is a modular composition that has been created in collaboration between the Korean composer Geonyong Lee and the Dutch composer Cord Meijering, following an idea by Wolfgang Lessing.
For mezzo soprano, ensemble, choir and orchestra
The whole work contains 8 modules (movements):
The modules no. 1, 3, 5, 7 and 8 have been composed by Geonyong Lee and Cord Meijering.
The modules 2, 4 and 6 are parts of psalm compositions, that are praising the Christian God. They can be chosen from music by traditional composers of 17th, 19th and 20th Century (free selection).
Basic structure:Complains about the world, that get answered by the praise of the Christian God.
The durations of the modules are fixed:
Module 1 (composed by Cord Meijering, lyrics: 17th Century) approx. 8 minutes 30 seconds
Module 2 (composed by a composer from 17th Century) approx. 5 minutes 30 seconds
Module 3 (composed by Cord Meijering, lyrics: 19th Century) approx. 8 minutes 30 seconds
Module 4 (composed by a composer from 19th Century) approx. 13 minutes 40 seconds
Module 5 (composed by Geonyong Lee, lyrics: 20th Century) approx. 13 minutes 40 seconds
Module 6 (composed by a composer from 20th Century) approx. 8 minutes 30 seconds
Module 7 (composed by Cord Meijering, lyrics: 21st Century) approx. 8 minutes 30 seconds
Module 8 (composed by Geonyong Lee, lyrics: Psalm 150) approx. 8 minutes 30 seconds.
Modules 1, 3, 5, 7: “complains” versus modules 2, 4, 6, 8: “praise”. Modules 1 (Cord Meijering), 3 (Cord Meijering), 5 (Geonyong Lee) are set for ensemble. Module 7 (Cord Meijering) is set for choir, orchestra and ensemble. Module 8 (Geonyong Lee) is set for choir, orchestra and mezzo soprano.
The ensemble should be placed separately from choir/orchestra at a different place of the church/concert-hall (Antiphon).
The lyrics of modules 1, 3, 5, 7 are dealing about painful situations during German 30 Years War (17th Century), American Slavery (19th Century), Korean Gwangju Massacre (20th Century) and the Congo Conflict (21st Century). The lyrics of modules 2, 4, 6, 8 are Psalms.
Lyrics by Hans Jakob Christoffel von Grimmelshausen (no. 1), Solomon Northup (no. 3), Nam Ju Kim, Jeong Hee Ko (no. 5), Marc-Antoine Vumilia Muhindo (no. 7), Psalm 150 in 9 different languages (no. 8)
Concert order of the world premiere:01 Cord Meijering: “Adjeu Welt”
02 Heinrich Schütz: “Die mit Tränen säen”
03 Cord Meijering: “Eliza’s Agony”
04 Felix Mendelssohn Bartholdy: 3 movements
a) from “Psalm 42”: “Wie der Hirsch schreit…”
b) from “Elias”: “Denn Er hat seinen Engeln…”
c) from “Psalm 42”: "Was Betrübst Du Dich”
05 Geonyong Lee: “Tear Rain”
06 Leonard Bernstein: 3rd movement from “Chichester Psalms”
07 Cord Meijering: “Comme les Prophètes”
08 Geonyong Lee: “Halleluya” (Psalm 150 in 9 different languages)
composed in2017, commissioned by the WORLD COMMUNION OF REFORMED CHURCHES
total duration of the concertapprox. 75 min.
dedicated to (Cord Meijering’s parts of the composition)the victims of the Congo Conflict
first public performanceJuly 04, 2017
Leipzig (Germany)
Nikolaikirche
Orchestra: Mendelssohn Orchestra
Choir: Kantorei der Evangelisch reformierten Kirche zu Leipzig
Ensemble:
transit placeElisabeth Holmer, mezzo soprano
Karoline Schulz, flute
Georg Wieland Wagner, percussion
Max Löb, guitar
Wolfgang Lessing, violoncello
conductor: Christiane Bräutigam
publishersGEONYONG LEE and
EDITION MEIJERINGlyrics of Cord Meijering’s parts.ADJEU WELT (Grimmelshausen)
Adieu Welt, dann bei dir ist nichts Beständiges…
In dir o Welt, tut nicht einer was der ander tut…
Adieu Welt…
…einer arbeitet härtiglich, und der ander stiehlet und beraubet das Land…
Adieu Welt…
Adieu…
ELIZA’S AGONY (Northup)
The very amiable, pious-hearted Mr. Theophilus Freeman, keeper of the slave pen in New-Orleans…
intended, no doubt, to do that day a rousing business…
One old gentleman…purchased Eliza’s son Randall…
Eliza was crying aloud, and wringing her hands. She besought the man not to buy him, unless he also bought herself and (her daughter) Emily…
Freeman turned round to her, savagely, with his whip in his uplifted hand, ordering her to stop her noise…
“Don't cry, mama. I will be a good boy” (said Randall)…
A good-looking man… offered Freeman seven hundred dollars for Eliza… Freeman announced his acceptance of the offer. As soon as Eliza heard it, she was in an agony again…
Why could they not be purchased together?…
Finally,… the purchaser of Eliza… said to Freeman he would buy Emily, and asked him what her price was. "What is her price? Buy her? … I won't sell her. She's not for sale.”…
Freeman, out of patience, tore Emily from her mother by main force, the two clinging to each other with all their might…
"Don't leave me, mama—don't leave me,”…
"Don't leave me, mama…” / “Don’t cry, mama, I will be a good boy…”
COMME LES PROPHÈTES (Vumilia)
Nous méritons mieux que les ombres évanescentes des promesses
Nous méritons mieux que les gros titres et la compassion cathodique
Mieux que les ersatz du bonheur qui embuent nos sens
Mieux que les générosités, nous méritons la justice
Mieux que l’argent, rendez-nous la dignité
Mieux qu’un glorieux passé, laissez-nous un futur.
Prends tes tablettes de pierre
Et comme les vieux prophètes des temps d’antan,
Grave une histoire du futur en lettres de feu
Sur les sombres murs de ta prison accroche-la.
More, more, more…future
A future beyond the statistics
A future beyond the politics
A futur farther than the Milky Way
A future in our own way
Yes, more, more, more…future
Prends ta cithare, ta lyre
Et comme tous ces vieux chanteurs des temps d’antan
Nargue les tempêtes de grêle et leurs tonnerres
Chante, oui, crie contre vents et marées qu’après
Le déluge, un autre futur est possible.
Porte tes rêves les plus fous
Et comme tous ces prophètes fous de naguère
De Memphis, Calcutta, Soweto et Congo
Garde en ton cœur le feu du désir allumé
Tu les verras un jour prendre chair dans ta main
Apporte ce qui est entre tes mains et avec
Les prophètes et les bâtisseurs d’aujourd’hui
Déconstruisons la toile du présent
Pour un futur aux couleurs de l’arc-en-ciel
Qui nous appartienne, qui nous ressemble enfin
Car tu mérites mieux que les ombres évanescentes des promesses
Mieux que les gros titres et la compassion cathodique
Mieux que les ersatz, mieux que l’argent
Tu as droit au future
More, more, more…future
A future beyond the statistics
A future beyond the politics
A future farther than the Milky Way
A future in our own way
Yes, more, more, more…future
