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Les 26, 27 et 28 juin 2015, au Sony Centre for the Performing Arts de Toronto, dans le cadre du Festival Luminato, était présenté pour la première fois en version intégrale depuis sa création en 1980, Apocalypsis de R. Murray Schafer, sous la direction de Lemi Ponifasio et la baguette du chef torontois David Fallis. Cette fabuleuse épopée musicale en deux parties décrit, premièrement, la destruction du monde, et deuxièmement la naissance d’un Nouveau Monde. Dans l’un des plus grands événements des arts de la scène au Canada, Apocalypsis combinait des talents amateurs et professionnels dans une distribution de près de 1000 chanteurs, musiciens, chefs d’orchestre, acteurs et danseurs pour créer un spectacle visuel, musical et spirituel inégalé.

R. Murray Schafer’s ApocalypsisPart One / Première partie : John’s VisionPart Two / Deuxième partie : CredoA Luminato Festival productionUne production du Festival Luminato

APOCALYPSIS A MUSIC-THEATRE WORK / UNE ŒUVRE DE THÉÂTRE MUSICAL

On June 26, 27, 28, 2015, at the Sony Centre for the Performing Arts in Toronto, R. Murray Schafer’s Apocalypsis was performed in full, for the fi rst time since its world premiere in 1980, under the direction of Lemi Ponifasio and the baton of Toronto conductor David Fallis, as part of Luminato Festival. Schafer’s epic musical voyage is in two parts: "Part One describes the destruction of the world and Part Two suggests the birth of the new universe." In one of the largest performance events Canada has ever seen, Apocalypsis blended professional and ama-teur talents in a cast of almost one thousand singers, musicians, conductors, actors and dancers to create an unprecedented feast for the eyes, ears and soul.

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(Kasina Campbell, Ria Paki, Ioane Papalii, Helmi Prasetyo, Arikitau Tenau), Esie Mensah, Natayu Mildenberger, Claudia Moore, Mikhail Morris, Kevin Ormsby, Jillian Peever, Coman Poon, Kassi Scott, Lua Shayenne, Brodie Stevenson, Mateo Galindo Torres, Yui Ugai, Samuel Xu

*Silent roles / Rôles muets

Choirs / ChœursCantores Celestes Women’s Choir / chœur de femmes (Kelly Galbraith, Conductor / chef)

Seraphim Men’s Chorus + members of Choir 21 / chœur d'hommes + membres du Choir 21 (Richard Foty, Conductor / chef)

Hamilton Children’s Choir / chœur d’enfants (Zimfi ra Poloz, Conductor / chef)

The Element Choir – Speech chorus / chœur par-lant (Christine Duncan, Conductor / chef)

Bell’Arte Singers, City Choir, First Unitarian Congregation of Toronto Choir, Oakham House Choir of Ryerson University, Singing Out, Univox Choir Toronto – Mixed chorus / chœur mixte (Dallas Bergen, Conductor / chef)

Cantabile Chamber Singers, members of Choir 21, Toronto Chamber Choir – Psalm Chorus / chœur : psaume

Brass Ensemble / Cuivres Hannaford Youth Program (Anita McAlister, Conductor / chef)

THE CASTLA DISTRIBUTION

PART ONE / PREMIÈRE PARTIE : John’s Vision

Voice of / Voix de John Laurie AndersonWhore of / Fille de joie de Babylon Nina Arsenault*Antichrist / Antéchrist Brent CarverJohn Denise Fujiwara*Old Woman / Dame âgée Tanya TagaqArchangel Michael / l’archange Michel Kawiti WaetfordCosmic Christ Ioane Papalii*Beast / La Bête Helmi Prasetyo*

Prologue Mariatu Kamara

Living Creatures / Créatures vivantes Bo Bardos, Neema Bickersteth, Carla Huhtanen, Xin Wang

Elders / Ainés* Amanda Acorn, Sylvie Bouchard, Jessie Garon, Kate Holden, Susanna Hood, Jani Lauzon, MAU

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Chrysolite – Tallis Choir of Toronto (Peter Mahon, Conductor / chef)Beryl – Orpheus Choir of Toronto (Robert Cooper, Conductor / chef)Topaz – Ontario Youth Choir Alumni – Choirs Ontario (Dr. Marta McCarthy, Conductor / chef)Chrysoprasus – Cathedral Choir of St. James (Markus Howard, Conductor / chef)Jacinth – DaCapo Chamber Choir (Leonard Enns, Conductor / chef)Amethyst – Guelph Chamber Choir (Gerald Neufeld, Conductor / chef)

EnsemblesJasper – Members of the / Membres du Afi ara Quartet and Guests / et invitésSapphire – Ton Beau String QuartetAgate – Vaughan String QuartetEmerald – Aether String QuartetOnyx – Kensington EnsembleSardius – Quatuor DespaxChrysolite – Strataphoria String QuartetBeryl – Odin String QuartetTopaz – Erato String QuartetChrysoprasus – Eden String QuartetJacinth – Adfi cio QuartetAmethyst – Cecilia String Quartet

High Instruments / Instruments aigüsMusica Refl ecta (Anastasia Tchernikova, Conductor / chef)

Percussion Ensemble / Ensemble à percussions (Ryan Scott, Percussion Director / directeur section percussions – Michelle Colton, Assistant Percussion Director / assistante section percussions)

Yang Chen, Julia Cleveland, Kareem El-Tyeb, Elizabeth Go-Ho, Adam Kaleta, Max Lindsay, Lian McMillan, Michael Murphy, Derek Ou, Keshav Sharma-Jaitly, Mika Sustar, Danny Wright

Organ / Orgue Sarah Svendsen

PART TWO / DEUXIÈME PARTIE :Credo

Choirs / ChœursJasper + Sapphire – Toronto Mendelssohn Choir (Noel Edison + Caron Daley, Conductors / chefs)Agate – Grand Philharmonic Choir Chamber Singers (Mark Vuorinen, Conductor / chef)Emerald – Exultate Chamber Singers (Mark Ramsay, Conductor / chef)Onyx – Pax Christi Chorale (Stephanie Martin, Conductor / chef)Sardius – Ottawa Bach Choir (Lisette Canton, Conductor / chef)

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Assistant Sound Designer / Assistante ingénieur de son : Emily PorterCostume Supervisor / Chef costumière : Brenda ClarkAccompanist / Accompagnateur : Chris BaganStage Manager / Régisseure de plateau : Stephanie MarrsAssistant Stage Managers / Adjoints à la régie : Joanna Barotta, Janet Gregor, Kirstin McCollum, Marie-Claude Valiquet, Jane Honek, apprentice / stagiaireInstrument Maker / Luthier : Nuno CristoExecutive Director MAU / Directrice exécutive MAU : Susana Lei’ataua

For / Pour le Luminato Festival Artistic Director / Directeur artistique : Jorn WeisbrodtExecutive Producer / Chef de production : Clyde WagnerProducers / Producteurs : Naomi Campbell + Caroline HollwayProduction, Technical Manager / Producteur, directeur technique : Peter EatonProduction Associate / Assistant à la production : Mark RochfordCompany Manager / Gestionnaire : Sue Konynenburg

Basses / Contrebasses Hilda Cowie (principal / contrebasse solo), Rob Clutton, Michael Cox, Jesse Dietschi, Neal Evans, Adam Scime

Tape / Bande préenregistréeSalzburg Cathedral Bells recorded by / enregistré par The World Soundscape Project in / en 1975, then fi ltered for the piece / puis retravaillé pour les besoins de la présentation.

The orchestra for Part Two was formed by the suc-cessful applicants to the Luminato String Quartet Fellowship, who received master classes with the Cecilia String Quartet, pop-up performance opportunities during the Festival, as well as pro-fessional mentorship. / Pour la deuxième partie, l’orchestre a été formé par les candidats retenus par le Luminato String Quartet Fellowship, les-quels ont reçu des cours de maître par le Cecilia String Quartet, des opportunités d’apparition-sur-prise durant les festivals, ainsi que des mentorats professionnels.

Production Team / Équipe de production Sound Designer / Ingénieur de son : Holger SchwarkAssistant Director / Assistant directeur mise en scène : Charles KoronehoAssistant Music Director / Assistante directrice musicale : Stephanie Martin

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QUEL EST LA RAISON D’ÊTRE DE L’ART ?par R. Murray Schafer

PREMIÈREMENT, L’EXALTATION. Parlons-en. Le changement qui se produit quand nous sortons de la petite cage étroite du quotidien. Se sentir précipité au-delà de nos limites dans un cosmos à la puis-sance extraordinaire. Voler dans les faisceaux de cette puissance, et lorsque nous clignons des yeux, sentir nos oreilles, nos yeux et nos sens s’ouvrir au merveilleux et au miraculeux, malgré l’adversité du mental. Sentir, en dépit des forces du corps, ces forces jaillir devant nos yeux, briser tous les encroû-tements, et nous libérer par un vent sauvage de liberté. Parlons de cela, de la nouveauté qui boule-verse l’esprit et l’exalte. Parlons-en. Comment tout devient nouveauté. Et si nous retournons à la routine quotidienne, constater qu’il n’y a plus de routine, car tout scintille et est désormais magnifi que par la perception nouvelle de nos yeux, de notre nez, de nos esprits et de nos corps rafraîchis. Parlons de cette exaltation qui nous sort de nous-mêmes et nous fait vivre ce que nous avions manqué ou vague-ment éprouvé, ou ce à quoi nous avions résisté.

