Ever Us (2019)

EVER US… Words: Jessica Duchen, after Beethoven, Schiller, Goethe, Sturm, Tiedge & Kant
Music: Roxanna Panufnik

It seemed like a wild dream when my publishers told me of a commission from the Rundfunkchor Berlin for 10 choirs and symphony orchestra… It has been an incredible honour – and even more incredible journey, writing this piece to celebrate Beethoven’s 250^th birthday. I have worked closely with choral directors from Belarus, Belgium, Berlin, Brazil, Lebanon, Philippines, Singapore, Sweden, Tasmania and the USA.

The words are from the great composer himself and some of his favourite writers. These have been beautifully assembled and “poeticized” by Jessica Duchen and cover four main aspects of Beethoven’s life, finishing with Jessica’s own moving “Ode to Beethoven”.

The guest choirs’ words are sung mainly in English, with musical support, encouragement and agreement from the Rundfunkchor in German.

There are a few Beethoven characteristics that can be recognised – sudden changes in dynamics, the 4-note motif from the opening of the 5^th Symphony and a birdsong cadenza, inspired by his Symphony No.6, the ‘Pastoral’.

INTRODUCTION: “Only People” (ALL CHOIRS)

Beethoven writes of longing for a time when there will be ‘only people’ - not societies divided by harsh inequalities and injustices. His words reflect on this without optimism, yet always with hope. The music is wistful and dreamy and involves a harmonic progression which, with its falling counterpoint above, recurs throughout the piece.

I. TRUTH & NATURE

Choir 1: “The Glory in the Forest” (USA 28-35 singers)

These words are derived from Christian Christoph Sturm, a religious author and poet whom Beethoven admired, and the composer’s own joyous thoughts as he sets out for a country walk. There is huge warmth and wonder in the music as he strolls in the woods, in bliss. The US choir is in stereo, calling the wonders of Beethoven’s observations to each other.

Choir 2: “Never deny truth” (BRAZIL 45 singers)

Beethoven inscribed lines from Schiller’s Don Carlos in a friend’s autograph album - ideas that resonated profoundly with him. He also draws on CC Sturm’s words, imagining himself as a tree whose bounteous fruit is music. This is introduced by a birdsong cadenza, in tribute to Beethoven’s Symphony No. 6. We hear typical calls from German forests: Turtle Dove, Curlew, Kingfisher, Stonechat and Sandpiper. This is an exuberant song, which draws on Brazilian dance rhythms.

II. STRUGGLE, AFFLICTION, RESILIENCE

Choir 3: “Liberty Divine” (LEBANON 50 singers)

Lines from Goethe’s play Egmont mirror Beethoven’s incandescent anger against tyranny and his passion for freedom. The words are sung fervently, with a haunting Middle Eastern modal flavour and ornamentation.

Choir 4: “All I Have to Give” (SINGAPORE 26 singers)

Nearly suicidal after beginning to go deaf, Beethoven wrote his ‘Heiligenstadt Testament’ in 1802. In spite of his despair, he states his determination not to leave the world until he has fulfilled his artistic calling. Starting in anguish, this song becomes stronger and happier as Beethoven’s resolve grows, to live on and create.

Choir 5: “To Hope” (SWEDEN 26 singers)

The enamoured Beethoven suffers the agonies of love, uncertainty and longing; in this state he set Christoph August Tiedge’s poem ‘To Hope’, on which this text is based. The original theme’s counterpoint becomes a dark cluster and then a lilting 3+3+2 accompaniment and the strings provide the mournful drone of a Swedish traditional instrument, the Nyckelharpa. Happier, lighter moments emerge on the Swedish fiddle.

III. LOVE

Choir 6: “In Sound Alone” (BELGIUM 22 singers)

In an unsent letter to Josephine Deym, Beethoven struggles to find words to express his overwhelming love. The song concludes with the now famous sentiment (from the Letter to the Immortal Beloved): “Ever thine, ever mine, ever us” – presented musically as a constant winding polyphony, over the harmonic progressions from the Introduction.

Choir 7: “Immortal Beloved” (BELARUS 40 singers)

Beethoven’s mysterious Letter to the Immortal Beloved declares devoted and undying love for an unidentified woman (possibly Josephine Deym). Darkly sensual, mysterious, chromatic harmonies build and overlap, finishing in a passionate plea: “Oh, go on loving me; never, never doubt my faithful heart.”

IV. TRANSCENDENCE & HUMANITY

Choir 8: “The Starry Sky Above Us” (TASMANIA 34 singers)

Beethoven admired the philosophical writings of Immanuel Kant, which present a transcendental view of humankind’s place in the cosmos. Here Kant’s words explore the inter-reflection between our outer and inner universes. The choir sings with wonder and awe, against a backdrop of Australian birdsong (particularly the Green Rosella and the Tasmanian Black Currawang) and the drone of the didgeridoo, recreated by bassoons and double bass.

Choir 9: “Embrace the World” (PHILIPPINES 40 singers)

In a letter to a close friend, Beethoven’s elemental energy and creativity pour from him. He is determined to “grasp fate by the throat” - and win. The song opens with traditional Philippino drones in the basses and excitement builds through the dance rhythms of the Bagobo and Ifugao tribes.

FINALE “Ode to Ludwig” (ALL CHOIRS)

Jessica Duchen’s poem unites images from some of the preceding texts, in tribute to Beethoven. In this grand finale we join together to find in his idealism fresh inspiration for our own lives and times. We come full circle to the questions posed in the Introduction. Answers are given from all the guest choirs – sharing their individual themes and emotions. All agree:

Ever thine – Freedom,

Ever mine – love,

Ever us – humanity.

My heartfelt thanks go to Leon Bosch and Stanley Kaye-Smith for instrumental advice; Vicki Dyer (Nyckelharpa teacher); Jonathan Del Mar for his insights into Beethoven’s 9th Symphony; all the wonderful choral directors involved but especially to Hans Rehburg and Gijs Leenaars who, with the Rundfunkchor Berlin, gave me this amazing opportunity. The work lasts approx. 45 mins.

RP & JD, 25^th November 2019