Söndagen den 11:e maj kommer svenska kyrkomusikerna Stefan och Maria Säfsten dels medverka på gudstjänsten och sedan hålla en konsert kl 14.00 med egenkomponerad musik på orgel och synth.
Datum: 11:e maj
Tid: 14.00
Frivillig donation
Om artisterna:
Stefan Säfsten is a freelance composer, conductor, pianist and church musician. Stefan has a Master of Fine Arts from Royal College of Music in Stockholm. He has played in various constellations and genres: church music, chamber music, jazz, gospel and rock and released several albums.
He has conducted and led ensembles, orchestras and choirs in all formats.
Maria Säfsten is a Swedish organist who serves as the Minister of Music at a congregation in Strängnäs. Maria has a Master of Fine Arts and a solo Diploma in organ from the Royal College of Music in Stockholm.
Maria performs many concerts both as a soloist and accompanist. She is a skilled conductor and has conducted Händels Messiah, Mozart's Requiem and more. She has recorded a solo organ album.
About the music:
The program contents music for organ and synth. A quite unusual combination. The organ is like an orchestra and so is the synth. Together the two instruments provide a sound spectra that can compares with a symphony orchestra. But the synth has also other sounds that common instruments don’t have. So, this combo is unique. I have written 4 different works for this constellation. Spectra, Bekransa mig (Wreath me), The Creation and Biblical scenes
Spectra
Spectra is the first of these works. I wrote it in the beginning of 2019 for an organ festival. Spectra has three movements and describes different forms of light.
The first movement is called Nimbus.
Nimbus is an atmospheric piece that plays with tonal colours as in a light show. When the light is refracted through a prism, a spectrum of colours emerges. This movement seeks to capture the ethereal beauty and mystique of light in its various forms, using both the organ and synth to create an otherworldly soundscape.
The second movement is called Umbra.
Umbra delves into the darker, more shadowy aspects of light. This movement contrasts sharply with Nimbus, employing deeper, more resonant tones from the organ and dark sounds from the synth. It evokes the feeling of being enveloped in shadows, where light is minimal and mysterious. The interplay between the two instruments creates a sense of depth and tension, illustrating the profound impact of light's absence.
The final movement is called Eritque Arcus
Eritque Arcus (And there shall be a rainbow) is the culmination of the Spectra suite. This movement celebrates the vibrant and dynamic array of colours that a rainbow represents. It begins with a gentle, almost imperceptible emergence of sound, reminiscent of the first hints of a rainbow appearing after a storm. As the piece progresses, the organ and synth blend to create cascading waves of harmony, each one richer and more colourful than the last. The music ends with water drops and of the rainbow´s dissolution.
The Creation
I wrote The Creation in the beginning of 2020.
The Creation consists of 7 movements. Each one describes in a musical way the seven days of the creation as it is described in Genesis in the bible. In the biblical text, each day of creation ends with the same sentence: “And evening past and morning came, marking the 1:st day. (2nd day etc)” Therefore, the first six movements have the same ending, albeit in a varied form. But on the seventh day God rested and the text ends: “And God blessed the seventh day and declared it holy, because it was the day when he rested from all his work of creation.” Therefore, the last movement has another ending.
1:st Movement
In the beginning, there was nothing but a void, a vast expanse of emptiness waiting to be filled. The music starts with high notes in disorder that eventually gather together. The universe was a blank canvas, poised for the touch of a divine artist. Then, with a word, a spark of intention, the process of creation began. Light burst forth, illuminating the darkness and setting the stage for the unfolding of all existence. There is also increasingly musical order and harmony. The first day brought light, separating it from the darkness, creating the cycle of day and night.
2:nd movement God called the space "sky". Bright, expectant music in the beginning. The firmament above, stretching from horizon to horizon, became a canvas for the celestial bodies, the stars and the moon, that would later adorn the night. The second day brought the creation of the firmament, dividing the waters above from the waters below, laying the foundation for the heavens and the earth. The music is getting more and more magnificent.
