Above: the sheep market at the Herod Gate, Jerusalem, c. 1900
~ Author: Oberon
Among the many documentaries I watched during those long, humid afternoons of the summer of 2018 was one about the ancient city of Jerusalem. Watching it, and learning about the legendary seven gates of the city, put me in mind of Krzystof Penderecki's seventh symphony, which is almost always referred to as SEVEN GATES OF JERUSALEM. This oratorio-like work premiered in 1997 at the State Hall in Jerusalem in a performance conducted by Loren Maazel.
In 1998, having lived in New York City for less than four months, I decided to attend a performance of the Penderecki work; I was mainly attracted by the listing of Christine Goerke and Florence Quivar among the vocal soloists. At this point in time, I had probably attended fewer than two-dozen performances of symphonic music in my opera-specific lifetime, and with few exceptions those were programs featuring vocal works. I don't think I'd ever heard a note of Penderecki's music prior to this concert:
This was actually the US premiere of SEVEN GATES OF JERUSALEM, and I was completely bowled over by it. From my opera diary:
"This exciting piece was brilliantly played by the Philharmonic, joined by the excellent Philadelphia Singers, some of whom were positioned in the boxes along the sides of the hall. Masur crafted the massive forces - including a large percussion section - into a cohesive and powerful whole. The work is short (one hour) and cries out for expansion [which the program note indicated might be forthcoming].
Stretches of lyricism, including a gorgeous horn solo, alternated with pageant-like passages; the orchestration dazzles, with a solo bass trumpet positioned in the auditorium. Striking rhythmic patterns abound, and the chorus has much to do - from near-whispers to full-cry.
Of the soloists, Christine Goerke dominated, with her glowingly strong middle register and wildfire forays to the top. Florance Quivar was her usual magnificent self, making me wish she'd had even more to sing. Tenor Jon Villars displayed both power and tonal appeal. Wendy Nielsen and William Stone had briefer parts, but were nonetheless impressive. In a spoken role, Boris Carmeli made a chilling dramatic effect.
The total impact of the work was splendid; and was greeted by an enthusiastic standing ovation. When Penderecki joined the players onstage, the applause re-doubled."
Above: Krzystof Penderecki
Flashing forward twenty years, I watched a terrific DVD of the symphony - watched it once, and then immediately straight thru again. Although I rarely buy CDs any more, I did purchase a recording of this work in an excellent performance conducted by Kazimierz Kord and featuring the distinctive voice of contralto Jadwiga Rappé.
The importance of Boris Carmeli's contribution to this work can't be over-emphasized: the basso's speaking voice is eerie and quite unique. Mr. Carmeli passed away in 2009. Of Italian heritage but born in Poland, he took part in almost every listed production of the SEVEN GATES OF JERUSALEM up until his death. In both the CD and DVD recordings mentioned above, he makes an incredible, unforgettable impression.
Above: Pope John Paul II greets Boris Carmeli and Krzystof Penderecki
Among the countless inventive, evocative sounds one hears in the course of SEVEN GATES OF JERUSALEM is that of the tubaphone. This tuned percussion instrument can be made of metal or plastic pipes (Penderecki calls for plastic) which are cut to various lengths, each producing a different tone. In the DVD I watched, this instrument is set upright, with the player hammering on the ends of the pipes with a mallet to get the desired effect. It is used extensively in the 'scherzo' of SEVEN GATES, Lauda, Jerusalem, Dominum.
Now my great hope is that I might have an opportunity to experience this thrilling work in a live performance once again, in my lifetime.
~ Oberon