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Creation
of a Masterpiece
by Robb Cundick
On April
13th and 14th in the Salt Lake Tabernacle,
the Mormon Tabernacle Choir and Orchestra at Temple Square will
celebrate Easter by performing a unique musical work, The Redeemer.
While not widely known, it has been quietly enfolding the hearts
of all partakers since 1978.
This is the
story of a masterpiece, a life's work; the culmination of training
and experience in a single creation of transcendent beauty. I cannot
claim to be objective in the telling, but will write with feeling
and reverence. For this work was brought to pass by one of the people
I love most - my father, Robert Cundick, Tabernacle Organist Emeritus;
a man whose name I share. The Redeemer, a sacred musical work, is
his masterpiece.
Each of us,
at some time in life, should create a masterpiece; something that
represents the very best we can give to our world. Perhaps the first
thing that comes to mind when we think of a masterpiece is a work
of art - a painting, a piece of music, a play or a book. But it
may not be an object easily defined. Perhaps it is our most selfless
act or greatest gift of love. It could be a heroic deed or something
more than meets the eye - such as a finely developed talent or skill
that blesses the lives of those around us. When we reach such a
pinnacle it is doubtful that we arrive there alone - we need only
glance over our shoulder to see that the Lord is our close companion.
Robert Cundick
Though my father's
name is most familiar for its frequent mention at past General Conferences,
Dad is first and most a composer and arranger of beautiful music.
Ralph Woodward, former Professor of Music and Choral Director at
BYU, knew this. In 1977 he had a dream:
"The idea, the
dream for a composition such as The Redeemer, was to create a sacred
work of genuine stature that would have meaning not only to the
Latter-day Saints but to Christians of every religious persuasion.
…In early 1977 I approached …[the] chair of the BYU Department of
Music, and he quickly approved the idea and my recommendation of
Robert Cundick as composer. Cundick eagerly accepted, and we quickly
went ahead with performance plans for the next year's Easter season."
But my Mother's
journal reveals the initial process as being a little more tentative.
One doesn't always know when it's time to create a life's work.
Mom records that Brother Woodward's first approach came a year earlier.
Dad asked a close friend to write a text, but was disappointed when
Ralph decided it wasn't what he had in mind. The project was postponed
a year; Brother Woodward would provide a text. Dad went on with
his busy career and forgot the whole thing.
In April of
1977 a package arrived from Brother Woodward. He had carefully combed
the Standard Works for the most important references to the Savior's
mission on earth. The package contained a folder of them. Dad looked
it over, but having more pressing concerns, he placed it on a closet
shelf. In August he met Ralph at a BYU Faculty Meeting. When asked
how the composition was coming he confessed he had not given it
a thought until that moment. Ralph was taken aback and the project
was nearly abandoned then and there. But Dad wanted to give it a
try. Ambitious deadlines were set and he went right to work. Quoting
from Mom's journal:
"By the end
of two days he had put the words together and had the lyrics ready.
He was so impressed with these scriptures and how beautifully they
fit together. He could take one from the Book of Mormon and put
it with one from the Bible and they fit like a glove."
Indeed, selections
from the Bible, Book of Mormon, Doctrine and Covenants, and Pearl
of Great Price are interwoven in what Brother Woodward later called,
"one musical testament of faith." He said, "One of the rich blessings
of my life was the privilege of choosing those scriptures."
But setting
the scriptures to music presented a special challenge because there
is no meter. When he sat down to the piano, Dad asked himself how
he could accomplish this. It did not take long to realize that the
solution should come from the scriptures' very source:
"He went in
the bedroom and knelt down and prayed. When he was through he went
back to the piano and immediately began to write. What an experience!
As long as he prayed before he began, the notes came almost as fast
as he could write. If he forgot to pray first he soon remembered
because nothing came. As he completed a piece he would play it for
Ralph, who became increasingly excited as more was finished. Over
and over Bob expressed the desire to write music worthy of the beautiful
scriptures he was setting. He finished the composing a few days
before the deadline, feeling amazed because it had come faster than
he had ever composed before. It just flowed!"
Never had heaven
felt so near than during this remarkable 10-week period. But the
work was not yet complete, for it had to be orchestrated as well.
Again, time was of the essence:
"He immediately
began the orchestration. He had worried more about orchestrating
than anything. He had asked [a friend] for some suggestions but
[the friend] didn't get around to it so he just dove in and began.
It went very well. It took every second of his time. He was up early
each day and worked late each night, yet he never had a sick day
through it all - the first year in our married life he hadn't had
so much as a cold!"
