Theatre of Voices

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HÅKONSHALLEN 24. MAI Theatre of Voices

BERGEN 21. MAI — 04. JUNI INTERNATIONAL 2014 Redaksjon: Festspillene i Bergen / Design og konsept: ANTI Bergen, www.anti.as / FESTIVAL Trykkeri: Bodoni / Formgiving: Anna-Julia Granberg / Foto forside: Mathias Bojesen WWW.FIB.NO 1 2 FESTSPILLENE I BERGEN FESTSPILLENE I BERGEN 3 2014 Festspillene 2014 Samarbeidspartnere i kulturlivet Arrangement Tjenester takker Austevoll kommune Barratt Due musikkinstitutt Bekkjarvik Gjestgiveri Festspillene i Bergen er Bekkjarvik Torg avhengig av mange og ulike Bergen Backline Bergen Dansesenter støttespillere for å avvikle Bergen Filharmoniske Orkester vårens store eventyr. Disse Bergen kulturskole erThea med på å gjøretre opplev of- VoicesBergen Kunsthall elsen større. Bergen Nasjonale Opera BIT20 Ensemble FestspillambassadørerHÅKONSHALLEN Bright Yvonne og Bjarne Rieber Buekorpsenes dag GriegLørdag Foundation 24. mai kl 19:30 Bymuseet i Bergen TrondSaturday Mohn 24 May at 19:30 Carte Blanche – Norges nasjonale kompani for samtidsdans HovedsamarbeidspartnereVarighet: 1 t 50 min, inkl. pause Collegiûm Mûsicûm DNBDuration: 1:50, incl. interval Cornerteateret Statoil Columbi Egg Radisson Blu Hotel Norge Det felles innvandrerråd, Hordaland DagensTheatre Næringsliv of Voices Bergen Internasjonale Kultursenter kunstnerisk leder artisticDen Nationale director Scene ProsjektpartnerePaul Hillier Det Norske Teatret StiftelsenElse Torp Kristian sopran Gerhard soprano Jebsen Dramatikkens Hus Kavlifondet Dukkenikkerverkstedet SparebankenIris Oja alt Vest alto Edvard Grieg Kor Chris– allmennyttige Watson midler tenor Ervingen kulturhus, Gimle H. Westfal-Larsen og hustru Anna Fargespill JakobWestfal-Larsens Bloch Jespersen Almennyttige fond bass Ferske Scener AP Møller Fonden Fosse-Gruppa GCYXUS Rieber StryketrioFondene YXUS StringFysak trio Allaktivitetshus Griegakademiet, institutt for musikk, FestivalpartnereHarry Traksmann fiolin violin Universitetet i Bergen BergensTorsten Tidende Tiebout bratsj viola Grieghallen Nespresso HiHat management AntiLeho Bergen Karin cello Holbergprisen PwC Hordaland Teater Telenor Jiří Hlinka Klaverinstitutt Atea Kirkemusikk i Bergen NorwegianIntroduksjon Hull Club v/Morten Eide PedersenKolibri – Children kl 18:45 At Risk Foundation SUMO Kompani Camping 07000Introduction Bergen Taxi in Norwegian by MortenKritikerlaget Eide Pedersen Gallerietat 18:45. Kulturoperatørene A7 Print KODE Kunstmuseene i Bergen Avinor Logen Teater og Chagall Securitas Musikklinjen v/Bergen Private Gymnas STOLT SPONSOR AV TeslaKonserten tas opp av NRK. TheNorges concert musikkhøgskole is recorded by OldenNRK, the Norwegian BroadcastingNorges Corporation. Musikkorps Forbund MANGFOLDET Steinway Piano Gallery Oslo Norsk Forfattersentrum Vestlandet Fjord Line Ole Bull Scene LEGO®Theatre Norge of Voices takker TheatreOle Bulls of Voices villa, Valestrand wishes to LEGOLAND® Billund Olsvik skolekor Vi er opptatt av et levende kultur-, thank Danish Arts Council, AugustinusOseana Fonden, Beckett- idretts- og organisasjonsliv, både Offentligefonden, støttespillereOticon Fonden, WilhelmPark Hansen Hotel Vossevangen Fonden, Dansk Kulturdepartementet Raftostiftelsen nasjonalt og lokalt. I over 60 år BergenKomponist kommune Forening & Dansk Musikforlæggerforening.Revy & Teaterservice Hordaland fylkeskommune Rekstensamlingene har vi samarbeidet med Utenriksdepartementet Sjøforsvarets Musikkorps Konserten er støttet av The concertSkranevatnet is supported skolekor by Festspillene i Bergen, en viktig ProsjektstøtteOticon Fonden & A.P. Møller fonden.Sort/Hvid Norsk Kulturråd Stiftelsen Bryggen arena for utøvende kunst. Institut Français, Oslo Stand Up Norge Vårt samarbeid bidrar til at flere Oticon Fonden Studentorganisasjonene i Bergen Nordisk kulturfond Teater Innlandet får gleden av de mulighetene J.W. Eides Stiftelse Universitetet i Bergen Bergens Riksmålsforening Ung i Kor-Vest og tilbudene som finnes. Fritt Ord Voss gamle kino Sveriges ambassade Østre Québec Government Office Aarhus Teater 2 WWW.FIB.NO WWW.FIB.NO 3 DNB sponser levende kultur. 4 FESTSPILLENE I BERGEN FESTSPILLENE I BERGEN 5 2014 2014

