APOCALYPSIS

A MUSIC-THEATRE WORK / UNE ŒUVRE DE THÉÂTRE MUSICAL

On June 26, 27, 28, 2015, at the Sony Centre for Les 26, 27 et 28 juin 2015, au Sony Centre for the
the Performing Arts in Toronto, R. Murray Schafer’s Performing Arts de Toronto, dans le cadre du Festival
Apocalypsis was performed in full, for the first Luminato, était présenté pour la première fois
time since its world premiere in 1980, under the en version intégrale depuis sa création en 1980,
direction of Lemi Ponifasio and the baton of Toronto Apocalypsis de R. Murray Schafer, sous la direction
conductor David Fallis, as part of Luminato Festival. de Lemi Ponifasio et la baguette du chef torontois
Schafer’s epic musical voyage is in two parts: "Part David Fallis. Cette fabuleuse épopée musicale en
One describes the destruction of the world and Part deux parties décrit, premièrement, la destruction du
Two suggests the birth of the new universe." In one monde, et deuxièmement la naissance d’un Nouveau
of the largest performance events Canada has ever Monde. Dans l’un des plus grands événements des
seen, Apocalypsis blended professional and ama- arts de la scène au Canada, Apocalypsis combinait
teur talents in a cast of almost one thousand singers, des talents amateurs et professionnels dans une
musicians, conductors, actors and dancers to create distribution de près de 1000 chanteurs, musiciens,
an unprecedented feast for the eyes, ears and soul. chefs d’orchestre, acteurs et danseurs pour créer un
spectacle visuel, musical et spirituel inégalé.

R. Murray Schafer’s Apocalypsis

Part One / Première partie : John’s Vision
Part Two / Deuxième partie : Credo
A Luminato Festival production
Une production du Festival Luminato
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THE CAST
LA DISTRIBUTION
PART ONE / PREMIÈRE PARTIE : (Kasina Campbell, Ria Paki, Ioane Papalii, Helmi
John’s Vision Prasetyo, Arikitau Tenau), Esie Mensah, Natayu
Mildenberger, Claudia Moore, Mikhail Morris,
Voice of / Voix de John Kevin Ormsby, Jillian Peever, Coman Poon, Kassi
Laurie Anderson Scott, Lua Shayenne, Brodie Stevenson, Mateo
Galindo Torres, Yui Ugai, Samuel Xu
Whore of / Fille de joie de Babylon
Nina Arsenault* *Silent roles / Rôles muets
Antichrist / Antéchrist
Brent Carver Choirs / Chœurs
Cantores Celestes Women’s Choir / chœur de
John femmes (Kelly Galbraith, Conductor / chef)
Denise Fujiwara*
Seraphim Men’s Chorus + members of Choir 21 /
Old Woman / Dame âgée chœur d'hommes + membres du Choir 21 (Richard
Tanya Tagaq Foty, Conductor / chef)
Archangel Michael / l’archange Michel
Kawiti Waetford Hamilton Children’s Choir / chœur d’enfants
(Zimfira Poloz, Conductor / chef)
Cosmic Christ
Ioane Papalii* The Element Choir – Speech chorus / chœur par-
lant (Christine Duncan, Conductor / chef)
Beast / La Bête
Helmi Prasetyo* Bell’Arte Singers, City Choir, First Unitarian
Congregation of Toronto Choir, Oakham House
Prologue Choir of Ryerson University, Singing Out, Univox
Mariatu Kamara Choir Toronto – Mixed chorus / chœur mixte
(Dallas Bergen, Conductor / chef)
Living Creatures / Créatures vivantes
Bo Bardos, Neema Bickersteth, Carla Huhtanen, Cantabile Chamber Singers, members of Choir 21,
Xin Wang Toronto Chamber Choir – Psalm Chorus / chœur :
psaume
Elders / Ainés*
Brass Ensemble / Cuivres
Amanda Acorn, Sylvie Bouchard, Jessie Garon,
Hannaford Youth Program (Anita McAlister,
Kate Holden, Susanna Hood, Jani Lauzon, MAU
Conductor / chef)

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High Instruments / Instruments aigüs Chrysolite – Tallis Choir of Toronto (Peter Mahon,
Musica Reflecta (Anastasia Tchernikova, Conductor / chef)
Conductor / chef) Beryl – Orpheus Choir of Toronto (Robert Cooper,
Conductor / chef)
Percussion Ensemble /
Ensemble à percussions Topaz – Ontario Youth Choir Alumni – Choirs
(Ryan Scott, Percussion Director / directeur section Ontario (Dr. Marta McCarthy, Conductor / chef)
percussions – Michelle Colton, Assistant Percussion Chrysoprasus – Cathedral Choir of St. James
Director / assistante section percussions) (Markus Howard, Conductor / chef)
Yang Chen, Julia Cleveland, Kareem El-Tyeb, Jacinth – DaCapo Chamber Choir (Leonard Enns,
Elizabeth Go-Ho, Adam Kaleta, Max Lindsay, Lian Conductor / chef)
McMillan, Michael Murphy, Derek Ou, Keshav Amethyst – Guelph Chamber Choir (Gerald
Sharma-Jaitly, Mika Sustar, Danny Wright Neufeld, Conductor / chef)
Organ / Orgue Ensembles
Sarah Svendsen Jasper – Members of the / Membres du Afiara
Quartet and Guests / et invités
PART TWO / DEUXIÈME PARTIE : Sapphire – Ton Beau String Quartet
Credo
Agate – Vaughan String Quartet
Choirs / Chœurs Emerald – Aether String Quartet
Jasper + Sapphire – Toronto Mendelssohn Choir Onyx – Kensington Ensemble
(Noel Edison + Caron Daley, Conductors / chefs)
Sardius – Quatuor Despax
Agate – Grand Philharmonic Choir Chamber
Singers (Mark Vuorinen, Conductor / chef) Chrysolite – Strataphoria String Quartet
Emerald – Exultate Chamber Singers (Mark Beryl – Odin String Quartet
Ramsay, Conductor / chef) Topaz – Erato String Quartet
Onyx – Pax Christi Chorale (Stephanie Martin, Chrysoprasus – Eden String Quartet
Conductor / chef) Jacinth – Adficio Quartet
Sardius – Ottawa Bach Choir (Lisette Canton, Amethyst – Cecilia String Quartet
Conductor / chef)
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Basses / Contrebasses Assistant Sound Designer / Assistante ingénieur
Hilda Cowie (principal / contrebasse solo), Rob de son : Emily Porter
Clutton, Michael Cox, Jesse Dietschi, Neal Evans, Costume Supervisor / Chef costumière : Brenda Clark
Adam Scime
Accompanist / Accompagnateur : Chris Bagan
Tape / Bande préenregistrée Stage Manager / Régisseure de plateau :
Salzburg Cathedral Bells recorded by / enregistré Stephanie Marrs
par The World Soundscape Project in / en 1975, Assistant Stage Managers / Adjoints à la régie :
then filtered for the piece / puis retravaillé pour les Joanna Barotta, Janet Gregor, Kirstin McCollum,
besoins de la présentation. Marie-Claude Valiquet, Jane Honek, apprentice /
The orchestra for Part Two was formed by the suc- stagiaire
cessful applicants to the Luminato String Quartet Instrument Maker / Luthier : Nuno Cristo
Fellowship, who received master classes with
the Cecilia String Quartet, pop-up performance Executive Director MAU / Directrice exécutive
opportunities during the Festival, as well as pro- MAU : Susana Lei’ataua
fessional mentorship. / Pour la deuxième partie,
l’orchestre a été formé par les candidats retenus For / Pour le Luminato Festival
par le Luminato String Quartet Fellowship, les- Artistic Director / Directeur artistique :
quels ont reçu des cours de maître par le Cecilia Jorn Weisbrodt
String Quartet, des opportunités d’apparition-sur-
prise durant les festivals, ainsi que des mentorats Executive Producer / Chef de production :
professionnels. Clyde Wagner
Producers / Producteurs : Naomi Campbell + Caroline
Hollway
Production Team / Équipe de production
Sound Designer / Ingénieur de son : Holger Schwark Production, Technical Manager /
Producteur, directeur technique : Peter Eaton
Assistant Director / Assistant directeur mise
en scène : Charles Koroneho Production Associate / Assistant à la production :
Mark Rochford
Assistant Music Director / Assistante directrice
musicale : Stephanie Martin Company Manager / Gestionnaire :
Sue Konynenburg

