structure and the form. And so now of course I have in my mind all the motives, so I

81 work with that more in this way. It’s now something between improvisation and already a

composition which is in my head or something between. Sometimes these things are

inspired by improvisation, but some works, for instance the “Laudes” also the “Sunday

Music,” these are works which are not created by improvisation, but by the normal

composing way. I could show you this “Laudes.” There are many formal structures. It is

very precise.

Swartz: I remember that there is a multiplication of intervals.

Eben: Yes, yes, yes.

Swartz: The intervals get larger mathematically.

Eben: Yes. In the first piece of “Laudes” and so on. That’s another way. So I think in both ways. Of course I am always, before I write it, I’m really playing the organ in some church. Then of course the registration I always make at the organ, not at the piano. The other things I write, like the string quartet, then I just write it at my table, not with the piano. But the organ works must be done this way.

Swartz: Have you found a lot of mistakes in your published works?

Eben: Yes. I think always this happens.

Swartz: Are there any in particular that stand out that really bother you?

82 Eben: I think nothing too bad. Quite often, I get some letters and questions, how it is, and then I try to make the corrections and then I give it to the publisher if they will publish it a second time, these are the mistakes. But it’s nothing too, too bad.

Swartz: Do people send letters about the same mistakes?

Eben: I must say, most in all the compositions they find something. Or, if they are asking, sometimes it’s not a mistake. So I can write, no it’s OK. Sometimes there are really small mistakes. It is of course, I try, I have just two collections, I should only be working on the opera, but I got these from the United Music Publishers, “Three

Jubilations for Organ and Four Brass Instruments.” These reappear at the United Music

Publishers in London. They asked me now to make some corrections.

Swartz: Is it not published yet?

Eben: It was published there in United Music Publishers, but only in a sort of a handwritten way. Not printed. Now they are printing it. Then I have here another one I got yesterday, and another three days ago. It’s named “Proprium Festivum” and this is a work for choir or organ, or choir and four brass instruments. And Schott is publishing it and they asked me [to do it]. I wrote it in German for the meeting of the church choirs in

Muenster, then I translate it into Czech because it’s here also performed. They said, how should we do it [in which language]? They said we like it. I said I think it should be in

German and in English, because they do it also in the United States. So he made the

83 translation. So now I am here all ready to make these corrections. [Goes to piano, asks

Swartz some questions about the English translation on the “Three Jubilations.”]

Eben: This will be published in Schott in Mainz, and I think they asked me to send it to them very, very quickly. They want this year, or the beginning of next year for it to appear. And the United Music Publishers edition also. That’s the problem, I should be working on the opera. It’s again a church opera which in our country never was written. So, the National Theater agreed the 26th of May in the Cathedral of St. Vitus.

There it will be performed. Not as an oratory, but as a staged opera.

Swartz: As a church opera, does that mean it should be performed in a church?

Eben: Yes, yes, yes, yes. I chose for it a text which I have known for a very long time. Stefan Zweig has written a dram “Jeremias.” And that of course is a very long drama, so I had also quite a lot to work with because three times I had to make the libretto over. The first time it was too long. Because a church opera cannot be so long as a normal opera. So it’s necessary for me to do it shorter. Therefore, I made a second shorter libretto, then the third libretto was very, very short. Now it’s OK. It must be for one hour, or one hour and ten minutes. It’s true that the Britten church operas, he has three church operas, and they are always about one hour, not more. And they are interested at the Britten Festival. I was there, invited and I was living in the house of

Britten. It was very nice for me to be inspired there. I had his piano there. It was great.

And so, this church opera. Stefan Zweig wrote “Jeremias,” where he showed how the prophet, how his life was very traumatic and difficult, so for me it was inspiring from

84 several points. And one was, that he wrote it in 1917 during the First World War. Where

most of the peoples were for the war, and not against, and he was very much against it.

He showed how Jeremiah was telling Israel, “Don’t go to war, because I know already I

have seen it, how Jerusalem will be destroyed.” He was really against the war. One thing

for me was to show the fate of the prophet, how it’s so difficult that the prophet is all the

time, must very often be against all the people. They must present things that people

don’t want to accept. The third thing was that it’s not very actual, because again

Jerusalem is all the time it’s in a war state. They had then to leave, because the Assyrians

then occupied Jerusalem and Jeremiah said we must all go out because we will all be

destroyed—this town. Because now it’s very actual now. The fourth thing then, he saw it

also in a little bit in the New Testament way, or not only in the Old Testament view

because he says to the people who had to leave Jerusalem, you are going, but you will go

to the eternal Jerusalem in your heart. Also there are some things which are very, very

spiritual. I think it’s a very nice because it’s the first church opera which will be made

here. Stefan Zweig, of course, was inspired by Jeremiah. He is a very famous German.

He was in South America in 1942 with his wife. He committed suicide—he killed

himself and his wife also. Both because they saw how in Germany it’s horrible against

the Jews. He was Jewish. He decided with his wife that they didn’t want to continue

living. He is a very famous poet and writer.

Swartz: You wrote the libretto yourself?

Eben: Yes, from his drama. Even when it was the first time performed, they had to leave out two acts, because it was too long. I had to work on it a long time. I think that

85 it is OK. They said they would translate it into English in the moment that I had the score

ready. They would want to perform it in the same church where the Britten operas were

performed during the Britten festival. So, I said that I would send it to them.

Swartz: So this is your first opera?

Eben: It’s my first. Because it was something which I could never write because of what I wanted to write—during totalitarianism. They would never have accepted it.

Here it was never before written because, of course, it is for the first time. Somebody said it could be named “spiritual” opera. But I said no, because for instance, Olivier Messiaen has made a spiritual opera, but it is performed in the opera house, it should really be called a church opera because my idea is that it should be performed there. I, therefore also of course I can’t use a big orchestra. It must be just some parts of instruments. We’ll see how it will work.

Swartz: How many characters are in the opera?

Eben: There are four soloists only: Jeremiah, baritone; his mother, mezzo- soprano; Baruch (who was first against him and tried to kill him with a sword then he was a help to him and so on), tenor; and Zedechia (the king of Jerusalem at that time), bass. Then of course I used it because it must be short, there are five acts or five pictures which are made, and before everyone one narrator is telling in some way, is singing the whole contents or summary so that the people could understand.

Swartz: Is there spoken text, or only singing?

86 Eben: Everything is sung. But I made it more as a recitative. But it is inspired not by Gregorian chant which inspired me very often in organ works, but in this case it is inspired by Hebrew melodies [Eben sings]. So it is in the Jewish style. We’ll see. I think it could be even interesting in Jerusalem for them, because it’s really showing the whole fate of Jerusalem. I have to work on that all the time. It’s horrible.