GUILLAUME DE MACHAUT (CA. 1300–1377) Creator spiritus

GAVIN BRYARS (1943–) Incipit vita nova

ARVO PÄRT (1935–) Most Holy Mother of God

GUSTAV HOLST (1874–1943) 4 sanger for sopran (eller tenor) og fiolin 4 mediaeval songs, for soprano (or tenor) and violin, op. 35, H. 132: Jesu Sweet, Now Will I Sing My Soul Has Nought but Fire and Ice I Sing of a Maiden that Matchless Is My Leman Is So True

UKJENT ANONYMOUS Benedicamus Domino (1200-tallet 13th century)

HILDEGARD VON BINGEN (1098–1179) Columba aspexit

ARVO PÄRT Es sang vor langen Jahren Da pacem domine

Pause Interval

UKJENT ANONYMOUS Theatre of Voices. Stond wel moder under roode (1200-tallet 13th century) Foto: João Messias

ARVO PÄRT Stabat Mater

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av smerte, som skildrer Marias lidelser ved korset. Pärt bruker her De to halvdeler sin særegne «tintinnabulum»-(‘klokkeklang’)-teknikk som kombine- rer treklangsbrytninger med langsomme, trinnvise melodier. Den tsjekkiske forfatteren Milan Kundera, som også har Ut av fortidens skygger en solid musikalsk bakgrunn og utdanning, har skrevet at litteraturhistorien er delt i to halvdeler. Opp mot Pärts klangverden får vi ulike verk fra «den første halv- del». Machaut (ca. 1300–1377) var med sine musikalske eksperi- Mye av 20. århundres litteratur kan betraktes som stadige forsøk menter frontfigur for den nye uttrykksfølsomheten som oppsto på å bygge broer tilbake til «den første halvdelen», til den estetis- i ars nova-perioden. Mystikeren og nonnen Hildegard von Bingen ke følsomheten langt tilbake i tid som vi nærmest har tapt av syne (1098–1179) var en av sin tids aller største åndspersonligheter. Hen- gjennom de siste hundreårene. Mye av den moderne musikken gri- nes Columba Aspexit («En due stirret inn») forteller om St. Maximus per også begjærlig tilbake til sin fjerne fortid med sine andre es- som under en messe opplever en due utenfor vindusgitteret. Duen tetiske idealer, både som verktøykasse og som inspirasjonskilde. som symbol for Den Hellige Ånd utdypes gjennom strofenes eksta- Dette gjelder også periodens fremføringsidealer og stemmebruk. I tiske vandringer mellom himmelske høyder og menneskelige sjele- musikken kan vi sette skillet mellom de to halvdelene der instru- lige dyp. mentalmusikken overtar vokalmusikkens hegemoni, og der tonalite- tens driftige, høydepunktsorienterte harmonikk erstatter de modale Benedicamus Domino («La oss prise Herren») brukes som alterna- skalaenes meditative og emosjonelle klangrom. Moderne komponis- tiv messeslutt ved enkelte kirkehøytider, som under fasten. Denne ters nysgjerrighet har hjulpet til med å gjenåpne dørene til fortidens salmetonen ble hyppig utsatt for tekstlig og melodisk utsmykning, egenartede musikalske landskap. eller benyttet som utgangspunkt for nye flerstemte komposisjoner. Stond wel moder under roode, trolig fra begynnelsen av 1300-tallet, Mystisk minimalisme er en dialog mellom Kristus på korset og Maria. Musikalske medi- Den estiske komponisten Arvo Pärts verker løper som en rød tråd tasjoner over Marias sorg dukker ofte opp i musikken på denne ti- gjennom denne konserten. I sin tidlige stilperiode utforsket han den, som i hymnen Stabat Mater, som Pärt jo gir sin tolkning av her tidens rådende idiomer, inklusive de nye eksperimentene som sil- i kveld. dret inn gjennom jernteppet, til myndighetenes mishag. Da han etterhvert følte at han ikke fant noen kunstnerisk retning, stoppet Ekko fra moderne tid han å komponere og begynte å studere komposisjonsteknikker fra Teksten til Gavin Bryars Incipit Vita Nova (1989) er hentet fra Dantes middelalder og renessanse. Hans religiøse søken gjorde at han også La Vita Nuova. Komposisjonen feirer en barnefødsel hos nære ven- konverterte til den ortodokse kirken. Da han i 1976 sto frem med ner av komponisten. Bryars slo igjennom som komponist med sine sin nye kontemplative og religiøst orienterte stil, var den ikke noe langsomme, gjentagende strukturer i verk som The Sinking of Tita- mindre kontroversiell. I 1980 fikk familien tillatelse til å emigrere til nic og Jesus’ Blood Never Failed Me. Etterhvert ble han stadig mer Vesten. fascinert av klarheten og renheten i tidlig vokalmusikk, som kontrast I Most Holy Mother of God (2003) gjentas teksten 17 ganger. Den til den romantiske musikkens voldsomme patos, og har etterhvert rituelle gjentagelsen er et virkemiddel i den ortodokse liturgien skrevet et større antall vokalverker i denne nye stilen. som passer godt sammen med den «mystiske minimalisten» Pärts Gustav Holst var i 1916 med på å gjennomføre en pinsefestival i komposisjonsteknikker. Es sang for langen Jahren har en tekst av Thaxted kirke, der fokuset lå på musikk fra renessansen. Her kom Clemens Brentano (1778–1842). Komposisjonen er «pärtsk», slik den Holst over en av sine elever som satt og improviserte en sangstem- klinger mer som en musikalsk besvergelse enn som en tradisjonell me mens hun spilte på de åpne strengene på fiolinen. Det rene og lied. Den krystallklare og fargeskimrende fredsbønnen Da pacem nakne uttrykket inspirerte Holsts’ Four medieval songs. Domine ble skrevet på oppdrag fra Jordi Savall som en hyllest til ofrene for bombeattentatene i Madrid i mars 2004. Stabat Mater fra 1985 bygger på den katolske 1200-tallshymnen Stod der moren, fylt Tekst: Morten Eide Pedersen

