Arche (oratorio)

File:Die Elbphilharmonie - 21.07.2015.jpg

Jörg Widmann composed the oratorio ARCHE in 2016. Kent Nagano commissioned a full-length work for choir and orchestra and did not make any content restrictions.{{sfn|Nagano|Delnon|2017|p=9}} The commission of the Hamburg Philharmonic State Orchestra for the opening of the Elbphilharmonie has 300 performers with two soloists, two adult choirs and a children's choir.{{sfn|Besthorn|2024|p=45}} Two child narrators chronicle the acts of creation and the flood.{{Cite web |date=2016 |title=ARCHE (Score) |url=https://en.schott-music.com/shop/arche-no324347.html |access-date=3 September 2017 |website=Schott Music |archive-date=4 September 2017 |archive-url=https://web.archive.org/web/20170904151825/https://en.schott-music.com/shop/arche-no324347.html |url-status=live }} Widmann's work was inspired by the Elbphilharmonie under construction; the concert hall looks like a ship.{{efn|Hamburg has a long oratorio tradition with Georg Philipp Telemann and Carl Philipp Emanuel Bach.{{sfn|Groote|2023|p=114}}}}{{sfn|Groote|2023|p=115}}

ARCHE is structured in five sections,{{efn|In analogy to the quintipartite form of the Ordinary Mass.{{Cite AV media notes |title=Widmann: Arche |others=Kent Nagano and Philharmonisches Staatsorchester Hamburg |year=2017 |first=Dieter |last=Rexroth |author-link=Dieter Rexroth |pages=19, 20 |type=booklet |oclc=1082269254 |publisher=ECM 2018}}}} in which Widmann roams through more than 3000 years of cultural and 300 years of music history.{{Cite journal |last=Roschinski |first=Markus |date=2019 |title=Jörg Widmann: Arche |url=https://dasorchester.de/artikel/arche/ |journal=Das Orchester |volume=3/2019 |pages=71 |access-date=23 April 2020 |archive-date=25 November 2020 |archive-url=https://web.archive.org/web/20201125083304/https://dasorchester.de/artikel/arche/ |url-status=live }} Antithetic or dualistic conceptions characterize large parts of the oratorio.{{sfn|Nagano|Delnon|2017|pp=11, 13, 16}} Widmann juxtaposes word with deed, construction with destruction, love with hate and religious traditions with the ideals of enlightenment.{{sfn|Besthorn|2024|pp=44–45}} Sacred references are placed into a secular context.{{sfn|Groote|2023|p=113}}

• Let there be light is based on the Genesis creation narrative.{{efn|See also Joseph Haydn's oratorio The Creation.}}

Beginning with silence: Let there be sound. At first noise-like sounds of wind and nature and "pitchless rustles and whispers", representing chaos.{{sfn|Nagano|Delnon|2017|p=10}} Air sounds and breath noises are created with wind instruments. The acts of creation are partly accompanied with heavenly chorales and burlesque, ironical musical episodes. The two children narrators describe the act of creation.{{cite web | last=Klier | first=Michael | title=Jörg Widmann: my music develops a life of its own | website=Bachtrack | date=21 October 2022 | url=https://bachtrack.com/de_DE/interview-jorg-widmann-arche-ntr-zaterdag-matinee-october-2022 | access-date=25 October 2022 | archive-date=25 October 2022 | archive-url=https://web.archive.org/web/20221025064020/https://bachtrack.com/de_DE/interview-jorg-widmann-arche-ntr-zaterdag-matinee-october-2022 | url-status=live }}

• The Flood/Deluge is based on Genesis flood narrative and Noah's Ark.{{sfn|Besthorn|2024|pp=43,45,46}}

