Francis PO TT Christus Improvisation on Adeste, Fideles Schmücke dich, O liebe Seele • Surrexit Hodie Tom Winpenny, Organ Francis Pott (b. 1957) ground itself begins to distort rhythmically and to unfold in tonal point, D. Far-distant references to the chorale Christus fewer bars, as if unsteady beneath hostile buffeting. The conjure a faint memory of the living world reaching into an flow of ancillary counterpoint progressively features a entombed stillness. Christus (1986–1990) owes little to the French organ This is destined for increasing significance throughout the descending chromatic motif from the previous movement, Resurrectio attempts formal balance with Logos while symphony tradition. Its concern with motivic unity and work as a whole, assuming many harmonic guises and as well as the chorale outline and ironic mimicry of the articulating a great struggle toward the light. It begins with evolving tonality arises mainly from interest in the ultimately crowning the Resurrectio finale. ‘ground’ notes, whose final reiteration (now reduced thunderous declamation of the motto theme and a stormy (orchestral) symphonic methods of the Danish composer An extended free development follows. In due course almost beyond coherence) ignites a jagged scherzo. At its cadenza-like introduction which comes to rest on a chord Carl Nielsen, while certain harmonic habits relate more the Allegro is recapitulated, but rising tension is dissipated height three abruptly recessed quiet passages occur, of F sharp (anticipating but not forestalling the work’s specifically to his Fourth and Fifth Symphonies. Above all, by a remote chordal statement of the chorale (which marking the arrival at Golgotha and each followed by peroration). The movement ‘proper’ then embarks from Christus is an exercise in cyclical integration. shows a tendency to remain open-ended until its related and dissonant outbursts symbolising the the tonal point E and gives prominence to a new, irregular Respectively, the five movements trace the Coming apotheosis near the work’s conclusion). The resumed hammered nails. The intention is to suggest the gulf motif. Logos is recalled rhythmically. The chorale of Christ; Gethsemane; Via Crucis/Golgotha/the Allegro steadily escalates through successive separating extremities of physical torment from the soul’s reappears, leading to free development of itself and the Deposition; the Tomb; and, finally, Resurrection – restatements of the ‘motto’ four-note theme, beginning in silent struggle within. The third outburst escalates towards motto theme. A chromatic outline, first heard in portrayed not as victory already attained, but as a vast the depths with an unceremonious interruption and rising the central climax of the Symphony, headed ‘CRUCIFIXUS’ Gethsemane , appears in inversion, climbing with each struggle towards ultimate triumph. A narrative dimension inexorably towards the final bars. Fitfully dramatic and in the published score and bearing words from recurrence. A moto perpetuo of detached chordal quavers applies principally to the central three movements. The beset by sudden contrasts, the movement seeks to Revelation: Every eye shall see Him, and they also which initiates an immense cumulative process, embracing first four notes of the work (D–E–C sharp–F) articulate a convey some impression of the Holy Spirit contending pierced him . This insistent climax finally collapses. progressive jaggedness of rhythm and the steady return progression which both dictates an overarching tonal with a resistant force. Its peroration remains equivocal, as Upward harmonic progressions offer an unashamedly of earlier toccata figuration. The chorale is declaimed first cycle and becomes a continual motivic presence. The first if not yet free from the shadow of the opening fugato . literal suggestion of suffering ended and a winging of the by the manuals over rapid chordal patterns and then, in movement responds to this motif by ultimately reaching Gethsemane begins with the motto theme, soon spirit out of this world into another (influenced by Paul augmentation and in octaves, by the pedals. Fleeting the tonal centre F (the motif’s fourth note). The second introducing a very slow procession of chords. These are Nash’s watercolour, The Soul Visiting the Mansions of the references to the tonal cycle of all five movements are movement, opening with the motif transposed to start on in effect a non-vocal ‘setting’ of the word ‘slowly’ in the Dead ). The chorale returns, simply harmonised in quasi- heard. The eventual climax is as massive as that of F, duly ends on A flat. Repeated application of this quoted text by Thomas Merton, whose vision depicts Renaissance fashion. Golgotha . principle brings about a fresh start from D at the outset of Christ as a spectral visitant embodying all the despair of Viaticum provides extended repose between the Descent from this summit induces a semblance of the finale. However, this movement eventually breaks the human suffering. Eventually motivic counterpoint asserts inexorable treadmill of the third movement and the