Israel’s Real Promised Land? The orgy at the foot of Mount Sinai.

Jan-Peter de Graaff is a frequent composer. Last year, the world received several new works from him: the song cycle Parallaxorchestral work Event-Horizona cello concerto The Forest in April and Hammer and Tanz for piano four hands and two percussionists. Now we have an oratorio: The Golden Calf. It premiered on Friday on the occasion of the fortieth edition of the Musica Sacra festival in Maastricht.

Conductor Hans Leenders and actor Dries Vanhegen have to wait at least a minute after the choir and musicians have walked onto the stage and the applause of encouragement has died down. As the choir begins to twirl their thumbs, navel-gazing, the hall coughs louder and louder. Silence is painful, but it does give time for the program booklet: in the The Golden Calf De Graaff and lyricist Jibbe Willems set about the exodus of the Israelites and Moses, who stayed on the mountain for so long that the people in good spirits invented their own god. They see a parallel with this time, when many people ‘have an obsession with nostalgia.’ “People are frantically going back to how they think it used to be,” it says.

Eastern border

The Golden Calf lasts about half an hour and sounds from a chorus of Israelites from which solo voices occasionally sound, an actor who plays monologues by Aaron (brother of Moses) and five strings, trumpet, alto oboe and percussion.

The silent minute is over: the music begins tensely with a ‘pling’ on the vibraphone, a fiddle up high and a wailing ‘wawwawwaw’ on the cello that turns into a mournful melody ending on an open C string, the lowest. The double bass, meanwhile, is picking a slow march. Later, the blazers add a mystical flavor.

Musically De Graaff has sought out the eastern border of Europe and keeps Stravinsky close, that is quickly clear. But you also quickly feel that there is more in it than is currently apparent. Perhaps it is the caution of the musicians of the South Netherlands Philharmonic (the percussionist in particular has too little courage), but if only a nice full orchestra had played here.

The Golden Calf appears to be a bit diffuse. There is music, but also theatre. There is a great story in which there is also a great allegory for the present to be made clear. And there’s only half an hour left. The result is that a lot of paint is still wet when another layer is applied. De Graaffs does not write simple straightforward music, you have to get into it, but before you get that far, Aäron interrupts with a theatrical monologue. The same applies to Aaron: before you are in the story, music is already playing. The distance between the two is sharpened because Aaron sounds loudly amplified from speakers, and the choir and ensemble do not.

Orgy

As if that multiplicity were not enough, a (minimal) directing for Aaron alone was also sought. It’s uncomfortable to see Vanhegen turn away from the audience because he has trouble taking off his blouse, only to portray a dancing crowd on his own like a farmer with a toothache, clearly only 40% convinced himself. that this was a good idea.

Of course, strong pieces remain: for example how the Israelites we are now waiting / for someone to say / do this / do that / do this / do that sing, in which the last repetition sounds like church bells. the orgy (we dance / we sing / we kiss / we drink / free) on compelling Stravinsky-meets-Disneys-The little Mermaid-like music. Or the end, Aaron’s conclusion that Israel was closest to the promised land during that orgy.

Finally, the Israelites repeat to Aaron: Thus we wander / to death / through the desert / but / the promised land / was that night / so damn near. For example, De Graaff and Willems send you out of the room at the last minute with a big question: because if the Israelites thought so too, why in God’s name do they follow Moses?