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This is my first encounter with the music of Klaus Lang. At the age of 36 he has several long-format works out for various ensembles, from a 50-minute chamber piece (einfalllt. stille.) and a 40-minute work for string quartet (Sei-jaku) to this work, a full-scale mass, with traditional texts, for small ensemble. The mass, not at all typical by way of other masses I’ve heard, is to these ears quite moving and movingly played by this ensemble.
 
Born in Graz and studying at the university there and in Vienna, he splits his time between his hometown and Berlin. According to various biographical sources online, his major influences are the 16^th-17^thcenturies - he has written theoretical works on Palestrina’s music - and American music of the 20^th century. In listening to the present disc, one could also imagine that Lang has a fairly healthy interest in aspects of Asian music as well. He mentions in the liner-notes that, rather than attempt rationally to discuss the Bible, masses should instead empty the mind, “for blessed are those that are poor in spirit, and thereby free”. This speaks to the title of the work, as well as its aim — such a mind, emptied of the things of this world, will be more receptive to things not of this world.
 
From descriptions of his other works in various reviews, the overall tone and tenor of this work seems to be consistent with Lang’s aesthetic: sparse, spare - rather like Morton Feldman with a dash of electronics: Aphex Twin’s ambient works. Almost the entirety of this mass bears a striking resemblance to a relatively unknown ambient track by David Bowie, Ian Fish, U. K. Heir, found on his under-appreciated soundtrack to the television show The Buddha of Suburbia. In fact, the string drone found throughout the mass and on Bowie’s song is the same note, and the overall treatment is similar. Rather than a guitar quietly picking out the notes of the show’s theme song, Lang’s work has the cantor intoning the traditional texts of the mass. Those who might greatly enjoy the Bowie song mentioned above will likely also enjoy this work, though some might find such spareness extended over the course of an hour to be a difficult listen.
 
Many however, will find this piece an intriguing exploration of the area where early Western church music, Asian religious music, and modern electronic ambient music intersect. Nowhere are the electronics invasive or pervasive, and even when the vocalists enter, they do so in a way that seems an organic progression.
 
The booklet text by the composer speaks to issues and ideas that run beyond the work. This may leave some wanting a bit more information regarding specifics on the piece, as well as the texts used. Included on the disc is a PDF file of the handwritten short-score of the main movements, including texts and even diagrams showing instrument placement. Specific instructions are given in pages following the final musical movement to all of the performers for the piece. Unfortunately these instructions are not translated, so unless you are up on your German, these quite detailed keys to the work remain inaccessible.
 
The performances and recording aesthetic fit very well the intent of the piece, not calling attention to themselves. Overall, this is an extremely quiet piece, rewarding those who listen to it as ambient music – which, as Brian Eno has mentioned, is an extension of Eric Satie’s “wallpaper music,” there to be ignored, but also inviting closer study. It also makes for an intriguing setting of a religious text, both reverent and novel in its contribution to a long tradition of musical masses.
 
David Blomenberg
 

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