The catastrophic character is manifested by cascading masses of sound.{{Cite news |last=Brug |first=Manuel |date=15 January 2017 |title=Die Elbphilharmonie ist ein fantastisches Showgirl |language=de |work=Die Welt |location=Hamburg |url=https://www.welt.de/kultur/article161182957/Die-Elbphilharmonie-ist-ein-fantastisches-Showgirl.html |access-date=9 September 2017 |archive-date=27 February 2017 |archive-url=https://web.archive.org/web/20170227163946/https://www.welt.de/kultur/article161182957/Die-Elbphilharmonie-ist-ein-fantastisches-Showgirl.html |url-status=live }} The music of this section is partly taken from Scene II "Flood and Star Terror" of Widmann's opera Babylon.{{sfn|Besthorn|2024|p=41}} The flood myth of Sumerian narratives, also manifested in the Epic of Gilgamesh, likely references an event around 6700 BC.{{sfn|Besthorn|2024|pp=41–42}} The punishing god acts brutally against humanity.{{sfn|Besthorn|2024|pp=42–43}}

• The Love

The center section is characterized by antiphony between the lovers (soprano and baritone) with tragic operatic fragments.{{sfn|Nagano|Delnon|2017|p=14}} All forms of love and hate are found within it – dark, bright, joyous, vile and jealousy. Because of the jealousy of humans, Die Liebe leads to a double murder in a delusional fever.{{Cite encyclopedia |title=Jörg Widmann |encyclopedia=KDG Online |publisher=Komponisten der Gegenwart |last=Besthorn |first=Florian Henri |date=2019}}

• Day of wrath

The strict setting of Dies irae represents the impending apocalypse with the clash of good and evil and gods last judgement.{{efn|The Latin text Dies irae is usually part of a Requiem.}}{{sfn|Groote|2023|p=112}}{{sfn|Besthorn|2024|pp=42–43}} Diverse Requiem settings clash in a collage-like manner.{{sfn|Besthorn|2024|p=43}} The human response is enlightenment and Friedrich Schiller's Ode to Joy.{{efn|The poem Ode to Joy is rooted in the philosophy of the Enlightenment.{{Cite news |last=Schulz |first=Bernhard |date=13 October 2011 |title="Jeder Schuldschein sei zernichtet" Schillers "Ode an die Freude" wird versteigert |language=de |work=Der Tagesspiegel |location=Berlin |url=http://www.tagesspiegel.de/kultur/jeder-schuldschein-sei-zernichtet-schillers-ode-an-die-freude-wird-versteigert/4751794.html |access-date=27 September 2017 |archive-date=27 September 2017 |archive-url=https://web.archive.org/web/20170927155534/http://www.tagesspiegel.de/kultur/jeder-schuldschein-sei-zernichtet-schillers-ode-an-die-freude-wird-versteigert/4751794.html |url-status=live }}}} Widmann sets verses of the poem to music, that Beethoven didn't use ("Destroy our book of guilt! Reconcile the whole world!").{{sfn|Besthorn|2024|p=43}}{{sfn|Groote|2023|pp=114–115}}{{cite web | last=Wurzel | first=Christoph | title=In Widmanns Arche hat vieles Platz | website=Bachtrack | date=15 January 2017 | url=https://bachtrack.com/de_DE/kritik-urauffuehrung-joerg-widmann-arche-phiharmonisches-staatsorchester-hamburg-nagano-petersen-bauer-hamburg-elbphilharmonie-januar-2017 | language=de | access-date=15 August 2024 | archive-date=27 April 2022 | archive-url=https://web.archive.org/web/20220427055842/https://bachtrack.com/de_DE/kritik-urauffuehrung-joerg-widmann-arche-phiharmonisches-staatsorchester-hamburg-nagano-petersen-bauer-hamburg-elbphilharmonie-januar-2017 | url-status=live }} His setting of the poem cites Beethoven's Choral Fantasy.{{efn|The Choral Fantasy is a precursor of the last movement of Beethoven's Symphony No. 9.{{sfn|Groote|2023|pp=114–115}}}}{{sfn|Nagano|Delnon|2017|p=12}}

• Grant us peace

Modern Zeitgeist is represented by an alphabet rap of the children's choir ("Facebook, Google, NATO").{{sfn|Groote|2023|p=113}} The response is a Dona nobis pacem,{{efn|From the Catholic Mass liturgy.}} a plea for peace,{{sfn|Groote|2023|p=112}} performed by a boy soprano and the choirs. Man bears the fate of the earth in his own hands. Widmann did not set a catastrophic counterpoint in the final fifth movement.{{sfn|Besthorn|2024|p=49}} The resolution of the final cadence is not complete,{{sfn|Nagano|Delnon|2017|p=15}} the hope for love, charity and a rational humanity.{{sfn|Besthorn|2024|pp=42,50}}

The setting contains voices and a large orchestra.

