PEETER VÄHI

PEUANGELION KATA MARIHAMM
MARY MAGDALENE GOSPEL

Oratorio for vocal soloists, narrator, boys’ choir, mixed choir, nature sounds and symphony orchestra; original lyrics in Coptic language.

Duration 62, composed in 2010–2011, commissioned by State Choir Latvija and International Sacred Music Festival

Premiered by: Sevara Nazarkhan (soprano, Mary Magdalene), Priit Volmer (basso, Jesus), Tõnis Mägi (narrator), Juris Jēkabsons (tenor, Andreas), Eduards Fiskovičs (baritone, Levi), Uģis Meņģelis (basso, Peter), Riga Dom Cathedral Boys Choir, State Choir Latvija, Latvian National Symphony Orchestra, conductor Risto Joost

Music history knows many extensive vocal-symphonic works that are based on the gospels from the New Testament, probably the most famous of them being the Passions by Bach. Considerably less is known about the gnostic gospels that were excluded from the New Testament, of which the ones of Judas and Mary Magdalene are especially veiled by mystery. The latter is an apocryphal text, the manuscript of which was found in Egypt in 1896. The Coptic script on papyrus dates back to the 5th century, though one of the most respected authorities in the field Prof Karen King presumes that the text was originally written in Greek already during the time of Jesus Christ. The oratorio is based without any exclusions on the original Coptic script that has been preserved till our times.
The oratorical works composed on gospel texts are mostly called Passions, however, in this case it would not be justified, since the text of the Gospel of Mary significantly differs from synoptic as well as John’s Gospels. The Gospel of Mary does not tell the story of Jesus’ Passion, instead it reveals philosophical reflections by Jesus as well as skeptic and, at times, jealous comments by the apostles. As an example, we can hereby read two fragments:
• The Savior said: “All nature, all formations, all creatures exist in and with one another, and they will be resolved again into their own roots. For the nature of matter is resolved into the roots of its own nature alone.”
• Andrew /…/ said to the brethren: “Say what you wish to say about what she has said. I at least do not believe that the Savior said this. For certainly these teachings are strange ideas.” Peter /…/ questioned them about the Savior: “Did He really speak privately with a woman and not openly to us? Are we to turn about and all listen to her? Did He prefer her to us?” /…/ Levi /…/ said to Peter: “Peter you have always been hot tempered. Now I see you contending against the woman like the adversaries. But if the Savior made her worthy, who are you indeed to reject her? Surely the Savior knows her very well. That is why He loved her more than us...”
The Coptic language belongs – or rather, belonged to the Afro-Asian group of languages and was spoken in Egypt until the 16th century. The written language used Greek alphabet with the addition of 6 borrowed demotic letters from the hieroglyphic script. Coptic was subdivided into dialects among which the two most important ones were Bohairic and Sahidic. The first is until today used in the liturgy of the Coptic Church whereas the latter has become totally extinct. Unfortunately, the Gospel of Mary has been written down namely in Sahidic. As the language is no more spoken, it is extremely difficult to restore the correct pronunciation of the Gospel and thus, the latinization of the current oratorio possibly contains certain inaccuracy.
The composer said: “While composing this work I have not tried to make a stylization of Coptic Liturgy. Only some percussion instruments (sistrums and Egyptian drums) that are used in the Coptic Church have found their way into the score, even then bearing more of a symbolic meaning.
I owe my deepest gratitude to Dr Jaan Lahe for his patience in consulting me in the field of the Coptic language to composer Arvo Pärt who supplied me with numerous recordings of the Coptic Liturgies.”

Live recording (premiere performance), 69 min, mp3, 128 kbps

Press resonance

It is difficult to characterise Peeter Vähi’s work (which is undoubtedly a masterpiece), the influences woven into it and the heavy artillery hidden between its notes. So many impressions and motifs from his earlier works can be heard in this 65-minute musical, emotional, sensitive and even Gothic outburst... All of that is presented by an expanded orchestra in a markedly mystical, melancholy, romantic mood. /.../ The performance of the choir is exceptional, as is that of the orchestra. At times, the forte fortissimos so abundantly used in Verdi’s Requiem seem like child’s play in comparison. (Eņģelis, 24.08.11, Latvia, whole article)

“Uskumatult ilus ja ülimalt vägev!” õhkasid pärast kontserti nii muusikud kui ka tavakuulajad. “Sellise mastaabiga teoseid sünnib Eestis võib-olla kord viiekümne aasta kohta. Vähil on päris kindlasti õnnestunud anda oma jääv panus eesti muusikalukku, meie kõigi aegade väärikate teoste hulka...” kommenteeris Risto Joost... Üks saalis viibinud Läti helilooja /.../ lausus: “Olen juba pikka aega arvanud, et kogu muusika on maailmas ära kirjutatud ja rohkem pole heliloojatel vaja enam vaeva näha. Võtan siinkohal oma sõnad tagasi – ilmselt oli siiski veel midagi ütlemata.” (Linnaleht, 25.08.11, Estonia)

Download: original Coptic text and English translation (pdf)
See also other choral works by Peeter Vähi
See also Super Audio CD Maria Magdalena