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suffering of the Virgin Mary at the Cross. Pärt uses his characteristic The two halves ‘tintinnabulum’ – bell-ringing – technique in this piece, combining triadic harmonies with slow stepwise melody lines. The Czech author Milan Kundera, who also has a solid Out of the shadows of the past training in music, has written that literary history is divided into two halves. Juxtaposed with Pärt’s timbral landscape we find a variety of works from the ‘first half’. Machaut (c. 1300–1377) fronted with his musi- Much of the literature of the twentieth century may be regarded cal experiments the new expression of emotion of the ars nova. The as constant attempts to build bridges back to the ‘first half’ – the mystic nun Hildegard von Bingen (1098–1179) was one of her time’s aesthetic sensitivity of long ago that we have almost lost from sight greatest spiritual personalities. Her Columba Aspexit (A dove stared through the last centuries. Much modern music also reaches zeal- in) tells the tale of St Maximus. During a mass he sees a dove outside ously back to the distant past with its different aesthetic ideals, both the window bars. The dove is studied in detail as a symbol of the as a toolbox and as a source of inspiration. This also applies to the Holy Spirit in ecstatic peregrination between heavenly heights and performance ideals and vocal technique of the period. In music we the depths of the human soul. can draw lines between the two halves when instrumental music takes over from the hegemony of vocal music – when the harmo- Benedicamus Domino (Let us praise the Lord) is an alternative litur- ny of tonality, oriented towards progress and climaxes, replaces the gical ending for certain high days, particularly in Lent. This tune was meditative and emotional resonance of modal scales. The curiosity of frequently ornamented both in music and text, or was the basis of modern composers has helped to re-open the doors to the charac- new polyphonic compositions. teristic musical landscape of bygone times. Stond wel moder under roode, probably from the early 14th century, Mystical minimalism is a dialogue between Christ on the cross and his mother Mary. Mu- sical meditations on the sorrow of Mary often appear in music at this The Estonian composer Arvo Pärt’s works are a recurring theme time, as in the hymn Stabat Mater, as in Pärt’s version. through this concert. In his early style period he explored the idioms of his time, including the new experiments that seeped in through Echo from modern times the iron curtain, much to the chagrin of the authorities. When he finally felt he had failed to find any artistic direction, he stopped The text of Gavin Bryars’s Incipit Vita Nova (1989) comes from Dan- composing and began studying composition techniques from the te’s La Vita Nuova. The composition celebrates the birth of a child middle ages and renaissance. His religious quest resulted in his con- to close friends of the composer. Bryars made his breakthrough as version to the Orthodox Church. When in 1976 he reappeared with a a composer with his slow, repetitive structures in works such as The new contemplative and religious style, it was no less controversial. Sinking of Titanic and Jesus’ Blood Never Failed Me. With the pas- In 1980 his family received permission to emigrate to the West. sing of time he became more fascinated by the clarity and purity of early vocal music, as a contrast to the extreme pathos of Romantic In Most Holy Mother of God (2003), the text is repeated seventeen music, and he has since composed a large number of vocal works times. The ritual repetition is an element of Orthodox liturgy which in this style. is well suited to the composition techniques of the ‘mystical minima- list’ Pärt. Es sang for langen Jahren has a text by Clemens Brentano Gustav Holst was in 1916 involved in a Whitsuntide festival in Thax- (1778–1842). The composition is ‘Pärt-esque’, in that it sounds more ted Church, where the focus was on Renaissance music. Holst came like a musical incantation than a traditional lied. The crystal-clear, across one of his pupils improvising a vocal part while playing the colourfully shimmering prayer for peace Da pacem Domine was open strings of a violin. The pure and bare sound was the inspiration commissioned by Jordi Savall as a tribute to the victims of the bomb for Holst’s Four Mediaeval Songs. attacks in Madrid in March 2004. Stabat Mater from 1985 is based on the Roman Catholic 13th-century hymn which describes the Text: Morten Eide Pedersen English version: Roger Martin