Ce doit être ça, la raison d’être de l’art. Permettre la réalisation d’un changement dans notre condition existentielle.

WHAT IS THE PURPOSE OF ART?by R. Murray Schafer

FIRST, EXALTATION. Let us speak of that. The change that occurs when we are lifted out of the tight little cages of our daily realities. To be hurled beyond our limits into the cosmos of magnificent forces, to fly into the beams of these forces and if we blink, to have our eyes and ears and senses tripped open against the mind’s will to the sensational and the miraculous. To feel these forces explode in our faces, against our bodies, breaking all encrustations and releasing us with a wild fluttering of freedom. Let us first speak of that. Of the newness that stuns the mind and sends it reeling. Let us speak of that. How everything becomes new. And if we return to our daily routines, they are no longer routines, but scin-tillate and have become magnificent by our sensing them with fresh eyes and noses and minds and bod-ies. Let us speak of this exaltation which has driven us out of ourselves to experience the life we have missed or only vaguely sensed, even resisted.

This must be the first purpose of art. To effect a change in our existential condition.

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existence could take, and while the work is based on religious texts, it is not in itself religious. We are estranged from nature, we are destroying it, but in Schafer’s opinion, music and art can inspire a new dialogue with nature and the world we live in. It is this harmony that Apocalypsis tries to achieve: nature gives birth to art and art reconnects us to nature.

For the Luminato Festival the three years spent working on this piece was an incredible journey, one that also led from chaos to order. Three years ago there was nothing: no cast, no set, no money; there was just the idea and the score; there was only a desert where now there is an empire of sound, a rich and sparkling oasis, built by 1000 mostly non-professional musicians and performers and another 100 people behind the stage. Here life imitates art: the process of producing Apocalypsis was the essence of the piece itself. It created a community of performers from all over Ontario and the rest of the world, engaged in a ritual. In this recording, the performers invite the listener to share in this process or ritual. I am eternally grateful to them because they allow me once again to experience what they are going through.

I fi rst listened to R. Murray Schafer’s magnum opus while driving to the fi rst preview of another monumental piece: Robert Wilson and Philip Glass’ Einstein on the Beach ; I was completely riveted. The fact that I did not have a fatal accident is a miracle. A year later, when I saw Lemi Ponifasio’s work, I knew that he was the right person to direct Schafer’s Apocalypsis. In David Fallis, a fearlessly calm man who sees a gorgeous palace where others see a marble quarry, we already had the only possible conductor for the piece.

Schafer describes Apocalypsis as the destruction of the universe and the possibility of a new vision; this is also the essence of Ponifasio’s work. If the world ends tomorrow, what would I say? what would I do? are the questions his theatre asks. The essence of these questions is: what lies behind the destruc-tion and what follows it? With Ponifasio I believe there is the possibility for a positive interpretation of the Apocalypse as a passage towards a new beginning, a cleansing. Schafer’s transcendental choir music in Part 2 of Apocalypsis provides a sonic cleansing, a journey from chaos to order. Apocalypsis maps out the two possibilities that our

A JOURNEY TOWARDS APOCALYPSISby Jörn Weisbrodt (artistic director, Luminato Festival)

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pourrait prendre ; l’œuvre, bien que basée sur des textes religieux, n’est pas religieuse en soi. Nous sommes arrachés à la nature, nous sommes en train de la détruire, mais selon Schafer, la musique et l’art peuvent conduire à un nouveau dialogue avec la nature et le monde dans lequel nous vivons – c’est cette harmonie qu’Apocalypsis essaie d’atteindre : la nature fait naître l’art et l’art nous fait renouer avec la nature.

Pour le Festival Luminato, les trois années consa-crées au travail sur la pièce furent une expérience extraordinaire, qui a conduit du chaos à l’harmonie. Il y a trois ans, il n’y avait rien : pas de distribution, pas de scène, pas d’argent, mais seulement l’idée et la musique ; il n’y avait qu’un désert, et maintenant un empire sonore, un havre riche et étincelant conçu par 1000 musiciens et artistes pour la plupart non professionnels, en plus de 100 autres personnes dans les coulisses. Ici, la vie imite l’art : le proces-sus de réalisation d’Apocalypsis constitue l’essence même de l’œuvre, créant une communauté d’artistes venant de partout en Ontario et dans le monde, tous engagés dans un rituel. Les artistes de cet enregistrement invitent l’auditeur à tirer profi t de ce processus ou rituel. Je leur suis infi niment recon-naissant, car ils me permettent encore une fois de prendre part à ce qu’ils ont expérimenté.

La première fois que j’ai entendu l’œuvre maîtresse de R. Murray Schafer, c’était dans ma voiture en me rendant à l’avant-première d’une autre grande œuvre : Einstein on the Beach de Robert Wilson et Philip Glass ; j'ai été renversé ! C'est un miracle que je n’aie pas eu d'accident fatal. Un an après, j’ai vu l’œuvre de Lemi Ponifasio et je savais qu’il était la personne désignée pour diriger Apocalypsis. Nous avions déjà en la personne de David Fallis le chef d’orchestre tout indiqué pour l’œuvre, car en plus d’être un homme calme et audacieux, il peut voir un magnifi que palais où d’autres n’y verraient que chantier de marbre.

Schafer décrit Apocalypsis comme la destruction de l’univers et les possibilités d’une perspective renouvelée ; il s’agit aussi de l’essence même de l’œuvre de Ponifasio. Que dirais-je, que ferais-je, s’il y avait demain la fi n du monde ? Ce sont là les questions que pose son théâtre. L’essentiel de ces questions se trouvent-elles sous la destruction, ce qui s’ensuit ? Avec Ponifasio, j’ai eu confi ance en la possibilité d’une interprétation optimiste de l’Apocalypse, un passage menant à un nouveau commencement, à une purifi cation. Dans la deu-xième partie d’Apocalypsis, la musique transcen-dantale pour chœur amène une épuration sonore, un voyage menant de la confusion à l’harmonie. Apocalypsis trace les deux voies que notre vie

UN VOYAGE VERS APOCALYPSIS par Jörn Weisbrodt (directeur artistique, Festival Luminato)

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Murray had once kindly given me, a book published by his own Arcana Editions entitled Dicamus et Labyrinthos: A Philologist’s Notebook. Dicamus is apparently a facsimile edition of a notebook belong-ing to an unnamed archeologist trying to decipher an ancient text written on tablets unearthed in Magia Tribia, Sicily. How it came to be published by Murray’s own publishing company, I have no idea, but I could not help but think of it as I looked at these Apocalypsis (the Greek word for “disclosure”) papers.

Imagine my surprise then, when, kindly having been allowed to borrow a few of the materials to examine at greater leisure at home, from the back of one of the scores out dropped a couple of pages of notes, apparently written by some anonymous member of the original team of creators. Space does not permit a full facsimile here, but allow me to share with you just a few of the notations (See page 10).

MUSIC DIRECTOR’S NOTES… AN HOMAGEby David Fallis

It was just after the New Year of 2015 that I received an email from an archivist doing cataloguing in the CBC Radio archives. She had come across some boxes of materials related to the original produc-tion of Murray Schafer’s Apocalypsis and wanted to know if I would be interested in coming down to have a look. Indeed, yes.

So we arranged a time, and in due course, in the lower depths of the CBC building on Front Street, she showed me some of the original materials from the 1980 production in London, Ontario. There were singers’ parts, sometimes notated with indications about which conductor to watch, how loud to sing, etc., sometimes with more ephemeral additions – Sally’s phone number, or a reminder of the time of the next rehearsal. There were parts which some day might contribute to whole chapters in a PhD thesis about Schafer’s creative process, because they contain material not found in the fi nal full score.

As I nosed about, I felt a bit like an archeologist searching for clues about an ancient culture. At the same time I was reminded of a book which

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• one work, 2 parts

• in “Cosmic Christ” all forces at different tempos

• multiplicity

• John mantra-like, inside the head

• general progression from F to B and back (the old devil in music)

• why is seven considered a sacred number? 7 seals, 7 trumpets, opening movements all 7 minutes long, singers count up to seven and back down to one, 7’s everywhere

• still more multiplicity, like nature, not one grain of sand like the next

• monks, children, women, speaking, brass, winds, bells, creatures, drums, chains, organ, waves, whistles, none the same

• try the difference between spruce and maple for xylophone planks

• Ein jeder Engel ist schrecklich (Rilke) – Every (single) angel is terrifying

• what to call part 2

• get stones for the men – Lake Huron the closest?

