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About the Composer
Carol Barnett
Carol Barnett (Beady Eyes)
One Equal Music
Repeated declarations and extended techniques turn the text into a multitude of voices that build to a series of climaxes culminating in a glorious Amen.
TTBB div. a capella
Barnett carefully depicts the pairs of opposites and then musically resolves them into one perfect
whole. Each resolution rises to a new level so that final concept, “eternity,” bursts forth at the point of highest tension. The final doxology and Amen begins this rising trajectory again, this time finally wending its way back through foreign keys to a joyous conclusion in its beginning C major.
Composer’s Notes
In setting John Donne’s sermon text, I was intrigued by the concept of opposing ideas resolving to a higher level, a world beyond opposition. How might it be expressed in music, this no darkness nor dazzling, but one equal light; no noise nor silence, but one equal music; no foes nor friends, but one equal communion; no ends nor beginnings, but one equal eternity? And what might have been Donne’s state of mind
as he delivered these words – perhaps a sort of spiritual exaltation? The music uses word painting to achieve a series of mounting climaxes depicting these heavenly attributes – light, music, communion, eternity – and finally, amen.
– Carol Barnett
Text
Bring us, O Lord God, at our Last awakening, into the house and gate of heaven to enter into that gate and dwell
in that house, where there shall be no darkness nor dazzling, but one equal Light: no noise nor silence, but one
equal music; no fears nor hopes, but one equal possession; no foes nor friends, but one equal communion; no
ends nor beginnings, but one equal eternity; in the habitation of the glory and dominion, world without end.
Amen.
– Adapted from “A Sermon Preached at White-hall, February 29, 1627” by John Donne, 1572-1631.
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