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Theatre of Voices ble grunnlagt i USA av Paul Hillier i 1990, og Theatre of Voices was founded by Paul Hillier in 1990 and re-esta- etablert på nytt i Danmark da Hillier flyttet dit i 2003. Repertoaret blished in Denmark when Hillier moved there in 2003. The group strekker seg fra den helt tidlige musikken til samtidsmusikken, fra presents a wide range of contemporary music, often juxtaposed komponister som Dowland, Carissimi og Buxtehude til Berio, Pärt, with elements of early music. Their programmes feature works by Reich, Cage, Gudmundsen-Holmgreen og Stockhausen. Ensemblet Berio, Pärt, Reich, Cage, Gudmundsen-Holmgreen, Stockhausen – opptrer jevnlig på bl.a. Edinburgh International Festival, på Barbican while among their current favourite “early” composers are Perotin, Centre og i Carnegie Hall, der de uroppførte David Langs The Little Dowland, and Buxtehude. Theatre of Voices appears regularly at in- Match Girl Passion. Stykket ble skrevet til gruppen og vant Pulit- ternational venues such as the Edinburgh International Festival and zer-prisen i 2007, mens CD-innspillingen vant en Grammy Award i the Barbican Centre. In 2007 they premiered David Lang’s The Little 2010. Andre utgivelser inkluderer Stockhausens Stimmung (Copen- Match Girl Passion at Carnegie Hall. This piece was commissioned hagen version), Stories med verk av Berio, Marsh, Cage og Berberi- for TOV and won the 2008 Pulitzer Prize. Their CD of the work then an, og Creator Spiritus med musikk av Arvo Pärt. Theatre of Voices received a Grammy Award in 2010. Other recent CDs include Stock- har også gitt ut Dietrich Buxtehudes Scandinavian Cantatas, den hausen’s Stimmung (Copenhagen version), Stories (Berio, Cage, første i en serie på fem CD-er. Theatre of Voices ble nominert til Berberian, and Creator Spiritus with music by Arvo Pärt. Theatre of Nordisk Råds musikkpris 2013. Voices has also released Dieterich Buxtehude’s Scandinavian Can- tatas – the first in a series of five CDs. Theatre of Voices was nomi- YXUS Ensemble ble etablert i 2013 og springer ut fra NYYD En- nated for the Nordic Council Music Prize 2013. semble, det viktigste ensemblet for samtidsmusikk i Estland de siste tjue år. Ensemblet opptrer med skiftende besetninger innenfor det YXUS Ensemble was established in early 2013 as a successor of kammermusikalske området. Det har som mål både å formidle in- NYYD Ensemble – the principal ensemble for contemporary music in ternasjonal ny musikk til det estiske publikummet og å introdusere Estonia in the last 20 years. The YXUS Ensemble is mostly oriented estisk musikk til publikum utenfor landets grenser. YXUS Ensemble to contemporary chamber music, bringing the world’s contempora- har en eksperimenterende tilnærmingsmåte og stiller seg gjerne til ry music to Estonian audience and introducing Estonian music to rådighet som musikalsk laboratorium for komponister, instruktører, listeners abroad. The ensemble has varying instrumentation, inclu- videokunstnere og andre med nye kunstneriske ideer. Ensemblet ding a string quartet, a wind quintet, piano(s) and percussion, and har som grunnleggende prinsipp at en god konsert ikke bare skal mostly playing without a conductor. Instead of single concerts, the skape kontakt mellom utøvere og publikum, det skal også oppstå ensemble organizes concert series to focus thoroughly on selected en energiutveksling. Et viktig kriterium for valg av programmer er at topics. It also includes performer-centered projects where members lytteren skal tilbys både lærerike og inspirerende impulser, rørende of YXUS are free to realize their ideas without stylistic boundaries for sjelen og utfordrende for intellektet. of repertoire. The debut concert of the ensemble was held in March 2013 in Vanemuine concert hall in Tartu. The concert program was Paul Hillier er fra Dorset i England og studerte ved Guildhall School put together of train-inspired works, including Different Trains by of Music and Drama i London. Han er sanger, dirigent, komponist Steve Reich, Gare de l’Est by Toivo Tulev, Railway to London by Rau- og forfatter, og har blant annet skrevet bøker om Arvo Pärt og Ste- no Remme and Berlin Hauptbahnhof by Ardo Ran Varres. ve Reich. I 1974 grunnla han vokalkvartetten The Hilliard Ensemble, og i 1990 flyttet han til California og skapte Theatre of Voices. Fra Paul Hillier is from Dorset in England and studied at the Guildhall 1996 til 2003 var han direktør for Early Music Institute i Indiana, og i School of Music and Drama in London. His career has embraced 2001 ble han sjefdirigent for Estonian Philharmonic Chamber Choir. singing, conducting, composing, and writing about music, includi- To år senere flyttet han til Danmark, hvor han ble sjefdirigent for Ars ng books about Arvo Pärt and Steve Reich. In 1974 he founded the Nova Copenhagen. I 2006 ble han tildelt en OBE (Order of the British Hilliard Ensemble. In 1990 he moved to California and created the Empire) for sin innsats for kormusikken. I 2008 ble han sjefdirigent Theatre of Voices. From 1996 to 2003 Hillier was Director of the Ear- for National Chamber Choir of Ireland og kunstnerisk leder av Coro ly Music Institute at Indiana. In 2001 he became the Principal Con- Casa da Música i Porto. Han har medvirket på over 100 plateutgi- ductor of the Estonian Philharmonic Chamber Choir. Two years later velser, mange av dem prisbelønte. Paul Hillier ble tildelt den danske he moved to Denmark and became Chief Conductor of Ars Nova Dannebrogordenen i 2013. Copenhagen. In 2006 he was awarded an OBE for services to choral music. In 2008 he became Chief Conductor of the National Chamber Choir of Ireland and was appointed artistic director of the Coro Casa da Música in Porto. His recordings, over a hundred CDs, have won numerous prizes. In 2013 he was awarded the Order of Dannebrog in Denmark.

