The Power of Candlelight

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A peaceful demonstration in Leipzig, 1989

Travelers to Germany in 2014, especially to Berlin, Dresden and Leipzig, may encounter a variety of celebrations honoring the twenty-fifth anniversary of the Peaceful Revolution, the fall of the Berlin Wall and the path toward reunification of the country. From 9 through 12 October 2014 the “Festival of Lights” will be a highlight in Leipzig, but it is the story behind the festival that must be told.

Many European cities have grand musical traditions. Leipzig is no exception for it is the city of Johann Sebastian Bach. Bach was choirmaster at the historic St. Thomas Church for twenty-seven years. Even without his considerable influence, the church would have had a rich legacy, but Bach’s reputation made it even more notable.

It was at St. Thomas Church, in 1539, that Martin Luther introduced the Reformation to Leipzig. Some two hundred fifty years later, in 1789, Mozart played the church organ there, and in centuries that followed both Felix Mendelssohn and Richard Wagner also performed at the church.

The church choir has been in existence since 1254. During Bach’s time there were fifty-four singers in the chorale. Today the world famous St. Thomas Boys Choir features the voices of eighty boys singing music particularly dedicated to Bach in weekly performances of motets and cantatas during regular Sunday services.

Bach was also choirmaster at St. Nicholas Church from 1723 to 1750. St. Nicholas is nearly a hundred years older than St. Thomas, dating to 1165, and when it was built, St. Nicholas Church was situated at the intersection of two important north-south, east-west trade routes which not only played an important role in Leipzig’s past, but it was also critical to the events that reunited Germany in 1989.

Each November during the early 1980s, young people from all over the region would gather at St. Nicholas Church for ten days of prayer for peace. There had been large demonstrations all over the German Democratic Republic protesting the arms race in those days, but the gatherings in Leipzig were regarded as little more than non-violent prayer vigils. The only places where issues could be openly discussed in Germany were at meetings held in churches, and St. Nicholas was one of those sites.

Soon a youth group from the church decided to increase the meetings by having prayer services every Monday evening. At first there were only a handful of attendees, but before long more people came to demand justice and respect for human rights. Many who participated were non-Christians, but, with no other place to gather, they regularly attended the meetings. They studied the words of the Old Testament and the Sermon on the Mount, and eventually they came to understood two things: that people should discuss urgent problems with each other and that they also needed to meditate and pray to God for support and guidance.

Slowly the movement gathered strength. Each day the church was decorated with flowers. Each night it was filled with the light of hundreds of glowing candles. After a while the government took notice and became concerned. From May of 1989 all access roads to Nicholas Church were blocked by police checkpoints.

Authorities exerted pressure to cancel the peace gatherings, but the prayers continued. Monday after Monday the meetings were held even though many were detained or arrested. Soon it became impossible for everyone to get into the church because the numbers were so great. Yet, still they came.

Early in October 1989, St. Nicholas Church was filled with more than two thousand people inside with thousands more out in the streets. When the prayers ended, the bishop gave his blessing and made an urgent appeal to the congregation for non-violence. As people departed the church, they were greeted by thousands of fellow East Germans standing in the square, standing with candles in their hands.

To carry a candle outdoors requires two hands. One holds the candle while the other prevents it from going out. In order to keep a candle burning it is not possible to carry a stick or a club or a stone.

It was a miracle. When police arrived and surrounded the crowd, they didn’t know what to do. They were bewildered and quickly lost their incentive to fight. For the protesters this was a peace vigil, and they were armed only with candles. Soon the police began mingling and talking with the people. Eventually they withdrew. As one officer said, “We were prepared for everything. Everything, that is, except candlelight.”

The non-violent peace movement lasted just a few weeks more before the government collapsed. Not long after, about two hours northeast of Leipzig, the notorious Berlin Wall went crumbling to the ground.

Bob Taylor – Communities Digital News

Joanna MacGregor Crosses Tonal Grounds

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aria, Ástor Piazzolla, Brighton, Buenos Aires, Cold War, comedy, Couperin, Django Bates, English Channel, Four for Tango, fugue, godfather, harmony, Harrison Birtwistle, Joanna MacGregor, Kathy Evans, Leipzig, London, mafia, Melbourne, Messiaen, Metropolis New Music Festival, Musical Toys, Old Testament, opera, ornamentation, piano, Pierre Boulez, prelude, Rapunzel, Royal Academy of Music, Shostakovich, Sofia Gubaidulina, SoundCircus, Steinway & Sons, Talvin Singh, The Sydney Morning Herald, Tiger Mother, toccata, tragedy, trill

Joanna MacGregor

Pianist Joanna MacGregor heads, Rapunzel-like, to the top of a tower and stares out across to where the pebbled lips of the coastline kiss the slate blue waters of the English Channel. Here she will stay for hours, because this is where she keeps her Steinway; safely out of earshot “which is really important for the neighbors.” You’d think in the seaside town of Brighton that the locals would be queuing up to hear her perform on a daily basis (without having to shell out), but clearly MacGregor is as anxious as the rest of us when it comes to maintaining diplomatic relations with the residents in her street.

