A polymath brings his genius to bear on multimedia organ work
Sunday’s presentation of Don Knuth’s “Fantasia Apocalyptica,” a full-length multimedia work for pipe organ, at First United Church in Waterloo is exceptional in multiple ways.
That it comes to us through the leadership of First United organist emeritus Jan Overduin is not surprising. He’s been a shining presence in this community for so long that it can be taken for granted. Then something like this comes along to remind us what an extraordinary gift his talents are.
This will be the Canadian première of a unique creation: a “somewhat literal translation,” as the composer puts it, of the entire book of Revelation, the last book of the Christian Bible.
The world première, also performed by Jan Overduin, took place in Sweden on the composer’s 80th birthday, Jan. 10, 2018.
Donald Ervin Knuth is primarily known as a mathematician. His seven-volume work “The Art of Computer Programming” is considered one of a small number of classic works that shaped science in the 20th century.
The “art” in the title is significant. For Knuth, “computer programming is an art, because it applies accumulated knowledge to the world, because it requires skill and ingenuity, and especially because it produces objects of beauty.”
Hence his official title at Stanford University: “Professor Emeritus of The Art of Computer Programming.”
Among his many other interests, Knuth is an accomplished organist. The partnership with Jan Overduin goes back to an organ duet recital they performed in Kitchener almost 20 years ago.
Knuth was drawn to the Book of Revelation early in his career, when he found himself “especially fascinated by the ways in which many different numbers (2, 3, 3.5, 4, 7, 12, 24 ...) were emphasized and given symbolic significance.”
The “intriguing notion” was soon planted in his head “that it might be possible to create a pleasing piece of music that incorporates Revelation’s numbers and other mystical symbols in essentially their original order.”
He began working with the Greek text, in which he identified hundreds of motifs, each of which were then assigned a musical equivalent.
As the composer explains, some of these musical motifs “are brief melodies; some are chords; some are rhythms; some are idioms like trills, arpeggios, appoggiaturas, contrary motion; some are effects possible only on a pipe organ; and so on. Eight of them are up-down patterns inspired by the I Ching.”
They draw on various influences, including about 70 works by other composers who have dealt with the Apocalypse as a subject, and an eclectic range of styles.
The composer’s notes mention “medieval chants; change ringing; baroque counterpoint; nearEastern folk music; shape note singing; Romantic chorales and oratorios ... close harmony and jazz; Broadway musical comedy; rock music and rap music ...
“And,” he adds wryly, “of course a musical work on the Apocalypse should also contain calypso.”
After more than 40 years of planning, he began the actual writing in late 2011. Five years later, the work was ready.
I’ve drawn heavily on the composer’s own summary, which is highly recommended. See “Don Knuth’s home page” on Stanford University’s website, where you can also find links to an informative introductory video recorded at First United and to a recording of the entire première performance in Sweden available for streaming.
Sunday’s performance has been in the works for a long time, but at one point it looked like it might not happen: In March, Jan Overduin suffered an ischemic stroke. Fortunately, his recovery has been so rapid that they were able to stick to the date as originally scheduled.
The music will be augmented by projections on three screens: one with the text; one with commissioned artwork by Duane Bibby and the third of the organist at the console.