• why is twelve considered a sacred number? 12 tribes, 12 disciples, 12 gates of the new Jerusalem, 12 chamber choirs, 12 string quartets, 12 tones in the chromatic scale, 12 invocations and responses, each one centred around one of the 12 chromatic notes

• unity of voices, all with similar material, no dis-tinctions

• currents of sound

• Bruno says there is no divinity apart from its manifestations, no spirit without matter, and vice versa, both infi nite, but how can unity and multiplicity be one and the same? Credo

• music experienced in time – can we experience it more like a picture, hanging entire?

• so many community members offering to converge in (musical) time

• one work, 2 aspects

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MOT DU DIRECTEUR MUSICAL…UN HOMMAGE par David Fallis

Tout juste après le Nouvel An 2015, j’ai reçu un courriel d’une archiviste responsable de l’indexa-tion à CBC Radio. Elle avait trouvé des boîtes de documents en lien avec la production originale d’Apocalypsis de R. Murray Schafer et m'a offert de m’y rendre pour jeter un coup d’œil.

Nous avons alors convenu d’une heure, puis, le moment venu, au sous-sol de l’édifi ce de CBC sur Front Street, elle m’a montré quelques-uns des documents originaux de la production de 1980, laquelle s’est tenue à London, Ontario. Il y avait les parties de chanteurs, avec quelquefois, des indica-tions à surveiller pour le chef, le volume de la voix des chanteurs, etc., et parfois des remarques plus brèves – le numéro de téléphone de Sally, ou un rappel sur l’heure de la prochaine répétition. Il y avait même des parties qui pourraient un jour étoffer des chapitres entiers d’une thèse de doc-torat sur le processus créatif de Schafer, parce qu’elles contenaient des éléments qui ne fi guraient pas sur la partition complète.

Pendant mes fouilles, je me sentais comme un archéologue à la recherche d’indices sur une culture ancienne. Au même temps, je me rappelais

d’un livre que Murray m’avait gentiment offert, dont il est l’auteur, et publié aux éditions Arcana : Dicamus et Labyrinthos : A Philologist’s Notebook. Apparemment, Dicamus est un fac-similé d’un car-net qui appartenait à un archéologue anonyme qui avait tenté de déchiffrer un texte ancien écrit sur des tableaux découverts à Magia Tribia, en Sicile. Comment celui-ci est parvenu à être publié par la maison d’édition du compositeur, je n’en ai aucune idée ! Mais je ne pouvais pas m’empêcher d’y pensertandis que j’observais ces textes d'Apocalypsis (mot grec pour « révélation »).

Imaginez mon étonnement d'y trouver, après qu’on m’ait gentiment autorisé à emprunter quelques-uns des documents pour les examiner à loisir à la maison, dans une des partitions, quelques pages de notes écrites apparemment par un membre anonyme de l’équipe initiale de créateurs. L’espace ici ne permet pas de vous montrer le fac-similé en entier, mais en voici quelques extraits (voir p. 10).

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R. Murray Schafer est un compositeur, pédagogue, environnementaliste, érudit et artiste visuel. Né en 1933, à Sarnia, ON, élevé à Toronto, il grandit dans une ferme près de Peterborough. En tant que « père de l’écologie sonore », Schafer se penche sur les effets néfastes des sons technologiques sur les humains. Sa plus importante publication est Le pay-sage sonore (The Tuning of the World, 1977), dans lequel il résume ses recherches, sa philosophie et ses théories sur l’environnement sonore. L’œuvre de Schafer compte plus de 150 compositions allant de l’opéra à la musique de chambre, des œuvres chorales aux orchestrales. Il a reçu 10 doctorats honorifi ques et a gagné de prestigieux prix, notam-ment plusieurs Junos, le premier Prix Glenn Gould, le Prix Molson, le Prix Walter Carsen, le Prix du Gouverneur Général pour l’ensemble de son œuvre et sa contribution exceptionnelle aux arts du spec-tacle, ainsi que le Prix Koizumi du Japon. Il est offi cier de l’Ordre du Canada, la plus haute distinc-tion civile remise au Canada.

R. MURRAY SCHAFERCOMPOSER / COMPOSITEUR

R. Murray Schafer is a composer, educator, envi-ronmentalist, scholar and visual artist. Born in Sarnia, ON in 1933, and raised in Toronto, he lives in a farmhouse near Peterborough. As the “father of acoustic ecology”, Schafer addresses the dam-aging effects of technological sounds on people. His most important publication is The Tuning of the World (1977) where he summarized his soundscape research, philosophies and theories. Schafer’s œuvre surpasses 150 compositions from opera to chamber music, choral works to symphonies. He has received 10 honorary doctorates and has won many pres-tigious awards, including several Junos, the fi rst Glenn Gould Award, the Molson Award, Walter Carsen Prize, Governor General’s Award for Lifetime Achievement in the Arts and the Koizumi Prize from Japan. He is a “Companion of the Order of Canada,” the highest individual honour in the nation.

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David Fallis est un chef d’orchestre et directeur musical torontois de musique ancienne et contem-poraine. Il a dirigé à la Royal Opera House de Versailles, au Festival de Glimmerglass, aux fes-tivals de Singapour et de Vancouver, au Houston Grand Opera, au Centre des arts de Séoul, au Cleveland Opera, au Wolftrap Theater, et dans les plus grands opéras du Japon. Il a dirigé, en 2009, au Festival Luminato, la création de The Children’s Crusade de R. Murray Schafer, et en première mondiale des créations de compositeurs canadiens de premier plan tels que James Rolfe, Christopher Butterfi eld, Christos Hatzis et Andrew Ager. Il est à la tête de Choir 21, ensemble vocal spécialisé dans la musique chorale contemporaine, et a mené, à titre de directeur musical d'Opéra Atelier, des pro-ductions acclamées à Toronto, en France, au Japon, à Singapour, en Corée du Sud et aux États-Unis. En tant que directeur artistique du Toronto Consort, le plus important ensemble spécialisé dans la musique du Moyen Âge et de la Renaissance, il effectue de nombreuses tournées en plus d’assurer la direction de l’ensemble dans ses nombreux enregistrements.

DAVID FALLISPRINCIPAL CONDUCTOR AND MUSIC DIRECTOR / CHEF PRINCIPAL ET DIRECTEUR MUSICAL

David Fallis is a Toronto-based conductor and music director of early and contemporary music. He has conducted at the Royal Opera House in Versailles, the Glimmerglass Festival, Singapore Festival, Festival Vancouver, Houston Grand Opera, Seoul Arts Centre, Cleveland Opera, Wolftrap Theater, and in major opera houses in Japan. He conducted the world premiere of R. Murray Schafer’s The Children’s Crusade at the 2009 Luminato Festival, and has con-ducted world premieres by other leading Canadian composers including James Rolfe, Christopher Butterfi eld, Christos Hatzis and Andrew Ager. He directs Choir 21, a vocal ensemble specializing in contemporary choral music, and as Music Director of Opera Atelier has led critically-acclaimed produc-tions in Toronto, France, Japan, Singapore, South Korea and the United States. As Artistic Director of the Toronto Consort, Canada’s leading ensemble specializing in the music of the Middle Ages and Renaissance, he tours extensively and leads the ensemble in their numerous recordings.

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Lemi Ponifasio est un artiste, directeur, écrivain, chorégraphe, danseur et designer samoan. Établi à Auckland, Nouvelle-Zélande, il est fondateur et directeur de MAU, une importante compagnie réu-nissant artistes et communautés. Dans son travail scénique, Ponifasio amène l’individu moderne vers d’autres niveaux de conscience, par le biais de ralentissements rythmiques dans le cadre de son esthétique rigoureuse, changeant les dimensions de l’espace, mouvant la scène monochrome où humains, animaux, esprits et dieux sont captu-rés. Depuis plus de deux décennies, son travail est présenté sur les scènes mondiales les plus prestigieuses, incluant le Festival d’Avignon, le Brooklyn Academy of Music, le Festival interna-tional d’Édimbourg, le Théâtre de la Ville (Paris), le Lincoln Center for the Performing Arts (New York), le Southbank Centre (Londres), le Holland Festival, le Festival Luminato, le Festival de Vienne, le Berliner Festspiele et la Biennale de Venise.

LEMI PONIFASIODIRECTION & DESIGN / DIRECTION ET CONCEPTION

Lemi Ponifasio is a Samoan artist, director, writer, choreographer, dancer, and designer, based in Auckland, New Zealand and founder and director of MAU, a global collaboration of artists and com-munities. In his stage-work, Ponifasio orients the modern individual towards other dimensions of consciousness by way of the decelerated rhythm of his strict aesthetic, shifting volumes of space and a monochrome stage where humans, animals, spirits and gods are captured. For more than two decades, his work has been presented on the world’s most prestigious stages including Avignon Festival, Brooklyn Academy of Music, Edinburgh International Festival, Théâtre de la Ville de Paris, Lincoln Center for the Performing Arts (NYC), London’s Southbank, Holland Festival, Luminato Festival, Vienna Festival, Berliner Festspiele and the Venice Biennale.

