The “Bible Stories” Concert: Music Transcending Borders

The White Nights of Karelia festival lives on

The lyricism expressed by the composer in the music is genuine, organic, always intelligible, and melodically captivating—these are the foremost qualities defining Baruch Berliner’s compositional prowess.

The COVID-19 pandemic has altered our lives so quickly that many people still disregard the dangers of the situation, often relying on sheer luck, as is the ingrained Russian habit. No amount of tried-and-true advice can alter the worsening trend of rising cases and unfortunate outcomes.

In this atmosphere, artists cannot help but feel the hardships that have become part of everyday life, including loss of employment. The question arises—how long must we endure, and should the muses fall silent? As for the muses, the answer is unequivocal: a resounding NO! Without them, a living person cannot exist. Even in the direst circumstances, even on their deathbeds, people of every nation have created legends, poems, and songs, for emotions—whatever their nature—are that invaluable and ever-renewing treasure that every human carries from birth.
I believe these ideas are what Viktor Gorin, the founder of our White Nights of Karelia Festival and a Merited Artist of the Republic of Karelia, has been reflecting on for the past three decades. His years of work with the festival have made an invaluable contribution to musical life in Karelia. Almost all the artists he invited extolled the festival, with many returning to perform multiple times.

Another proof was the opening of the 16th festival on October 20 at the Musical Theatre. The “Bible Stories” concert program featured music by Israeli composer Baruch Berliner, whose work we were introduced to at the previous festival. Three years ago, he visited Karelia, but this time, the pandemic prevented a new meeting with the composer. Nevertheless, the music transcended borders and was performed as originally planned.
In 2018, we were delighted to become acquainted with the music and its creator, a man of considerable age and a person of diverse talents and exceptional charisma. The composer was so deeply impressed by his first introduction to Karelia, the festival’s atmosphere, and the warm reception from the audience that he expressed a desire to return to our hospitable land. Seemingly, there was no obstacle to this, but we were mistaken—the circumstances proved stronger. The festival, which had previously been held annually, had to be suspended. However, Mr. Gorin made the impossible happen, and the tradition began anew.

Allow me to share a few biographical details about the composer. To us, he revealed himself not only as a musician but also as a poet and playwright, the creator of the dramaturgical foundations of his expressive works. Yet, in the West, his name is known for more than this. After enrolling in the University of Zurich and graduating as a mathematician and physicist, Berliner immersed himself in science for many years, writing over seventy papers and giving lectures at the world’s leading universities.

He took up music in his childhood, enrolling in the Tel Aviv Academy to study the violin. However, at the age of 18, he became captivated by science and devoted many years to it. Although taking a backseat for a time, music remained Dr. Berliner’s special interest, continually enriching and expanding his emotional depth, patiently waiting for its moment to resurface.

In the current concert, the composer presented two works, one of which — Jacob’s Dream, a symphonic poem for the narrator, baritone, and orchestra—we heard in 2018. The essence of the composition has remained unchanged, as it draws from the well-known Old Testament story of Jacob, the ancestor of two branches of the Israeli people. According to the Biblical account, Jacob saw in his dream a ladder with angels ascending and descending, which he regarded as a symbol of the path to God.

The repeat performance was not merely the composer’s whim. Dr. Berliner frequently reflects on a work after its premiere, thereby extending the creative process—that is what happened with the poem we had previously heard, resulting in a new version. Although such work on a composition is fairly common, the performers were surprised that refinement continued even during rehearsals in Petrozavodsk. Modern electronic communication worked wonders, enabling the composer to observe rehearsals remotely and make additional revisions. As a result of all this work, the dramaturgy and orchestral details were further enhanced and made more intricate.

This time, the symphonic poem was performed by another ensemble—the Orchestra of the Karelian Musical Theatre, led by Mikhail Sinkevich, who carried out their creative mission admirably. This is particularly worth noting, since the ensemble spends its life in the orchestra pit and rarely appears on stage, which requires a completely different approach to performance. Nevertheless, under the guidance of the artistic director, the musicians showcased their finest artistic qualities. The baritone part was performed by Igor Makarov, a soloist of the Musical Theatre.

The role of the narrator from the original performance was once again taken by actor and director of the National Theatre of the Republic, Andrei Dezhonov. In this capacity, he had repeatedly appeared in festival programs, always immersing himself in the text and delivering it with vibrant artistry and convincing expression. Unfortunately, this time, he performed without a microphone, which affected the clarity of the text. However, in the second half, where the literary foundation was crucial to conveying the meaning, the salvific microphone corrected the issue.
The second half featured the oratorio “Abraham” for narrator, male choir, and orchestra. A devout Jew and deeply religious man, Dr. Berliner cannot conceive of himself without engaging creatively with biblical narratives. The protagonist of Abraham is not just a character of the Old Testament, but one of the most tragic figures in the sacred text. The music, born as a sensitive emotional response to the original source, enables a deep understanding of the events in the story. It encompasses everything: the wise reflections of the narrator, the intense dramatic moments, and, of course, the lyricism that occupies a prominent place in the composer’s work—something we recognised during our first encounter. This lyricism is often channeled to depict a landscape, but mostly it embodies the world of love. Dr. Berliner expresses love in poems dedicated to his beloved wife and frequently prefaces his compositions with these verses. By the way, during his previous visit, she was by his side.

The pieces we heard suggest that the lyricism manifested by the composer in his music—genuine, organic, invariably comprehensible, and melodically captivating—stands as the foremost attribute of his compositional vision.
The choir has a vital role in the oratorio’s score.The men’s chamber ensemble of the Karelian Philharmonic, conducted by Alexey Umnov, which has already shown its considerable talent, brought to life through Berliner’s music the multifaceted imagery demanded by the narrative—ranging from reverent silence to the awe-inspiring might of the divine voice. Bravo!

The first concert of the festival was a rousing event. Next in the programme are two chamber concerts featuring musicians from the St. Petersburg House of Music. More details about this will follow.

Natalia Grodnitskaya
Source: gazeta-licey.ru