An OCU choir has commissioned an original work memorializing 25 years since the Oklahoma City bombing.
The Canterbury Voices, led by Dr. Randi Von Ellefson, director of choral activities, will premiere the piece, titled “Of Perpetual Solace,” at Civic Center Music Hall. The performance will feature the OCU Chamber Choir, University Singers, Symphony Orchestra, and Canterbury Voices. The premiere also celebrates the 50th anniversary since the creation of the Canterbury Voices choir.
Ellefson said the idea of doing a large-scale project for Canterbury Voices started three years ago with meetings over a commission for Dr. Edward Knight, composer in residence, and M.J. Alexander, librettist and Oklahoma Journalism Hall of Fame inductee.
“At first, of course, we were mainly talking about Canterbury Voices’ 50th anniversary. I wanted something special, I wanted a commission,” Ellefson said. “It wasn’t long into planning when we realized it would also be the 25th anniversary of the bombing which shook Oklahoma City to its core. So, it evolved into a large piece about the symbols of life and eternity, and pain and suffering.”
As the project developed, Ellefson said Knight and Alexander wanted to add more choral elements, including one involving an OCU alumna.
“Ed came up with this idea of a smaller, other-worldly angel choir that juxtaposed the larger chorus representing humanity. Then we added the children’s choir, who sing the reflective text, and finally Lisa Love, who acts as the cantor, weaving the story together.”
Knight said as the piece grew in breadth, it also grew in depth.
“Originally, they were talking about doing a 20-minute piece, and I said, ‘there was no way we were going to be able to do all this in only 20 minutes.’ So, it turned into a 30-minute piece, then a 40, and now we’re narrowing on 45 minutes.” Knight said.
The piece in its final form is a 45-minute abstract memorial which acknowledges the human suffering resulting from the Oklahoma City bombing. Tony Gonzalez, associate director of choral activities, was a high school choir director in Norman when the attack took place. Gonzalez said the bombing had an effect on his life and his teaching.
“It was an impactful day that forever changed our lives in Norman,” Gonzalez said. “The Wednesday night after the attack, we had choir practice in my church choir, and we couldn’t sing. We just sat around and held each other and cried. We had no way of achieving any sort of normalcy to prepare something for Sunday, but we did have that moment together for solace.” Gonzalez said.
Gonzalez said he hopes his connection to the event and understanding of the text might bring another dimension to the piece.
“As many people know, I am a man of deep passion, and so when I was reading the score for the first time, I couldn’t see the notes on the page because I was crying. It moved me so much,” he said. “I think that was Knight and Alexander’s intent.”
Ellefson said choral music is unique in its ability to memorialize tragedy in a way that can be universally understood.
“There’s a natural connection between the voices of humanity and the voices of a choir. You look at the national funerals that have been held on TV recently, you look at John McCain and George Bush, they always feature the choir. Choirs express the emotions of humanity as a mass.” Ellefson said.
Knight’s “Of Perpetual Solace” was an especially challenging project.
“I do a lot of drafting with large pieces of paper, laying down visuals, kind of like a filmmaker with a storyboard. I can tell you; this was this most difficult thing I’ve ever had to write.” Knight said.
Alexander said her text was based on the storytelling structure set by Knight’s music.
“The music came first. Ed composed a musical sketch of the work, and for months I went everywhere—running, working, sleeping—with headphones on, listening to the cadences, the rhythms and the lyrical passages to the point where it seemed the words formed themselves.” Alexander said.
She said her lyrics are a mix of original work, as well as famous speeches and works of poetry.
“I made a point of seeking out coverage of the bombing and its aftermath, reading of the memorial services, survivor interviews, interviews of people whose loved ones did not make it. The public reading of the names of the fallen, recited every year at the same place and same moment, is music itself, a poem of remembrance offered to the heavens each anniversary.” Alexander said.
Gonzalez said he’s thrilled to be a part of the event and sees performing a new work of this scope as an opportunity to help his ensembles better understand tragedy that affects an entire community.
Kevin Howery, music theater sophomore, is a member of the large chorus in “Of Perpetual Solace” and said he is invigorated by the magnitude of new material his school creates.
“I think it’s wonderful that we are allowing new work to be produced from this university and allowing it to be shared with a large audience,” Howery said. “These kinds of commissions keep composers working, while honoring a beautiful story of growth and resilience in spite of tragedy.” Howery said.
Knight said the three years of development for a large-scale concert is a result of OCU’s unique culture of innovation, which encourages cooperation between many different directors and departments to make something special.
“We’ve fostered a mentality at OCU that people want to generate, want to create,” he said. “It’s a special environment, and I’m really happy to be a part of it all.”
“Of Perpetual Solace” will be performed in Canterbury Voices’ concert, Spectrum of Harmonies, at 3 p.m. March 29 at Civic Center Music Hall. Tickets can be purchased online.
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