Swartz: The chant at the opening of Moto Ostinato and Okna [Swartz sings] are the same. Did you intend to make a connection?

Eben: Aha! (laughter) No, I must say that I didn’t want to make some connection there. No, not at all. It maybe was just a coincidence. Is that the music?

Swartz: Yes. This is the Sunday Music. Yes, and in the pedal it does [Swartz sings] and in the beginning of Okna it has it in the pedal as well.

Eben: Yes this is true. Aha! (laughs)

Swartz: I was just curious about that because I had played Okna and then I had played this piece.

Eben: Aha! But here in this I was not. That’s interesting. I had not some Jewish chorales also, nothing of that nature. That’s interesting.

Swartz: I had a lesson with Gillian Weir.

87

Eben: Yes!

Swartz: And she was telling me a story about Marching. Where is the description of that? What book could I read that in?

Eben: I must look in my files. (Eben goes into back room)

(Shows manuscript that he wrote about Moto Ostinato: medieval, apocalyptic)

Swartz: Did you write this?

Eben: Yes. During totalitarianism, I couldn’t speak about it. In Moto Ostinato

was the image of fighting in the old time. Fighters went in blocks, it could be with

rhythm. Then the Finale, it starts with the sound of the fight from quite far away. Then

there is a trumpet which means after a fight very often from somewhere there was a

trumpet and he was playing a fanfare which means come to me and we must leave this

place. So he played in that way. It’s in sonata form, main theme, second theme is of

course Gregorian chant, which is of course then changed (Eben whistles) is then in other

(Eben whistles) it’s changed to the other sort of tonality. Then here begins the middle part

of the sonata form.

Swartz: The development?

Eben: Yes. Here it begins again with this sort of fight, so that there are again the

trumpets and so on. So when it’s finished once more it starts with the first theme, but

88 instead of the second theme, there is then the quotation of (Eben sings) Salve Regina. Of

course, it was for me not what I wanted to show, the history of the fight, but only a

symbol for how sometimes inside people they are feeling the fight and there came the

second theme of the Gregorian chant and one feels another world, another way which

brings you to this end to the Salve Regina, which is at the end there. Then it ends in a festive and spiritual way. Therefore, it is quite dramatic the finale.

Swartz: I believe our time is up and I know you have a performance to attend.

Eben: Yes. There is a concert at the Narodni Divadlo. I must attend.

Swartz: Thank you for your time.

Eben: It is my pleasure. I ask always if it is possible for you to send me your work. I should keep them and for visitors to show another’s work.

Swartz: I will. Thank you again, very much.

89

APPENDIX B

Chronological Listing of Petr Eben’s Works92 Compiled and Translated by Paula Swartz

ORCHESTRAL:

Concerto for Organ and Orchestra No 1 - Koncert pro varhany a orchestr c. 1 (Symphonia Gregoriana), 1954. Durata: 56:30. Publisher: Panton. CD: Motetto 40151.

Concerto for Piano and Orchestra - Koncert pro klavir a orchestr, 1960-1. Durata: 26:00. Publisher: Panton, Cesky hudebni fond.

Vox clamantis (symphonic movement for 3 trumpets and orchestra), 1969. Durata: 13:00. Publisher: Panton. CD: Panton 811141-2911.

Night Hours - Nocni hodiny (concertante symphony for wind quintet, tenor tuba, string orchestra, children's choir ad lib., piano and percussion), 1975; version with children’s choir 1987. Durata: 25:00. Publisher: Panton.

Concerto for Organ and Orchestra No 2 – Koncert pro varhany a orchestra, 1983. Durata: 23:00. Publisher: United Music Publishers. CD: Panton 811141-2911.

Prague Nocturne - Prazske nokturno (Hommage a W. A. Mozart), 1983. Durata: 17:35. Publisher: Supraphon.

Improperia (symphonic orchestra), 1995. Publisher: Editio Supraphon - Baerenreiter.

CHAMBER:

Sonata for Oboe and Piano - Sonata pro hoboj a klavir, 1950. Durata: 12:00. Publisher: Panton, Muzyka.

Wind Quartet – Dechovy Kvartet (oboe, clarinet, english horn, and bassoon), 1951-2. Publisher: Supraphon 0 28 0443.

92 Compiled from Vondrovicová, 177-230, Steyn, and New Grove accessed September 20, 2004.

90 Music for the Knight of Veselohra – Hudba K Rytirske Veselohre (wind instruments, guitar, viola and actor/singer), 1953.

Suita balladica (cello and piano), 1955. Durata: 22:30. Publisher: Statni nakladatelstvi krasne literatury, hudby a umeni, Editio Supraphon - Baerenreiter. CD: Multisonic 31 0065-2/131.

Sonatina semplice (violin or flute and piano), 1955. Durata: 10:00. Publisher: Statni nakladatelstvi krasne literatury, hudby a umeni, Supraphon. CD: Panton 81 1398-2131.

Scenic Music for Miles Gloriousus – Scenicka Hudba K Lautove Hra Miles Gloriosus (instrumental ensemble and actors/singers), 1955.

Duetti per due trombe (2 trumpets), 1956. Durata: 9:30. Publisher: B. Schotts Soehne.

Chamber Music Based on the Collection of Poems by J. Seifert Maminka – Komorni Hudba K Basnicke Sbirce J. Seiferta Mamina (instrumental ensemble), 1956.

Chamber Music Based on the Poet R.L. Stevenson – Komorni Hudba K Basnim R.L. Stevensona (instrumental ensemble), 1956. Premiere: 5-24-1957, Prague.

The Piano Goes into the World – Piano Jde Do Sveta (five instruments and voice), 1960. Durata: 13:00. Publisher: Panton.

The Dissatisfied Little King – Nespokojeny Kralicek (piano and two instruments), 1962. Publisher: Supraphon DM 15181.

Ordo modalis (oboe and harp), 1964. Durata: 12:00. Publisher: Lyra Music Company.

Quintetto per stromenti a fiato (wind quintet), 1965. Durata: 12:50. Publisher: Supraphon.

Green Green Grove - Hajicku zeleny (8 arrangements of folk songs for piano - 4 hands), 1963, 1978-9. Durata: 12:00. Publisher: Supraphon.

Fantasia vespertina (trumpet and piano), 1969. Durata: 4:20. Publisher: B. Schotts Soehne.

The Happy Owls (instrumental ensemble), 1968.

Brass Quintet - Zestovy kvintet (Variations on a Chorale; 2 trumpets, french horn and 2 trombones), 1968-9. Durata: 13:00. Publisher: Supraphon.

Music for Oboe, Bassoon and Piano - Hudba pro hoboj, fagot a klavir, 1970. Durata: 7:00. Publisher: Supraphon.