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WHAT IS THE PURPOSE OF ART? QUEL EST LA RAISON D’ÊTRE DE L’ART ?
by R. Murray Schafer par R. Murray Schafer
FIRST, EXALTATION. Let us speak of that. The change PREMIÈREMENT, L’EXALTATION. Parlons-en. Le
that occurs when we are lifted out of the tight little changement qui se produit quand nous sortons de la
cages of our daily realities. To be hurled beyond our petite cage étroite du quotidien. Se sentir précipité
limits into the cosmos of magnificent forces, to fly au-delà de nos limites dans un cosmos à la puis-
into the beams of these forces and if we blink, to sance extraordinaire. Voler dans les faisceaux de
have our eyes and ears and senses tripped open cette puissance, et lorsque nous clignons des yeux,
against the mind’s will to the sensational and the sentir nos oreilles, nos yeux et nos sens s’ouvrir au
miraculous. To feel these forces explode in our faces, merveilleux et au miraculeux, malgré l’adversité du
against our bodies, breaking all encrustations and mental. Sentir, en dépit des forces du corps, ces
releasing us with a wild fluttering of freedom. Let forces jaillir devant nos yeux, briser tous les encroû-
us first speak of that. Of the newness that stuns the tements, et nous libérer par un vent sauvage de
mind and sends it reeling. Let us speak of that. How liberté. Parlons de cela, de la nouveauté qui boule-
everything becomes new. And if we return to our verse l’esprit et l’exalte. Parlons-en. Comment tout
daily routines, they are no longer routines, but scin- devient nouveauté. Et si nous retournons à la routine
tillate and have become magnificent by our sensing quotidienne, constater qu’il n’y a plus de routine,
them with fresh eyes and noses and minds and bod- car tout scintille et est désormais magnifique par la
ies. Let us speak of this exaltation which has driven perception nouvelle de nos yeux, de notre nez, de
us out of ourselves to experience the life we have nos esprits et de nos corps rafraîchis. Parlons de
missed or only vaguely sensed, even resisted. cette exaltation qui nous sort de nous-mêmes et
nous fait vivre ce que nous avions manqué ou vague-
This must be the first purpose of art. To effect a ment éprouvé, ou ce à quoi nous avions résisté.
change in our existential condition.
Ce doit être ça, la raison d’être de l’art. Permettre
la réalisation d’un changement dans notre condition
existentielle.

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A JOURNEY TOWARDS APOCALYPSIS
by Jörn Weisbrodt (artistic director, Luminato Festival)
I first listened to R. Murray Schafer’s magnum existence could take, and while the work is based
opus while driving to the first preview of another on religious texts, it is not in itself religious. We are
monumental piece: Robert Wilson and Philip Glass’ estranged from nature, we are destroying it, but in
Einstein on the Beach ; I was completely riveted. The Schafer’s opinion, music and art can inspire a new
fact that I did not have a fatal accident is a miracle. dialogue with nature and the world we live in. It
A year later, when I saw Lemi Ponifasio’s work, I is this harmony that Apocalypsis tries to achieve:
knew that he was the right person to direct Schafer’s nature gives birth to art and art reconnects us
Apocalypsis. In David Fallis, a fearlessly calm man to nature.
who sees a gorgeous palace where others see For the Luminato Festival the three years spent
a marble quarry, we already had the only possible working on this piece was an incredible journey,
conductor for the piece. one that also led from chaos to order. Three years
Schafer describes Apocalypsis as the destruction of ago there was nothing: no cast, no set, no money;
the universe and the possibility of a new vision; this there was just the idea and the score; there was only
is also the essence of Ponifasio’s work. If the world a desert where now there is an empire of sound, a
ends tomorrow, what would I say? what would I do? rich and sparkling oasis, built by 1000 mostly non-
are the questions his theatre asks. The essence of professional musicians and performers and another
these questions is: what lies behind the destruc- 100 people behind the stage. Here life imitates
tion and what follows it? With Ponifasio I believe art: the process of producing Apocalypsis was the
there is the possibility for a positive interpretation essence of the piece itself. It created a community
of the Apocalypse as a passage towards a new of performers from all over Ontario and the rest of
beginning, a cleansing. Schafer’s transcendental the world, engaged in a ritual. In this recording, the
choir music in Part 2 of Apocalypsis provides a performers invite the listener to share in this process
sonic cleansing, a journey from chaos to order. or ritual. I am eternally grateful to them because they
Apocalypsis maps out the two possibilities that our allow me once again to experience what they are
going through.

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UN VOYAGE VERS APOCALYPSIS
par Jörn Weisbrodt (directeur artistique, Festival Luminato)
La première fois que j’ai entendu l’œuvre maîtresse pourrait prendre ; l’œuvre, bien que basée sur des
de R. Murray Schafer, c’était dans ma voiture en textes religieux, n’est pas religieuse en soi. Nous
me rendant à l’avant-première d’une autre grande sommes arrachés à la nature, nous sommes en
œuvre : Einstein on the Beach de Robert Wilson et train de la détruire, mais selon Schafer, la musique
Philip Glass ; j'ai été renversé ! C'est un miracle que et l’art peuvent conduire à un nouveau dialogue
je n’aie pas eu d'accident fatal. Un an après, j’ai vu avec la nature et le monde dans lequel nous vivons
l’œuvre de Lemi Ponifasio et je savais qu’il était la – c’est cette harmonie qu’Apocalypsis essaie
personne désignée pour diriger Apocalypsis. Nous d’atteindre : la nature fait naître l’art et l’art nous
avions déjà en la personne de David Fallis le chef fait renouer avec la nature.
d’orchestre tout indiqué pour l’œuvre, car en plus
Pour le Festival Luminato, les trois années consa-
d’être un homme calme et audacieux, il peut voir
crées au travail sur la pièce furent une expérience
un magnifique palais où d’autres n’y verraient que
extraordinaire, qui a conduit du chaos à l’harmonie.
chantier de marbre.
Il y a trois ans, il n’y avait rien : pas de distribution,
Schafer décrit Apocalypsis comme la destruction pas de scène, pas d’argent, mais seulement l’idée et
de l’univers et les possibilités d’une perspective la musique ; il n’y avait qu’un désert, et maintenant
renouvelée ; il s’agit aussi de l’essence même de un empire sonore, un havre riche et étincelant conçu
l’œuvre de Ponifasio. Que dirais-je, que ferais-je, par 1000 musiciens et artistes pour la plupart non
s’il y avait demain la fin du monde ? Ce sont là les professionnels, en plus de 100 autres personnes
questions que pose son théâtre. L’essentiel de ces dans les coulisses. Ici, la vie imite l’art : le proces-
questions se trouvent-elles sous la destruction, sus de réalisation d’Apocalypsis constitue l’essence
ce qui s’ensuit ? Avec Ponifasio, j’ai eu confiance même de l’œuvre, créant une communauté d’artistes
en la possibilité d’une interprétation optimiste de venant de partout en Ontario et dans le monde,
l’Apocalypse, un passage menant à un nouveau tous engagés dans un rituel. Les artistes de cet
commencement, à une purification. Dans la deu- enregistrement invitent l’auditeur à tirer profit de ce
xième partie d’Apocalypsis, la musique transcen- processus ou rituel. Je leur suis infiniment recon-
dantale pour chœur amène une épuration sonore, naissant, car ils me permettent encore une fois de
un voyage menant de la confusion à l’harmonie. prendre part à ce qu’ils ont expérimenté.
Apocalypsis trace les deux voies que notre vie

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MUSIC DIRECTOR’S NOTES… AN HOMAGE
by David Fallis
It was just after the New Year of 2015 that I received Murray had once kindly given me, a book published
an email from an archivist doing cataloguing in the by his own Arcana Editions entitled Dicamus et
CBC Radio archives. She had come across some Labyrinthos: A Philologist’s Notebook. Dicamus is
boxes of materials related to the original produc- apparently a facsimile edition of a notebook belong-
tion of Murray Schafer’s Apocalypsis and wanted ing to an unnamed archeologist trying to decipher
to know if I would be interested in coming down to an ancient text written on tablets unearthed in
have a look. Indeed, yes. Magia Tribia, Sicily. How it came to be published by
Murray’s own publishing company, I have no idea,
So we arranged a time, and in due course, in the but I could not help but think of it as I looked at
lower depths of the CBC building on Front Street, these Apocalypsis (the Greek word for “disclosure”)
she showed me some of the original materials from papers.
the 1980 production in London, Ontario. There were
singers’ parts, sometimes notated with indications Imagine my surprise then, when, kindly having been
about which conductor to watch, how loud to sing, allowed to borrow a few of the materials to examine
etc., sometimes with more ephemeral additions – at greater leisure at home, from the back of one of
Sally’s phone number, or a reminder of the time of the scores out dropped a couple of pages of notes,
the next rehearsal. There were parts which some apparently written by some anonymous member of
day might contribute to whole chapters in a PhD the original team of creators. Space does not permit
thesis about Schafer’s creative process, because a full facsimile here, but allow me to share with you
they contain material not found in the final full score. just a few of the notations (See page 10).
As I nosed about, I felt a bit like an archeologist
searching for clues about an ancient culture. At
the same time I was reminded of a book which

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• one work, 2 parts • what to call part 2
• in “Cosmic Christ” all forces at different tempos • get stones for the men – Lake Huron the closest?
• multiplicity • why is twelve considered a sacred number?
12 tribes, 12 disciples, 12 gates of the new
• John mantra-like, inside the head
Jerusalem, 12 chamber choirs, 12 string quartets,
• general progression from F to B and back (the old 12 tones in the chromatic scale, 12 invocations
devil in music) and responses, each one centred around one of
the 12 chromatic notes
• why is seven considered a sacred number?
7 seals, 7 trumpets, opening movements all • unity of voices, all with similar material, no dis-
7 minutes long, singers count up to seven and tinctions
back down to one, 7’s everywhere
• currents of sound
• still more multiplicity, like nature, not one grain of
• Bruno says there is no divinity apart from its
sand like the next
manifestations, no spirit without matter, and
• monks, children, women, speaking, brass, winds, vice versa, both infinite, but how can unity and
bells, creatures, drums, chains, organ, waves, multiplicity be one and the same? Credo
whistles, none the same
• music experienced in time – can we experience it
• try the difference between spruce and maple for more like a picture, hanging entire?
xylophone planks
• so many community members offering to
• Ein jeder Engel ist schrecklich (Rilke) – Every converge in (musical) time
(single) angel is terrifying
• one work, 2 aspects

