Janet Cardiff’s ‘Forty Part Motet’ installation in the Cathedral Church of St. John the Divine combines art and religion, allowing viewers to experience the immersive sound piece by walking around the room and pausing at each speaker. The piece, inspired by Thomas Tallis’s Renaissance motet ‘Spem in alium,’ has a historical context that extends beyond its original composition for Elizabeth I’s 40th birthday.
The Forty Part Motet: An Intersection of Art and Religion
By Mána Taylor
The Cathedral Church of St. John the Divine is home to a unique installation, Janet Cardiff’s “Forty Part Motet.” This sound piece, on loan from MoMA, has been exhibited in various spaces before, but its current placement in a religious setting offers a distinct perspective.
The Piece and Its History
“Spem in alium,” a Renaissance motet originally composed by Thomas Tallis in the late 16th Century, is at the heart of this installation. The piece was thought to have been presented at court on the occasion of Elizabeth I’s 40th birthday, hence the forty voices. This composition inspires contemporary artists, with musician and artist Holly Herndon calling it “experimental” for its time.
The Installation
The Forty Part Motet is exhibited in the North Transept of the cathedral, a space chosen for its resonance. Visitors can walk around the room, pausing at each speaker to experience the distinct voices that form an audiological assemblage. This arrangement allows viewers to be intimately connected with the voices and reveals the piece of music as a changing construct.
The Artist’s Intent
Janet Cardiff is interested in how sound may physically construct a space in a sculptural way, and how a viewer may choose a path through this physical yet virtual space. Her installation achieves this by allowing viewers to move throughout the space and connect with the voices on an intimate level.
Contextualizing the Piece
The cathedral’s current renovations provide a unique backdrop for this installation. The Great Organ, which was in its final stages of repair during the time of the exhibition, adds to the sense of history and tradition that pervades the space.
Conclusion
Review of Janet Cardiff’s ‘Forty Part Motet’
Intersection of Art and Religion
The placement of “The Forty Part Motet” in the cathedral is significant, as it bridges the worlds of art and religion. The piece was chosen for its resonance, with the room’s acoustics enhancing the immersive experience. Visitors can walk around the space and pause at each speaker to hear a distinct voice, creating an audiological assemblage that Cardiff sees as sculptural.
Historical Context
“Spem in alium” was originally composed for Elizabeth I’s 40th birthday, but its impact extends beyond historical context. The piece inspires contemporary artists, including musician and artist Holly Herndon, who calls it “experimental” for its time and a moving piece of music that evokes emotions.
The intersection of art and religion can be complex, with some seeing it as disaccordant. However, the placement of “The Forty Part Motet” in the cathedral is a testament to the power of art to move us spiritually, much like any sermon. The piece creates an immersive experience that feels necessary, making the hair stand up on your arms.
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