Theatre of Origins (Part I), for sixteen singers with a libretto by Thomas Lowen, draws on ancient creation narratives from diverse cultures and, inspired by Geoffrey Hill’s poem Genesis, reimagines these stories within a shared musical space that gradually unfolds into a new, speculative mythology.

 

What struck me about Hill’s work was its portrayal of Creation as something macabre—almost Edgar Allan Poe-esque—as if the making of Earth and paradise came at a cost. This dark and dramatic vision became the starting point for composing an epic about the origins of existence.

 

Part I of Theatre of Origins presents a mythic drama that begins in Chaos and moves through the emergence of matter, elements, and geography, culminating in the rise of titans and giants. As in many world mythologies, these beings battle for the conquest of Paradise. Only the victors—after all the bloodshed—are granted access to Paradise and, ultimately, bring about the creation of humankind.

 

Musically, you will notice that each singer has a set of handheld instruments, such as corrugated tubes, various whistles, bowls of water, a foot pump, and a frog buzzer, among others. These instruments extend the choir’s sound palette, enriching the vocal textures and timbres to create a more expansive, immersive sound world.