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MOT DU DIRECTEUR MUSICAL…
UN HOMMAGE par David Fallis
Tout juste après le Nouvel An 2015, j’ai reçu un d’un livre que Murray m’avait gentiment offert,
courriel d’une archiviste responsable de l’indexa- dont il est l’auteur, et publié aux éditions Arcana :
tion à CBC Radio. Elle avait trouvé des boîtes de Dicamus et Labyrinthos : A Philologist’s Notebook.
documents en lien avec la production originale Apparemment, Dicamus est un fac-similé d’un car-
d’Apocalypsis de R. Murray Schafer et m'a offert de net qui appartenait à un archéologue anonyme qui
m’y rendre pour jeter un coup d’œil. avait tenté de déchiffrer un texte ancien écrit sur
des tableaux découverts à Magia Tribia, en Sicile.
Nous avons alors convenu d’une heure, puis, le Comment celui-ci est parvenu à être publié par la
moment venu, au sous-sol de l’édifice de CBC sur maison d’édition du compositeur, je n’en ai aucune
Front Street, elle m’a montré quelques-uns des idée ! Mais je ne pouvais pas m’empêcher d’y penser
documents originaux de la production de 1980, tandis que j’observais ces textes d'Apocalypsis (mot
laquelle s’est tenue à London, Ontario. Il y avait les grec pour « révélation »).
parties de chanteurs, avec quelquefois, des indica-
tions à surveiller pour le chef, le volume de la voix Imaginez mon étonnement d'y trouver, après qu’on
des chanteurs, etc., et parfois des remarques plus m’ait gentiment autorisé à emprunter quelques-
brèves – le numéro de téléphone de Sally, ou un uns des documents pour les examiner à loisir à la
rappel sur l’heure de la prochaine répétition. Il maison, dans une des partitions, quelques pages
y avait même des parties qui pourraient un jour de notes écrites apparemment par un membre
étoffer des chapitres entiers d’une thèse de doc- anonyme de l’équipe initiale de créateurs. L’espace
torat sur le processus créatif de Schafer, parce ici ne permet pas de vous montrer le fac-similé en
qu’elles contenaient des éléments qui ne figuraient entier, mais en voici quelques extraits (voir p. 10).
pas sur la partition complète.
Pendant mes fouilles, je me sentais comme un
archéologue à la recherche d’indices sur une
culture ancienne. Au même temps, je me rappelais

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R. MURRAY SCHAFER
COMPOSER / COMPOSITEUR

R. Murray Schafer is a composer, educator, envi- R. Murray Schafer est un compositeur, pédagogue,
ronmentalist, scholar and visual artist. Born in environnementaliste, érudit et artiste visuel. Né
Sarnia, ON in 1933, and raised in Toronto, he lives en 1933, à Sarnia, ON, élevé à Toronto, il grandit
in a farmhouse near Peterborough. As the “father dans une ferme près de Peterborough. En tant que
of acoustic ecology”, Schafer addresses the dam- « père de l’écologie sonore », Schafer se penche sur
aging effects of technological sounds on people. les effets néfastes des sons technologiques sur les
His most important publication is The Tuning of the humains. Sa plus importante publication est Le pay-
World (1977) where he summarized his soundscape sage sonore (The Tuning of the World, 1977), dans
research, philosophies and theories. Schafer’s œuvre lequel il résume ses recherches, sa philosophie et
surpasses 150 compositions from opera to chamber ses théories sur l’environnement sonore. L’œuvre
music, choral works to symphonies. He has received de Schafer compte plus de 150 compositions allant
10 honorary doctorates and has won many pres- de l’opéra à la musique de chambre, des œuvres
tigious awards, including several Junos, the first chorales aux orchestrales. Il a reçu 10 doctorats
Glenn Gould Award, the Molson Award, Walter honorifiques et a gagné de prestigieux prix, notam-
Carsen Prize, Governor General’s Award for Lifetime ment plusieurs Junos, le premier Prix Glenn Gould,
Achievement in the Arts and the Koizumi Prize from le Prix Molson, le Prix Walter Carsen, le Prix du
Japan. He is a “Companion of the Order of Canada,” Gouverneur Général pour l’ensemble de son œuvre
the highest individual honour in the nation. et sa contribution exceptionnelle aux arts du spec-
tacle, ainsi que le Prix Koizumi du Japon. Il est
officier de l’Ordre du Canada, la plus haute distinc-
tion civile remise au Canada.
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DAVID FALLIS
PRINCIPAL CONDUCTOR AND MUSIC DIRECTOR / CHEF PRINCIPAL ET DIRECTEUR MUSICAL

David Fallis is a Toronto-based conductor and music David Fallis est un chef d’orchestre et directeur
director of early and contemporary music. He has musical torontois de musique ancienne et contem-
conducted at the Royal Opera House in Versailles, poraine. Il a dirigé à la Royal Opera House de
the Glimmerglass Festival, Singapore Festival, Versailles, au Festival de Glimmerglass, aux fes-
Festival Vancouver, Houston Grand Opera, Seoul tivals de Singapour et de Vancouver, au Houston
Arts Centre, Cleveland Opera, Wolftrap Theater, and Grand Opera, au Centre des arts de Séoul, au
in major opera houses in Japan. He conducted the Cleveland Opera, au Wolftrap Theater, et dans les
world premiere of R. Murray Schafer’s The Children’s plus grands opéras du Japon. Il a dirigé, en 2009,
Crusade at the 2009 Luminato Festival, and has con- au Festival Luminato, la création de The Children’s
ducted world premieres by other leading Canadian Crusade de R. Murray Schafer, et en première
composers including James Rolfe, Christopher mondiale des créations de compositeurs canadiens
Butterfield, Christos Hatzis and Andrew Ager. He de premier plan tels que James Rolfe, Christopher
directs Choir 21, a vocal ensemble specializing in Butterfield, Christos Hatzis et Andrew Ager. Il est à
contemporary choral music, and as Music Director la tête de Choir 21, ensemble vocal spécialisé dans
of Opera Atelier has led critically-acclaimed produc- la musique chorale contemporaine, et a mené, à
tions in Toronto, France, Japan, Singapore, South titre de directeur musical d'Opéra Atelier, des pro-
Korea and the United States. As Artistic Director ductions acclamées à Toronto, en France, au Japon,
of the Toronto Consort, Canada’s leading ensemble à Singapour, en Corée du Sud et aux États-Unis. En
specializing in the music of the Middle Ages and tant que directeur artistique du Toronto Consort, le
Renaissance, he tours extensively and leads the plus important ensemble spécialisé dans la musique
ensemble in their numerous recordings. du Moyen Âge et de la Renaissance, il effectue de
nombreuses tournées en plus d’assurer la direction
de l’ensemble dans ses nombreux enregistrements.
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LEMI PONIFASIO
DIRECTION & DESIGN / DIRECTION ET CONCEPTION

Lemi Ponifasio is a Samoan artist, director, writer, Lemi Ponifasio est un artiste, directeur, écrivain,
choreographer, dancer, and designer, based in chorégraphe, danseur et designer samoan. Établi
Auckland, New Zealand and founder and director à Auckland, Nouvelle-Zélande, il est fondateur et
of MAU, a global collaboration of artists and com- directeur de MAU, une importante compagnie réu-
munities. In his stage-work, Ponifasio orients the nissant artistes et communautés. Dans son travail
modern individual towards other dimensions of scénique, Ponifasio amène l’individu moderne vers
consciousness by way of the decelerated rhythm d’autres niveaux de conscience, par le biais de
of his strict aesthetic, shifting volumes of space ralentissements rythmiques dans le cadre de son
and a monochrome stage where humans, animals, esthétique rigoureuse, changeant les dimensions
spirits and gods are captured. For more than two de l’espace, mouvant la scène monochrome où
decades, his work has been presented on the world’s humains, animaux, esprits et dieux sont captu-
most prestigious stages including Avignon Festival, rés. Depuis plus de deux décennies, son travail
Brooklyn Academy of Music, Edinburgh International est présenté sur les scènes mondiales les plus
Festival, Théâtre de la Ville de Paris, Lincoln Center prestigieuses, incluant le Festival d’Avignon, le
for the Performing Arts (NYC), London’s Southbank, Brooklyn Academy of Music, le Festival interna-
Holland Festival, Luminato Festival, Vienna Festival, tional d’Édimbourg, le Théâtre de la Ville (Paris),
Berliner Festspiele and the Venice Biennale. le Lincoln Center for the Performing Arts (New
York), le Southbank Centre (Londres), le Holland
Festival, le Festival Luminato, le Festival de Vienne,
le Berliner Festspiele et la Biennale de Venise.