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inspiration proved especially apt in The Court of Heaven, the scene where the Creatures herald the fi rst appearance of the Archangel. Michael himself can be heard in that same scene improvising kara-kia, Maori prayers and invocations.

Another place where Schafer’s notation is very open is in the Lament over the Fall of Babylon, created and performed in the Luminato produc-tion by Tanya Tagaq. But these open moments aside, we otherwise attempted to be faithful to the composer’s intentions and notation. Where we departed we hope that we did so in the spirit of the work, and made adjustments based on avail-able resources, which Schafer makes clear on a number of occasions is his wish. So for the bowls of wrath in Vision of the End, instead of following the instructions in the score – “buckets fi lled with various materials (nails, bolts, rivets, etc.) which are poured out from a great height onto large saucers of resonant tin held below” – we used heavy chains dropped onto the inside of a tam-tam. The improvised organistrum and tromba mar-ina solo in The Battle between Good and Evil was created on the organ, and the “oriental” instru-ments accompanying the Martyrs Chorus angry cries in The Seven Seals became pots and pans banged to great effect, almost as if we were at a people’s street demonstration. The album does

MUSIC PRODUCTION NOTES by David Fallis

On the front page of its score, Apocalypsis is called “a music-theatre work”, a rather open-ended description by the composer but one which is entirely appropriate for this monumental piece which is part ritual, part opera, part spoken theatre, part dance-work, part oratorio. It is a huge undertaking to produce on stage, requiring as it does such large and various forces.

The fi rst challenge is to understand the notation, especially in Part One: John’s Vision, which is full of the graphic notation employed by Schafer in so many of his works. While occasionally used to make the score into a feast for the eyes as well as the ears, the notation Schafer designs is often a very succinct way to describe the sounds he has in his ear (which is the aim of any music notation). There are a number of places where the notation is extremely open – deliberately so – because it is expected that the performers in each production will create their own music at these moments. So, for instance, the music of the Four Living Creatures must be created anew every time. In the Luminato production, with Kawiti Waetford from New Zealand playing the Archangel Michael, the Creatures were inspired by karanga, the trad-itional Maori welcome songs sung by women. This

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not include Schafer’s Introduction to Part One – fi fteen minutes of simultaneously recited Biblical texts spoken before the start of the performance as the audience gathers – which in the Luminato production was followed fi rst by a short speech from Mariatu Kamaru, a survivor of the civil war in Sierra Leone during which she lost both her hands, and a silent prologue devised by Lemi Ponifasio.

Part Two: Credo is written entirely in standard music notation. Here we availed ourselves of some of Schafer’s instrumental options, particularly in having the choirs accompanied by strings. We also had some of the sections played by the strings alone, a decision modeled on the 1980 perform-ance of Apocalypsis directed by Schafer himself where he used the same revised scoring, providing wonderful shifts in colour to the music.

NOTES SUR LA PRODUCTION MUSICALEpar David Fallis

Sur la page frontispice de la partition d’Apocalyp-sis, on retrouve l’intitulé « une œuvre de théâtre musical ». Il s’agit d’une description pour le moins ouverte du compositeur, mais entièrement appro-priée pour cette œuvre monumentale qui incarne en partie un rituel, un opéra, du théâtre parlant, de la danse et un oratorio. Monter l’œuvre est un tra-vail immense qui exige indéniablement des forces amples et variées.

Le premier défi est de comprendre les annota-tions, surtout dans la première partie, la Vision de Jean (John’s Vision), remplie d’annotations graphiques qu’emploie Schafer dans plusieurs de ses œuvres. Bien qu’elles soient parfois utilisées pour rendre la partition plus aisée, tant à la lecture qu’à l’audition, souvent les annotations de Schafer sont une manière laconique de décrire les sons qu’il entend (ce qui est le but de toute notation musicale). Ici et là, les annotations laissent place à une grande liberté – délibérément – parce qu’il est attendu, à ces moments, que les interprètes dans chaque production créent leur propre musique. La musique des Quatre créatures vivantes doit, par exemple, être réinventée à chaque prestation. Dans la production Luminato, avec Kawiti Waetord de la Nouvelle-Zélande dans le rôle de l’archange Michel, les Créatures étaient inspirées par le karanga, un cérémonial de bienvenue maori chanté par des femmes. Cette inspiration s’avérait parti-culièrement indiquée dans la Cour céleste (The Court of Heaven), où les Créatures annoncent la première apparition de l’archange. C’est lui-même qu’on entend dans cette scène, improvisant des karakia (prières et invocations maori).

Un autre moment où l’annotation de Schafer est ouverte est dans la lamentation sur la Chute de Babylon (Fall of Babylon), créée et interprétée au Luminato par Tanya Tagaq. Hormis ces moments, nous avons sinon tâché de rester fi dèle aux inten-tions et annotations du compositeur. Nous espérons, là où ce ne fut pas le cas, l’avoir fait dans l’esprit de l’œuvre, procédant à des ajustements en fonction

17

des ressources disponibles précisées à quelques reprises par le compositeur, selon son désir. Donc, pour les bols de la colère dans la Vision de la fi n du monde (Vision of the End), plutôt que de suivre les indications de la partition – des sceaux remplis de différents matériaux (clous, boulons, rivets, etc.), lesquels sont versés de très haut dans de grandes soucoupes en étain résonant fi xées au-dessous – nous avons utilisé de lourdes chaines insérées à l’intérieur d’un tam-tam. Le solo improvisé d’orga-nistrum et de trompette marine dans le Combat entre le bien et le mal (The Battle between Good and Evil) a été conçu à l’orgue, et les instruments orien-taux accompagnant les cris de colère du chœur de martyrs dans les Les Sept sceaux (The Seven Seals) sont devenus chaudrons et casseroles, produisant un effet fracassant, comme si nous nous trouvions dans une manifestation de rue. L’album n’inclut pas l’introduction de Schafer à la première partie

– 15 minutes de textes bibliques récités simultané-ment avant le début de la présentation pendant que le public prend place – ce qui, dans la production de Luminato, était d’abord suivi d'un bref discours de Mariatu Kamaru – une survivante de la guerre civile à Sierra Leone, qui perdit ses deux mains – et par un prologue silencieux préparé par Lemi Ponifasio.

Deuxième partie : Credo a été entièrement com-posé selon le système de notation standardisé. Ici, nous avons eu recours à quelques-unes des options d’instrumentation de Schafer, particulièrement dans le choix de cordes accompagnant les chœurs. Nous avions aussi quelques sections jouées par les cordes seules, choix calqué de la représentation de 1980 dirigée par Schafer lui-même, dans laquelle il se servit de la même annotation révisée, appor-tant à la musique d’éblouissants changements de couleur.

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Jaaskelainen, Chris Taeyoung Kim, Chris Walroth, Christina del Monte, Christine Davidson, Christine Duncan, Christine Ilott, Christine Kerr, Christine McClymont, Christine Zaher, Christine Zhao, Christopher Cancian, Christopher Cantlon, Christopher Larsen, Christopher Wattam, Cian Horrobin, Claire Hunter, Claire Renouf, Clara McNamee, Clara McCallum-Fraser, Clarissa White, Claudia Brown, Claudia Lemcke, Claudia Moore, Clement Kam, Clifford-Roy Baker, Clyde Wagner, Cody McCallum, Colin Frotten, Colin Gordon-Dryden, Colin Sandquist, Colleen Didur, Coman Poon, Connie Kuan, Connie Xi, Conor Murphy, Conrad Gold, Corina Chevalier, Cornel Isaila, Curtis Dueck, Curtis Eisenberg, D. Alex Meeks, Dallas Bergen, Dallas Chorley, Damien Macedo, Dan King, Dan Ryan, Daniel Norman, Daniel Parkinson, Daniel Webb, Danny Hones, Danny Wright, Darrelle Carpentier, Darryl Huang, Dave Arthur, Dave Stoutly, David Fallis, David Gonzales, David Lafranchise, David Macmillan, David Martin, David Obes, David Pabke, David Pau, David Roth, David Yung, David B. Powell, Dawne Carleton, Debbie Gonsalves, Denise Fujiwara, Denise Simpson, Derek Fung, Derek Ou, Derrell Woods, Devin Herbert, Devon Wastle Thivierge, Devon Wilton, Diana Praleska, Diane English, Dianne Clare, Dick Land, Dimitria Korakis, Dominic Ebona, Dominick De Kauwe, Don Barber, Don Pyper, Donna Hill, Donny Cheung, Doug Temple, Douglas Brownlee, Douglas Cowling, Duncan Crabtree, Duncan Stuart, Durrell Bowman, Dylan Maddix, Eema Kagoma, Elaine Keillor, Elaine Robertson, Eleanor James, Elicia Clements, Elise Brisson, Elise Naccarato, Elizabeth Cowling, Elizabeth Go-Ho, Elizabeth Jones, Ellen Hrivnak, Elsa Lam, Emilie Gelinas-Noble, Emily Ding, Emily Porter, Emily Rockarts, Emily Sanford, Emily Taub, Emily Wall, Emma Barr, Emma Cava, Emma Metzger, Emma Rafl aaub, Emma Willemsma, Eric Hiebert-Rempel, Eric Wong, Erin Bardua, Erin Hamilton, Erin Polakoff, Erin Smythe, Eros Tang, Eryk Kokoski, Esie Mensah, Etienne Pemberton-Renaud, Eva Yevnokian, Evan Lamberton, Fabiola Amorim, Faith Horizon, Fatemeh Ali Baba Darani, Fiona Collie, Fiona James, Floydd Ricketts, Forte Shinko, Frances Farrell, Frances Nyarko-Mensah, Freddie Towe, Freddy Abu Sido, Gabe Conquer, Gabrielle McLaughlin, Gaby Piri, Gail Thompson, Gareth Poole, Gemma Ricker, Gerald Neufeld, Gerard Nieuwenhuis, Gilad Gratch, Gina Marasco, Gord Burnett, Gordon Bosiljevac, Grace Xu, Graeme McMath, Graham Mansfi eld, Graham Nancekivell, Graham

