“Jesus Christus, Unser Heiland” (2015)
Christ the Redeemer — El Greco
“Young Irish composer David Coonan’s piece stood out in this Bach-inspired evening.
It is not part of the brief that composers should emulate Bach’s style, but those that found some modern equivalent of Bach’s interplay of voices made the most impact. Best by far was “Jesus Christus unser Heiland” by young Irish composer David Coonan, thanks to the bubbling energy of its counterpoint.”
★★★★ — The Financial Times
Choral Phantasie for solo organ [15’]
written for Belfast City Organist Colm Carey
details
commissioned by Belfast City Organist, Colm Carey, with funds provided by the Arts Council of Ireland — the first movement was commissioned by William Whitehead as part of the Orgelbüchlein Project; first performed by organist Christian Wilson at the Church of St Peter ad Vincula, HM Tower of London as part of the 2013 Spitalfields Winter Festival — the completed work was first performed by Belfast City Organist Colm Carey on May 1, 2015 at Ulster Hall, Belfast
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Jesus Christus, unser Heiland,
Der von uns den Gotteszorn wandt,
Durch das bitter Leiden sein,
Half er uns aus der Höllen Pein.
Daß wir nimmer das vergessen,
Gab er uns sein' Leib zu essen,
Verborgen im Brot so klein,
Und zu trinken sein Blut im Wein.
Jesus Christ, our Saviour born,
Who from us did God’s anger turn,
Through His sufferings sore and main,
Did help us all out of hell-pain.
That we never should forget it,
Gave He us His flesh, to eat it,
Hid in poor bread, gift divine,
And, to drink, His blood in wine.
(Martin Luther, 1524)
This Choral Phantasie is on the Lutheran chorale tune for the Eucharist – ‘Jesus Christus, unser Heiland, der von uns den Gotteszorn wandt’ (‘Jesus Christ, our Savior born, who from us did God's anger turn’). Much like the Choral Preludes and Fantasies of the 17th and 18th-century North-German organ composers, the chorale here forms the basis of the composition. The piece is formed of three parts wherein the tune — which is recognizable, although refracted through a contemporary harmonic language — is presented in various guises, colours, and emotional states.
Mysterious and reflective, the opening choral prelude enunciates the tune amidst an ebb and flow of unquiet, searching semi-quavers. In part two it’s heard alternating as solo chant and hymn: austere, quiet, and introspective-like prayers offered heavenwards. Reflecting the suffering of Christ’s sacrifice, as remembered in the Eucharistic celebration, the Postludium traverses moments of anguish, frenzy, and mystery before giving way to a rapturous, albeit complex, reaffirmation of the chorale tune.