The integration of the project in the 2024 Kalv festival De vandrande klangerna i Kalv / The Wandering Sounds of Kalv can be seen in Swedish and English respectively on the two linked websites.
The detailed programme booklet for the 2024 Kalv Festival (in Swedish) can be downloaded here.
This page describes the project’s eight concerts in detail and weaves together the various threads that the audience could pick up as they listened to the music and reflected on the words in the programme booklet.
Could we superimpose Christ’s via dolorosa on the pilgrim paths in Kalv, walking on earth that will soon be enveloped in a new crisis?
Could we see that crisis as a turning point that could usher in a time a new creativity?
As we remembered the past, we walked in the present, and looked to the future.
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Carrying the cross of creation: on the earth’s final journey
Josef Haydn (1732-1809): Musica instrumentale sopra le sette ultime Parole del nostro Redentore in Croce (1786)
As well as seven last words, there are seven pilgrim virtues and seven elements, and so I decided to place each of the musical meditations within a framework of three words. I tríed to respond to these words in my performances of the Haydn sonatas; festival musicians responded to the sonatas through improvising over the three words; the audience then reflected on the experience of listening to the music.
Together we became the wandering sounds of Kalv.
The introductory movement was played at a separate initial event, which set the scene for the series of meditations. I hoped that it would give rise to questions about pilgrimage, and what it might mean to carry the cross of creation. The earthquake followed on immediately from the seventh meditation at the final concert.
I am enormously grateful to the Kalv Festival for enabling me to present Haydn’s Seven Last Words in this way.
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1. THURSDAY 19.45 | Församlingshemmet
THE SEVEN WORDS AND THE SEVEN HAYDNS
Mark Tatlow | Introduction to the sounding pilgrimage at Kalv 2024
Mark Tatlow plays the dramatic Introduzione (marked Maestoso. Adagio) to the Haydn, without any prior comment. This gives rise to questions about the relationship between wandering about as a [lost] pilgrim during the Kalv Festival, playing the Haydn pieces, and “carrying the cross of creation”. What exactly does that mean, and — why improvise afterwards? …
The Haydn sonatas and the meaning of adding cadenzas
Music, without text; expectation without content, except what Haydn had dreamt and what I re-dream. I hope you will hear what I re-dream.
A cadenza does something to time: it closes, or semi-closes. Or it questions. It prepares for what is to come. A cadenza is ex tempore (outside time): an experience of the inexplicable in suspension. (Inside) time usually re-starts after a cadenza.
When a cadenza happens, it is in response to the room; it emerges either from a moment of certainty or from one of uncertainty. A certainty that something will return (a moment of preparation) or an uncertainty (a moment of questioning).
FINGERS: full of love and compassion
CADENZAS: three possible moments: #1 is a moment to recentre, and catch your breath; #2 is a harbinger of the seeming certainty of return; #3 is a lingering uncertainty, or perhaps a longing for something unknown.
The story, The Earth’s final journey, begins. (The festival’s opening concert later this evening could be considered as a possible response to Haydn’s introductory music … from a totally different tradition of pilgrimage… kaihōgyō (circling the mountain) 回峰行
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2. THURSDAY 22.30 | Kalvs kyrka
I – FORGIVENESS, SIMPLICITY, NATURE
Concert | Mark Tatlow, Per-Anders Nilsson & Johannes Landgren
Josef Haydn: Sonata I. Largo.
Meditation for organ, saxophone and elektronics – suite in seven parts
The festival’s first pilgrim virtue, simplicity, is reflected in Haydn’s music:
The earth speaks to her creator:
“Forgive humankind: they do not understand what they are doing to me.”
— a compassionate message of profound simplicity, voiced by whom we often refer to as “Mother Nature”. Do we hear this Word?
How does knowing that she is not punishing us change our relationship to the earth?
The music leads to a late night improvisation, with Johannes Landgren’s organ music and Per-Anders Nilsson’s saxophone and electronics creating a concert full of the notion of pilgrimage.
FINGERS: persuasive and with tears (cf. Arvo Pärt’s silouans song)
CADENZAS: no cadenzas
· forgiveness (self-emptying) ·
· that which in simplicity must exist ·
· in order to realise the meaning of nature · the context ·
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3. FRIDAY 16.00 | Kalvs bygdegård
II – COMFORT, FREEDOM, LIGHT
Discussion – dinner | Martin Lindman, Max Käck, Mark Tatlow & Chris du Preez
During dinner guests discuss the 20 years of the Kalv Festival. The second pilgrim virtue, freedom, concludes the meal interpreted by Mark Tatlow and Chris du Preez. We then walk together to Kalvs Kyrka.
Josef Haydn: Sonata II. Grave e cantabile.
The earth speaks to humankind:
“Be comforted: on the other side of the climate crisis there is nothing other than Paradise.”
— an unexpected message of freedom and eternal light, but first we are asked to endure the crisis.
Do we sense this Word?
How does it change our attitude to today and its bad news?
How does it change our attitude to the future?
FINGERS: comforting: yes, but playful too — as children are
CADENZAS: three possible and (on the page, but only on the page) identical cadenzas
· the light that is promised is eternal and offers freedom ·
· it can even be sensed in the midst of a crisis ·
· to look at an end and see a beginning · this is comfort ·
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FRIDAY 23.00 | Kalvs kyrka
III – RELATIONSHIP, SHARING, WIND
Concert | Mark Tatlow & Ragnar Arnberg
Josef Haydn: Sonata III. Grave.
The earth speaks to Gaia:
“Don’t worry, Mother: I have entrusted you to those who believe me, one day they will rescue both of us.”
This is a message of deep relationship, of relatedness — a message of sharing and togetherness, carried by the wind.