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Veni creator spiritus GUILLAUME DE MACHAUT (C. 1300–1377)

STEMME 1 / VOICE 1 STEMME 1 / VOICE 1 STEMME 2 / VOICE 2 STEMME 2 / VOICE 2 Veni creator spiritus/flentium Come, creative Mind, hear Christe qui lux es et dies/ Christ, you that are light and the audi gemitus, the moan of the tearful that a fideliumque requies/nos visita. day, the faithfuls’ rest, come back quos nequiter gens misera/ miserable people Tu furoris temperies/tu dulcoris to visit us. destruit; veni, prospera, maliciously destroyed; come, planities/nunc excita. You that alleviate the fury, you jam nostra virtus deficit/nec os precipitate you! Already our posse tuum precipita/ that spill the sweetness, awaken humanum sufficit strengths decline depredentes qui nos ita/ us, impose your power on the ad narrandum obprobria/que no human voice is enough to vituperant. vandals who offend us. Thanks to nobis dant vecorida, tell the shame that bring the Sicut per te fruit vita/patribus you, life was diviso, cupiditas/fideliumque fury, the derision, the cupidity, nostris reddita,/qui tunc erant returned to our fathers who, raritas. the lack of men with faith. Also, nec tueri se poterant./Sed ad previously, lived unable to relax. Unde flentes ignoramus/quid we cry and know not what te reclamaverant,/Deus fortis,/ But they agere debeamus. to do. Enemies surround us, sie cave, addressed you strong God. In the Circumdant nos inimici,/sed et even those near to us, become ne nos atterant/qui nos in same way, prevent that we are nostri domestici brigands, leopards and lions, guerris/lacerant/nunc subortis. thrown on the ground by those conversi sunt in predones:/ wolves, vultures and eagles, Et adire nexu mortis,/cuius that tear using wars that they leopardi et leones, snakes, rob all, scabs gnaw sumus jam in portis,/nos provoked. And, in the embrace lupi, milvi et aquile/rapiunt omne us. Our faces turn toward you, pretegas. of death of which we are so near, reptile, annihilate this people of birds Gentem serves tue sortis,/tui protect us. Even on those of your consumunt nost carbunculi./Ad of prey. Jesus, redeemer of the fratis ac consortis/causam regas. condition, take your brother’s te nostri sunt oculi, world, give us your peace. Qui malos a te segregas/nec party and the party of your perde gentem hanc rapacem,/ justis opem denegas./Legislator. companion. Jhesu, redemptor seculi, proditores nunc detegas/ You that move away from you the et da nobis pacem. horumque visum contegas./ mean, do not refuse your support Consolatur, to the Danielis visitator/pueroumque just. You the legislator, unmask TENORER / TENORS TENORER / TENORS salvator/in fornace, per Abacuth traitors and defend the Tribulatio proxima est/et non est Tribulation is close at hand, confortator/sis pro nobis reputation of the qui adjuvet nos. and there is no one to help us. preliator/et dimittas nos in pace. just. You the comforter, who has visited Daniel, who saved children in the furnace. In the name of the comforter of Habakkuk, be our defender and send us away in peace. proditores nunc detegas/ horumque visum contegas./ Consolatur, Danielis visitator/pueroumque salvator/in fornace, per Abacuth confortator/sis pro nobis preliator/et dimittas nos in pace.

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Incipit vita nova Four Medieval Songs GAVIN BRYARS (1943–) GUSTAV HOLST (1874–1934)

Incipit vita nova A new life is beginning Jesu Sweet, Now Will I Sing I Sing of a Maiden that Ecce deus fortiori me Behold a God more powerful To thee a song of love longing; Matchless Is. qui veniens dominibatur mihi. than I who comes to rule Do in my heart a quick well spring, King of all Kings was her son Apparuit iam beatitudo vestra over me. Thee to love above all thing. iwis. (I know.) Vide cor tuum Your source of joy has now Tempus est ut appeared Jesu sweet, my dim heart’s gleam He came all so still where his praetermictantur Behold your heart Brighter than the sunnebeam. mother was, simulacra nostra. It is time for false images to As thou wert born in Bethlehem, As dew in April that falleth Nomina sunt consequentia be put aside. Make in me thy lovè-dream. on grass. rerum Names are the consequences Hosanna in excelsis. of things Jesu sweet, my dark heart’s light, He came all so still to his Bella mihi, video, Hosanna in the highest. Thou art day withouten night, mother’s bower bella parantur. Things beautiful to me, I see, Give me strength and eke (also) might As dew in April that falleth on (vita) qui est per omnia secula beautiful things are being For to loven thee aright. flower. benedicta, benedicta. prepared. Omnis vita est immortalis. (A life) which is for all times Jesu sweet, well may he be That in He came all so still where his Nomina sunt consequentia blessed, blessed. thy bliss thyself shall see: With love mother lay rerum. All life is immortal. cords then draw thou me As dew in April that formeth Names are the consequences That I may come and dwell with thee. on spray. of things. Mother and maiden was ne’er none but she. Well may such a lady God’s Most Holy Mother of God mother be. ARVO PÄRT (1935–)

Most Holy Mother of God save us.