Aaron Good, Abraham Wilkins, Ada Spanjaard, Adam Despinic, Adam Kaleta, Adam Rosen, Adam Scime, Adriana Hill, Agnes Tobola, Aiden Gould, Aidan Sheedy, Aileen Dunbar, Ai-Linn Chua-Henderson, Alethea Song, Alex Chen, Alex Deitrich, Alex Elcombe, Alex Greenwood, Alex Macleod, Alex Mathews, Alex Meinzinger, Alex Toskov, Alexander Wierzbicki, Alexandra Asher, Alexandra Carroll, Alexandra Park, Alexis Torres, Alison Campbell, Alison Muir, Alison Roy, Alison Vicary, Alizon Sharun, Allen Mahabir, Allyson Aricheta, Amahl Arulanandam, Amanda Acorn, Amy Coulterman, Ana Luisa Santo, Anastasia Tchernikova, Andrea Piche, Andrea Wong, Andrew Adridge, Andrew Day, Andrew Decker, Andrew Liefl ander, Andrew McLaren, Andrew Slonetsky, Andy Dolgin, Angela Gibbon, Angela Peters, Angus Sheach, Anita McAlister, Anna Dolsen, Anna Szigeti, Annalise Walmer, Anne Bergman, Anne Biringer, Anne Field, Anne Lee, Anne MacDonald, Anne Thorne, Anneka Geddes, Ann-Marie Barrett-Tandy, Anne-Marie Macloughlin, Anthea Baille, Anthea McArthur, Anthony Bergamin, Anthony D'Amico, Anthony Varahidis, Anya Stepanova, Ariane Bell Vila, Ariel Lin, Arikitau Tentau, Arlan Vriens, Ashley Carpenter, Ashley Tjon-Hing, Ashlyn Roy, Audie Cameron, Audrey Winch, Aurélie Tauffl ieb, Avis Devine, Aysel Taghi-Zada, Barb Kulczycki, Barb Porter, Barbara Arthur, Barbara Medri, Bea Iabikova, Betty Lynch Powers, Betsy Wimbs, Bev Jahnke, Beverly Krzmarcik, Bijan Sepanji, Bilal Baig, Bill Roulston, Bill Wilson, Bo Bardos, Bonita Ubell, Brad Halls, Brenda Clark, Brenda Enns, Brenda Millar, Brenda O’Connor, Brent Carver, Brian Black, Brian Chang, Brian Igreja, Brian Janzen, Brian Power, Brian Snell, Briana Pogson, Bridget Hunt, Bridget Love, Brittany Gunpat, Brodie Stevenson, Brooke Dufton, Brook Loosemore, Bruce Fong, Bryan Martin, Cady Harman, Caitlin Boyle, Cale Schribler, Calvin Cheng, Cameron Davis, Carl Blanchaer, Carl Piasentini, Carla Huhtanen, Carla Klassen, Carmela Delle Donne, Carmen Wiebe, Carol Maclellan, Carole Bestvater, Carol Young, Caroline Cummings, Caroline Hollway, Carolyn Ryan, Carolyn Vander Schaaf, Carolyne Clare, Carolynne Davy, Caron Daley, Caryl Arundel, Cat Karen, Catherine Crowe, Catherine Hough, Catherine Hunt, Catherine Roe, Catherine Subasic, Cathryn MacFarlane, Cathy Hluchy, Celia Tang, Cendrine Despax, Chanwoo Oh, Charles Davidson, Charles Koroneho, Charlotte Hodgkins, Charna Matsushige, Cheryll Chung, Chieh-Ying Lu, Chloe Anderson, Chris Bagan, Chris Hwang, Chris

THE APOCALYPSIS COMPANYLA COMPAGNIE

19

Thibert, Greg Rainville, Greg Crisp, Gwen Bergman, Hana Fleet, Hannah Bailey, Hannah Hertel, Hannah Ralph, Harold Jackson, Heather Crisp, Heather Matson, Heida Yan, Heidi Breier, Heidi VonShwa, Helen Basson, Helen Coxon, Helen Geng, Helen Todd, Helena Felnstadt, Helmi Prasetyo, Henry Paterson, Henry Zmijak, Herb Poole, Herbert Lemcke, Hilary McCrimmon, Hilda Cowie, Hoan Nguyen Quang, Holger Schwark, Holly Chaplin, Hunter Logue, Hutoshi Irani, Ian Harman, Ingrid Silm, Ioane Papalii, Ione Williams, Irene Bailey, Irene Courage, Irene Ott, Isabella Guiliano, Isis Wisdom, Ivony Ahat, Jaan Medri, Jacob deGroot-Maggetti, Jacqueline Hayden, Jacqueline Teh, Jacqueline The, Jair Castillo, James Baldwin, James Dike, James Walke, James Watt, Jan Goodwin, Jan Szot, Jane Agosta, Jane Honek, Jane McKinney, Jane Michel, Jane Toumi, Janelle Santi, Janet Eide, Janet Gregor, Janet Siltanen, Janet Reid Nahabedian, Jani Lauzon, Janice Coles, Janice Kerkkamp, Jason Fisico, Jason Fung, Jason Urbanowicz, Jean Despax, Jean Ann Stewart, Jean Francois Roy, Jeannine Pitas, Jeff Arnesson, Jeff Bornstein, Jeff Boyd, Jennie Wiebe, Jennie Worden, Jennifer Latella, Jennifer Lee, Jennifer Ujimoto, Jennifer Watson, Jennifer Wöhrle, Jenny Cupid, Jenny O’Meara, Jenny Shaw, Jerome Chang, Jesse Dietschi, Jesse Malone, Jessica Dargo Caplan, Jessica Wright, Jessie Garon, Jill Hennessy, Jillian Peever, Jim Bailey, Jimmy Martins, Jimmy Zhang, Jo Abrams, Jo-Ann Dawson, Joanna Barotta, Joanne Chapin, Joanne Gonsalves, Jocelyn Belfer, Joel Nash, Joel VanderZee, John Castillo, John Creson, John Duwyn, John Gladwell, John Higgins, John Kim, John Meadows, John Radford, John R. Smith, John-Luke Addison, Jonathan MacArthur, Jonathan Steljes, Jordan Scholl, Jordan Thompson, Jorn Weisbrodt, Joseph Hall, Joseph Hatlett, Joseph Landau, Judith Laskin, Judy Clarke, Julia Araiche, Julia Barber, Julia Cleveland, Julia King, Julia Kruizinga, Julia Morson, Julia Singer, Julie McCarthy, Julija Zibrat, Kai Leung, Kaitlin Blanchard, Kallee Smith, Kareem El-Tyeb, Karel Tamchyna, Karen Dunk-Green, Karen Kwan, Karen Li, Karen MacLeod, Karen Watson, Kari Pederson, Kasia Pol, Kasina Campbell, Kassi Scott, Kate Emerald, Kate Holden, Kate Kudelka, Kate Moore, Kate Mossman, Kate Sexsmith, Kate Wilson, Kate Wright, Katelyn Cutrara, Katharine Pimenoff, Katherine Zhu, Kathleen Marck-Wilson, Kathleen Radke, Kathryn Landon, Katie Baldwin, Katie Tam, Kawiti Waetford, Kayla Ruiz, Keith Hagerman,