• Vocal soloists: soprano, baritone, boy soprano
• Choirs: children's choir, two mixed choirs
• two children narrators (boy and girl)

• Woodwinds: 4 flutes (all with B foot, all doubling piccolo, 3rd doubling alto flute, 4th doubling bass flute), 4 oboes (2nd doubling oboe d'amore, 3rd and 4th doubling lotus flute, 3rd doubling cor anglais, 4th doubling heckelphone), 4 clarinets in B{{music|flat}} (all doubling in A, 2nd doubling clarinet in E{{music|flat}}, 3rd doubling bass clarinet in B{{music|flat}}, 4th doubling contrabass clarinet in B{{music|flat}}), 4 bassoons (3rd and 4th doubling double bassoon)
• Brass: 6 horns (1st and 2nd doubling natural horn), 4 trumpets in C (1st and 2nd doubling in B{{music|flat}}, 1st doubling high B{{music|flat}} ad lib.), 4 trombones (3rd and 4th doubling bass trombone ad lib.), tuba
• Strings: 16 violins I, 14 violins II, 12 violas, 10 cellos, 8 double basses (all with 5 strings)
• Percussion: 4 players, timpani
• 2 harps, accordion, glass harmonica, 2 pianos (2nd doubling celesta), organ

The language of the oratorio is German and Latin. Widmann selected a variety of texts from different centuries, including the libretti of his operas Das Gesicht im Spiegel and Babylon:

{{div col}}

• Matthias Claudius
• Klabund
• Heinrich Heine
• Peter Sloterdijk
• Hans Christian Andersen
• Clemens Brentano
• Friedrich Schiller
• Francis of Assisi
• Friedrich Nietzsche
• Roland Schimmelpfennig
• Thomas of Celano
• Michelangelo

{{div col end}}

and from Des Knaben Wunderhorn, Bible and Mass.

Widmann's oratorio ARCHE had its world premiere on 13 January 2017 on the occasion of the opening festivities of the Elbphilharmonie in Hamburg.{{Cite web |url=https://www2.elbphilharmonie.de/en/whats-on/hamburg-philharmonic-state-orchestra-kent-nagano/6935 |title=Elbphilharmonie programme, 13 January 2017 |access-date=3 September 2017 |archive-date=13 January 2017 |archive-url=https://web.archive.org/web/20170113033006/https://www2.elbphilharmonie.de/en/whats-on/hamburg-philharmonic-state-orchestra-kent-nagano/6935 |url-status=dead }} It was performed by the Hamburg Philharmonic State Orchestra conducted by Kent Nagano. Soloists were Marlis Petersen (soprano), {{ill|Thomas E. Bauer|de}} (baritone), Gabriel Böer (boy soprano), and Jonna Plathe and Boris Özden (children narrators). The choirs were Chor der Hamburgischen Staatsoper, Audi Jugendchorakademie and Hamburger Alsterspatzen.

On 12 November 2022, Karina Canellakis conducted the Radio Filharmonisch Orkest at Concertgebouw, Amsterdam.{{cite web | title=ARCHE | website=Schott Music | url=https://www.schott-music.com/de/arche-no324347.html | language=de | access-date=5 June 2023 | archive-date=5 June 2023 | archive-url=https://web.archive.org/web/20230605051843/https://www.schott-music.com/de/arche-no324347.html | url-status=live }}