14
MUSIC PRODUCTION NOTES inspiration proved especially apt in The Court of
by David Fallis Heaven, the scene where the Creatures herald the
first appearance of the Archangel. Michael himself
On the front page of its score, Apocalypsis is can be heard in that same scene improvising kara-
called “a music-theatre work”, a rather open- kia, Maori prayers and invocations.
ended description by the composer but one which
is entirely appropriate for this monumental piece Another place where Schafer’s notation is very
which is part ritual, part opera, part spoken open is in the Lament over the Fall of Babylon,
theatre, part dance-work, part oratorio. It is a huge created and performed in the Luminato produc-
undertaking to produce on stage, requiring as it tion by Tanya Tagaq. But these open moments
does such large and various forces. aside, we otherwise attempted to be faithful to
the composer’s intentions and notation. Where we
The first challenge is to understand the notation, departed we hope that we did so in the spirit of
especially in Part One: John’s Vision, which is the work, and made adjustments based on avail-
full of the graphic notation employed by Schafer able resources, which Schafer makes clear on a
in so many of his works. While occasionally used number of occasions is his wish. So for the bowls
to make the score into a feast for the eyes as of wrath in Vision of the End, instead of following
well as the ears, the notation Schafer designs is the instructions in the score – “buckets filled with
often a very succinct way to describe the sounds various materials (nails, bolts, rivets, etc.) which
he has in his ear (which is the aim of any music are poured out from a great height onto large
notation). There are a number of places where saucers of resonant tin held below” – we used
the notation is extremely open – deliberately so – heavy chains dropped onto the inside of a tam-
because it is expected that the performers in each tam. The improvised organistrum and tromba mar-
production will create their own music at these ina solo in The Battle between Good and Evil was
moments. So, for instance, the music of the Four created on the organ, and the “oriental” instru-
Living Creatures must be created anew every time. ments accompanying the Martyrs Chorus angry
In the Luminato production, with Kawiti Waetford cries in The Seven Seals became pots and pans
from New Zealand playing the Archangel Michael, banged to great effect, almost as if we were at
the Creatures were inspired by karanga, the trad- a people’s street demonstration. The album does
itional Maori welcome songs sung by women. This

15
not include Schafer’s Introduction to Part One – Le premier défi est de comprendre les annota-
fifteen minutes of simultaneously recited Biblical tions, surtout dans la première partie, la Vision
texts spoken before the start of the performance de Jean (John’s Vision), remplie d’annotations
as the audience gathers – which in the Luminato graphiques qu’emploie Schafer dans plusieurs de
production was followed first by a short speech ses œuvres. Bien qu’elles soient parfois utilisées
from Mariatu Kamaru, a survivor of the civil war in pour rendre la partition plus aisée, tant à la lecture
Sierra Leone during which she lost both her hands, qu’à l’audition, souvent les annotations de Schafer
and a silent prologue devised by Lemi Ponifasio. sont une manière laconique de décrire les sons
qu’il entend (ce qui est le but de toute notation
Part Two: Credo is written entirely in standard musicale). Ici et là, les annotations laissent place à
music notation. Here we availed ourselves of some une grande liberté – délibérément – parce qu’il est
of Schafer’s instrumental options, particularly in attendu, à ces moments, que les interprètes dans
having the choirs accompanied by strings. We also chaque production créent leur propre musique. La
had some of the sections played by the strings musique des Quatre créatures vivantes doit, par
alone, a decision modeled on the 1980 perform- exemple, être réinventée à chaque prestation.
ance of Apocalypsis directed by Schafer himself Dans la production Luminato, avec Kawiti Waetord
where he used the same revised scoring, providing de la Nouvelle-Zélande dans le rôle de l’archange
wonderful shifts in colour to the music. Michel, les Créatures étaient inspirées par le
karanga, un cérémonial de bienvenue maori chanté
par des femmes. Cette inspiration s’avérait parti-
NOTES SUR LA PRODUCTION MUSICALE culièrement indiquée dans la Cour céleste (The
par David Fallis Court of Heaven), où les Créatures annoncent la
première apparition de l’archange. C’est lui-même
Sur la page frontispice de la partition d’Apocalyp- qu’on entend dans cette scène, improvisant des
sis, on retrouve l’intitulé « une œuvre de théâtre karakia (prières et invocations maori).
musical ». Il s’agit d’une description pour le moins
ouverte du compositeur, mais entièrement appro- Un autre moment où l’annotation de Schafer est
priée pour cette œuvre monumentale qui incarne ouverte est dans la lamentation sur la Chute de
en partie un rituel, un opéra, du théâtre parlant, de Babylon (Fall of Babylon), créée et interprétée au
la danse et un oratorio. Monter l’œuvre est un tra- Luminato par Tanya Tagaq. Hormis ces moments,
vail immense qui exige indéniablement des forces nous avons sinon tâché de rester fidèle aux inten-
amples et variées. tions et annotations du compositeur. Nous espérons,
là où ce ne fut pas le cas, l’avoir fait dans l’esprit
de l’œuvre, procédant à des ajustements en fonction

16
des ressources disponibles précisées à quelques – 15 minutes de textes bibliques récités simultané-
reprises par le compositeur, selon son désir. Donc, ment avant le début de la présentation pendant que
pour les bols de la colère dans la Vision de la fin du le public prend place – ce qui, dans la production de
monde (Vision of the End), plutôt que de suivre les Luminato, était d’abord suivi d'un bref discours de
indications de la partition – des sceaux remplis de Mariatu Kamaru – une survivante de la guerre civile
différents matériaux (clous, boulons, rivets, etc.), à Sierra Leone, qui perdit ses deux mains – et par
lesquels sont versés de très haut dans de grandes un prologue silencieux préparé par Lemi Ponifasio.
soucoupes en étain résonant fixées au-dessous –
Deuxième partie : Credo a été entièrement com-
nous avons utilisé de lourdes chaines insérées à
posé selon le système de notation standardisé. Ici,
l’intérieur d’un tam-tam. Le solo improvisé d’orga-
nous avons eu recours à quelques-unes des options
nistrum et de trompette marine dans le Combat
d’instrumentation de Schafer, particulièrement
entre le bien et le mal (The Battle between Good and
dans le choix de cordes accompagnant les chœurs.
Evil) a été conçu à l’orgue, et les instruments orien-
Nous avions aussi quelques sections jouées par les
taux accompagnant les cris de colère du chœur de
cordes seules, choix calqué de la représentation de
martyrs dans les Les Sept sceaux (The Seven Seals)
1980 dirigée par Schafer lui-même, dans laquelle
sont devenus chaudrons et casseroles, produisant
il se servit de la même annotation révisée, appor-
un effet fracassant, comme si nous nous trouvions
tant à la musique d’éblouissants changements
dans une manifestation de rue. L’album n’inclut
de couleur.
pas l’introduction de Schafer à la première partie

