{"id":87268,"date":"2021-01-22T14:31:07","date_gmt":"2021-01-22T12:31:07","guid":{"rendered":"https:\/\/wp.929.org.il\/?p=87268"},"modified":"2021-01-22T14:32:51","modified_gmt":"2021-01-22T12:32:51","slug":"from-terror-to-salvation","status":"publish","type":"post","link":"https:\/\/wp.929.org.il\/en\/from-terror-to-salvation\/","title":{"rendered":"From Terror To Salvation"},"content":{"rendered":"
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Can a psalm be expressed only in music, with no words? In the 19th century, many thought so, that music is the pinnacle of all the arts, specifically because it does not bind its tones to any narrow meanings, but rather opens wide the gate to experiences of fundamental forces that are the source of artistic creation, and perhaps even to the understanding of the forces that rule our world.<\/span><\/p>\n

The pioneering efforts to bring this conception to fruition can be credited to the well-known composer and pianist Franz Liszt (1811 – 1886), who composed an extensive series of \u201cSymphonic Poems,\u201d creations without words, that link to mythological, philosophical or historical texts. Later, Liszt broadened this approach to include the music he composed for the piano and for the organ as well.<\/span><\/p>\n

Julius Reubke was a gifted organist, and student of Liszt. The \u201cSonata on the 94th Psalm in C minor was directly inspired by the works of his teacher, by the spirit of the period, and by the music of Richard Wagner (perhaps specifically by the opera \u201cTristan and Isolde,\u201d which had just been completed). The organ functions here like a complete symphony orchestra, and the clip we have included demonstrates in a captivating way how one man is capable of creating all that tonal richness with just his hands and feet.\u00a0<\/span><\/p>\n

Reubke played the piece for the first time in June of 1857 at the cathedral of Marsburg (near Leipzig), and since then it has become an essential part of the romantic repertoire of the organ. His tragic early death was one of the great losses to the world of music, for he died only a year later, at the age of 24.<\/span><\/p>\n

The work is written as noted in connection to Psalm 94, and the composer dedicates a verse or two from the text to each one of its sections. The frightening beginning – \u201cLORD, God of vengeance, appear!\u201d – is translated into music that is slow, and inspires terror. Listeners who might be perplexed amdist these opening notes, and think that this is incomprehensible modernism, wouldn’t be too far from the truth. The composer opens with an enigmatic dissonance, and creates a musical motif that does not have a singly meaning or interpretation, but rather bears a gloomy message, that will change form many times throughout the work.<\/span><\/p>\n

The other sections of the work also bear quotes from the psalm. The very fast and stormy section that comes after the opening is connected to verses 3, 6 and 7 (\u201chow long shall the wicked exult…they kill the widow and the stranger\u201d). At the center of the sonata there is a very quiet and measured chorale, yet with an internal temerity, based on verses 17 and 19 (\u201cWere not the LORD my help..Your assurance soothes my soul\u201d). In conclusion, a fugue is played based on the opening motif, which greatly expands in tonal quality and power. Here, the source of inspiration is verses 22-3 (\u201che LORD is my haven; my God is my sheltering rock\u201d). Whoever persists and reaches the very end of the work will understand the complete arc that the work follows from the terror stricken passages of the beginning, to the sounds of salvation at the end.\u00a0<\/span><\/p>\n

Prof. Torsten Laux is playing the Hauptwerk organ of Joerg Glebe in a live concert on the 3rd of December 2011, using the sample set of the Willis organ of Hereford Cathedral\/GB.<\/span><\/p>\n","image":false,"embedded_video":"https:\/\/youtu.be\/0hXQPiwXR_c","video_duration":"","show_fb_comments":true,"credit_media":""},"tile":{"top_caption":"The Psalms In Classical Music","main_caption":"From Terror To Salvation","main_caption_size":"1","sub_caption":"A new series - this time: Julius Reubke","preview_embedded":"","preview_image":false,"preview_video":"https:\/\/youtu.be\/0hXQPiwXR_c","external_link":"","link_for_pay":false,"tile_gallery_items":false,"credits":""},"alternate_tile":{"top_caption":"","main_caption":"","main_caption_size":"1","sub_caption":"","hide_media":false},"tile_group":{"preview_image_url":false,"main_caption":"","sub_caption":"","":null,"popup_package_extra_content":"","read_time":""},"home_color":"","home_gallery_top":"","home_gallery_middle":"","home_gallery_book":"","home_gallery_bottom":"","seo":{"seo_title":"","seo_description":"","seo_default_title":"","seo_default_description":""},"links":false},"_links":{"self":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts\/87268"}],"collection":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/comments?post=87268"}],"version-history":[{"count":2,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts\/87268\/revisions"}],"predecessor-version":[{"id":87369,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/posts\/87268\/revisions\/87369"}],"wp:attachment":[{"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/media?parent=87268"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/categories?post=87268"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.929.org.il\/en\/wp-json\/wp\/v2\/tags?post=87268"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}