calm. References to the opening of Logos lead to a cycle by distorting the motif to D–E–C natural–F sharp. C itself in a transient chorale prelude (the chorale being explosive opening of the last. Its title, meaning ‘wages for passage where the sustained chords of Gethsemane is then enharmonically absorbed as a sharpened fourth of sounded by the pedals). The chordal material returns, a journey’, symbolically denotes prayers attending the become fused to phrases from the work’s opening and the transposed Lydian mode and the work ends in F now silent on the first beat of each bar to allow a pedal departure of a soul from this world into the next. At first from the chorale, embellished by triplet quaver figuration. sharp major. development of the four-note motif to show through. An the music makes as if to recapitulate the work’s opening The music becomes hesitant: the first sign of yet greater The first movement, Logos [λογος ], evolves into a anguished climax intervenes suddenly, subsiding at in a new key, thereby evoking a spiritual regression to that struggles ahead. From uncertain beginnings a listless fugato after a strict exposition, evoking a world as length until the chordal texture is regained. The music world before Christ. This is short-lived, and, after a static semiquaver line emerges. This becomes the exposition of yet devoid of any affirmative or elevating impulse. After a becomes both more meekly accepting and more other- chordal passage (balancing that of Gethsemane ), a a fugue, but a distorted one and an essay in elusive brief climax a succession of ideas is heard. The mood worldly thereafter, though perhaps not before Merton’s lengthy movement evolves in the time signature of 5/4, its tonality. Its entries are pitched not at tonic and dominant, becomes restlessly expectant and the tempo accelerates. vision has exposed the ineluctable humanity of Christ’s principal melodic idea being a free inversion of the but at the distance of an augmented fourth (‘tritone’). The After the first substantial climax in the Symphony comes frailty and defeat: that hairsbreadth of salvation which chorale’s later stages. (This recurs momentously, late in device therefore relates to the work’s tonal structure, an extended Allegro . Its rhythms inhabit a consciously Christian perception of the resurrection as fait accompli the finale, where it signifies satanic opposition to the true since the diminished chord comprising each movement’s middle ground between medieval and modern practices, threatens to obscure. chorale’s determined upward progress.) starting pitch consists also of interlocking tritones. Such a while the intermittent presence of a pedal C sharp Via Crucis is an exercise in contraction. Its Viaticum evokes a world locked in sleep or some modal form was shunned in early music, since it undermines an ostensible D tonality. Eventually a further Passacaglia ‘ground’ sounds five times beginning on A deep midwinter of the spirit. Its rhythmic tread consciously supplanted the conventional ‘perfect’ interval between climax occurs, temporarily consolidating C sharp. After a flat, then four on A natural, three on B flat, two on B resembles the tenor solo in the Agnus Dei of Britten’s War first and fifth note, thus running counter to the established more spacious passage, a chorale theme is heard for the natural and one on C – the furthest point in the chromatic Requiem . The music remains confined to modest harmonic order of things – hence also to the sophisticated first time, ornamented by fragmentary patterns beneath. scale from ultimate ‘resurrected’ F sharp. Meanwhile, the dynamic levels and pursues its course to the prescribed medieval mind’s apprehension of known creation and divine providence as a pattern mystically and before sudden silence, then a greatly prolonged final chord. development leads into a recapitulation of the toccata Eventually the entire tune bursts forth in canon mathematically echoed in music. Eventually the fugue Although Christus traces the Christian story from ‘proper’, its escalation eventually accommodating part of between the uppermost ‘voice’ and the pedals, a device moves unobtrusively from the time signature of 4/4 to 7/8, nativity through to death and resurrection, this was always the plainsong in the pedal line, before the material of the heavily dependent upon the harmonic language used to without breaking its semiquaver flow. A fugal stretto for because those are reference points to be recognised by work’s introduction reappears, now subsumed into the lend the melody a modified tonal context. After this the three voices is succeeded by the rare, eccentric device anyone living through some personal existential crisis, not toccata momentum. An extended canonic apotheosis of earlier fugato passage is balanced and rounded off by a known as cancrizans . Beloved of Baroque contrapuntists, because they speak exclusively to the convinced the plainchant between manuals and pedals ensues, thunderous pedal entry of its subject, and the material of this earns its historical name through a bizarrely Christian.