17
THE APOCALYPSIS COMPANY
LA COMPAGNIE
Aaron Good, Abraham Wilkins, Ada Spanjaard, Adam Despinic, Jaaskelainen, Chris Taeyoung Kim, Chris Walroth, Christina del
Adam Kaleta, Adam Rosen, Adam Scime, Adriana Hill, Agnes Monte, Christine Davidson, Christine Duncan, Christine Ilott,
Tobola, Aiden Gould, Aidan Sheedy, Aileen Dunbar, Ai-Linn Chua- Christine Kerr, Christine McClymont, Christine Zaher, Christine
Henderson, Alethea Song, Alex Chen, Alex Deitrich, Alex Elcombe, Zhao, Christopher Cancian, Christopher Cantlon, Christopher
Alex Greenwood, Alex Macleod, Alex Mathews, Alex Larsen, Christopher Wattam, Cian Horrobin, Claire Hunter, Claire
Meinzinger, Alex Toskov, Alexander Wierzbicki, Alexandra Asher, Renouf, Clara McNamee, Clara McCallum-Fraser, Clarissa White,
Alexandra Carroll, Alexandra Park, Alexis Torres, Alison Campbell, Claudia Brown, Claudia Lemcke, Claudia Moore, Clement Kam,
Alison Muir, Alison Roy, Alison Vicary, Alizon Sharun, Allen Clifford-Roy Baker, Clyde Wagner, Cody McCallum, Colin Frotten,
Mahabir, Allyson Aricheta, Amahl Arulanandam, Amanda Acorn, Colin Gordon-Dryden, Colin Sandquist, Colleen Didur, Coman Poon,
Amy Coulterman, Ana Luisa Santo, Anastasia Tchernikova, Andrea Connie Kuan, Connie Xi, Conor Murphy, Conrad Gold, Corina
Piche, Andrea Wong, Andrew Adridge, Andrew Day, Andrew Chevalier, Cornel Isaila, Curtis Dueck, Curtis Eisenberg, D. Alex
Decker, Andrew Lieflander, Andrew McLaren, Andrew Slonetsky, Meeks, Dallas Bergen, Dallas Chorley, Damien Macedo, Dan King,
Andy Dolgin, Angela Gibbon, Angela Peters, Angus Sheach, Anita Dan Ryan, Daniel Norman, Daniel Parkinson, Daniel Webb, Danny
McAlister, Anna Dolsen, Anna Szigeti, Annalise Walmer, Anne Hones, Danny Wright, Darrelle Carpentier, Darryl Huang, Dave
Bergman, Anne Biringer, Anne Field, Anne Lee, Anne MacDonald, Arthur, Dave Stoutly, David Fallis, David Gonzales, David
Anne Thorne, Anneka Geddes, Ann-Marie Barrett-Tandy, Anne- Lafranchise, David Macmillan, David Martin, David Obes, David
Marie Macloughlin, Anthea Baille, Anthea McArthur, Anthony Pabke, David Pau, David Roth, David Yung, David B. Powell, Dawne
Bergamin, Anthony D'Amico, Anthony Varahidis, Anya Stepanova, Carleton, Debbie Gonsalves, Denise Fujiwara, Denise Simpson,
Ariane Bell Vila, Ariel Lin, Arikitau Tentau, Arlan Vriens, Ashley Derek Fung, Derek Ou, Derrell Woods, Devin Herbert, Devon
Carpenter, Ashley Tjon-Hing, Ashlyn Roy, Audie Cameron, Audrey Wastle Thivierge, Devon Wilton, Diana Praleska, Diane English,
Winch, Aurélie Taufflieb, Avis Devine, Aysel Taghi-Zada, Barb Dianne Clare, Dick Land, Dimitria Korakis, Dominic Ebona,
Kulczycki, Barb Porter, Barbara Arthur, Barbara Medri, Bea Dominick De Kauwe, Don Barber, Don Pyper, Donna Hill, Donny
Iabikova, Betty Lynch Powers, Betsy Wimbs, Bev Jahnke, Beverly Cheung, Doug Temple, Douglas Brownlee, Douglas Cowling,
Krzmarcik, Bijan Sepanji, Bilal Baig, Bill Roulston, Bill Wilson, Bo Duncan Crabtree, Duncan Stuart, Durrell Bowman, Dylan Maddix,
Bardos, Bonita Ubell, Brad Halls, Brenda Clark, Brenda Enns, Eema Kagoma, Elaine Keillor, Elaine Robertson, Eleanor James,
Brenda Millar, Brenda O’Connor, Brent Carver, Brian Black, Brian Elicia Clements, Elise Brisson, Elise Naccarato, Elizabeth Cowling,
Chang, Brian Igreja, Brian Janzen, Brian Power, Brian Snell, Briana Elizabeth Go-Ho, Elizabeth Jones, Ellen Hrivnak, Elsa Lam, Emilie
Pogson, Bridget Hunt, Bridget Love, Brittany Gunpat, Brodie Gelinas-Noble, Emily Ding, Emily Porter, Emily Rockarts, Emily
Stevenson, Brooke Dufton, Brook Loosemore, Bruce Fong, Bryan Sanford, Emily Taub, Emily Wall, Emma Barr, Emma Cava, Emma
Martin, Cady Harman, Caitlin Boyle, Cale Schribler, Calvin Cheng, Metzger, Emma Raflaaub, Emma Willemsma, Eric Hiebert-Rempel,
Cameron Davis, Carl Blanchaer, Carl Piasentini, Carla Huhtanen, Eric Wong, Erin Bardua, Erin Hamilton, Erin Polakoff, Erin Smythe,
Carla Klassen, Carmela Delle Donne, Carmen Wiebe, Carol Eros Tang, Eryk Kokoski, Esie Mensah, Etienne Pemberton-Renaud,
Maclellan, Carole Bestvater, Carol Young, Caroline Cummings, Eva Yevnokian, Evan Lamberton, Fabiola Amorim, Faith Horizon,
Caroline Hollway, Carolyn Ryan, Carolyn Vander Schaaf, Carolyne Fatemeh Ali Baba Darani, Fiona Collie, Fiona James, Floydd
Clare, Carolynne Davy, Caron Daley, Caryl Arundel, Cat Karen, Ricketts, Forte Shinko, Frances Farrell, Frances Nyarko-Mensah,
Catherine Crowe, Catherine Hough, Catherine Hunt, Catherine Freddie Towe, Freddy Abu Sido, Gabe Conquer, Gabrielle
Roe, Catherine Subasic, Cathryn MacFarlane, Cathy Hluchy, Celia McLaughlin, Gaby Piri, Gail Thompson, Gareth Poole, Gemma
Tang, Cendrine Despax, Chanwoo Oh, Charles Davidson, Charles Ricker, Gerald Neufeld, Gerard Nieuwenhuis, Gilad Gratch, Gina
Koroneho, Charlotte Hodgkins, Charna Matsushige, Cheryll Chung, Marasco, Gord Burnett, Gordon Bosiljevac, Grace Xu, Graeme
Chieh-Ying Lu, Chloe Anderson, Chris Bagan, Chris Hwang, Chris McMath, Graham Mansfield, Graham Nancekivell, Graham

18
Thibert, Greg Rainville, Greg Crisp, Gwen Bergman, Hana Fleet, Kelly Galbraith, Ken Carey, Ken Frey, Ken McRory, Ken Wulff,
Hannah Bailey, Hannah Hertel, Hannah Ralph, Harold Jackson, Kendra Grittani, Kenneth Field, Keshav Sharma-Jaitly, Kevin
Heather Crisp, Heather Matson, Heida Yan, Heidi Breier, Heidi Johnson, Kevin MacSweeney, Kevin Ormsby, Kevin Wilson, Kiara
VonShwa, Helen Basson, Helen Coxon, Helen Geng, Helen Todd, Go-Ho, Kieran Kane, Kim Allred, Kim Finkelstein, Kim Sartor, Kim
Helena Felnstadt, Helmi Prasetyo, Henry Paterson, Henry Zmijak, Worobec, Kin Kwan Leung, Kristen De Marchi, Kirsten Fielding,
Herb Poole, Herbert Lemcke, Hilary McCrimmon, Hilda Cowie, Kseniya Dekker, Kyle Canton, Lana Thompson, Lanny Fleming,
Hoan Nguyen Quang, Holger Schwark, Holly Chaplin, Hunter Laura Coyne, Laura Gillis, Laura Harp, Laura Swankey, Laura
Logue, Hutoshi Irani, Ian Harman, Ingrid Silm, Ioane Papalii, Ione Webster, Laura Wilson, Laura Wood, Laura Yiu, Laureen Choi,
Williams, Irene Bailey, Irene Courage, Irene Ott, Isabella Guiliano, Lauren Yeomans, Laurence Schaufele, Laurie Anderson, Laurie
Isis Wisdom, Ivony Ahat, Jaan Medri, Jacob deGroot-Maggetti, McDonald, Lawrence Sugden, Lawrie McEwan, Lee Harmer, Leif
Jacqueline Hayden, Jacqueline Teh, Jacqueline The, Jair Castillo, Steinnen, Leila Husain, Lemi Ponifasio, Leonard Enns, Lesley
James Baldwin, James Dike, James Walke, James Watt, Jan Bouza, Leslie Fradkin, Leslie Finlay, Lian McMillan, Liane
Goodwin, Jan Szot, Jane Agosta, Jane Honek, Jane McKinney, Chatterton, Lieke Van der Voort, Lillian Brooks, Linda Deshman,
Jane Michel, Jane Toumi, Janelle Santi, Janet Eide, Janet Gregor, Linda Blakev, Lindsay Newman, Lindsay McIntyre, Lis Manson,
Janet Siltanen, Janet Reid Nahabedian, Jani Lauzon, Janice Lisa McDonald, Lisa Milligan, Lisette Canton, Liska Jetchik, Liva
Coles, Janice Kerkkamp, Jason Fisico, Jason Fung, Jason Zemitis, Liz Wilson, Lizzie Hetherington, Lois Burkholder, Lori
Urbanowicz, Jean Despax, Jean Ann Stewart, Jean Francois Roy, Ciccolini, Louisa Costanzo, Lowell Selorio, Lua Shayenne, Luca
Jeannine Pitas, Jeff Arnesson, Jeff Bornstein, Jeff Boyd, Jennie Casciato, Lucas Harris, Lucas Udvamoky, Lucy Luk, Luisa D’Amato,
Wiebe, Jennie Worden, Jennifer Latella, Jennifer Lee, Jennifer Lydia McIntosh, Lydia Harper, Lydia McIntosh, Lynda Chubak,
Ujimoto, Jennifer Watson, Jennifer Wöhrle, Jenny Cupid, Jenny Lynda Smith, Lynette Evans, Lynn Kuo, Lynn MacKenzie, Lynne
O’Meara, Jenny Shaw, Jerome Chang, Jesse Dietschi, Jesse Mitchell, Lynne Player, Madeline Hay, Marc Blouin, Marc Tyrrell,
Malone, Jessica Dargo Caplan, Jessica Wright, Jessie Garon, Jill Marcia Myers, Marcus Howard, Marg McKenzie-Leighton, Marg
Hennessy, Jillian Peever, Jim Bailey, Jimmy Martins, Jimmy Rappolt, Margaret Allen, Margaret Elder, Marhee Clifton, Maria
Zhang, Jo Abrams, Jo-Ann Dawson, Joanna Barotta, Joanne Gelenyse, Mariautu Kamara, Marie-Claude Valiquet, Marie
Chapin, Joanne Gonsalves, Jocelyn Belfer, Joel Nash, Joel Masse, Marilyn Smith, Marion Voysey, Mark Hammond, Mark Lee,
VanderZee, John Castillo, John Creson, John Duwyn, John Mark Liao, Mark Rainey, Mark Ramsay, Mark Rochford, Mark
Gladwell, John Higgins, John Kim, John Meadows, John Radford, Vuorinen, Marko Iskric, Markus Howard, Marlene Lynds, Marlo
John R. Smith, John-Luke Addison, Jonathan MacArthur, Jonathan Alcock, Marni Baer, Marta McCarthy, Martin Wills, Mary Barr,
Steljes, Jordan Scholl, Jordan Thompson, Jorn Weisbrodt, Joseph Mary Kokoski, Mary Nesbitt, Mary Stinson, Mary Thomas Nagel,
Hall, Joseph Hatlett, Joseph Landau, Judith Laskin, Judy Clarke, Mary Wing, Mary Ann Archer, Mary Ann McKenzie, Mary Ann
Julia Araiche, Julia Barber, Julia Cleveland, Julia King, Julia Farrell, Mary Ella Magill, Mateo Galindo Torres, Mathias Memmel,
Kruizinga, Julia Morson, Julia Singer, Julie McCarthy, Julija Zibrat, Matt Dolgin, Matt Farrell, Matt Virro, Matthew Pollishuke,
Kai Leung, Kaitlin Blanchard, Kallee Smith, Kareem El-Tyeb, Karel Matthias Schmidt, Mattia Berrini, Maureen Clark, Maurice-Pierre
Tamchyna, Karen Dunk-Green, Karen Kwan, Karen Li, Karen Joanis, Max Lindsay, Max von Holtzendorff, Maxime Despax,
MacLeod, Karen Watson, Kari Pederson, Kasia Pol, Kasina Meagan Turner, Megan Hodge, Meghan Hila, Melanie Boyd,
Campbell, Kassi Scott, Kate Emerald, Kate Holden, Kate Kudelka, Melanie Thompson, Melynda Jurgenson, Merle Fast, Michael
Kate Moore, Kate Mossman, Kate Sexsmith, Kate Wilson, Kate Brett, Michael Cox, Michael Guy, Michael Minerales, Michael
Wright, Katelyn Cutrara, Katharine Pimenoff, Katherine Zhu, Murphy, Michael Rowland, Michael Sawarna, Michael Robert
Kathleen Marck-Wilson, Kathleen Radke, Kathryn Landon, Katie Broder, Michaelangelo Masangkay, Michelangelo Iaffaldano,
Baldwin, Katie Tam, Kawiti Waetford, Kayla Ruiz, Keith Hagerman, Michelle Colton, Michelle Dicesare, Michelle Dyck, Michelle

