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Religion and philosophy analyse the existential questions of human existence, while only the presence of enlightened ones and the splendour of nature propels us beyond worldly perception. The arts ennoble our hearts and prepare us for the real experience of truth, ever-peacefully composed in silence. Celebrating the power of the arts, the Melbourne Arts Festival is bringing to audiences a series of three concerts focused on Christ’s last seven words on the cross “Into Thy hands I commend my Spirit”. Selected music of pregnant spiritual import is being offered amongst the soaring Gothic arches of the largest church in Australia. The human struggle and consequent resolve to sacrifice the infatuation with the material glitter of mundane life for supreme love resounds within the musical landscape of the three programs.

The first program consists of works by contemporary living masters. Arvo Pärt’s magnum opus “Cantus in Memory of Benjamin Britten” (1977) opened the series. Beginning and ending in silence, the work progresses through bell sound and tintinnabulated descending sustained string tones to resolve from where it came, purifying bell vibrations and silence. The composition is a sonic metaphor for the transformations of physical being within the ever-present substratum of existence. The Orchestra of the National Academy of Music and conductor Kristian Winther did good justice to the piece, although the lack of enough bass instruments spoiled the ending.

The centrepiece of the program was Sofia Gubaidulina’s “Seven Words” (1982). Gubaidulina uses the commanding symbols of the cross and the body to characterise central conflict of the human condition. Taking the age-old analogies of the body as an instrument and the instrument as a body, Gubaidulina gives the two solo instruments in the piece potent symbolical roles. The cello represents the cross - the symbol of ultimate sacrifice. The piano-accordion with its bellows, resembling the movements of human ribs and lungs, imitates the physical body – the ultimate sacrificial object. This music is not to be enjoyed but to be suffered. Dissonance and agitation resonate out of a heart in agony and dominate over sporadic lyrical elements in accordance with the never-ending search for happiness and truth any mortal is bound to pursue in life. Timo-Veikko Valve (cello) and Joe Chindamo (piano-accordion) were deeply moved by the music. They succeeded in reliving it with virtuosic clarity and pledge, which left lasting impressions in the minds of those present. It was good to see Joe Chindamo, normally performing jazz on the piano, crossing over into unchartered repertoire.

The performance was enhanced by a set design, created by Bluebottle’s Ben Cobham and Matthew Hoy’s lighting. A hexagon wooden stage with seven risen lit star-like arms, placed in front of the altar, produced unexpected intimacy in the large space. Subtle light nuances underscored the sections of the works. It is clear that Ben Cobham and Matthew Hoy are designers who take time to analyse and respond to space and narrative with innovative streak.

The last piece was George Crumb’s “God Music” from the string quartet “Black Angels” (1970). This excerpt features a ghostly glass harmonica and a melodious cello solo, played movingly by Timo-Veikko Valve. The short length of the last piece surprised the audience. The program would have worked much better if Arvo Pärt’s work was played last and Crumb’s work opened the concert. Yet, the Crumb excerpt left the audience thirsting for more. Longer silences between the pieces and before the start and at end of the concert, which the very young musicians and conductor are still to master with maturity, were needed to increase the effect of the music. Nevertheless, the young instrumentalists are to be applauded for taking on this difficult new music and making it their own. The first concert of the series “Seven Words” unlocked a novel experience for both musicians and audience on a journey of contemplation which is to continue with the next two concerts for those who attend.


Melbourne International Arts Festival, Australian National Academy of Music and Victorian Opera present
Seven Words: Sofia Gubaidulina

Conductor Kristian Winther

Venue: St Patrick's Cathedral
Date/Time: Monday, 12 October 2009 9:00pm
Visit: www.melbournefestival.com.au


Read our review of Seven Words: Joseph Haydn»
Read our review of Seven Words: James MacMillan»