3:rd movement
Let the land sprout with vegetation. With a grand flourish, the music reflects the emergence of land from the watery depths, showcasing the dramatic transformation of the earth's surface. The melody evolves into lush, verdant harmonies, symbolizing the burgeoning growth of plants and trees. Notes blossom forth in vibrant clusters, representing the earth's newfound fertility as it is adorned with grasses, herbs, and fruit-bearing trees. This third movement is a celebration of life taking root, as the once barren land bursts into a symphony of green vitality, echoing the divine decree: "Let the land sprout with vegetation."
4:th movement
Let lights appear in the sky. The fourth movement captures the divine proclamation with a multifaceted musical line. The synth sparkles and the organ carry the melody. The heavens above are adorned with a tapestry of lights, as the celestial bodies - the sun, the moon, and the stars - take their place in the firmament. Each note shimmering like the stars themselves, casting their glow upon the earth below. The interplay of light and shadow is mirrored in the intricate harmonies, creating a celestial dance that marks the passage of time and seasons. This movement is a testament to the beauty and order brought forth by the divine hand, as the sky becomes a canvas of cosmic artistry.
5:th movement
Let the waters swarm with fish and other life. The fifth movement brings to life the teeming abundance of the seas. A symphony of fluid, rolling melodies captures the essence of the oceans, with the music ebbing and flowing like waves upon the shore. The synth plays like a harp to describe the waves and the organ all the creatures in the waters, some very small, some very big. It´s all very playful, representing the myriad creatures that fill the waters. The synth and the organ intertwine to mimic the graceful dance of fish, while deeper tones evoke the majesty of whales and other great sea creatures. This movement exudes a sense of vitality and motion, celebrating the divine command that filled the oceans with life and set the stage for the intricate web of marine ecosystems.
6:th movement
Let us make mankind in our image. The sixth movement begins quite softly and beautifully, it becomes sombre and joyful. People and animals play on the newly created earth. “Let the earth bring forth living creatures according to their kinds." In a majestic crescendo, the music embodies the birth of animals, from the smallest insects to the grandest beasts. At the end of the movement, we hear “Grand Finale” solemn music because the “crown of creation” man, was created on the sixth day. This movement is a tribute to the diversity and wonder of terrestrial life, each species a unique note in the grand symphony of creation.
7:th movement
….and so, he rested from all his work. On the seventh day, the music transitions into a serene and tranquil melody, reflecting the divine rest. The creation, now complete, stands as a testament to the beauty and order brought forth by the divine hand. The notes drift gently, like a peaceful lullaby, symbolizing the restful pause after the labour of creation. The heavens and the earth, now in perfect harmony, bask in the stillness of this sacred day. In the middle of the movement the music crescendos and creates a sense of celebration. Then the movement ends as it begins, softly and sacredly. It is a moment of reflection and gratitude for the wondrous works accomplished. The music, soft and soothing, encapsulates the essence of Sabbath, a day of rest and sanctification, echoing the divine decree: "So he rested from all his work."
Biblical scenes
I wrote Biblical scenes in the beginning of 2021. And it is the last one of four pieces for organ and synth so far. It consists of 7 movements with different scenes mainly from the gospel of John.
Biblical scenes provide a wide spectrum of expressions. From soft and beautiful to quite wild and ruff music. I have tried to catch the mood in each scene.
1:st movement
The Word became man John 1:1-5
I see it as an act of creation. It starts with a low tone that develops to a melody. This melody gradually builds layer upon layer, representing the emergence of light from darkness, word from silence. The movement portrays the profound mystery of the divine Word taking human form, an awe-inspiring moment of incarnation. “And the light shineth in the darkness; and the darkness apprehended it not.
2:nd movement
The temple is cleansed John 2:13-16
Jesus was very angry and walked with determined steps into the temple courtyard. The music is like a march with timpani and trumpets, and everything crash as the tables and coins spreads out on the ground.
The intensity of the scene is palpable, as the music captures the righteous fury and the urgency of the moment. The relentless rhythm of the march mirrors Jesus' unwavering resolve to cleanse the sacred space of its corruption. The discordant clash of the organ and synth symbolizes the upheaval, as the temple is purified through this act of divine justice.
