Review: Death of Classical's RELICS & MARTYRS Was Beautiful And Poignant

In some ways, a crypt underneath an active cathedral is the perfect place for a concert of liturgical music. As always, though, Death of Classical brought a unique flair to the evening, on top of the already-impressive venue choice. Relics & Martyrs, graciously hosted by the (Anglican) Cathedral of St John the Divine, centered on a performance of Membra Jesu nostri patientis sanctissima (Most Holy Limbs of our Suffering Jesus). The words of the piece are a poem from a 13th century monk named Arnulf of Leuven, translated by Luke Hathaway. 

There’s a haunting tenderness to Hathaway’s translation, which emphasizes the total embrace of someone at their moment of martyrdom. The poem’s point of view is someone who knows they cannot save the martyr they so admire, but they can comfort them. The show’s ethos is similar: it speaks to finding strength in the stories of those who sacrificed themselves, without seeking to glorify the depth of suffering they endured.

The choral singers performed beautifully, singing both in Latin and in English. They perfectly captured that all-encompassing sense of tenderness and veneration with their singing. Their melodies elevated the text, making it feel alive. Their harmonies filled the crypt, as if seeking to comfort those who might rest in the crypt, or who rest in others like it. Aine Hakamatsuka’s soprano was particularly enchanting, especially in the first two sections. Interspersed between the original poem were short sections detailing the stories of various martyrs, many of them saints from the early church who met violent ends. Agatha of Sicily’s story in particular is given a lovely rendition, with the chorus’ performance beautifully illustrating the modern solace derived from the suffering of martyrs past. 

The music was magnificent throughout, with a new piece by Douglas A.A. Balliett, who played the upright bass during the show. Balliett and Brian Mummert co-music directed the concert. Selections from 17th-century baroque composer Dietrich Buxtehude’s musical setting of Membra Jesu Nostri were included, as well as Caroline Shaw’s To the Hands (2016). Violinists Ela Kodžas and Rafa Prendergast played together beautifully, particularly during the third and fourth sections, Ad Manus (To the Hands) and Ad Martyras (To the Martyrs). 

Towards the end of the latter, the pair played a dizzying series of arpeggios during a moment in which the band all sped up. There was a real intensity to this section, increased further by the chorus members moving to different corners of the crypt and shouting out ever-increasing numbers. This all succeeded in provoking a profound sense of unease and importance, made all the more strong by its sudden stop. This piece, meant to symbolize the many people who are currently displaced, was masterfully executed. Perhaps seeking to evoke the memory of the Penitent Thief from the gospel of Luke, the moment honors those whose names have been forgotten, yet whose suffering was no less real. It’s a strikingly beautiful moment, and a credit to Balliett, the band, and the chorus for carrying it out so perfectly.

Relics & Martyrs was a lovely concert, one that made masterful use of its highly unique venue. The setting of the crypt enhanced the overall meaning of the evening as well as created some incredible acoustics for the music itself, both instrumental and vocal. Overall, Relics & Martyrs brought grace and tenderness to its subjects. The stories of these martyrs were often quite grim, yet the performance did an excellent job of honoring those memories respectfully. We cannot change their endings, but at least we can honor them, and perhaps even find a little solace for ourselves along the way.

Learn more about the composer online at www.dougballiett.nyc