On 4 and 5 June 2023, the oratorio was revived at Elbphilharmonie, Hamburg. Bauer would reprise his performance as the baritone soloist, while Mojca Erdmann sang the soprano solo.{{cite web | title=Ehrendirigentenwürde für Nagano: Bach-Preis für Jörg Widmann | website=Süddeutsche.de | date=4 June 2023 | url=https://www.sueddeutsche.de/kultur/musik-hamburg-ehrendirigentenwuerde-fuer-nagano-bach-preis-fuer-joerg-widmann-dpa.urn-newsml-dpa-com-20090101-230604-99-934370 | language=de | access-date=5 June 2023 | archive-date=5 June 2023 | archive-url=https://web.archive.org/web/20230605052352/https://www.sueddeutsche.de/kultur/musik-hamburg-ehrendirigentenwuerde-fuer-nagano-bach-preis-fuer-joerg-widmann-dpa.urn-newsml-dpa-com-20090101-230604-99-934370 | url-status=live }}{{cite web | last=Grund | first=Stefan | title=Elbphilharmonie: Die allerletzte Generation | website=Die Welt | date=6 June 2023 | url=https://www.welt.de/regionales/hamburg/article245721062/Elbphilharmonie-Die-allerletzte-Generation.html | language=de | access-date=6 June 2023 | archive-date=6 June 2023 | archive-url=https://web.archive.org/web/20230606133515/https://www.welt.de/regionales/hamburg/article245721062/Elbphilharmonie-Die-allerletzte-Generation.html | url-status=live }}

