Today’s music is an “arrangement” (deconstruction might be a better word) by Knut Nystedt, who spent most of his life in Oslo, Norway, where he was organist at Torshov Church and taught choral conducting at the University of Oslo. He also founded the Norwegian Soloists’ Choir and conducted it for forty years. But he is most recognized for his choral compositions, mainly based on texts from the Bible or sacred themes. In Immortal Bach he instructs the choir to sing the first eight bars of J.S. Bach’s setting of the Passiontide chorale “Komm, süßer Tod;” then sing it again, with individual members of the choir holding each quarter note for a different number of beats – either two, four or six, waiting for the rest of the choir to catch up at each cadential point. Through the resultant harmonic overlapping of melody and harmony, he creates a soundscape reflecting the eternal value of Bach’s music, as well as Bach’s own view of Christ’s suffering and resurrection. To my mind, it also creates a potent musical metaphor for this week’s commemoration of the Passion and the Resurrection – the music pulls apart, deconstructing itself into excruciating, haunting dissonance only to put itself back together into consonant triads at each of the chorale’s three cadential points. Thus, clashing dissonance (the Passion) resolves itself into quiet harmony (the promise of the Resurrection).