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My Soul Has Nought My Leman (Beloved) Columba aspexit but Fire and Ice Is So True HILDEGARD VON BINGEN (1098–1179) And my body earth and wood; Of love and full steadfast, Columba aspexit per cancel- The dove peered in through Pray we all to the most high King Yet seemeth ever new. los fenestrae ubi ante faciem the lattices of the win- Who is the Lord of our last doom, His love is on us cast. eius sudando sudavit bal- dows where, before its face, a That he should give us just one thing samum de lucido Maximino. balm exuded from incandes- That we may do his will. I would that all Him knew cent Maximilian. And loved Him firm and fast, They never would it rue Calor solis exarsit et in The heat of the sun But happy be at last. tenebras resplenduit unde burned dazzling into the gloom: gemma surrexit in edificati- whence a jewel sprang forth in He lovingly abides one templi purissimi cor dis the building of the temple of the Although I stay full long; benivoli. purest loving heart. His will me never chide Although I choose the wrong. Iste turris excelsa, de ligno Li- He, the high tower, construct- bani et cipresso facta, iacinc- ed of Lebanon wood and He say ‘Behold my side to et sardio ornata est, urbs cypress, has been adorned And why on Rood (cross) I hung; precellens artes aliorum with jacinth and diamonds, a For my love leave thy pride artificum. city excelling the crafts of And I thee underfong. other builders. (take back.)

I’ll dwell with thee believe, Ipse velox cervus cucurrit ad This swift hart sped to Leman, under thy tree. fontem purissime aque flu- the fountain of clearest May no pain e’er me grieve entis de fortissimo lapide qui water flowing from the most Nor make me from thee flee. dulcia aromata irrigavit. powerful stone which courses with delightful spices. I will in at thy sleeve All in thine heart to be; O pigmentari qui estis in O pigmentari qui estis in Mine heart shall burst suavissima viriditate horto- suavissima viriditate horto- and cleave rum regis, ascendentes in rum regis, ascendentes in E’er (before) untrue thou altum quando sanctum sacri- altum quando sanctum sacri- me see. ficium in arietibus perfecistis. ficium in arietibus perfecistis.

Inter vos fulget hic artifex, pa- This builder shines among ries templi, qui desideravit you, the wall of the tem- alas aquile osculando nutri- ple, who longed for the wings cem Sapientiam in gloriosa of an eagle, kissing his nurse fecunditate Ecclesie Wisdom in the glorious fecun- dity of the Church.

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O Maximine, mons et vallis O Maximilian, you are the Es sang vor langen Jahren es, et in utroque alta edificatio mount and the valley and in ARVO PÄRT appares, ubi capricornus cum both you seem a high build- TEKST TEXT: CLEMENS VON BRENTANO (1778–1842) elephante exivit, et Sapientia in ing, where the goat went with deliciis fuit. the elephant and Wisdom was Es sang vor langen Jahren So oft der Mond mag scheinen, in rapture Wohl auch die Nachtigall. So denk ich oft allein. Das war wohl süsse Schall, Mein Herz ist klar und rein, Tu es fortis et suavis in You are strong and beautiful Da wir zusammen waren. Gott wolle uns vereinen. cerimoniis et in choruscatiane in rites and in the shining of altaris, ascendens ut fumus the altar, mounting like the Ich und kann nicht weinen Seit do von mire gefahren, aromatum ad columpnam smoke of perfumes to the Und spinne so allein Singt stets die Nachtigall. Ich denk bei ihrem Schall, laudis. column of praise. Den Faden klar und rein, Solang der Mond word scheinen. Wie wir zusammen waren.

Ubi intercedis pro populo qui Where you intercede for the Da wir zusammen waren, Gott wolle uns vereinen. tendit ad speculum lucis, cui people who stretch towards Da sang die Nachtigall. Hier spinn ich so allein. laus est in altis. the mirror of light to whom Nun mahnet mich ihr Schall, Der Mond schient klar und rein. there is praise on high. Dass du von mir gefahren. Ich sing und möchte weinen.

Da pacem ARVO PÄRT

Da pacem Domine in diebus Give peace in our time O nostris, quia non est alius qui Lord, for there is none other pugnet pro nobis, nisi tu that will fight for us, if not you Deus noster. our God