3:rd movement
Jesus walks on the water Matthew 14:22-33
The disciples were afraid when Jesus came walking on the water. They thought he was a ghost. Peter wanted to walk on the water too, but he sank. Even thou Peter sank because he was afraid I fantasies about Jesus and Peter walking together on the water. First a melody on the synth accompanied by the organ and then together with the second melody on the organ forms a harmonious duet.
The tranquil melodies depict the serene and miraculous nature of the event, as the water beneath their feet becomes a symbol of faith and trust.
4:th movement
Lazarus is resurrected John 11:1, 3-4, 14-15, 17, 20, 32, 38-44
Can you imagine the thought of a man who has been dead for four days being resurrected? Isn't that terrifying? That’s my starting point of this story. The music in the beginning is like the music in a horror movie for a start. But the sight of Lazarus when he came out from the tomb must have pleased them. So, the music change, first into quiet joy and then it bursts into cheers.
John 11:44 “He that was dead came forth, bound hand and foot with graveclothes; and his face was bound with a napkin. Jesus saith unto them, loose him, and let him go.”
The music embodies the tension and the awe of witnessing such an extraordinary miracle. The eerie, haunting notes evoke the fear and disbelief that must have gripped those present, as they watched in astonishment. Gradually, as Lazarus emerges from the tomb, the composition shifts to convey the profound relief and joy that follows. The delicate interplay between the organ and the synth crescendos into a powerful, jubilant chorus, celebrating the triumph of life over death.
5:th movement
Jesus before Pilate John 18:28-40
This peace has a beautiful melody. But it disturbs sometimes by the synth. In this scene I think Jesus was alone and abandoned by all his friends. Pilate was in one way able to save him but didn’t. That’s why music is so beautiful that it hurts.
The melody captures the profound sorrow and solitude Jesus must have felt during this harrowing moment. The synth's dissonance serves as a poignant reminder of the betrayal and the weight of the impending sacrifice. As the music unfolds, it weaves a tapestry of melancholy and grace, reflecting the duality of Jesus' suffering and the ultimate redemption that his journey promises. The contrast between the serene melody and the jarring synth accentuates the emotional chaos and the stark loneliness of being forsaken, yet resolute in fulfilling a destiny marked by love and sacrifice.
6th movement
The death of Jesus John 19:25-30
This movement is a three-part fugue, with descending chromatic. Many composers have used a motif with descending chromatic to describe the suffering. The fugue is surrounded by fluttering synth sounds and a rather unusual organ registration.
The composition's use of descending chromatic lines effectively portrays the immense pain and sorrow of the crucifixion. The three-part fugato gets a rich sound when the parts are octaved in several places. The fluttered synth sounds create a sense of turbulence and unrest, mirroring the chaotic emotions surrounding Jesus' final moments. The organ, with its unusual registration, adds a hauntingly beautiful quality to the piece, further emphasizing the gravity of the event. As the music progresses, it encapsulates the profound despair and the sombre acceptance of fate.
7th movement
The Risen One and the Disciples at the Sea of Tiberias John 21:1-11
In this movement you can hear the waves. The disciples caught no fish even though they had been fishing all night “And he said unto them, Cast the net on the right side of the boat, and ye shall find. They cast therefore, and now they were not able to draw it for the multitude of fishes.”
A very peaceful and lucky moment. Two music quotes appears: The Swedish song: Här är gudagott att vara (It’s heavenly to be here) and from the Swedish hymnbook nr 77:5 Herre, signe du och råde (Lord, bless and guide and keep us well now. Lord, let your face shine in grace always upon our souls. Lord God, turn to us and send us your peace. O God the Father, Son and Spirit, to you be glory in all the earth!) It all ends with a new written hymn. The lyrics is from the Swedish hymnbook nr. 149:5 Upp, min själ, min mun och tunga (Up, my soul, my mouth and tongue, up my heart and my voice to praise and sing the praises of Jesus who redeemed us, Jesus thank and praise, Jesus' goodness never hide.)
Oh for a thousand tongues to sing
In addition, we also have an organ piece on the repertoire. The lyrics is by Charles Wesley and the melody by Thomas Haweis.
This is a musical fantasy on the anthem. In my imagination I hear thousand tongues that sings their praise to the Lord. In the end of this piece the anthem appears clearly but with a twist at the end.