19
Lovegrove Thomson, Mike Garboll, Mike Hook, Mika Sustar, Xu, Sandra Bockus, Sandra Globerman, Sandy MacDonald, Sang
Mikhail Morris, Min-Jeong Koh, Mira Jung, Moira Overgaauw, Kyun Koh, Sara Martin, Sara Saberi, Sarah Daniels, Sarah Fogh,
Molly Moore, Monique Aubé, Morganna Kelly, Nacia Miller, Nada Sarah Gillis, Sarah Henstra, Sarah Jane Johnson, Sarah Lazzarino,
Kawar, Nancy Jackson, Naoki Chiba, Naomi Campbell, Naomi Sarah Namer, Sarah Nematallah, Sarah Steeves, Sarah Svendsen,
Matsui, Nastia Petrova, Natalie Bryan, Natalie Griller, Natayu Sarah-Lyn Amaral, Sasha Chaplygina, Scott Williamson, Scott
Mildenberger, Nathalie Nasr, Nathan Martin, Neal Evans, Neal Worsfold, Sean Nix, Shaelyn Archibald, Shannon Mercer, Sheila
Fleet, Neema Bickersteth, Neil Aronoff, Neil McLaren, Ngaio Dietrich, Sheila MacRae, Sheree Spencer, Silvia Buttiglione,
Potts, Nicholas Forget, Nicholas Gough, Nicholas Nanos, Nicholas Simon Carroll, Simon Honeyman, Simone L’Abbe, Simone Moir,
Piper, Nicholas Simpson Read, Nick Kyle, Nicko Martin, Nicole Soara Namae, Sophya Yumakulov, Stephanie Hodnett, Stephanie
Malcolm, Nicole Richard, Nien-Chu (David) Kuan, Nila Rajagopal, Marrs, Stephanie Martin, Stephen Barrett, Stephen Cockle,
Nina Arsenault, Noel Edison, Nuno Cristo, Olga Tylman, Oliver Stephen Fetter, Stephen Strauss, Steve Horst, Steve Mclean,
Naruse, Olivia Hopen, Olivia Shortt, Owen Smith, Pamela Wang, Steve Surian, Steve Szmutni, Stewart Cruikshank, Strachan
Paola di Santo, Pat M. Irwin, Patricia Auchterlonie, Patricia Palma, Bongard, Subiksha Rangarajan, Sue Choi, Sue Furlong, Sue
Patricia Patrick, Patricia Ramos Ward, Pattie Kelly, Paul Archbald, Gratton, Sue Konynenburg, Suhashini Arulanandam, Susan
Paul Barton, Paul Dutton, Paul Scott, Perry Alikiotis, Peter Cosbey, Adams, Susan Rome, Susan Schwartzentruber, Susan Suchard,
Peter DeRoche, Peter Eaton, Peter Mahon, Peter Thompson, Phil Susan Worthington, Susana Lei'ataua, Susanna Hood, Susanne
Klassen-Rempel, Phil Penney Phoenix Horizon, Queenly Lee, Schmidt-McQuillan, Suzanna Attia, Suzanne Farkas, Sylvie
Quinton Neufeldt, R Murray Schafer, Rachael de Vries, Rachel Bouchard, Sylvo Frank, Tami Strong, Tamieka Evans, Tamiko Barker,
Barreca, Rachel Desoer, Rachel Kwan, Rafael Chen, Raphael Tammy teWinkel, Tanuri Kulendran, Tanya Charles, Tanya Gopaul,
Anastasisadis, Rean Cross, Rebecca Claborn, Rebecca Hallquist, Tanya Tagaq, Taylor White, Ted Poole, Teresa Mahon, Thamar Juan
Rebecca MacLeod, Rebecca McKay, Rebecca Vogan, Rebecca Tyson, Theodore Toulis, Theresa Bauer, Theresa MacDonald,
White, Reena Katz, Reid Harman, Ria Te Uira Paki, Richard Chen, Thomas Linken, Thomas Wilkins, Tiffany Ing, Tilly Kooyman, Tim
Richard Diver, Richard Foty, Richard Karwat, Riter St. Luc, Rob Hanson, Timmy Mo, Ting Ting Pan, Tom Bogdanowicz, Tom Kerr,
Clutton, Robert Burkholder, Robert Busiakiewicz, Robert Cameron, Tom Leslie, Tom MacCammon, Toniesha Miller, Tricia Roscoe,
Robert Cooper, Robert Gooding-Townsend, Robert Kinar, Roberta Tristan Durie, Tristan Jones, Tyler Pickfield, Valarie Koziol, Valdis
Jennings, Robin Elliott, Rohan D’Souza, Ronald Jewell, Ronan Jevtejevs, Valérie Despax, Valerie Li, Valerie Nunn, Vanessa
MacParland, Rosemond Quartey, Ross Tuskey, Rowena Fleming, Chase, Vernon Garraway, Veronica Adamic, Vicki St. Pierre, Victor
Roxanne Cuevas, Rupert de Gruchy, Russell Sweeney, Ruth Fan, Virginia Evoy, Vivian Moens, Vladimir Rufino, Walter Mahabir,
Caspell, Ruth Gaskill, Ryan McNabb, Ryan Moilliet, Ryan Scott, Wendalyn Bartley, Woodshed Percussion, Woosol Cho, Xerxes
Sabrina Soto, Sally Stelter, Sam Barton, Sam Chlebus, Samantha Punthakee, Xin Wang, Y. Chung Li, Yang Chen, Yui Ugai, Zimfira
Berger, Samantha Little, Samantha Mutis, Samuel Bisson, Samuel Poloz, Zsolt Kota.