91 Amoroso for Oboe and Piano – Amoroso Pro Hoboj A Klavir, 1975. Durata: 5:45. Publisher: Supraphon

Windows on the Pictures of Marc Chagall - Okna na Marca Chagalla (trumpet and organ), 1976. Durata: 18:20. Publisher: Supraphon - Baerenreiter. CD: Mitra CD 16205; VDE-Gallo; Multisonic 31 0098-2 131; BIS CD 565; Fermate Fer 20008; Opus B CD 9102; Gothic Records G 49067; BMG Music 09026 61186 2; Multisonic 31 0347-2; Simax PSC 1088; Suisa MKH 40289.

Scenic Music for the Drama of J.W. Von Goethe’s “Faust” – Scenicka Hudba K Dramatu J.W. Von Goetha Faust (organ, mixed choir, and brass ensemble), 1976. Premiere: 5-8-1976, Vienna.

Scenic Music for Shakespeare’s Hamlet – Scenicka Hudba K Dramatu W. Shakespeara Hamlet (organ and trumpet), 1976-7. Premiere: 5-2-1977, Duesseldorf.

Spectrum – Spektrum (synthesizer, electric guitar, contrabass and drums), 1977. Durata: 5:00.

The Unhappy Soldier – Nestastna Vojna (male choir a cappella), 1978. Durata: 6:00. Publisher: Panton 8112 0306.

Sonata for Flute and Marimba - Sonata pro fletnu a marimbu, Subtitle: Wood and Wind, 1978. Durata: 12:00. Publisher: F. Hofmeister Musikverlag.

String Quartet - Smyccovy kvartet (The Labyrinth of the World and the Paradise of the Hearth), 1981. Durata: 21:40. Publisher: Supraphon.

Fantasia for Viola and Organ Rorate Coeli - Fantazie pro violu a varhany Rorate coeli, 1982. Durata: 6:00. Publisher: Universal Edition.

Landscapes of Patmos - Krajiny patmoske (organ and percussion), 1984. Durata: 23:10. Publisher: United Music Publishers. CD: Multisonic 31 0097-2 131; Opus B 9301 CD.

Ballet intermezzo – Ondeggiando (soprano and bass recorder, drums), 1984.

Opponents - Protihraci (clarinet, piano and percussion), 1985. Durata: 12:00. Publisher: Cesky hudebni fond, Schott Musik International.

Piano trio - Klavirni trio, 1986. Durata: 21:15. Publisher: Panton, Cesky hudebni fond.

Tres iubilationes (brass quartet and organ), 1987. Durata: 13:00. Publisher: United Music Publishers. CD: Opus B 9302 CD.

92 Two Invocations for Trombone and Organ - Dve invokace pro trombón a varhany, 1988. Durata: 8:00. Publisher: United Music Publishers. CD: Supraphon 11 1438-2231; BIS-CD-488; Opus B 9301 CD.

Piano Quintet - Klavirni kvintet, 1991-2. Durata: 23:00. Publisher: Supraphon - Baerenreiter.

Old Testament Fresco - Starozakonni freska (violin and piano), 1993. Durata: 7:00. Publisher: Panton. CD: Panton 81 1398-2131.

March and Fanfare for the Castle Guard – Pochod A Fanfary Pro Hradni Straz (brass ensemble; 4 trumpets, 4 trombones, and 2 tubas and percussion), 1994. Durata: 4:00.

Apello (oboe and piano), 1995. Durata: 8:00. Publisher: Panton.

Miniatures (flute and percussion), 1972, revision 1997. Durata: 7:00. Publisher: F. Hofmeister Musikverlag.

FOR SOLO INSTRUMENTS:

Sonata in Des (piano), 1951. Durata: 24:00. Publisher: Cesky hudebni fond.

Zezulika, Where Have You Been? – Zezulicko, Kde Jse Byla? (piano), 1955. Durata: 2:30. Premiere: 12-7-1958, Prague.

Sunday Music - Nedelni hudba (organ), 1957-9. Durata: 31:10. Publisher: Statni hudebni vydavatelstvi, Supraphon. CD: Supraphon 11 0564-2131; Multisonic 31 0098- 2131; Centaur CRC 2042; AGK 12 216; Pro organo CD 7023; Amabile; BM 1003.

Sto Lidovych Pisni (piano), 1959-60. Publisher: Panton.

Spring Motif – Jarni Motiv (piano), 1960. Publisher: Supraphon.

Four Winter Pictures – Ctyri Zimni Obrazky (piano with choreography by Libuse Kurkove and verse by Ericha Sojky), 1964. Publisher: Statni hudebni.

Laudes (organ), 1964. Durata: 22:25. Publisher: Panton, United Music Publishers. CD: Supraphon 11 0564-2131; Multisonic 31 0097-2 131; Opus B CD 9102; Victoria VCD 19080.

Octave Etude – Oktavova Etuda (piano), 1965. Durata: 2:00. Premiere: 3-25-1966, Prague.

93 Small Portraits - Male portrety (piano), 1968. Durata: 9:30. Publisher: Panton, Sovetskij kompozitor.

Cadence for Flute – Fletnove Kadence, 1968-9.

Differences and Contradictions – Rozdily A Protiklady (piano), 1969. Durata: 8:30. Publisher: Supraphon.

Ten Chorale Preludes - Deset choralnich predeher (organ), 1971. Durata: 15:00. Publisher: Baerenreiter Verlag. CD: Bonton 710081-2131.

Dream World (organ), 1971.

Let’s Play With Pictures – Hrajeme Si Na Obrazky (piano and choreography), 1971. Publisher: Panton.

Two Chorale Fantasias - Dve choralni fantazie (organ), 1972. Durata: 10:30. Publisher: Panton, Pro organo. CD: Multisonic 31 0097-2 131; Bonton 710081-2131.

Small Chorale Partita - Mala choralni partita (organ), 1978. Durata: 10:00. Publisher: Universal Edition. CD: Multisonic 31 0098-2131.

Tabulatura nova (guitar), 1979. Durata: 11:00. Publisher: B. Schotts Soehne.

Faust (organ), 1979-80. Durata: 46:20. Publisher: United Music Publisher. CD: Etcetera KTC 1115; Pro organo CD 7023.

Mutationes (per organo grande e piccolo), 1980. Durata: 18:15. Publisher: Universal Edition.

Mare nigrum (guitar), 1981. Durata: 11:00. Publisher: Boosey and Hawkes. CD: Atypus AY 0 011-2.

Versetti (organ), 1982. Durata: 10:00. Publisher: Universal Edition, CD: Panton 811141- 2911.

Risonanza (harp), 1986. Durata: 7:00. Publisher: Baerenreiter Verlag.