Kelly Galbraith, Ken Carey, Ken Frey, Ken McRory, Ken Wulff, Kendra Grittani, Kenneth Field, Keshav Sharma-Jaitly, Kevin Johnson, Kevin MacSweeney, Kevin Ormsby, Kevin Wilson, Kiara Go-Ho, Kieran Kane, Kim Allred, Kim Finkelstein, Kim Sartor, Kim Worobec, Kin Kwan Leung, Kristen De Marchi, Kirsten Fielding, Kseniya Dekker, Kyle Canton, Lana Thompson, Lanny Fleming, Laura Coyne, Laura Gillis, Laura Harp, Laura Swankey, Laura Webster, Laura Wilson, Laura Wood, Laura Yiu, Laureen Choi, Lauren Yeomans, Laurence Schaufele, Laurie Anderson, Laurie McDonald, Lawrence Sugden, Lawrie McEwan, Lee Harmer, Leif Steinnen, Leila Husain, Lemi Ponifasio, Leonard Enns, Lesley Bouza, Leslie Fradkin, Leslie Finlay, Lian McMillan, Liane Chatterton, Lieke Van der Voort, Lillian Brooks, Linda Deshman, Linda Blakev, Lindsay Newman, Lindsay McIntyre, Lis Manson, Lisa McDonald, Lisa Milligan, Lisette Canton, Liska Jetchik, Liva Zemitis, Liz Wilson, Lizzie Hetherington, Lois Burkholder, Lori Ciccolini, Louisa Costanzo, Lowell Selorio, Lua Shayenne, Luca Casciato, Lucas Harris, Lucas Udvamoky, Lucy Luk, Luisa D’Amato, Lydia McIntosh, Lydia Harper, Lydia McIntosh, Lynda Chubak, Lynda Smith, Lynette Evans, Lynn Kuo, Lynn MacKenzie, Lynne Mitchell, Lynne Player, Madeline Hay, Marc Blouin, Marc Tyrrell, Marcia Myers, Marcus Howard, Marg McKenzie-Leighton, Marg Rappolt, Margaret Allen, Margaret Elder, Marhee Clifton, Maria Gelenyse, Mariautu Kamara, Marie-Claude Valiquet, Marie Masse, Marilyn Smith, Marion Voysey, Mark Hammond, Mark Lee, Mark Liao, Mark Rainey, Mark Ramsay, Mark Rochford, Mark Vuorinen, Marko Iskric, Markus Howard, Marlene Lynds, Marlo Alcock, Marni Baer, Marta McCarthy, Martin Wills, Mary Barr, Mary Kokoski, Mary Nesbitt, Mary Stinson, Mary Thomas Nagel, Mary Wing, Mary Ann Archer, Mary Ann McKenzie, Mary Ann Farrell, Mary Ella Magill, Mateo Galindo Torres, Mathias Memmel, Matt Dolgin, Matt Farrell, Matt Virro, Matthew Pollishuke, Matthias Schmidt, Mattia Berrini, Maureen Clark, Maurice-Pierre Joanis, Max Lindsay, Max von Holtzendorff, Maxime Despax, Meagan Turner, Megan Hodge, Meghan Hila, Melanie Boyd, Melanie Thompson, Melynda Jurgenson, Merle Fast, Michael Brett, Michael Cox, Michael Guy, Michael Minerales, Michael Murphy, Michael Rowland, Michael Sawarna, Michael Robert Broder, Michaelangelo Masangkay, Michelangelo Iaffaldano, Michelle Colton, Michelle Dicesare, Michelle Dyck, Michelle

20

Xu, Sandra Bockus, Sandra Globerman, Sandy MacDonald, Sang Kyun Koh, Sara Martin, Sara Saberi, Sarah Daniels, Sarah Fogh, Sarah Gillis, Sarah Henstra, Sarah Jane Johnson, Sarah Lazzarino, Sarah Namer, Sarah Nematallah, Sarah Steeves, Sarah Svendsen, Sarah-Lyn Amaral, Sasha Chaplygina, Scott Williamson, Scott Worsfold, Sean Nix, Shaelyn Archibald, Shannon Mercer, Sheila Dietrich, Sheila MacRae, Sheree Spencer, Silvia Buttiglione, Simon Carroll, Simon Honeyman, Simone L’Abbe, Simone Moir, Soara Namae, Sophya Yumakulov, Stephanie Hodnett, Stephanie Marrs, Stephanie Martin, Stephen Barrett, Stephen Cockle, Stephen Fetter, Stephen Strauss, Steve Horst, Steve Mclean, Steve Surian, Steve Szmutni, Stewart Cruikshank, Strachan Bongard, Subiksha Rangarajan, Sue Choi, Sue Furlong, Sue Gratton, Sue Konynenburg, Suhashini Arulanandam, Susan Adams, Susan Rome, Susan Schwartzentruber, Susan Suchard, Susan Worthington, Susana Lei'ataua, Susanna Hood, Susanne Schmidt-McQuillan, Suzanna Attia, Suzanne Farkas, Sylvie Bouchard, Sylvo Frank, Tami Strong, Tamieka Evans, Tamiko Barker, Tammy teWinkel, Tanuri Kulendran, Tanya Charles, Tanya Gopaul, Tanya Tagaq, Taylor White, Ted Poole, Teresa Mahon, Thamar Juan Tyson, Theodore Toulis, Theresa Bauer, Theresa MacDonald, Thomas Linken, Thomas Wilkins, Tiffany Ing, Tilly Kooyman, Tim Hanson, Timmy Mo, Ting Ting Pan, Tom Bogdanowicz, Tom Kerr, Tom Leslie, Tom MacCammon, Toniesha Miller, Tricia Roscoe, Tristan Durie, Tristan Jones, Tyler Pickfi eld, Valarie Koziol, Valdis Jevtejevs, Valérie Despax, Valerie Li, Valerie Nunn, Vanessa Chase, Vernon Garraway, Veronica Adamic, Vicki St. Pierre, Victor Fan, Virginia Evoy, Vivian Moens, Vladimir Rufi no, Walter Mahabir, Wendalyn Bartley, Woodshed Percussion, Woosol Cho, Xerxes Punthakee, Xin Wang, Y. Chung Li, Yang Chen, Yui Ugai, Zimfi ra Poloz, Zsolt Kota.

Lovegrove Thomson, Mike Garboll, Mike Hook, Mika Sustar, Mikhail Morris, Min-Jeong Koh, Mira Jung, Moira Overgaauw, Molly Moore, Monique Aubé, Morganna Kelly, Nacia Miller, Nada Kawar, Nancy Jackson, Naoki Chiba, Naomi Campbell, Naomi Matsui, Nastia Petrova, Natalie Bryan, Natalie Griller, Natayu Mildenberger, Nathalie Nasr, Nathan Martin, Neal Evans, Neal Fleet, Neema Bickersteth, Neil Aronoff, Neil McLaren, Ngaio Potts, Nicholas Forget, Nicholas Gough, Nicholas Nanos, Nicholas Piper, Nicholas Simpson Read, Nick Kyle, Nicko Martin, Nicole Malcolm, Nicole Richard, Nien-Chu (David) Kuan, Nila Rajagopal, Nina Arsenault, Noel Edison, Nuno Cristo, Olga Tylman, Oliver Naruse, Olivia Hopen, Olivia Shortt, Owen Smith, Pamela Wang, Paola di Santo, Pat M. Irwin, Patricia Auchterlonie, Patricia Palma, Patricia Patrick, Patricia Ramos Ward, Pattie Kelly, Paul Archbald, Paul Barton, Paul Dutton, Paul Scott, Perry Alikiotis, Peter Cosbey, Peter DeRoche, Peter Eaton, Peter Mahon, Peter Thompson, Phil Klassen-Rempel, Phil Penney Phoenix Horizon, Queenly Lee, Quinton Neufeldt, R Murray Schafer, Rachael de Vries, Rachel Barreca, Rachel Desoer, Rachel Kwan, Rafael Chen, Raphael Anastasisadis, Rean Cross, Rebecca Claborn, Rebecca Hallquist, Rebecca MacLeod, Rebecca McKay, Rebecca Vogan, Rebecca White, Reena Katz, Reid Harman, Ria Te Uira Paki, Richard Chen, Richard Diver, Richard Foty, Richard Karwat, Riter St. Luc, Rob Clutton, Robert Burkholder, Robert Busiakiewicz, Robert Cameron, Robert Cooper, Robert Gooding-Townsend, Robert Kinar, Roberta Jennings, Robin Elliott, Rohan D’Souza, Ronald Jewell, Ronan MacParland, Rosemond Quartey, Ross Tuskey, Rowena Fleming, Roxanne Cuevas, Rupert de Gruchy, Russell Sweeney, Ruth Caspell, Ruth Gaskill, Ryan McNabb, Ryan Moilliet, Ryan Scott, Sabrina Soto, Sally Stelter, Sam Barton, Sam Chlebus, Samantha Berger, Samantha Little, Samantha Mutis, Samuel Bisson, Samuel

22

creasti omnia, et propter voluntatum tuam omnia erant et creata sunt. (Thou art worthy, O Lord our God, to receive glory and honour and power because thou didst create all things, and by thy will all things are and have their being).MIXED CHORUS I + II: Blessing and honour and power and glory to thee, O Lord God, both now and forever, Amen.FOUR LIVING CREATURES: Holy, Holy, Holy, Lord God Almighty.MEN’S CHORUS: Dignus es accipere librum, et aperire signaculum eius; quoniam occisus es, et redemisti nos Deo in sanguine tuo ex omni tribu et lingua et populo et natione. Et fecisti eos Deo nostro regnum, et sacerdotes: et regnabunt super terram. (Thou art worthy to take the scroll and to break its seals, for thou wast slain and by thy blood did pur-chase for God people of every tribe and language, every population and nation. And thou hast made of them a royal house to serve as priests, and they shall rule upon the earth).MICHAEL: Who is fi t to open the scroll, to break its seven seals?FOUR LIVING CREATURES: The Lamb will open the scroll, the Lamb that was ransomed for humankind will break the seals and reveal the destiny of the world. Holy, holy, holy.CHILDREN’S CHORUS: Beati qui audiunt verba prophetiae huius. (Blessed are they who hear the wordsof this prophecy).