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Stond wel moder under roode Sune, wat sal me to rede? Thi Son, what am I to do? Your (ENGLAND, UKJENT ANONYMOUS, 1300-TALLET. pine pineth me to dede, Let me torture pains me to death, let Moderne engelsk oversettelse.) deye thi biforen. me die before you. Moder. Nu tarst thu might lere Mother, now you know the pain Wat pine thole that children of bearing children, and what Stond wel moder under roode, Stand well, mother, beneath bere, Wat sorwe have that child sorrow it is to lose a child. Behold thi child with glade the cross; gaze with gladness forgon. moode, Blithe moder mightu be. at your child; indeed you are a happy mother. Sun, I wot I kan thee telle, Buten Son, I know I can tell you, it be the pin of helle, More sorwe Except for the pain of hell, I Sun, hu mai I blithe stonde? I se Son, how can I be happy? I see ne wot I non. know no greater sorrow. the foot, I se thin honde Nailed your feet and hands nailed to to the harde tre. that merciless piece of wood. Moder, reu of moder kare, Nu Mother, have pity on mothers’ thu wost of moder fare Thou the suffering, you a mother, yet still Mother, stop weeping; I do this Moder, do wei thi weepinge, be clene maidenman. a virgin. I thole this ded for mannes for man’s sake, not mine. thinge, For owne gilte tholi non. Sune, help at tine neede, Alle Son, help all who call upon tho that to me greede, Maiden me, maiden, wife, and foolish Sun, i feel the dede stunde. The Son, the hour of death is at and wif and fool wimman. woman. swerd is at min herte grunde hand, Simeon’s promised sword That me bihighte Simeon. thrust to the bottom of my Moder, mai I no leng dwelle, The Mother, I can wait no longer. heart. time is cum I fare to helle, The It’s time for me to go down to thridde day I rise upon. hell; and on the third day to rise Moder, reu upon thi beren, Thu Mother, have mercy on your again. wash awey tho blodi teren That child. Wash away those blood- do me werse than mi ded. soaked tears that worry me Sun, I wille with thee funde, I dey Son, I will go with you, I die of worse than death. iwis of thine wunde, So reuful your wounds too - never was ded was never non. death so pitiful. Sun, hu might I teres werne? I Son, how can I hold back my see tho bloodi floodes erne Ut tears, seeing the rivers of blood Wan he ros than fel thi sorwe, When he rose, then fell your of thin herte to mi feet. that run from your heart all the Thi blisse sprong the thridde sorrow. Happiness sprang up on way down to my feet? morwe, Wel blithe moder wer the morrow. Happy mother were thu tho. you then. Moder nu tarst thu might lere, Mother, if I dare tell you: it’s Beter is that ich one deye, Than better that I alone die, than that Moder, for that ilke blisse, Mother for that same delight, all mankin to helle go. all mankind should go to hell. Biseech ur god ur sinnes lisse, Beseech our god, relieve our Thu be ur sheeld ayen ur fo. plight; Against the devil make Sun, I see thi bodi swungen, Son, I see your beaten body; our fight. Thi brest, thin hond, thi foot pierced through breast, hand, thurghstungen; No selli nis, tho and foot; it’s no marvel I am Blissed be thu queen of hevne, Blessed art thou, heaven’s me be wo. unhappy. Bring us ut of helle levne queen, Free us from the devil’s Thurgh thi deere sunnes might. scream, Through the power of Moder, if I dar thee telle, If I ne Mother, now I may tell you: if I your son. dey, thu gost to helle; I thole this do not die, you shall go to hell. I ded for thine sake. suffer this death for your sake. Moder for that highe bloode Mother, for the bloody might of That he shad upon the roode his crucifixion’s night, Lead us Sune, thu beest me so minde; Son, you are so mindful of me. Led us into hevenlight. Amen. into heavenly light. Amen. Ne wit me nought, it is mi kinde Do not blame me, it is my nature That I for the this sorwe make. to sorrow for you. Moder, merci, let me deye For Mother, thanks; let me die in Adam ut of helle beye And order to buy Adam out of hell, mankin that is forloren. and lost mankind.

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Stabat Mater ARVO PÄRT

Stabat mater dolorosa juxta The grieving Mother stood Fac me tecum pie flere Let me sincerely weep with you, crucem lacrimosa, dum beside the cross weeping Crucifixo condolere, bemoan the Crucified, pendebat Filius. Cuius animam where her Son was hanging. donec ego vixero. for as long as I live. gementem contristatam et Through her weeping sould, Juxta crucem tecum stare To stand beside the cross with you, dolentem pertransivit gladius. compassionate and grieving, et me tibi sociare and for me to join you a sword was passed. in planctu desidero. in mourning, this I desire.

O quam tristis et afflicta O how sad and afflicted Virgo virginum praeclara, Chosen Virgin of virgins, fuit illa benedicta was that blessed mihi iam non sis amara; to me, now, be not bitter; mater Unigeniti! Mother of the Only-begotten! fac me tecum plangere. Fac let me mourn with you. Quae moerebat et dolebat Who mourned and grieved, ut portem Christi mortem, Grant that I may bear the death pia mater cum videbat the pious Mother, with seeing passionis fac me sortem of Christ, nati poenas inclyti. the torment of her glorious Son. et plagas recolere. Grant me the fate of His passion and the remembrance of His Quis est homo qui non fleret Who is the man who would not weep wounds. matrem Christi si videret if seeing the Mother of Christ in tanto supplicio? in such agony? Fac me plagis vulnerari, Let me be wounded with distress, Quis non posset contristari, Who would not be have Cruce had inebriari inebriated in this way by the cross piam matrem comtemplari compassion et cruore Filii. and the blood of your Son. dolentum cum Filio? on beholding the devout mother Inflammatus et accesus Lest I be destroyed by fire, set alight, suffering with her Son? per te, Virgo, sim defensus then through you, Virgin, may I be in die iudicii. defended on the day of judgement. Who is the man who would not For the sins of His people weep she saw Jesus in torment Fac me cruce custodiri, Le me be guarded by the cross, if seeing the Mother of Christ and subjected to the scourge. morte Christi praemuniri, fortified by the death of Christ, in such agony? She saw her sweet Son confoveri gratia. Quando and cherished by grace. Who would not be have dying, forsaken, corpus morietur, When my body dies, compassion while He gave up His spirit. Fac ut animae donetur grant that to my soul is given on beholding the devout mother paradisi gloria. Amen. the glory of paradise. Amen. suffering with her Son?

Eia Mater, fons amoris, O Mother, fountain of love, me sentire vim doloris make me feel the power of sorrow, fac, ut tecum lugeam. that I maygrieve with you. Fac ut ardeat cor meum Grant that my heart may burn in amando Christum Deum in the love of the Lord Chris ut sibi complaceam. that I may greatly please Him.

Sancta Mater, istud agas, Holy Mother, grant this of yours, crucifixi fige plagas that the woundsof the crucified cordi meo valide. Tui Nati be well-formed in my heart. vulnerati Grant that the punishment of your tam dignati pro me pati wounded poenas mecum divide. Son, so worthily suffered for me, may be shared with me.