A Festive Voluntary (on Good King Wenceslas Carol; organ), 1986. Durata: 7:00. Publisher: United Music Publisher. CD: Pro organo CD 7023.

Hommage a Buxtehude (organ), 1987. Durata: 7:55. Publisher: B. Schotts Soehne. CD: Supraphon 110564-2131; Etcetera KTC 1115; Victoria VCD; Ambiente 9502.

94 Hiob - Job (organ), 1987. Durata: 40.00 - 43.00. Publisher: United Music Publisher. CD: Multisonic 31 0095-2 931; Melisma Musik 7087-2; Victoria VCD 19080; Supraphon SU 0181-2931; Pro organo CD 7023.

Sonata for Cembalo – Sonata Pro Cembalo, 1988. Durata: 12:00. Premiere: 7-28-1990, Munich. Publisher: Pro organo.

Letters to Milena - Dopisy Milene (piano), 1990. Durata: 14:35. Publisher: B. Schotts Soehne.

Two Festive Preludes - Dve slavnostni preludia (organ), 1990, 1992. Durata: 10:35. Publisher: Pro organo. CD: Opus B 9301 CD.

Biblical Dances - Biblicke tance (organ), 1990-1. Durata: 25:30. Publisher: United Music Publisher. CD: Opus B 9302 CD; Pro organo CD 7023; Regent Records; Signum X 79-00; Bayer Records BR 150 009.

Veni Creator (improvisation for piano), 1992. Durata: 5:00.

Amen, es werde wahr - Amen, stan se (organ), 1993. Durata: 5:30. Publisher: K. H. Moeseler Verlag.

Momenti d organo (organ), 1994. Durata: 13:20. Publisher: Pro organo. CD: Signum X 7900.

Hommage a Henri Purcell (organ), 1994-5. Durata: 8:00. Publisher: B. Schotts Soehne.

CHORAL:

Missa adventus et quadragesimae (single-voiced male or mixed choir and organ), 1951-2. Durata: 15:00. Publisher: Lawson Gould, Edition Ferrimontana (choir part). CD: Supraphon 11 1438-2231; Ultravox UCD 005, MBC-9603101.

Six Songs of the Merciful – Sestero Piesni Milostnych (low voice and piano, or voice and harp, or voice, piano and harp), 1951. Durata: 15:00. Premiere: May 1951, Prague. Publisher: Supraphon.

National Songs for mixed choir - Narodni pisne pro smiseny sbor (folk), 1952. Durata: 12:00. Publisher: K. H. Moeseler Verlag (three parts), Edition Ferrimontana.

Ballads for Soloist, Mixed Choir and Orchestra – Balady Pro Sola, Smiseny Sbor A Orchestr (also known as “About the Holy and the Sinners”), 1953, 1957. Durata: 22:30.

95

Liturgical Songs - Liturgicke zpevy (solo or unison and organ; 10 proprios in form of antiphons and psalms), 1955-60. Publisher: Baerenreiter Verlag, Moravske hudebni vydavatelstvi. CD: Signum X 79-00 (selection); Rottenburger Dom 280696 (selection); CDA WN 101995 (selection), Antiphona AA 0040-2231 (selection).

Krumlov Palace – Krumlovsky Zamek (solo, four-part female choir and piano), 1955. Publisher: Park Kultury A Oddechu.

Epitaph – Epitaf (male choir a capella), 1957. Durata: 6:55. Publisher: Supraphon SV 8233.

The Lovers Magic Spell - Starodavne carovani milemu (three female voices and mixed choir), 1957. Durata: 8:10. Publisher: Baerenreiter Verlag. CD: Azymuth AZ CD 01027; Nau Choral Studies NACM 09.

Love and Death - Laska a smrt (seven mixed choirs), 1957-8. Durata: 13:50. Publisher: Statni hudebni vydavatelstvi. CD: Azymuth AZ CD 01027, VUS - Praha.

Bitter Earth - Horka hlina (cantata for baritone, mixed choir and organ; J. Seifert), 1959-60. Durata: 15:00. Publisher: Panton. CD: Opus B 9301 CD.

Swallows and Maidens - O vlastovkach a divkach (nine 3-voiced female folk choirs), 1959-60. Durata: 10:00. Publisher: Statni hudebni vydavatelstvi, Baerenreiter Verlag. CD: Chandos Chan 9257.

Song About Kalina – Pisen O Kaline (solo, male and female choirs, and small orchestra), 1960. Premiere: 6-5-1960.

Sloky Lasky (tenor solo, male choir and narrator), 1962-3. Durata: 18:00. Publisher: Supraphon.

Ubi caritas et amor (mixed choir), 1964. Durata: 5:20. Publisher: Baerenreiter Verlag. CD: Azymuth AZ CD 01027; Opus B 9302 CD; Hope College CD 1193-02.

Chad gadyoh (male choir; Hebrew), 1965. Durata: 7:40.

Czech Mass Ordinary - Ceske Mesni Ordinarium (congregation and organ, or three- voice mixed choir a cappella, or mixed choir, congregation and organ), 1965. Durata: 5:20. Publisher: Ceske Katolicka Charita.

Mass for the Dead – Mse Za Zemrele (scholu, congregational singing and organ), 1966. Durata: 6:00.

96 Bilance (vocal ensemble of Prague teachers), 1966. Text: Raymond Queneau. Publisher: Supraphon 1 12 0613.

Ordinarium missae, 1966. Publisher: Ceska katolicka charita Prague, Pro organo.

Antiphonies and Psalms – Antifony A Zalmy, 1967. Publisher: Supraphon 0 29 9899.

Apologia Socratus (oratorio for alto, baritone, mixed and children's choir and orchestra), text by Platon, 1967. Durata: 38:00. Publisher: Supraphon, Cesky hudebni fond.

Vesperae (boys and male choir, congregation and organ or for mixed choir, congregation and organ), 1968. Durata: 8:00. Publisher: Pro organo, Amt fr Kirchenmusik Rottenburg. CD: Supraphon 11 1438-2231, Lunarion LN 0008-4111.

Trouvere Mass - Truverska mse (soloists, choir, 2 recorders and guitars; Z. Lomova), 1968-9. Durata: 8:00. Publisher: Pro organo, Ipos Artama Prague. CD: Azymuth AZ CD 01027; Amabile ZR 0009 2231; Bohemia Music BM 0025-2231.

Lead, Kindly Light (mixed choir), 1969. Durata: 2:20.

Veil and Tears – Zavoj A Slzy (two-four part female choir and bass clarinet accompaniment), 1970. Durata: 9:10. Premiere: 11-27-1971, Jihlava.