She is busy preparing for her latest globetrotting tour, which will take in Portugal and New Zealand, before she arrives in Melbourne for the Metropolis New Music Festival. It might be a celebration of the contemporary, but of course MacGregor will be playing Bach – almost three hundred years dead but still sounding deliciously “modern.” The innovative pianist might be known for casting her net wide in search of distinctive collaborations, but Bach is never far behind. The ”new music” part comes from the presence of Shostakovich, Messiaen and English composer Harrison Birtwistle, whose pieces are interwoven throughout the program.

Like a giddy journey in a time-machine through collisions of era and continent, her concert program begins in Germany during the Baroque period before heading east to a chilly Soviet Union followed by a hook turn through France, then back to a thawed-out Russia via Britain. She finishes in Buenos Aires with Four, for Tango from the master of the bandoneon, Astor Piazzolla.”Yes, I suppose it is quite a journey,” she laughs. “I hadn’t really thought of it that way.”

It all starts with a handful of Bach’s now-famous preludes and fugues – the Old Testament of keyboard repertoire – made up of forty-eight short pieces in every key imaginable, from which she segues into Shostakovich’s preludes and fugues. But don’t be deceived by the somewhat pedagogical title. Wrapped up in each of these little pieces, only a few minutes long, is an entire musical world in microcosm where fiery toccatas, ceremonial entrances, operatic arias meet comic moments and tragic dramas.

How Shostakovich, who found Bach “boring,” came to emulate his iconic keyboard work is, says MacGregor, a classic Cold War tale. Sent against his will as a cultural ambassador to Leipzig in 1950, the composer found himself morosely sitting on the jury of the first international Bach Competition. But his ears pricked up when a Russian pianist sat down and played from The Well-Tempered Clavier (BWV 846-93), as the Bach collection is known. Impressed, he returned to Moscow and penned twenty-four of his own. “It’s interesting how the two hundred years between the composers completely dissolves when you play them,” says MacGregor. “I do a little trick at the end when I play two Shostakovich fugues, one after the other, and then finish with Bach. By then the audience shouldn’t be able to tell the difference.”

Maybe, but when it comes to the crunch, which does she prefer? “Bach,” she says without missing a beat. “He’s the main man. With a lot of Western music it all goes back to Bach. All the harmonic progressions and techniques are absolutely watertight. You can’t get away from him. He’s like a godfather in a mafia way. He’s just there and present in everything.”

In keeping with this year’s festival theme, the natural world, she has selected a number of works that revolve around birds. Hot on the heels of the winged medley comes works by Russian composer Sofia Gubaidulina, innocently entitled Musical Toys, which, she says, like the best fairy tales, are a perfect mix of enchantment and fear.

MacGregor has spent her life nudging classical music into new territories and has collaborated with the likes of jazz musician and composer Django Bates, Talvin Singh, the father of modern Asian electronic music, and the French pianist, composer and writer, Pierre Boulez. In line with her determination to dismantle musical barriers, she also runs her own record label, SoundCircus.

Her drive towards the eclectic and intuitive modus operandi comes, perhaps, from not having been hot-housed as a child. Despite being the daughter of a piano teacher, MacGregor says she never felt pressure to practice; there were no Tiger Mother schedules to uphold. “Playing for me is as natural as breathing. To be a musician, you have to have a desire to listen and explore music. If you are one of those kids who are forced to practice you end up utterly miserable.” At the Royal Academy of Music in London, where she is head of piano, there are only a handful of students who have been hot-housed. “What you are looking for in young people . . . is this absolute natural response and enthusiasm and ebullience when they hear music, rather than cracking the whip.”

It is time for MacGregor to head back up the tower to revisit those tonal universes of the preludes and fugues or to recapture the trills and ornamental chirrups of Couperin’s birds. She does so with a cheerful heart. “It’s all so enjoyable, I can’t think of anything better.”

Kathy Evans – The Sydney Morning Herald