22 WWW.FIB.NO WWW.FIB.NO 23 Festspillene Samarbeidspartnere i kulturlivet Arrangement Tjenester takker Austevoll kommune Barratt Due musikkinstitutt Bekkjarvik Gjestgiveri Festspillene i Bergen er Bekkjarvik Torg avhengig av mange og ulike Bergen Backline Bergen Dansesenter støttespillere for å avvikle Bergen Filharmoniske Orkester vårens store eventyr. Disse Bergen kulturskole er med på å gjøre opplev- Bergen Kunsthall elsen større. Bergen Nasjonale Opera BIT20 Ensemble Festspillspisesteder Festspillambassadører Bright Yvonne og Bjarne Rieber Buekorpsenes dag Grieg Foundation Bymuseet i Bergen 2014 Trond Mohn Carte Blanche – Norges nasjonale kompani for samtidsdans Hovedsamarbeidspartnere Collegiûm Mûsicûm DNB Cornerteateret Statoil Columbi Egg Radisson Blu Hotel Norge Det felles innvandrerråd, Hordaland Dagens Næringsliv Bergen Internasjonale Kultursenter Festspillspisested 2014 er et samarbeid mellom Den Nationale Scene Festspillene og spisesteder i Bergen som Prosjektpartnere Det Norske Teatret ligger nær våre arenaer. Stiftelsen Kristian Gerhard Jebsen Dramatikkens Hus Kavlifondet Dukkenikkerverkstedet Sparebanken Vest Edvard Grieg Kor Her finner du et utvalg restauranter/spisesteder med – allmennyttige midler Ervingen kulturhus, Gimle god mat, ulike prisklasser og med høyst forskjellig H. Westfal-Larsen og hustru Anna Fargespill menyprofil – fra det urnordiske og rotnorske til euro- Westfal-Larsens Almennyttige fond Ferske Scener AP Møller Fonden Fosse-Gruppa peisk klassisisme med spennende, eksotiske innslag. GC Rieber Fondene Fysak Allaktivitetshus Griegakademiet, institutt for musikk, Festivalpartnere Universitetet i Bergen Bergens Tidende Grieghallen Nespresso HiHat management 1 BARE Restaurant tlf. 40 00 24 55 Anti Bergen Holbergprisen 2 Bocca Restaurant tlf. 55 23 16 13 PwC Hordaland Teater Telenor Jiří Hlinka Klaverinstitutt 3 tlf. 55 31 31 60 Boha Restaurant Atea Kirkemusikk i Bergen 4 Bryggen Tracteursted tlf. 55 33 69 99 Norwegian Hull Club Kolibri – Children At Risk Foundation 5 Bølgen & Moi tlf. 55 59 77 00 SUMO Kompani Camping 07000 Bergen Taxi Kritikerlaget 6 Colonialen i Litteraturhuset tlf. 55 90 16 00 Galleriet Kulturoperatørene 7 Colonialen restaurant tlf. 55 90 16 00 A7 Print KODE Kunstmuseene i Bergen 8 Enhjørningen Fiskerestaurant tlf. 55 30 69 50 Avinor Logen Teater og Chagall 9 Fløien Folkerestaurant tlf. 55 33 69 99 Securitas Musikklinjen v/Bergen Private Gymnas STOLT SPONSOR AV Tesla Norges musikkhøgskole 10 Hanne på Høyden tlf. 55 32 34 32 Olden Norges Musikkorps Forbund MANGFOLDET11 Holbergstuen tlf. 55 55 20 55 Steinway Piano Gallery Oslo Norsk Forfattersentrum Vestlandet 12 Kroathai (Nygårdsgaten) tlf. 55 32 58 50 Fjord Line Ole Bull Scene LEGO® Norge Ole Bulls villa, Valestrand 13 Lysverket tlf. 55 60 31 00 LEGOLAND® Billund Olsvik skolekor Vi er opptatt14 Ole av Bull et levendeRestaurant kultur-, tlf. 55 57 30 00 Oseana idretts- og15 organisasjonsliv,Pascal Mat & Vin tlf. både55 30 68 68 Offentlige støttespillere Park Hotel Vossevangen Kulturdepartementet Raftostiftelsen 16 Restaurant Entré tlf. 55 30 68 00 nasjonalt og lokalt. I over 60 år Bergen kommune Revy & Teaterservice 17 Restaurant Lucullus tlf. 55 30 68 00 Hordaland fylkeskommune Rekstensamlingene har vi samarbeidet18 Spisestedet med på Troldhaugen tlf. 55 33 69 99 Utenriksdepartementet Sjøforsvarets Musikkorps 19 Sumo tlf. 55 90 19 60 Skranevatnet skolekor Festspillene i Bergen, en viktig Prosjektstøtte Sort/Hvid 20 tlf. 55 30 69 55 To kokker Norsk Kulturråd Stiftelsen Bryggen arena for21 utøvendeWesselstuen kunst. tlf. 55 55 49 49 Institut Français, Oslo Stand Up Norge Vårt samarbeid bidrar til at flere Oticon Fonden Studentorganisasjonene i Bergen Nordisk kulturfond Teater Innlandet får gleden av de mulighetene J.W. Eides Stiftelse Universitetet i Bergen Bergens Riksmålsforening Ung i Kor-Vest og tilbudene som finnes. Fritt Ord Voss gamle kino www.fib.no/festspillspisested Sveriges ambassade Østre Québec Government Office Aarhus Teater DNB sponser levende kultur. WWW.FIB.NO FESTSPILLENE PROGRAM I BERGEN KR 20

HÅKONSHALLEN 24. MAI Theatre of Voices