Cantica Comeniana (ten 3-voiced mixed and female (or children’s) choirs); J. A. Komenius), 1970. Durata: 14:00. Publisher: Ustredni cirkevni nakladatelstvi Prague, Sueddeutscher Musikverlag. CD: Azymuth AZ CD 01027; Lunarion LN 0008-4111.

Song based on the words of Miroslav Florian – Pisen Na Slova Miroslava Floriana (high voice and piano), 1970. Durata: 11:00. Premiere: 2-21-1970, Prague.

Pragensia (cantata for chamber mixed choir and Renaissance instruments; Prescriptions of the Rudolf II. Time), 1972. Durata: 25:00. Publisher: Supraphon - Baerenreiter.

Four Choruses on Latin Texts - Ctyri zpevy na latinske texty (children's or female choir I-III - mediaeval anonymous author; mixed choir IV. - H. Contractus), 1973. Durata: 7:00. Publisher: Europees muziekfestival voor de jeugd Neerpelt, De Monte, Baerenreiter Verlag, Edition Ferrimontana. CD: Azymuth AZ CD 01027 (Salve Regina); Lunarion LN 0008 4111 (Salve Regina); BMG Ariola (De Angelis); Opus B 9302 CD (Salve Regina); DSV-001 (De Angelis).

Greek Dictionary - Recky slovnik (nine female choirs with harp), 1974. Durata: 14:00. Publisher: Supraphon - Baerenreiter Verlag. CD: Thorofon CD CTH 2107.

Songs of Winnie the Pooh – Pisnicky Medvidka Pu (voice and guitar), 1976. Durata: 7:00. Premiere: 10-16-1976, Prague.

97 The Sinking Ship – Nepotopitelna Lod (mixed choir a cappella), 1977. Durata: 2:30.

Honour to Charles IV. - Pocta Karlu IV. (cantata for male choir and orchestra; Foundation Charter of Charles University Prague), 1978. Durata: 13:00. Publisher: Supraphon - Baerenreiter.

For it is Written – Neb I Psano Jest (instrumental ensemble and male choir), 1978. Durata: 18:20.

Greeting to Marsyas - Pozdrav Marsyovi (mixed choir for 8 voices and small ensemble), 1980. Durata: 12:00.

Message – Poselstvi (baritone or mezzo soprano solo and orchestra), 1981. Durata: 4:30. Premiere: 1-8-1982, Magdeburk, Germany.

Missa cum populo (mixed choir, congregation, 4 brass and organ), 1981-2. Durata: 22:05. CD: Panton 81 1141-2911. Publisher: Baerenreiter Verlag.

Desire of Ancient Things - Dech davno zaslych dnu (three mixed choirs), 1985. Durata: 8:30. Publisher: United Music Publishers. CD: Azymuth AZ CD 01027; Opus B CD 9102.

Eternal Cosmetics - Odveka kosmetika (four 3-voiced female choirs; Ovidius), 1985. Durata: 10:00. Publisher: B. Schotts Soehne.

Night - Noc (mixed choir), text by K. H. Macha, 1986. Durata: 4:30.

Cantico delle creature (mixed choir), text by Saint Francis of Assissi, 1987. Durata: 4:45. Publisher: Baerenreiter Verlag, Europees muziekfestival voor de jeugd Neerpelt. CD: Azymuth AZ CD 01027; Lunarion LN 0008-4111; Opus B CD 9102.

Five Alleluia Verses – Pet Alelujatickych Versu (two-part choir and organ), text: The Gospels and The Psalms, 1987.

Prague Te Deum 1989 - Prazske Te Deum 1989 (mixed choir, brasses and percussion or organ), 1989-90. Durata: 8:10. Publisher: B. Schotts Soehne. CD: Supraphon 11 1438- 2231; Opus B 9302 CD; Orfeus OR 0010-2131; ECM Records.

From Life to Life (mixed choir), text by Delores Dufner, 1991. Durata: 1:30. Publisher: Laurendale Associates Van Nuys, California CD: Lunarion LN0008-4111.

Verba sapientiae (triptych for mixed choir), text: Old Testament, 1991-2. Durata: 15:30. Publisher: B. Schotts Soehne. CD: Lunarion LN 0008-4111, Hope College CD 1193-02; Antiphona AA 0016-2231, Antiphona AA 0039-2231.

98 Sacred Symbols - Posvatna znameni (oratorio for soprano, baritone, mixed and children’s choir, wind and brass ensembles, percussion and organ; Old Testament, New Testament, Pontificale Romanum), 1992-3. Durata: 30:00. Publisher: B. Schotts Soehne.

Sacred Festival Hymns - Proprium festivum monasteriense (mixed choir and 4 brasses or organ), text: Psalms and New Testament, 1993. Durata: 9:00. Publisher: B. Schotts Soehne. CD Antiphona AA0039-2231.

The Question - Otazka (mixed choir), text by W. Willms, 1994. Durata: 4:00. Publisher: Doblinger.

Spiritus mundum adunans (mixed choir or mixed choir and organ), text by N. Balbulus, 1994. Durata: 5:00. Publisher: Doblinger.

Visio Pacis (mixed choir a cappella), 1994. Durata: 5:15. Publisher: Pro organo.

Mundus in Periculo (triptych for mixed choir), text: Old Testament, 1994-5. Durata: 18:00. Publisher: Pro organo. CD: DKR 03.

Suita liturgica (unison choir and organ), 1995. Durata: 30:00. Publisher: Baerenreiter Verlag.

Rhytmus de gaudiis Paradisi (mixed choir) text by von Kempen, 1995. Durata: 4:10. Publisher: Pro organo. CD: Corkfest Records 96.

Komm herab o heiliger Geist: Veni Sancte Spiritus (mixed choir), 1996. Durata: 3:00. Publisher: Pro organo.

De sancto Adalberto (three male choirs) medieval text, 1996. Durata: 4:00. Publisher: Pro organo. CD: Supraphon SU 3288-2231.

SONGS:

Nursery Songs (soprano and piano), 1953. Durata: 4:00. CD: Signum.

Songs to Lute - Pisne k loutne (voice and lute or guitar), text: medieval, Renaissance. Durata: 10:00. Publisher: Supraphon - Baerenreiter Verlag. CD: Signum.

Six Love Songs - Sestero piesni milostnych (medium voice and piano or piano and harp), medieval text, 1951. Durata: 15:00. Publisher: Statni nakladatelstvi krasne literatury, hudby a umeni, Editio Supraphon - Baerenreiter. CD: Signum, SIG X47-00.

The Most Secret Songs - Pisne nejtajnejsi (low voice and piano), 1952. Durata: 15:30. Publisher: Statni hudebni vydavatelstvi, Editio Supraphon - Baerenreiter. CD: Signum SIG X47-00.