Do we feel this word?
Are we sensitive to its gentle touch?
In the late Kalv night Mark Tatlow meets the clarinettist Ragnar Arnberg playing music by Emil Nilsson
FINGERS: heartrendingness / my fingers are part of my body, they have arisen in the loins of my ancestors / generational intimacy
CADENZAS: one possible cadenza
· in relationship we are one ·
· in sharing we become one ·
· and the wind of the spirit spreads the word — unpredictably·
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SATURDAY 13.30 | Kalvs skolhus, Gymnastiksalen
IV – ABANDONMENT, SPIRITUALITY, FIRE
Meditation | Mark Tatlow & Anders Jonhäll
We meet at Kalvs skoljus and weather permitting we walk together into the countryside. Focus is on the pilgrim’s fourth virtue, spirituality.
Josef Haydn: Sonata IV. Grave.
The earth calls out to her creator:
“Why have you abandoned me?”
— a spirit message brought in the midst of the scorching fire of destruction, and the fear of total dereliction.
Do we hear this word in our hearts, and realise its urgency?
How can we prepare for its coming?
Haydn is paired with Anders Jonhäll’s performance of Marcus Lundberg’s delicate flute sounds in Snö, sken, minne.
FINGERS: feel anguish and hurt
CADENZAS: two quasi-cadenzas are built in to the music
· while the earth is abandoned ·
· fire cleanses ·
· but the spirit remains ·
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SATURDAY 16.00 | Kalvs Kyrka
V – NEED, UNHURRIEDNESS, WATER
Concert | Linda Jankowska, Mark Tatlow, & Nina De Heney
Violinist Linda Jankowska plays Esaias Järnegard’s Insula. Pharos. A premier that leads into a meditation on the pilgrim’s fifth virtue: unhurriedness.
Josef Haydn: Sonata V. Adagio.
The earth is parched: she cries “I THIRST!”
After the fire there arises an unquenchable desire for water. And thirst has come to stay: it is all there will be. The need is unfathomable: there is no use in struggling or hurrying.
Do we hear this word with its terrible foreboding?
There is no escape: so how do we imagine we will take care of each other, and of ourselves?
Nina De Heney’s double bass takes over from Haydn.
FINGERS: when self-control breaks in two and reveals inner turmoil, in the midst of which grace is received (in/through the fingers — think Qi Gong)
CADENZAS: one in the very first bar. But how (in the name of heaven) can this emerge from Insula. Pharos.?
· the unbearable unhurriedness ·
· the constant presence of one of life’s deepest needs: water
(are the comforting moments in the music hallucinatory? or do they belong to those who fight the coming catastrophe?)
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SATURDAY 23.00 | Kalvs skolhus, Gymnastiksalen
VI – FULFILMENT, QUIETNESS, DARKNESS
Concert | Linda Jankowska, Mark Tatlow
Josef Haydn: Sonat VI. Lento.
The earth whispers: “It’s all over.”
Darkness has descended: quietness reigns. But the nagging inner dialogue continues…
Do we hear it: “It’s all over, but will it end?”
Do we catch a note of hope, between the tones?
The sixth pilgrim virtue is framed by Linda Jankowska‘s piece Parable of the Prize of Heaven.
FINGERS: from pain, discipline and desolation come peace and release
CADENZAS: one possible cadenza
· when there is fulfilment there is ending ·
· and quietness ·
· and blinding darkness ·
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SUNDAY 12.00 | Kalvs kyrka
VII — REUNION, LIGHTHEARTEDNESS, THUNDER
Concert | Gageego!, ensemble mosaik, Mark Tatlow, Elena Gabbrielli, Klaus Lang, Chris du Preez och Kalvkören
Music of Klaus Lang, Thomas Tallis, Arvo Pärt, Sofia Gubaidulina, Luigi Nono and Joseph Haydn.A musical pilgrimage and a festival conclude. The 20th anniversary year is over and we listen to music that echoes across the centuries..
We arrive at the old church, perhaps bringing tokens of hope, collected from “Nature” or other debris. As we begin to place them around the church the organ plays ancient music.
Klaus Lang (b. 1971): klirrende fahnen för violin och orgel.
A choir sings a desperate hymn: “Is there any hope anywhere for anyone?”
Thomas Tallis (c. 1505-1585): Hymn. “Why fum’th in sight” (1567)
The Earth’s final journey is almost over, or is it just beginning?
t h e t u r n i n g p o i n t
Josef Haydn (1732-1809): Sonata VII. Largo (1786).
The earth gives up:
“My spirit is returning to my creator.”
We are assembling for a final reunion as we receive this word. In a strange way we are relieved, light-hearted even, but then comes the thunder….
… and all hell breaks loose…
Haydn: Terremoto (Earthquake). Presto e con tutta la forza.
Afterwards there is silence, deep lament, but also hope…
Luigi Nono (1924-1990): …. sofferte onde serene … (1977)
Someone strikes up an old plainchant.
“Da pacem Domine i diebus nostris, quia non est alius qui pugnet pro nobis, nisi tu Deus noster.” Slowly, everyone joins in; it’s a song for peace, the peace that humankind is incapable of creating among themselves, let alone with the earth and its many more-than-human created beings.
Arvo Pärt (b. 1935): “Da pacem Domine” (2004)
There is more silence, then some magical music:
Sofia Gubaidulina (b. 1931): Sonatina för solo flöjt (1978)
and at first quietly, a song about a morning star…
Pärt: Morning Star (2007)
— silence
FINGERS: in #VII they exhibit total abandon and joy, at a time when they (as the extremities of the body) have no strength left
CADENZAS: one — during the orchestral Earthquake