LIBRETTOPART ONE / PREMIÈRE PARTIE : JOHN’S VISION

Words from the / Paroles de Revelation of John. Additional text by / Texte supplémentaire par R. Murray Schafer, bpNichol, Paul Dutton, Steve McCaffery & Leo del Pasqua

1. THE COSMIC CHRIST

JOHN: In the midst of life I have had a vision.MEN’S CHORUS: The cosmos is opening, revealing the man of fi re.JOHN: In the midst of life I have had a vision of the one who was and is and is coming.MEN’S CHORUS: Behold he is coming, the fi rst and the last.The dead is alive for evermore. It is Him, the Christ, Lord.WOMEN’S CHORUS: Alpha and Omega, Alpha and Omega.SPEECH CHORUS: Tell the people of what is now and what is yet to come!MIXED CHORUS: Go tell the people of what is now, and what is yet to come!SPEECH CHORUS: Be not afraid!

2. THE COURT OF HEAVEN

CHILDREN’S CHORUS: Beati qui ad caenam nupti-arum agni vocati sunt. (Blessed are those invited to the wedding feast of the lamb)MEN’S CHORUS: Dignus es domine deus noster accipere gloriam, et honorem et virtutem, quia tu

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ut sit potestas eorum in lingo vitae, et portis intrent in civitatem. (Blessed are they who wash their robes clean: they will have the power of the tree of life and will enter through the gates of the city).JOHN: Before the throne and before the lamb, a great host gathers, white robed, palms in their hands, gathers to sing praise to the Lord for their deliverance!

4. PSALM

FOUR LIVING CREATURES, ELDERS AND PSALM CHORUS: Praise ye the Lord! Praise ye him from the heavens. Praise ye him in the heights, all his angels. Praise ye him, all his hosts. Praise ye him, sun and moon. Praise ye him, stars of light. Let them praise the name of the Lord, for he commanded and they were created. He spoke the word and they were created. Praise ye the Lord from the earth, ye dragons and all deeps. Fire, hail, snow, rain, storms, praise ye him, for his glory alone is excellent; moun-tains and all hills, fruitful trees and all cedars. All kings of the earth and all people, princes and judges of the earth, both young men and maidens, old men and children, let them praise the name of the Lord. Praise ye the Lord!

5. INTERLUDE

CHILDREN’S CHORUS: Beatus qui vigilat. (Blessed the one who stays awake and watches).WOMEN’S CHORUS: And I hear wings.

JOHN: Blessing and honour and glory and dominion forever and ever.

3. THE SEVEN SEALS

MICHAEL: Come!ALL CHORUSES: Come!MICHAEL: Come!ALL CHORUSES: Come!MICHAEL: Come!ALL CHORUSES: Come!MICHAEL: Come!ALL CHORUSES: Come!MEN’S CHORUS AND ELDERS: How long now O Lord before thou wilt avenge our blood?MICHAEL: Wait! Hold! Hold! Let there be no destruction until we have set the seal of God upon those who are chosen!JOHN: I see angels as they pass amongst us, mark-ing us in our kind, some as servants of God, marked for salvation, and some as the servants of Satan, marked for destruction.SPEECH CHORUS: Fall upon us and hide us from the face of him who is seated on the throne and from the wrath of the Lamb, for the great day of their wrath is come and who can bear it?MEN’S CHORUS: Avenge our blood!CHILDREN’S CHORUS: Beati qui lavant stolas suas:

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JOHN: I see a great sign in heaven. I see a woman adorned with the sun, I see a woman adorned with the sun, standing on the moon, twelve stars on her head, twelve stars on her head for a crown. She cries aloud in the pangs of childbirth! And I see another vision. I see a vision of a dragon, a dragon who waits before the woman, waits for the child, waits for the child’s birth so he can devour it. And I see the dragon’s tail sweep the stars from the sky, fl inging them to the earth.MICHAEL: Victory. This is the hour of victory for God.JOHN: And I see Michael and his angels, I see them make war on the dragon, the great dragon whose name is Satan. I see the dragon thrown down to Earth, and I see great Satan’s angels thrown down with him.MICHAEL: This is the hour of victory for our God! Rejoice then, you heavens and all that dwell in them. But woe to you earth and sea, for the devil has come down to you in a rage, knowing that his days are numbered. Rejoice you heavens. Woe to earth and sea.JOHN: Out of the sea I see a beast rising, I see a beast rising, ten horns upon its seven heads, ten dia-dems upon its seven brows. I see the beast rise, ris-ing out of the waves, a beast the whole world fl ocks to, fl ocking to it in wonder. And I see him allowed to wage war over God’s people, allowed to wage war and to defeat them. And I see him given power over every race, people, language and nation, and I see him given power over them, and all the people of the world worshipping the beast!

JOHN: And I hear angels in the midst of heaven, and I see an angel who fl ies crying to all before him:“Woe, woe, woe to the dwellers on this earth, Woe to them for the deaths that will now be known!”

6. THE SEVEN TRUMPETS

MEN’S CHORUS, MIXED CHORUS I + II, WOMEN’S CHORUS: Woe, woe to the dwellers on earth for the end is nigh!MICHAEL: Seal up what the seven thunders have uttered, do not write it down. When the seventh angel sounds his trumpet, then will the hidden purpose of God be fulfi lled. Take this. Swallow it. Though its taste is sweet in your mouth it will turn your stomach sour. Swallow it and utter prophecies again, prophecies before all people and nations lan-guages and kings.CHILDRENS CHORUS: Beatus qui custodit verba prophetiae libri huius. (Blessed is the one who heeds the words of prophecy contained in this book).

7. THE BATTLE BETWEEN GOOD AND EVIL

JOHN: I see.MICHAEL: Prophesy!JOHN: I see.MICHAEL: Prophesy!JOHN: I see.MICHAEL: Prophesy!

25

God,” and the troups of heaven follow him on white horses, arrayed in pure white linen. His lips part, and a sharp sword issues forth wherewith to smite the nations. His will is the will of God and he shepherds the nations with an iron fl ail, trampling the wine press of the passion and wrath of God almighty. His name is written on his robe, upon his thigh, And his name is King of kings and Lord of lords!MIXED CHORUS: King of kings and Lord of lords.MEN’S CHORUS: O magna mirabilia opera tua, O Domine deus omnipotens. (Great and marvellous are thy works, O Lord God almighty).SPEECH CHORUS: Woe, alas, great city of Babylon, thy doom has come.FOUR LIVING CREATURES: Great and marvellous are thy deeds, O Lord God. Just and true are thy ways, O King of all ages.ALL CHORUSES: Domine! (Lord!)

9. LAMENT OVER BABYLON AND TRANSITION TO THE NEW KINGDOM

CHILDREN’S CHORUS: Beati mortui qui in domino moriuntur. (Blessed are they who die in the Lord).OLD WOMAN: A Lament over Babylon.JOHN: Fallen is Babylon the Great. A haunt of demons now. A den of foul spirits, a cage for loath-some birds.Nations have drunk the wine of her passion, and kings have committed vice with her. Render unto her

ANTICHRIST: Ladies and gentlemen! God is dead! It was a hoax designed to enslave you. Behold the new ruler of the universe! Sing his praises into the future. Ladies and gentlemen! Sing of the glory of war, the world’s only hygiene. Sing of the love of danger, of patriotism and the habit of energy! Ladies and gentlemen! Sing of great crowds excited by work and pleasure and riot. Rejoice in the Babel of the modern metropolis. Sing of the glitter of knives. Throw your heads up towards the sky, where jets like mighty gymnasts pull you to distant lands! Ladies and gentlemen! Destroy the museums and libraries! Burn the icons and the paintings! Destroy grace and feminism and sentiment! Ladies and gentlemen! Sing of the joy of computers, a narcotic to the brain. Ladies and gentlemen! Sing of freedom from work and pain, sing of the unending presence of joy, for the present is all that exists!