A few German newspapers critically reviewed the premiere of ARCHE.{{cite web | last=Frei | first=Marco | title=Kent Nagano dirigiert 'Arche' von Jörg Widmann | website=Abendzeitung München | date=15 January 2017 | url=https://www.abendzeitung-muenchen.de/kultur/buehne/kent-nagano-dirigiert-arche-von-joerg-widmann-art-379146 | language=de | access-date=15 August 2024 | archive-date=13 May 2021 | archive-url=https://web.archive.org/web/20210513185231/https://www.abendzeitung-muenchen.de/kultur/buehne/kent-nagano-dirigiert-arche-von-joerg-widmann-art-379146 | url-status=live }}{{Cite press release |title=Elbphilharmonie: Nagano triumphiert mit Widmanns "Arche" |date=14 January 2017 |publisher=Frankfurter Neue Presse |location=Hamburg |url=http://www.fnp.de/nachrichten/kultur/Elbphilharmonie-Nagano-triumphiert-mit-Widmanns-Arche;art46564,2423818 |language=de |last1=Sell |first1=Barbara |access-date=6 September 2017 |archive-url=https://web.archive.org/web/20181006235310/http://www.fnp.de/nachrichten/kultur/Elbphilharmonie-Nagano-triumphiert-mit-Widmanns-Arche;art46564,2423818 |archive-date=6 October 2018 |agency=dpa}}{{Cite news |last=Thiel |first=Markus |date=15 January 2017 |title=Stapellauf fürs Themenfrachtschiff |language=de |work=Münchner Merkur |location=München |url=https://www.merkur.de/kultur/urauffuehrung-oratoriums-arche-von-joerg-widmann-in-hamburger-elbphilharmonie-7292024.html |access-date=21 July 2017 |archive-date=7 August 2017 |archive-url=https://web.archive.org/web/20170807024517/https://www.merkur.de/kultur/urauffuehrung-oratoriums-arche-von-joerg-widmann-in-hamburger-elbphilharmonie-7292024.html |url-status=live }}{{Cite news |last=Lesle |first=Lutz |date=16 January 2017 |title=Vor uns die Sintflut |language=de |work=Die Welt |location=Hamburg |url=https://www.welt.de/print/welt_kompakt/hamburg/article161202342/Vor-uns-die-Sintflut.html |access-date=21 August 2017 |archive-date=14 June 2023 |archive-url=https://web.archive.org/web/20230614122305/https://www.welt.de/print/welt_kompakt/hamburg/article161202342/Vor-uns-die-Sintflut.html |url-status=live }}{{Cite web |last=Jungblut |first=Peter |date=14 January 2017 |title=Mehr Pomp als Seele |url=https://www.br-klassik.de/aktuell/news-kritik/elbphilharmonie-joerg-widmann-arche-urauffuehrung-oratorium-102.html |access-date=25 January 2019 |website=BR-Klassik |location=Munich |archive-date=25 January 2019 |archive-url=https://web.archive.org/web/20190125183831/https://www.br-klassik.de/aktuell/news-kritik/elbphilharmonie-joerg-widmann-arche-urauffuehrung-oratorium-102.html |url-status=live }} The neue musikzeitung stated that the oratorio is capable of winning a majority.{{Cite web |last=Koch |first=Juan Martin |date=14 January 2017 |title=Mehrheitsfähiges aus dem Schiffsbauch: Zur Uraufführung von Jörg Widmanns Oratorium "Arche" in der Elbphilharmonie |url=https://www.nmz.de/online/mehrheitsfaehiges-aus-dem-schiffsbauch-zur-urauffuehrung-von-joerg-widmanns-oratorium-arche-i |access-date=23 July 2017 |website=nmz online |publisher=neue musikzeitung |language=de |archive-date=6 October 2018 |archive-url=https://web.archive.org/web/20181006235455/https://www.nmz.de/online/mehrheitsfaehiges-aus-dem-schiffsbauch-zur-urauffuehrung-von-joerg-widmanns-oratorium-arche-i |url-status=live }} Eleonore Büning, reviewer of the Frankfurter Allgemeine Zeitung, wrote about the enthusiasm of the audience, and that Widmann's splendid, richly orchestrated music breaks all genre and style boundaries.{{Cite news |last=Büning |first=Eleonore |author-link=Eleonore Büning |date=16 January 2017 |title=Hamburg rast vor Begeisterung |language=de |work=Frankfurter Allgemeine Zeitung |location=Frankfurt |url=https://www.faz.net/aktuell/feuilleton/buehne-und-konzert/eroeffnung-der-elbphilharmonie-widmann-und-haas-14661273.html |access-date=22 August 2017 |archive-date=12 June 2017 |archive-url=https://web.archive.org/web/20170612164258/http://www.faz.net/aktuell/feuilleton/buehne-und-konzert/eroeffnung-der-elbphilharmonie-widmann-und-haas-14661273.html |url-status=live }} Süddeutsche Zeitung wrote, that the work is diverging, and also undecided in its message.{{Cite news |last=Spinola |first=Julia |date=15 January 2017 |title=Materialschlacht an der Elbe |language=de |work=Süddeutsche Zeitung |location=München |url=http://www.sueddeutsche.de/kultur/elbphilharmionie-im-weinberg-des-klangs-1.3333715 |access-date=7 August 2017 |archive-date=7 August 2017 |archive-url=https://web.archive.org/web/20170807023106/http://www.sueddeutsche.de/kultur/elbphilharmionie-im-weinberg-des-klangs-1.3333715 |url-status=live }} Andrew Clements, reviewer of The Guardian, wrote about the CD production: "fails to convince".{{Cite news |last=Clements |first=Andrew |date=1 November 2018 |title=Jörg Widmann: Arche review – ambitious welcome to the Elbphilharmonie fails to convince |work=The Guardian |location=London |url=https://www.theguardian.com/music/2018/nov/01/jorg-widmann-arche-review-ambitious-welcome-to-the-elbphilharmonie-fails-to-convince |access-date=2 November 2018 |archive-date=1 November 2018 |archive-url=https://web.archive.org/web/20181101185355/https://www.theguardian.com/music/2018/nov/01/jorg-widmann-arche-review-ambitious-welcome-to-the-elbphilharmonie-fails-to-convince |url-status=live }}

Widmann received the {{ill|Opus Klassik|de|Liste der Opus-Klassik-Preisträger}} "Composer of the Year" 2019 Award for ARCHE.{{Cite web |last=O'Reilly |first=Chris |date=3 September 2019 |title=Opus Klassik Awards 2019 |url=https://www.prestomusic.com/classical/articles/2844--awards-opus-klassik-awards-2019 |access-date=4 September 2019 |website=prestomusic.com |publisher=Presto Classical |location=Leamington Spa |archive-date=6 August 2021 |archive-url=https://web.archive.org/web/20210806205505/https://www.prestomusic.com/classical/articles/2844--awards-opus-klassik-awards-2019 |url-status=live }} In 2023, the composer received the Bach Prize of the Free and Hanseatic City of Hamburg, General Music Director Kent Nagano became Honorary Conductor of the Hamburg Philharmonic State Orchestra.