99 Songs from Cieszyn Region - Pisne z Tesinska (low voice and piano), folk text, 1952. Durata: 17:00. Publisher: Supraphon. CD: Signum.

Three Quiet Songs - Tri tiche pisne (soprano, flute and piano), text by F. Halas, 1955. Durata: 6:00. Publisher: Cesky hudebni fond.

Six Songs on Rainer Maria Rilkes Poetry - Pisne na slova R. M. Rilkeho (mezzo soprano or baritone and piano), 1961. Durata: 13:00. Publisher: Deutscher Verlag fr Musik. CD: Signum SIG X47-00.

Unkind Songs - Pisne nelaskave (alto and viola), 1963. Durata: 15:00. Publisher: Panton. CD: Signum.

Arrangement of Folk Songs – Upravy Lidovych Pisni (two-three part choir a cappella), 1963-5. Durata: 6:00. Publisher: Supraphon.

Little Sorrows - Male smutky (soprano and piano), text by Z. Rencova, 1964-5. Durata: 7:00. Publisher: Supraphon. CD: Signum SIG X47-00.

Accompaniment for Folk Songs – Doprovody K Lidovym Pisnim (piano), 1968.

Song of Ruth - Arie Ruth (alto and organ or piano) text: Old Testament, 1970. Durata: 5:45. Publisher: Universal Edition. CD: Supraphon 11 1438-2231; Bonton 710057-2231; Opus B CD 9102; Signum X 79-00.

Arrangement of Folk Songs from Foreign Countries – Upravy Lidovych Pisni Cizich Narodu (2-3 part choir, cello and rhythmic instruments), 1983. Durata: 6:00.

Zelezne Boty (instrumental ensemble and solo voice), 1983.

Four Spiritual Songs – Ctyri Duchovni Pisne (unison singing and organ), 1985. Text: Josef Hrdlicka. Publisher: Ceske Katolicka Charita.

De nomine Caeciliae (mezzo soprano or baritone and organ; T. von Kempen), 1994. Durata: 6:30. Publisher: Pro organo. CD: Signum X 79-00.

STAGE:

Faust (incidental music to play by Goethe), 1976.

Hamlet (incidental music to play by Shakespeare), 1976-7.

Curses and Blessing - Kletby a dobroreceni (ballet for choir and orchestra), 1983. Durata: 38:00. Publisher: Cesky hudebni fond (choir part).

100 Jeremias (church opera, composer’s libretto according to the drama S. Zweig), 1996-7. Durata: 70. Publisher: B. Schotts Soehne.

FOR CHILDREN (VOCAL):

The Green Twig is Sprouting - Zelena se snitka (fourteen single- to 3-voiced children’s choirs, piano or instrumental ensemble), 1953-4, instrumentation 1959. Durata: 16:30. Publisher: Statni nakladatesltvi krasne literatury, hudby a umeni, Statni hudebni vydavatelstvi, Supraphon, Edition Ferrimontana.

Autumn is Already Ripening - Uz zraje podzim (three 3-voiced children’s choirs), 1956. Durata: 3:00. Publisher: Supraphon Bratislava, Edition Ferrimontana.

In the Grass – V Trave (unison children’s choir and piano), 1959. Durata: 9:50. Publisher: Orbis, Supraphon 04205.

Christmas Songs - Vanocni pisne (2- to 3-voiced children’s choirs with piano), text by P. Tumlir, 1960. Durata: 12:00. Publisher: Statni hudebni vydavatelstvi, Edition Ferrimontana.

Spring Ditties - Jarni popevky (children’s choirs with piano or small orchestra; V. Ctvrtek, F. Branislav), 1960-1. Durata: 11:00. Publisher: Supraphon (except No 5), Panton (entirety), Edition Ferrimontana. CD: Signum (two selections).

Carrol-Singers from Cieszyn Region - Kolednici z Tesinska (single-voiced children soloists, children’s choir and piano) folk text, 1963. Durata: 6:45. Publisher: Statni hudebni vydavatelstvi, Informacni centrum detskeho sboroveho zpevu Olomouc, Edition Ferrimontana.

The Merry Go Round and the Stars - Kolotoc a hvezdy (single- to 3-voiced children’s choirs and piano; K. Siktanc), 1964.

New House – Novy Dum (two-part children’s choir), 1965. Durata: 2:00. Publisher: Statni pedagogicke nakladatelstvi.

Ten Poetic Duets - Deset poetickych duet (2-voiced children’s choirs) text by V. Nezval, 1965. Durata: 11:00. Publisher: Panton. CD: Amabile ZR 0002-2231 (three selections).

Orffs School I., II. - Orffova skola I., II. (an adaptation of Orffs Schulwerk), 1966. Publisher: Supraphon.

If I Go First – Jestli Ja Prvni Pujdu (low voice and piano), 1966. Text: Desanka Maximovicova. Durata: 3:20.

101 Vypraveni S Refrenem (children’s solo, children’s choir and piano or Orff instruments), 1969. Durata: 4:00. Publisher: Supraphon.

Elce pelce kotrmelce (50 motion songs, single-voiced children’s choir and piano or instrumental ensemble) text by V. Fischer, 1969-70, instrumentation 1971. Durata: 26:50. Publisher: Supraphon.

Nightingale of Paradise - Slavicek rajsky (six 3-voiced children’s choirs), text by J. Bozan, 1970. Durata: 10:00. Publisher: Pro organo.

Experiences of a Day - Co se za den zazije (ten single- to 2-voiced children’s choirs with piano) text by I. Hurnik, 1973. Durata: 10:00. Publisher: Edition Ferrimontana.

Happy Trails – Stastnou Cestu (unison children’s choir and piano), 1973. Durata: 9:00. Publisher: Park kultury a oddechu, Olomouc.

Curious Songs - Zvedave pisnicky (solo adult voice, unison children’s choir and piano), 1974. Durata: 5:45. Publisher: Edition Ferrimontana.

Catonis moralia (six 4-voiced children’s choirs), text: anonymous, 1974-5. Durata: 20:00. Publisher: G. Schirmer, Edition Ferrimontana.

Autumn and Winter Folk Songs - Podzimni a zimnic lidove pisne (single-voiced children’s choir and melodic instrument), text: Winter Folk Songs, 1976. Durata: 5:30.

Songs for Nursery School – Pisnicky Pro Materske Skolky (children’s voices and piano), 1976. Durata: 4:30.

Frozen Songs – Zamrzle Pisnicky (2-part children’s choir and Orff instruments), 1977. Durata: 5:00. Publisher: Park kultury a oddechu, Olomouc.

Three Empty Songs – Tri Prazdninove Pisnicky (unison children’s choir and piano), 1977. Durata: 3:00. Premiere: 4-26-1977, Mlada Boleslava.

