I followed the work of Pierre Henry from his earliest compositions, including his many collaborations with my friend the choreographer Maurice Béjart. When I was appointed as artistic director and choreographer for the opening celebrations of the Metropolitan Cathedral of Christ the King in Liverpool, I was able to commission Pierre to create the world’s first electronic mass, a task he was eager to undertake.
The intention was to create a performance with two masses – the 17th-century orchestral Messa Concertata by Francesco Cavalli, followed by Pierrey’s electronic Messe de Liverpool (Liverpool Mass) – and with both works simultaneously performed by dancers. In the event Pierre’s mass was not fully realised in time for the opening celebrations starting on 26 May 1967, although an extract from the partially completed mass was heard, and a choreography created to his Musique pour les Evangiles. The completed work was issued as an LP some time later and was first heard in France.
Most recently, on the occasion of the 50th anniversary, a large audience attended the cathedral on 13 May to hear an augmented version of the Liverpool Mass promoted by the Bluecoat Arts Centre. I had the pleasure of introducing the work with Jarvis Cocker, a great enthusiast for Pierre’s work.
My cordial memories of Pierre, in Paris and Liverpool, as we talked through plans for his mass, are of his commitment to French as the language of communication and his patience with my limited vocabulary.