8. VISION OF THE END

ALL CHORUSES: Woe!MICHAEL: Now let Babylon fall, great Babylon fall, fall in a single hour!CHILDREN’S CHORUS: Beatus et sanctus qui habet partem in resurrectione prima. (Blessed and holy is the one who shares in the fi rst resurrection).JOHN: I see the white horse! His rider is faithful and true. His judgements are just. His warfare is not without cause. His eyes are a fl ame of fi re. His head is adorned with diadems. His body is clad in a robe dripped in blood. His name is “The logos of

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gates of light are never shut by day, and night there shall be none. The Lord of light shall illumine them, and they shall reign forever.MICHAEL AND JOHN: I am alpha and omega, the fi rst and the last.ALL CHORUSES: Allelulia.CHILDRENS CHORUS: Veni, Iesu. Alleluia.(Come, Jesus. Alleluia).ALL CHORUSES: Come.

what she rendered unto others. May her doom be double for what she has done. She will be hurled down and seen no more, harps and musicians heard in her no more, craftsmen found in her no more. The sound of work heard in her no more, the light of lamps heard in her no more, the voice of the bride and the bridegroom heard no more. Vanished! The ripe fruit of desire! Perished! The luxury and splen-dour! Desolate! The streets that pleasured! Burned, what yielded riches beyond measure! Rejoice over her, thou heavens, for all is lost. God hath avenged you on her. Nothing is everything in her. She is she no more. Her is here no more. She is she no more.Her is here no more.ALL CHORUSES: Alleluia, Alleluia, Alleluia.FOUR LIVING CREATURES: The book of life is opened and the dead are judged by what is written. The sea gives up its dead. Death and Hades give up their dead, and the dead are judged by what the dead have done.MICHAEL: By light shall the nations walk: and into light shall kings of the earth bring their glories. The

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can be added or subtracted from universe for the infi nite has no parts.

7. INVOCATION AND RESPONSE 7 Lord God is universe. Universe cannot be com-

pared since being everything it is incomparable.

8. INVOCATION AND RESPONSE 8 Lord God is universe. In universe all things are

new for everything has been.

9. INVOCATION AND RESPONSE 9 Lord God is universe. Universe has no parts yet it

contains all parts. It is soul yet it is not soul. It is body yet not body. It is formed yet it is formless. It is end, yet unending.

10. INVOCATION AND RESPONSE 10 Lord God is universe. Universe has no halves,

quarters or measure. It has no before, after or present. It has no up, down or position. In uni-verse visible does not differ from invisible.

11. INVOCATION AND RESPONSE 11 Lord God is universe. In universe point does not

differ from circumference, fi nite from infi nite, maximum from minimum. Therefore universe is all centre yet nowhere centre. And all circumfer-ence yet nowhere circumference.

12. INVOCATION AND RESPONSE 12 Lord God is universe. Universe is one: one act,

one form, one soul, one body, one being, the maximum and only. O man, know these facts to be true. Amen.

Adapted by / Adaptation par R. Murray Schafer from the / du Fifth Dialogue of “De la causa, principio de uno” by / par Giordano Bruno.

1. INVOCATION AND RESPONSE 1 Lord God is universe. Universe is all that exists.

2. INVOCATION AND RESPONSE 2 Lord God is universe. Universe is infi nite in

extent, immobile in time. Universe does not move for there is nowhere that is not already.

3. INVOCATION AND RESPONSE 3 Lord God is universe. Universe does not engen-

der itself for it is already all being. Universe is not corruptible for there is no thing into which it can change itself.

4. INVOCATION AND RESPONSE 4 Lord God is Universe. Universe is not matter for

it is not confi gured or fi gurable. Universe is not form for it does not inform or conform to any-thing beyond.

5. INVOCATION AND RESPONSE 5 Lord God is universe. Universe comprehends all

oppositions in its being. In universe all things concur in perfect unity; all contradictions are cancelled.

6. INVOCATION AND RESPONSE 6 Lord God is universe. Universe is not measured

or measurable. Universe is not contained since there is no greater than itself. Universe does not contain since there is no less than itself. Nothing

PART TWO / DEUXIÈME PARTIE : CREDO

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The recording was made possible through the generous support of / Cet enregistrement a été rendu pos-sible grâce au soutien généreux de : Helen Burstyn, Wendy M. Cecil, The Michael & Sonja Koerner Charitable Foundation, Nancy Lockhart & The Murray Frum Foundation, Joan & Jerry Lozinski, Eleanor McCain, Margaret McCain, Joe Mimran & Kimberley Newport-Mimran, Julia Ouellette, Jim & Sandra Pitblado, Beth Robinson, Gretchen & Donald Ross, Colleen Sexsmith.

Luminato Festival's Production of Apocalypsis was presented by / La production Apocalypsis est une présenta-tion de : BMO, supported by / appuyée par Hal Jackman Foundation, Gretchen & Donald Ross, Sony Centre for the Performing Arts, in partnership with / en partenariat avec National Arts Centre / Centre national des Arts & Royal Conservatory of Music.

With special thanks to / Nous remercions tout particulièrement : Canadian Actors’ Equity Association, ACTRA, Canadian Federation of Musicians / Fédération canadienne des musiciens, IATSE.

Performance Rights courtesy of / Droits d’exécution avec l’aimable autorisation d’Arcana Editions.

Commissioned by the CBC in 1976, Apocalypsis premiered at Centennial Hall in London, Ontario, Canada on November 28, 1980 as part of the city’s 125th anniversary. / Apocalypsis – une commande de la CBC en 1976 – a été créée au Centennial Hall, à London, Ontario, Canada le 28 novembre 1980, dans le cadre du 125e anniversaire de la ville.

This recording is made under exclusive license with / Cet enregistrement est sous licence exclusive avec Toronto Festival of Arts, Culture and Creativity (LUMINATO FESTIVAL) ℗ 2015.

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The works recorded on this album were performed at the Apocalypsis shows on June 27 and 28, 2015 / Les œuvres sur cet album ont été enregistrées pendant les spectacles des 27 et 28 juin 2015; at the / au Sony Centre for the Performing Arts (Toronto, ON, Canada). As part of / dans le cadre du Luminato Festival.Recorded and Mastered by / Enregistré et mastérisé par Doug Doctor, CBC Music.

A Music-Theatre work composed by / Une œuvre de théâtre musical composée par R. Murray Schafer.Libretto : R. Murray Schafer, bpNichol, Paul Dutton, Steve McCaffery, Leo del Pasqua.Based on the Revelation of St. John the Divine, Psalm 148 and words by Giordano Bruno. Basé sur la Révélation de Saint-Jean le Divin, Psaume 148, et Giordano Bruno.

Direction and Design / Direction et conception : Lemi PonifasioPrincipal Conductor and Music Director / Chef principal et directeur musical : David FallisLight / Éclairage : Helen Todd

ANALEKTA

Executive Producer, Artistic Director / Producteur, directeur artistique : François Mario LabbéProduction Manager / Directrice de production : Julie M. FournierProduction Assistant / Assistante de production : Kathleen DésiletsTranslation / Traduction : Rédaction LYREProofreading / Révision : Kathleen DésiletsCover Photo / Photo de couverture : © Bruce ZingerPhotos p. 2 & 21 : © Bruce ZingerDrawings / Illustrations : From the original score of / Tirées des partitions originales d'Apocalypsis Part One: John’s Vision (R. Murray Schafer), Arcana EditionsGraphic Design and Production / Conception et production graphique : Pragma création

Groupe Analekta Inc. recognizes the fi nancial assistance of the Government of Quebec through the SODEC’s Programme d’aide aux entreprises du disque et du spectacle de variétés and refundable tax credit for recording production services. / Groupe Analekta Inc. reconnaît l’aide fi nancière du gouvernement du Québec par l’entremise du Programme d’aide aux entreprises du disque et du spectacle de variétés et le Programme de crédit d’impôt pour l’enregistrement sonore de la SODEC. We acknowledge the fi nancial support of the Government of Canada through the Department of Canadian Heritage (Canada Music Fund). / Nous reconnaissons l’appui fi nancier du gouvernement du Canada par l’entremise du ministère du Patrimoine canadien (Fonds de la musique du Canada).

AN 2 8784-5 Analekta is a trademark of Groupe Analekta Inc. All rights reserved. / Analekta est une marque déposée de Groupe Analekta Inc. Tous droits réservés. Made in Canada. / Fabriqué au Canada.

AN 2 8784-5

CD1

Part One / Première partie John’s Vision

1. The Cosmic Christ 7 : 142. The Court of Heaven 7 : 043. The Seven Seals 5 : 424. Psalm 6 : 075. Interlude 1 : 486. The Seven Trumpets 6 : 197. The Battle between Good and Evil 6 : 458. Vision of the End 6 : 099. Lament over Babylon and Transition

to the New Kingdom 18 : 33

CD2

Part Two / Deuxième partie Credo

1. Invocation and Response 1 3 : 362. Invocation and Response 2 3 : 303. Invocation and Response 3 3 : 304. Invocation and Response 4 3 : 305. Invocation and Response 5 3 : 316. Invocation and Response 6 3 : 397. Invocation and Response 7 3 : 408. Invocation and Response 8 3 : 389. Invocation and Response 9 4 : 0110. Invocation and Response 10 2 : 1911. Invocation and Response 11 2 : 0912. Invocation and Response 12 10 : 40

APOCALYPSIS A MUSIC-THEATRE WORK / UNE ŒUVRE DE THÉÂTRE MUSICALLive recording / Enregistré en spectacle