Episode with Mr. Mozart - Pribeh pana Mozarta (4-voiced children’s choir), text by J. Skacel, 1988. Durata: 4:30. Publisher: Schott Music International.

Rondel (3-voiced children’s or female choir), text by Ch. dOrleans, 1992. Durata: 1:45. Publisher: Edition Ferrimontana.

Psalmus 8 (3-voiced children’s or female choir), text: Old Testament, 1993. Durata: 2:10. Publisher: Europees muziekfestival voor de jeugd Neerpelt, Edition Ferrimontana.

102 FOR CHILDREN (INSTRUMENTAL):

The World of Children - Svet malych (20 instructive compositions for piano), 1955. Durata: 10:00. Publisher: Statni hudebni vydavatelstvi, Supraphon, B. Schotts Soehne.

The Bad Hat – Certovo Kvitko (instrumental ensemble), 1959. Durata: 8:00. Film music for the animated children’s film by director J. Bedrich.

Folk Songs and Carols - Lidove pisne a koledy (instructive pieces for piano), 1959-60. Publisher: Panton, Faber Music (entirety).

Duettinos - Duettina (soprano instrument and piano), 1962-3. Durata: 6:05. Publisher: Panton, G. Schirmer, F. Hofmeister Musikverlag.

Concertino pastorale (violin, clarinet, oboe, cello, and violin ensemble), 1963. Durata: 3:30. Publisher: Statni hudebni vydavatelstvi.

Orffs School III - Orffova skola III.. (an adaptation of Orff’s Schulwerk), 1969. Publisher: Supraphon.

Sketch for C. B. (2 flutes and piano), 1972. Durata: 2:45. Publisher: Supraphon.

Little Handbook of Renaissance Instruments – Mala Prirucka Renesancnich Nastroju (4 actors and 14 instruments), 1977. Durata: 11:00.

Three Suites – Tri Suitove Vety (Orff instruments), 1983. Durata: 3:00.

103 APPENDIX C

Chronological Listing of Petr Eben’s Works with significant trumpet parts

Compiled and Translated by Paula Swartz

Vox clamantis (symphonic movement for 3 trumpets and orchestra), 1969. Durata: 13:00. Publisher: Panton. CD: Panton 811141-2911.

Duetti per due trombe (2 trumpets), 1956. Durata: 9:30. Publisher: B. Schotts Soehne.

Fantasia vespertina (trumpet and piano), 1969. Durata: 4:20. Publisher: B. Schotts Soehne.

Brass Quintet - Zestovy kvintet (Variations on a Chorale; 2 trumpets, french horn and 2 trombones), 1968-9. Durata: 13:00. Publisher: Supraphon.

Windows on the Pictures of Marc Chagall - Okna na Marca Chagalla (trumpet and organ), 1976. Durata: 18:20. Publisher: Supraphon - Baerenreiter. CD: Mitra CD 16205; VDE-Gallo; Multisonic 31 0098-2 131; BIS CD 565; Fermate Fer 20008; Opus B CD 9102; Gothic Records G 49067; BMG Music 09026 61186 2; Multisonic 31 0347-2; Simax PSC 1088; Suisa MKH 40289.

Scenic Music for the Drama of J.W. Von Goethe’s “Faust” – Scenicka Hudba K Dramatu J.W. Von Goetha Faust (organ, mixed choir, and brass ensemble), 1976. Premiere: 5-8-1976, Vienna.

Scenic Music for Shakespeare’s Hamlet – Scenicka Hudba K Dramatu W. Shakespeara Hamlet (organ and trumpet), 1976-7. Premiere: 5-2-1977, Duesseldorf.

Tres iubilationes (brass quartet and organ), 1987. Durata: 13:00. Publisher: United Music Publishers. CD: Opus B 9302 CD.

March and Fanfare for the Castle Guard – Pochod A Fanfary Pro Hradni Straz (brass ensemble; 4 trumpets, 4 trombones, and 2 tubas and percussion), 1994. Durata: 4:00.

Missa cum populo (mixed choir, congregation, 4 brass and organ), 1981-2. Durata: 22:05. CD: Panton 81 1141-2911. Publisher: Baerenreiter Verlag.

104 Prague Te Deum 1989 - Prazske Te Deum 1989 (mixed choir, brass and percussion or organ), 1989-90. Durata: 8:10. Publisher: B. Schotts Soehne. CD: Supraphon 11 1438- 2231; Opus B 9302 CD; Orfeus OR 0010-2131; ECM Records.

Sacred Festival Hymns - Proprium festivum monasteriense (mixed choir and 4 brass or organ; Psalms and New Testament), 1993. Durata: 9:00. Publisher: B. Schotts Soehne. CD Antiphona AA0039-2231.

Sacred Symbols - Posvatna znameni (oratorio for soprano, baritone, mixed and children’s choir, wind and brass ensembles, percussion and organ), texts: Old Testament, New Testament, Pontificale Romanum, 1992-3. Durata: 30:00. Publisher: B. Schotts Soehne.

Sacred Festival Hymns - Proprium festivum monasteriense (mixed choir and 4 brass or organ) text: Psalms and New Testament, 1993. Durata: 9:00. Publisher: B. Schotts Soehne. CD Antiphona AA0039-2231.

105 APPENDIX D

Chronological Listing of Petr Eben’s Works for organ

Compiled and Translated by Paula Swartz

Missa adventus et quadragesimae (single-voiced male or mixed choir and organ), 1951-2. Durata: 15:00. Publisher: Lawson Gould, Edition Ferrimontana (choir part). CD: Supraphon 11 1438-2231; Ultravox UCD 005, MBC-9603101.

Concerto for Organ and Orchestra No 1 - Koncert pro varhany a orchestr c. 1 (Symphonia Gregoriana), 1954. Durata: 56:30. Publisher: Panton. CD: Motetto 40151.

Liturgical Songs - Liturgicke zpevy (solo or unison and organ; 10 proprios in form of antiphons and psalms), 1955-60. Publisher: Brenreiter Verlag, Moravske hudebni vydavatelstvi (three parts). CD: Signum X 79-00 (selection); Rottenburger Dom 280696 (selection); CDA WN 101995 (selection), Antiphona AA 0040-2231 (selection).

Sunday Music - Nedelni hudba (organ), 1957-9. Durata: 31:10. Publisher: Statni hudebni vydavatelstvi, Supraphon. CD: Supraphon 11 0564-2131; Multisonic 31 0098- 2131; Centaur CRC 2042; AGK 12 216; Pro organo CD 7023; Amabile; BM 1003.

Bitter Earth - Horka hlina (cantata for baritone, mixed choir and organ; J. Seifert), 1959-60. Durata: 15:00. Publisher: Panton. CD: Opus B 9301 CD.