Ralph Woodward
was not the only one who marveled at how quickly this beautiful
music came into being. I was living in the basement with my young
family at the time and can remember days when the most beautiful
chords I have ever heard came drifting from above (it now seems
so fitting - that impression of chords from above). Jerold Ottley,
John Longhurst and other associates of the Tabernacle Choir Staff
provided advice and support. They, too, recall it as a spiritually
rewarding time for all who were fortunate enough to witness and
participate in it.
BYU Choirs and
Orchestra premiered the work in 1978; details from Mom's journal:
"The impact
of the performance on those who attended was amazing and difficult
to describe. Surely it filled Bob's greatest hope - that it would
draw people closer to the Savior. After the first performance everyone
waited while President Kimball's party left. As we got outside the
auditorium Elder [Boyd K.] Packer moved over to Bob and tried to
say something but couldn't get a word out. He just threw his arms
around him and embraced him."
Listening to
a tape of that performance, one can hear the quiet weeping of choir
and audience during the orchestral postlude. It has been so for
me every time I have heard it. The last performance I witnessed
was by a Stake choir and orchestra. Clayne Robison, of BYU, conducted.
He has a great love for the work and has frequently sung the role
of the Savior. I wondered how it would come across, since to perform
music of such sweeping scope usually requires well-trained musicians.
But they performed with great feeling, and I rejoiced in the discovery
that the experience was as moving as ever.
The Redeemer
is best heard while reading along with a copy of its scriptural
text. What makes a live performance unique is that it is not presented
as a concert, but rather a worship service. Dad has a vision of
the ideal Church of Jesus Christ Worship Service. The congregation
would enter quietly during the prelude music, then sit and contemplate
while enjoying the beautiful music. The same procedure would be
repeated after the meeting as we reflected upon what we had learned.
People would leave the chapel silently. (Well - maybe it would work
if we didn't have children and we weren't so darned friendly!)
Thus, The Redeemer
is subtitled, A Sacred Service of Music. It is to be performed from
beginning to end without interruption - no applause and no intermission.
A beautiful orchestral prelude, "the Savior's theme" precedes an
opening prayer. Then comes the body of the work, divided into three
sections - The Prophecy, The Sacrifice, and The Promise. Following
a closing prayer comes the postlude. The same sacred musical phrase
is used both to begin and to end the work - representing Alpha and
Omega.
I have always
been struck by the absence of the kind of boisterous ending usually
associated with such an oratorio. The final number, "He is the Root
and the Offspring of David," is glorious, but it ends softly with
the words, "Surely, I come quickly. Even so, come, Lord Jesus."
It leaves me with a desire for more - a feeling I believe we should
always cultivate in our hearts - that desire for more of the Savior's
closeness and hope for his return.
Words are inadequate
to describe the effect The Redeemer has had upon my life. It has
been a source of comfort, light and inspiration in times of trial.
Once you've listened enough to let it sink into your soul, its scriptures
will ever be highlighted with beautiful music when you come across
them in your readings. Many times I have found tears welling in
my eyes when one of them happens to surface in a talk or Sunday
School lesson. I feel like raising my hand to interrupt and say,
"Wait a minute! You're only telling half the story. If you could
only hear it sung with beautiful music that brings it to life and
inscribes it upon your heart!"
I have always
told people that Dad considers The Redeemer to be his life's work.
But the assumption was mine, given the fact that since its creation
he has steadfastly refused all requests to compose a work of similar
magnitude. Before reiterating it here, I gave Dad a call to be sure
it is accurate. His response? "Oh, yes. It is the one really significant
thing I have contributed to the world." "Why have you turned down
other requests?" I asked. "Because it was a one time flash of inspiration.
I don't think I could do it again."
At the top of
the title page is this phrase: Soli Deo Gloria. To God Alone Be
the Glory. And so it should be. Because all that we are and ever
hope to be we owe to our Heavenly Father and His son Jesus Christ.
Ultimately, they are the creators of all masterpieces.
Free tickets
for the April performances (the 13th and 14th
at 7:30 PM in the Tabernacle) are available at the Conference Center
ticket office. But don't be discouraged if you can't get them. Come
early and wait in the standby line! There are almost always seats
available.
For those
too far away, BYU has a web page highlighting their 1996 recording
of the work. Included is the scriptural text as well as a short
sound clip montage. See: http://advance.byu.edu/redeemer/redeemer.html
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© 2001 Meridian
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