1. 01 Divinum Mysterium_ Prelude 0:33
  2. 02 Divinum Mysterium_ I. Beginnings 2:01
  3. 03 Divinum Mysterium_ II. The Spirit of God Moved upon the Face of the Waters 2:01
  4. 04 Divinum Mysterium_ III. Light 1:45
  5. 05 Divinum Mysterium_ IV. Rest 2:01
  6. 06 Divinum Mysterium_ V. Rejoicing 2:01
  7. 07 Vox Balaenae (Voice of the Whale)_ Vocalise (…for the Beginning of Time) 2:01
  8. 08 Vox Balaenae (Voice of the Whale) - Variations on Sea-Time_ Sea Theme 0:57
  9. 09 Vox Balaenae (Voice of the Whale) - Variations on Sea-Time_ Archeozic 0:41
  10. 10 Vox Balaenae (Voice of the Whale) - Variations on Sea-Time_ Proterozoic 1:05
  11. 11 Vox Balaenae (Voice of the Whale) - Variations on Sea-Time_ Paleozoic 0:33
  12. 12 Vox Balaenae (Voice of the Whale) - Variations on Sea-Time_ Mesozoic 0:33
  13. 13 Vox Balaenae (Voice of the Whale) - Variations on Sea-Time_ Cenozoic 1:13
  14. 14 Vox Balaenae (Voice of the Whale)_ Sea-Nocturne (…for the End of Time) 2:01


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How did the world begin? How did life come about? Religion has given us vivid poetic descriptions of the creation, and it has inspired literature attributing the creating force to God, a god, or an unending cycle that has no beginning and no end. Science has given us the Big Bang, with its single point of super-condensed proto-matter exploding to create innumerable celestial bodies, and Darwin, who explained how man evolved from the failed species that came before us. No matter what we believe, we are fascinated by our beginnings, and we are continually striving for explanations that satisfy our desire to know ourselves better. Whether coming from Daniel Kellogg’s Christian beliefs or George Crumb’s fascination with the timelessness of nature, both pieces on this disc share an incredible commonality of musical responses to these questions. Both pieces explore the inherent violence of creation, whether in short outbursts, as in the opening of the Kellogg, or in the jagged, piercing melody heard at the beginning of the Crumb. Both pieces move from this violence to joyful celebrations and tender contemplations, using the full dynamic range and color palette at each composer’s disposal. Both pieces offer long, expansive lines and melodies, defying and stretching time in an attempt to prolong the emotions contained within the composers’ musical outpouring.

For us, playing and interpreting these works, their clearest common bond is the breadth of human experience they suggest. Though Kellogg and Crumb are inspired by different backgrounds and beliefs, these two pieces bring out the same incredibly wide range of emotions, reminding us that it is the totality of a person’s experiences that, taken altogether, make a life. Whether leading to the boisterously jubilant ending of the Kellogg or the quietly exultant last strain of the Crumb, both pieces celebrate the fact that we live, that the universe does exist, that out of the obscure chaos, a harmonious peace has been achieved.

We do not know how the world began, but we do know that these pieces tell that story much better than we ever could.

Additional information

Weight 0.25 lbs
Dimensions 5.6 × 4.9 × .3 in

Chanticleer, vocals
Molly Barth, flutes
Michael J. Maccaferri, clarinets
Matt Albert, violin & viola
Nick Photinos, cello
Matthew Duvall, percussion
Lisa Kaplan, piano

Album Details

Total Time: 56:20
Producer & Engineer: Judith Sherman
Assistant Engineer: Hsi-Ling Chang
Editing: Bill Maylone
Graphic Design: Melanie Germond & Pete Goldlust
Front cover photo: © Bill Steele / Stone
Photo of eighth blackbird: McArthur Photography
Recorded: July 16-21, 2002 at the Recital Hall of the Performing Arts Center at SUNY, Purchase, NY

Kellogg © 2000 Daniel Kellogg
Crumb © 1972 C.F. Peters Corporation

Chanticleer appears courtesy of Warner Classics International. Chanticleer recording credits are:
Producer: Steve Barnett
Engineer: Preston Smith

Molly Barth performs on a Lillian Burkart flute and piccolo.

© 2004 Cedille Records/Cedille Chicago