Laudes (organ), 1964. Durata: 22:25. Publisher: Panton, United Music Publishers. CD: Supraphon 11 0564-2131; Multisonic 31 0097-2 131; Opus B CD 9102; Victoria VCD 19080.

Czech Mass Ordinary - Ceske Mesni Ordinarium (congregation and organ, or for three-voice mixed choir a cappella or for mixed choir, congregation and organ), 1965. Durata: 5:20. Publisher: Ceske Katolicka Charita.

Mass for the Dead – Mse Za Zemrele (scholu, congregational singing and organ), 1966. Durata: 6:00.

Vesperae (boy’s and male choir, congregation and organ or for mixed choir, congregation and organ), 1968. Durata: 8:00. Publisher: Pro organo, Kirchenmusik Rottenburg. CD: Supraphon 11 1438-2231, Lunarion LN 0008-4111.

Song of Ruth - Arie Ruth (alto and organ or piano; Old Testament), 1970. Durata: 5:45. Publisher: Universal Edition. CD: Supraphon 11 1438-2231; Bonton 710057-2231; Opus B CD 9102; Signum X 79-00.

106 Ten Chorale Preludes - Deset choralnich predeher (organ), 1971. Durata: 15:00. Publisher: Baerenreiter Verlag. CD: Bonton 710081-2131.

Dream World (organ), 1971.

Two Chorale Fantasias - Dve choralni fantazie (organ), 1972. Durata: 10:30. Publisher: Panton, Pro organo. CD: Multisonic 31 0097-2 131; Bonton 710081-2131.

Windows on the Pictures of Marc Chagall - Okna na Marca Chagalla (trumpet and organ), 1976. Durata: 18:20. Publisher: Supraphon - Baerenreiter. CD: Mitra CD 16205; VDE-Gallo; Multisonic 31 0098-2 131; BIS CD 565; Fermate Fer 20008; Opus B CD 9102; Gothic Records G 49067; BMG Music 09026 61186 2; Multisonic 31 0347-2; Simax PSC 1088; Suisa MKH 40289.

Scenic Music for the Drama of J.W. Von Goethe’s “Faust” – Scenicka Hudba K Dramatu J.W. Von Goetha Faust (organ, mixed choir, and brass ensemble), 1976. Premiere: 5-8-1976, Vienna.

Scenic Music for Shakespeare’s Hamlet – Scenicka Hudba K Dramatu W. Shakespeara Hamlet (organ and trumpet), 1976-7. Premiere: 5-2-1977, Duesseldorf.

Small Chorale Partita - Mala choralni partita (organ), 1978. Durata: 10:00. Publisher: Universal Edition. CD: Multisonic 31 0098-2131.

Faust (organ), 1979-80. Durata: 46:20. Publisher: United Music Publisher. CD: Etcetera KTC 1115; Pro organo CD 7023.

Mutationes (for organ and piccolo), 1980. Durata: 18:15. Publisher: Universal Edition.

Missa cum populo (mixed choir, congregation, 4 brass and organ), 1981-2. Durata: 22:05. CD: Panton 81 1141-2911. Publisher: Baerenreiter Verlag.

Fantasia for Viola and Organ Rorate Coeli - Fantazie pro violu a varhany Rorate coeli, 1982. Durata: 6:00. Publisher: Universal Edition.

Versetti (organ), 1982. Durata: 10:00. Publisher: Universal Edition, CD: Panton 811141- 2911 (1 part).

Concerto for Organ and Orchestra No 2 – Koncert pro varhany a orchestra, 1983. Durata: 23:00. Publisher: United Music Publishers. CD: Panton 811141-2911.

Landscapes of Patmos - Krajiny patmoske (organ and percussion), 1984. Durata: 23:10. Publisher: United Music Publishers. CD: Multisonic 31 0097-2 131; Opus B 9301 CD.

107 Four Spiritual Songs – Ctyri Duchovni Pisne (unison singing and organ), 1985. Text: Josef Hrdlicka. Publisher: Ceske Katolicka Charita.

A Festive Voluntary (on Good King Wenceslas Carol; organ), 1986. Durata: 7:00. Publisher: United Music Publisher. CD: Pro organo CD 7023.

Hommage a Buxtehude (organ), 1987. Durata: 7:55. Publisher: B. Schotts Soehne. CD: Supraphon 110564-2131; Etcetera KTC 1115; Victoria VCD; Ambiente 9502.

Tres iubilationes (brass quartet and organ), 1987. Durata: 13:00. Publisher: United Music Publishers. CD: Opus B 9302 CD.

Hiob - Job (organ), 1987. Durata: 40.00 - 43.00. Publisher: United Music Publisher. CD: Multisonic 31 0095-2 931; Melisma Musik 7087-2; Victoria VCD 19080; Supraphon SU 0181-2931; Pro organo CD 7023.

Five Alleluia Verses – Pet Alelujatickych Versu (two-part choir and organ), text: The Gospels and The Psalms, 1987.

Two Invocations for Trombone and Organ - Dve invokace pro trombón a varhany, 1988. Durata: 8:00. Publisher: United Music Publishers. CD: Supraphon 11 1438-2231; BIS-CD-488; Opus B 9301 CD.

Prague Te Deum 1989 - Prazske Te Deum 1989 (mixed choir, brass and percussion or organ), 1989-90. Durata: 8:10. Publisher: B. Schotts Soehne. CD: Supraphon 11 1438- 2231; Opus B 9302 CD; Orfeus OR 0010-2131; ECM Records.

Two Festive Preludes - Dve slavnostni preludia (organ), 1990, 1992. Durata: 10:35. Publisher: Pro organo. CD: Opus B 9301 CD.

Biblical Dances - Biblicke tance (organ), 1990-91. Durata: 25:30. Publisher: United Music Publisher. CD: Opus B 9302 CD; Pro organo CD 7023; Regent Records; Signum X 79-00; Bayer Records BR 150 009.

Amen, es werde wahr - Amen, stan se (organ), 1993. Durata: 5:30. Publisher: K. H. Moeseler Verlag.

De nomine Caeciliae (mezzo-soprano or baritone and organ), text by Kempen, 1994. Durata: 6:30. Publisher: Pro organo. CD: Signum X 79-00.

Momenti d organo (organ), 1994. Durata: 13:20. Publisher: Pro organo. CD: Signum X 79-00.

Spiritus mundum adunans (mixed choir or mixed choir and organ), text by N. Balbulus, 1994. Durata: 5:00. Publisher: Doblinger.

108 Suita liturgica (unison choir and organ), 1995. Durata: 30:00. Publisher: Baerenreiter Verlag.

Hommage a Henri Purcell (organ), 1994-5. Durata: 8:00. Publisher: B. Schotts Soehne.

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