• ARCHE, Marlis Petersen, Thomas E. Bauer, Iveta Apkalna, Kent Nagano, Philharmonisches Staatsorchester Hamburg (ECM 2018){{citation | last1=Widmann | first1=Jörg | last2=Nagano | first2=Kent | author3=Philharmonisches Staatsorchester (Hambourg) | title=Arche oratorio for soloists, choirs, organ and orchestra | publisher=ECM, [Universal music France] | publication-place=[Allemagne], [France] | year=2022 | oclc=1313795688 | language=de | page=}}{{Cite news |last=Fischer-Zernin |first=Verena |date=6 October 2018 |title=Jörg Widmanns Elbphilharmonie-"Arche" auf CD |language=de |work=Hamburger Abendblatt |url=https://www.abendblatt.de/kultur-live/article215496141/Joerg-Widmanns-Elbphilharmonie-Arche-auf-CD.html |access-date=6 October 2018 |archive-date=6 October 2018 |archive-url=https://web.archive.org/web/20181006195514/https://www.abendblatt.de/kultur-live/article215496141/Joerg-Widmanns-Elbphilharmonie-Arche-auf-CD.html |url-status=live }}{{Cite web |last=Quantrill |first=Peter |date=December 2018 |title=Widmann Arche (Nagano) |url=https://www.gramophone.co.uk/review/widmann-arche-nagano |access-date=25 January 2019 |website=Gramophone |publisher=Mark Allen Group |location=London |archive-date=25 January 2019 |archive-url=https://web.archive.org/web/20190125184159/https://www.gramophone.co.uk/review/widmann-arche-nagano |url-status=live }}

{{notelist}}

{{reflist}}

• {{Cite book |last1=Nagano |first1=Kent |url=https://issuu.com/philharmoniker_hamburg/docs/programm_elbphilharmonie |title=Programmheft Sonderkonzert im Elbphilharmonie-Eröffnungsfestival |last2=Delnon |first2=Georges |date=13 January 2017 |publisher=Staatsorchester Hamburg |location=Hamburg |type=booklet |author-link=Kent Nagano |author-link2=Georges Delnon |access-date=9 September 2017}}
• {{cite journal | last=Besthorn | first=Florian | title="Ihr Völker lernt gefährlich leben." Mit Katastrophenmusiken auf dem Weg zum Frieden?: Dramaturgisches zum Oratorium Arche von Jörg Widmann | url = https://bop.unibe.ch/SJM/article/view/8799/14026 | journal=Schweizer Jahrbuch für Musikwissenschaft | volume=40 | date=19 April 2024 | issn=2235-7475 | doi=10.36950/sjm.40.2 | pages=41–52| doi-access=free }}
• {{cite book | last=Groote | first=Inga Mai | title=Veröffentlichungen des Instituts für Europäische Geschichte Mainz Beihefte | chapter=The Sound of the Sacred. Transfers of Sacrality in Contemporary Choral Music | chapter-url = https://www.vr-elibrary.de/doi/pdf/10.13109/9783666302459.103 | publisher=Vandenhoeck & Ruprecht | publication-place=Göttingen | volume=140 | date=9 October 2023 | pages=103–116 | isbn=978-3-525-30245-3 | doi=10.13109/9783666302459.103}}

{{Jörg Widmann}}

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Category:Compositions by Jörg Widmann

Category:Oratorios

Category:21st-century classical music

Category:2017 oratorios

Category:Music commissioned by the Hamburg Philharmonic State Orchestra

Category:Oratorios based on the Bible

Category:Compositions with a narrator