20
LIBRETTO
PART ONE / PREMIÈRE PARTIE : JOHN’S VISION
Words from the / Paroles de Revelation of John. creasti omnia, et propter voluntatum tuam omnia
Additional text by / Texte supplémentaire par erant et creata sunt. (Thou art worthy, O Lord our
R. Murray Schafer, bpNichol, Paul Dutton, Steve God, to receive glory and honour and power because
McCaffery & Leo del Pasqua thou didst create all things, and by thy will all things
are and have their being).
1. THE COSMIC CHRIST MIXED CHORUS I + II: Blessing and honour and
power and glory to thee, O Lord God, both now and
JOHN: In the midst of life I have had a vision. forever, Amen.
MEN’S CHORUS: The cosmos is opening, revealing FOUR LIVING CREATURES: Holy, Holy, Holy, Lord God
the man of fire. Almighty.
JOHN: In the midst of life I have had a vision of the MEN’S CHORUS: Dignus es accipere librum, et
one who was and is and is coming. aperire signaculum eius; quoniam occisus es, et
MEN’S CHORUS: Behold he is coming, the first and redemisti nos Deo in sanguine tuo ex omni tribu et
the last.The dead is alive for evermore. It is Him, the lingua et populo et natione. Et fecisti eos Deo nostro
Christ, Lord. regnum, et sacerdotes: et regnabunt super terram.
WOMEN’S CHORUS: Alpha and Omega, Alpha and (Thou art worthy to take the scroll and to break its
Omega. seals, for thou wast slain and by thy blood did pur-
chase for God people of every tribe and language,
SPEECH CHORUS: Tell the people of what is now and every population and nation. And thou hast made of
what is yet to come! them a royal house to serve as priests, and they shall
MIXED CHORUS: Go tell the people of what is now, rule upon the earth).
and what is yet to come! MICHAEL: Who is fit to open the scroll, to break its
SPEECH CHORUS: Be not afraid! seven seals?
FOUR LIVING CREATURES: The Lamb will open the
2. THE COURT OF HEAVEN scroll, the Lamb that was ransomed for humankind
will break the seals and reveal the destiny of the
CHILDREN’S CHORUS: Beati qui ad caenam nupti- world. Holy, holy, holy.
arum agni vocati sunt. (Blessed are those invited to
the wedding feast of the lamb) CHILDREN’S CHORUS: Beati qui audiunt verba
prophetiae huius. (Blessed are they who hear the
MEN’S CHORUS: Dignus es domine deus noster words
accipere gloriam, et honorem et virtutem, quia tu
of this prophecy).

22
JOHN: Blessing and honour and glory and dominion ut sit potestas eorum in lingo vitae, et portis intrent
forever and ever. in civitatem. (Blessed are they who wash their robes
clean: they will have the power of the tree of life and
will enter through the gates of the city).
3. THE SEVEN SEALS
JOHN: Before the throne and before the lamb, a
MICHAEL: Come! great host gathers, white robed, palms in their
ALL CHORUSES: Come! hands, gathers to sing praise to the Lord for their
MICHAEL: Come! deliverance!
ALL CHORUSES: Come!
MICHAEL: Come! 4. PSALM
ALL CHORUSES: Come! FOUR LIVING CREATURES, ELDERS AND PSALM
CHORUS: Praise ye the Lord! Praise ye him from
MICHAEL: Come! the heavens. Praise ye him in the heights, all his
ALL CHORUSES: Come! angels. Praise ye him, all his hosts. Praise ye him,
MEN’S CHORUS AND ELDERS: How long now O sun and moon. Praise ye him, stars of light. Let them
Lord before thou wilt avenge our blood? praise the name of the Lord, for he commanded and
they were created. He spoke the word and they
MICHAEL: Wait! Hold! Hold! Let there be no were created. Praise ye the Lord from the earth, ye
destruction until we have set the seal of God upon dragons and all deeps. Fire, hail, snow, rain, storms,
those who are chosen! praise ye him, for his glory alone is excellent; moun-
JOHN: I see angels as they pass amongst us, mark- tains and all hills, fruitful trees and all cedars. All
ing us in our kind, some as servants of God, marked kings of the earth and all people, princes and judges
for salvation, and some as the servants of Satan, of the earth, both young men and maidens, old men
marked for destruction. and children, let them praise the name of the Lord.
SPEECH CHORUS: Fall upon us and hide us from the Praise ye the Lord!
face of him who is seated on the throne and from the
wrath of the Lamb, for the great day of their wrath is 5. INTERLUDE
come and who can bear it?
CHILDREN’S CHORUS: Beatus qui vigilat. (Blessed
MEN’S CHORUS: Avenge our blood! the one who stays awake and watches).
CHILDREN’S CHORUS: Beati qui lavant stolas suas: WOMEN’S CHORUS: And I hear wings.

23
JOHN: And I hear angels in the midst of heaven, and JOHN: I see a great sign in heaven. I see a woman
I see an angel who flies crying to all before him: adorned with the sun, I see a woman adorned with
“Woe, woe, woe to the dwellers on this earth, Woe the sun, standing on the moon, twelve stars on her
to them for the deaths that will now be known!” head, twelve stars on her head for a crown. She cries
aloud in the pangs of childbirth! And I see another
vision. I see a vision of a dragon, a dragon who waits
6. THE SEVEN TRUMPETS before the woman, waits for the child, waits for
MEN’S CHORUS, MIXED CHORUS I + II, WOMEN’S the child’s birth so he can devour it. And I see the
CHORUS: Woe, woe to the dwellers on earth for the dragon’s tail sweep the stars from the sky, flinging
end is nigh! them to the earth.
MICHAEL: Seal up what the seven thunders have MICHAEL: Victory. This is the hour of victory for God.
uttered, do not write it down. When the seventh JOHN: And I see Michael and his angels, I see them
angel sounds his trumpet, then will the hidden make war on the dragon, the great dragon whose
purpose of God be fulfilled. Take this. Swallow it. name is Satan. I see the dragon thrown down to
Though its taste is sweet in your mouth it will turn Earth, and I see great Satan’s angels thrown down
your stomach sour. Swallow it and utter prophecies with him.
again, prophecies before all people and nations lan- MICHAEL: This is the hour of victory for our God!
guages and kings. Rejoice then, you heavens and all that dwell in them.
CHILDRENS CHORUS: Beatus qui custodit verba But woe to you earth and sea, for the devil has come
prophetiae libri huius. (Blessed is the one who heeds down to you in a rage, knowing that his days are
the words of prophecy contained in this book). numbered. Rejoice you heavens. Woe to earth and
sea.
7. THE BATTLE BETWEEN GOOD AND EVIL JOHN: Out of the sea I see a beast rising, I see a
beast rising, ten horns upon its seven heads, ten dia-
JOHN: I see. dems upon its seven brows. I see the beast rise, ris-
MICHAEL: Prophesy! ing out of the waves, a beast the whole world flocks
JOHN: I see. to, flocking to it in wonder. And I see him allowed to
wage war over God’s people, allowed to wage war
MICHAEL: Prophesy! and to defeat them. And I see him given power over
JOHN: I see. every race, people, language and nation, and I see
MICHAEL: Prophesy! him given power over them, and all the people of the
world worshipping the beast!

24
ANTICHRIST: Ladies and gentlemen! God is dead! God,” and the troups of heaven follow him on white
It was a hoax designed to enslave you. Behold the horses, arrayed in pure white linen. His lips part, and
new ruler of the universe! Sing his praises into the a sharp sword issues forth wherewith to smite the
future. Ladies and gentlemen! Sing of the glory of nations. His will is the will of God and he shepherds
war, the world’s only hygiene. Sing of the love of the nations with an iron flail, trampling the wine
danger, of patriotism and the habit of energy! Ladies press of the passion and wrath of God almighty. His
and gentlemen! Sing of great crowds excited by name is written on his robe, upon his thigh, And his
work and pleasure and riot. Rejoice in the Babel of name is King of kings and Lord of lords!
the modern metropolis. Sing of the glitter of knives. MIXED CHORUS: King of kings and Lord of lords.
Throw your heads up towards the sky, where jets like
mighty gymnasts pull you to distant lands! Ladies MEN’S CHORUS: O magna mirabilia opera tua, O
and gentlemen! Destroy the museums and libraries! Domine deus omnipotens. (Great and marvellous are
Burn the icons and the paintings! Destroy grace and thy works, O Lord God almighty).
feminism and sentiment! Ladies and gentlemen! SPEECH CHORUS: Woe, alas, great city of Babylon,
Sing of the joy of computers, a narcotic to the brain. thy doom has come.
Ladies and gentlemen! Sing of freedom from work FOUR LIVING CREATURES: Great and marvellous are
and pain, sing of the unending presence of joy, for thy deeds, O Lord God. Just and true are thy ways, O
the present is all that exists! King of all ages.
ALL CHORUSES: Domine! (Lord!)
8. VISION OF THE END
ALL CHORUSES: Woe! 9. LAMENT OVER BABYLON AND TRANSITION
MICHAEL: Now let Babylon fall, great Babylon fall, TO THE NEW KINGDOM
fall in a single hour! CHILDREN’S CHORUS: Beati mortui qui in domino
CHILDREN’S CHORUS: Beatus et sanctus qui habet moriuntur. (Blessed are they who die in the Lord).
partem in resurrectione prima. (Blessed and holy is OLD WOMAN: A Lament over Babylon.
the one who shares in the first resurrection).
JOHN: Fallen is Babylon the Great. A haunt of
JOHN: I see the white horse! His rider is faithful demons now. A den of foul spirits, a cage for loath-
and true. His judgements are just. His warfare is some birds.
not without cause. His eyes are a flame of fire. His
head is adorned with diadems. His body is clad in Nations have drunk the wine of her passion, and
a robe dripped in blood. His name is “The logos of kings have committed vice with her. Render unto her

25
what she rendered unto others. May her doom be gates of light are never shut by day, and night there
double for what she has done. She will be hurled shall be none. The Lord of light shall illumine them,
down and seen no more, harps and musicians heard and they shall reign forever.
in her no more, craftsmen found in her no more. The MICHAEL AND JOHN: I am alpha and omega, the
sound of work heard in her no more, the light of first and the last.
lamps heard in her no more, the voice of the bride
and the bridegroom heard no more. Vanished! The ALL CHORUSES: Allelulia.
ripe fruit of desire! Perished! The luxury and splen- CHILDRENS CHORUS: Veni, Iesu. Alleluia.(Come,
dour! Desolate! The streets that pleasured! Burned, Jesus. Alleluia).
what yielded riches beyond measure! Rejoice over ALL CHORUSES: Come.
her, thou heavens, for all is lost. God hath avenged
you on her. Nothing is everything in her. She is she
no more. Her is here no more. She is she no more.
Her is here no more.
ALL CHORUSES: Alleluia, Alleluia, Alleluia.
FOUR LIVING CREATURES: The book of life is opened
and the dead are judged by what is written. The sea
gives up its dead. Death and Hades give up their
dead, and the dead are judged by what the dead
have done.
MICHAEL: By light shall the nations walk: and into
light shall kings of the earth bring their glories. The

26
PART TWO / DEUXIÈME PARTIE : CREDO
Adapted by / Adaptation par R. Murray Schafer from can be added or subtracted from universe for the
the / du Fifth Dialogue of “De la causa, principio de infinite has no parts.
uno” by / par Giordano Bruno.
7. INVOCATION AND RESPONSE 7
1. INVOCATION AND RESPONSE 1 Lord God is universe. Universe cannot be com-
Lord God is universe. Universe is all that exists. pared since being everything it is incomparable.
2. INVOCATION AND RESPONSE 2 8. INVOCATION AND RESPONSE 8
Lord God is universe. Universe is infinite in Lord God is universe. In universe all things are
extent, immobile in time. Universe does not new for everything has been.
move for there is nowhere that is not already.
9. INVOCATION AND RESPONSE 9
3. INVOCATION AND RESPONSE 3 Lord God is universe. Universe has no parts yet it
Lord God is universe. Universe does not engen- contains all parts. It is soul yet it is not soul. It is
der itself for it is already all being. Universe is body yet not body. It is formed yet it is formless.
not corruptible for there is no thing into which it It is end, yet unending.
can change itself.
10. INVOCATION AND RESPONSE 10
4. INVOCATION AND RESPONSE 4 Lord God is universe. Universe has no halves,
Lord God is Universe. Universe is not matter for quarters or measure. It has no before, after or
it is not configured or figurable. Universe is not present. It has no up, down or position. In uni-
form for it does not inform or conform to any- verse visible does not differ from invisible.
thing beyond.
11. INVOCATION AND RESPONSE 11
5. INVOCATION AND RESPONSE 5 Lord God is universe. In universe point does not
Lord God is universe. Universe comprehends all differ from circumference, finite from infinite,
oppositions in its being. In universe all things maximum from minimum. Therefore universe is
concur in perfect unity; all contradictions are all centre yet nowhere centre. And all circumfer-
cancelled. ence yet nowhere circumference.
6. INVOCATION AND RESPONSE 6 12. INVOCATION AND RESPONSE 12
Lord God is universe. Universe is not measured Lord God is universe. Universe is one: one act,
or measurable. Universe is not contained since one form, one soul, one body, one being, the
there is no greater than itself. Universe does not maximum and only. O man, know these facts to
contain since there is no less than itself. Nothing be true. Amen.

27
28
The recording was made possible through the generous support of / Cet enregistrement a été rendu pos-
sible grâce au soutien généreux de : Helen Burstyn, Wendy M. Cecil, The Michael & Sonja Koerner Charitable
Foundation, Nancy Lockhart & The Murray Frum Foundation, Joan & Jerry Lozinski, Eleanor McCain, Margaret
McCain, Joe Mimran & Kimberley Newport-Mimran, Julia Ouellette, Jim & Sandra Pitblado, Beth Robinson,
Gretchen & Donald Ross, Colleen Sexsmith.
Luminato Festival's Production of Apocalypsis was presented by / La production Apocalypsis est une présenta-
tion de : BMO, supported by / appuyée par Hal Jackman Foundation, Gretchen & Donald Ross, Sony Centre for
the Performing Arts, in partnership with / en partenariat avec National Arts Centre / Centre national des Arts
& Royal Conservatory of Music.
With special thanks to / Nous remercions tout particulièrement : Canadian Actors’ Equity Association, ACTRA,
Canadian Federation of Musicians / Fédération canadienne des musiciens, IATSE.
Performance Rights courtesy of / Droits d’exécution avec l’aimable autorisation d’Arcana Editions.
Commissioned by the CBC in 1976, Apocalypsis premiered at Centennial Hall in London, Ontario, Canada on
November 28, 1980 as part of the city’s 125th anniversary. / Apocalypsis – une commande de la CBC en
1976 – a été créée au Centennial Hall, à London, Ontario, Canada le 28 novembre 1980, dans le cadre du 125e
anniversaire de la ville.
This recording is made under exclusive license with / Cet enregistrement est sous licence exclusive avec
Toronto Festival of Arts, Culture and Creativity (LUMINATO FESTIVAL) ℗ 2015.

29
30
The works recorded on this album were performed at the Apocalypsis shows on June 27 and 28, 2015 /
Les œuvres sur cet album ont été enregistrées pendant les spectacles des 27 et 28 juin 2015; at the / au
Sony Centre for the Performing Arts (Toronto, ON, Canada). As part of / dans le cadre du Luminato Festival.
Recorded and Mastered by / Enregistré et mastérisé par Doug Doctor, CBC Music.
A Music-Theatre work composed by / Une œuvre de théâtre musical composée par R. Murray Schafer.
Libretto : R. Murray Schafer, bpNichol, Paul Dutton, Steve McCaffery, Leo del Pasqua.
Based on the Revelation of St. John the Divine, Psalm 148 and words by Giordano Bruno.
Basé sur la Révélation de Saint-Jean le Divin, Psaume 148, et Giordano Bruno.
Direction and Design / Direction et conception : Lemi Ponifasio
Principal Conductor and Music Director / Chef principal et directeur musical : David Fallis
Light / Éclairage : Helen Todd
ANALEKTA
Executive Producer, Artistic Director / Producteur, directeur artistique : François Mario Labbé
Production Manager / Directrice de production : Julie M. Fournier
Production Assistant / Assistante de production : Kathleen Désilets
Translation / Traduction : Rédaction LYRE
Proofreading / Révision : Kathleen Désilets
Cover Photo / Photo de couverture : © Bruce Zinger
Photos p. 2 & 21 : © Bruce Zinger
Drawings / Illustrations : From the original score of / Tirées des partitions originales d'Apocalypsis Part One:
John’s Vision (R. Murray Schafer), Arcana Editions
Graphic Design and Production / Conception et production graphique : Pragma création

Groupe Analekta Inc. recognizes the financial assistance of the Government of Quebec through the SODEC’s Programme d’aide aux
entreprises du disque et du spectacle de variétés and refundable tax credit for recording production services. / Groupe Analekta
Inc. reconnaît l’aide financière du gouvernement du Québec par l’entremise du Programme d’aide aux entreprises du disque et du
spectacle de variétés et le Programme de crédit d’impôt pour l’enregistrement sonore de la SODEC. We acknowledge the financial
support of the Government of Canada through the Department of Canadian Heritage (Canada Music Fund). / Nous reconnaissons
l’appui financier du gouvernement du Canada par l’entremise du ministère du Patrimoine canadien (Fonds de la musique du Canada).
AN 2 8784-5 Analekta is a trademark of Groupe Analekta Inc. All rights reserved. / Analekta est une marque déposée de Groupe
Analekta Inc. Tous droits réservés. Made in Canada. / Fabriqué au Canada.

31
APOCALYPSIS
A MUSIC-THEATRE WORK / UNE ŒUVRE DE THÉÂTRE MUSICAL
Live recording / Enregistré en spectacle

CD1 CD2
Part One / Première partie Part Two / Deuxième partie
John’s Vision Credo

1. The Cosmic Christ 7 : 14 1. Invocation and Response 1 3 : 36

2. The Court of Heaven 7 : 04 2. Invocation and Response 2 3 : 30
3. The Seven Seals 5 : 42 3. Invocation and Response 3 3 : 30
4. Psalm 6 : 07 4. Invocation and Response 4 3 : 30
5. Interlude 1 : 48 5. Invocation and Response 5 3 : 31
6. The Seven Trumpets 6 : 19 6. Invocation and Response 6 3 : 39
7. The Battle between Good and Evil 6 : 45 7. Invocation and Response 7 3 : 40
8. Vision of the End 6 : 09 8. Invocation and Response 8 3 : 38
9. Lament over Babylon and Transition 9. Invocation and Response 9 4 : 01
to the New Kingdom 18 : 33 10. Invocation and Response 10 2 : 19
11. Invocation and Response 11 2 : 09
12. Invocation and Response 12 10 : 40

AN 2 8784-5