BISHOP AUCKLAND.- Auckland Castle is presenting a world-class sound installation from acclaimed artist Janet Cardiff this summer; The Forty Part Motet which takes place in the Castle’s Throne Room from 26 May - 11 September 2016. Displayed in the heart of the historic home of the Prince Bishops of County Durham, this immersive sound-sculpture is largely regarded as one of Cardiff’s seminal pieces.

The exhibition is the second contemporary installation to be hosted in the historic grounds of Auckland Castle as part of ambitious plan to create a permanent series of galleries that contemplate the role of Faith within the British Isles. The installation is part of ambitious plans and a £60m development strategy to transform one of Britain's most important historical sites into a major new art and heritage destination for the UK. Closing on 30 September for the development to commence, the installation represents the last opportunity to visit the Castle before an 18 month reconstruction project begins.

The Forty Part Motet is a contemporary reinterpretation of a 16th century composition, “Spem in Alium” by English composer Thomas Tallis. Sung by the Salisbury Cathedral Choir in a forty part choral performance, individually recorded voices are played in a 14-minute loop through forty speakers, creating a palpable, layered experience for visitors. Encircled by a ring of speakers, visitors can choose to listen closely to individual voices, or to experience the polyphony as a whole.

The work, which has been exhibited internationally, returns to the North East where it previously appeared at the BALTIC Centre for Contemporary Art, Gateshead, in 2012, and represents a rare opportunity to appreciate this transcendent and critically-acclaimed work. In the setting of Auckland Castle’s historic throne room, this nomadic piece becomes a site-specific installation that reflects and responds to the history of the building.

Updating a classical composition, Cardiff’s intimate sound installation creates a bridge between past and present. Within the context of the episcopal palace, occupied by successive Bishops of Durham for over 900 years, Cardiff’s work reminds visitors of the role of music in the individual experience of faith across the centuries.

Voices drift into polyphony as the work builds to a crescendo, evoking the sculptural potential of sound, and immersing visitors in an emotive and memorable experience as they explore the historic buildings at Auckland Castle. Before the Castle closes to the public for a substantial redevelopment, Cardiff’s work heralds a significant development of the museum’s programme, and brings a contemporary perspective to this historic site.

Clare Baron, Auckland Castle’s Curator of Temporary Exhibitions, said: “Janet Cardiff’s Forty Part Motet is a work of extraordinary and overwhelming beauty. The installation unlocks the full emotive potential of Tallis’ choral arrangement, composed over 400 years ago, to offer visitors a truly immersive and transcendental experience. By nature this experience is difficult to express in words; music has the power to transport the listener beyond the ordinary world we inhabit, to connect us with something larger than ourselves.

For centuries, music has served to bring the faithful closer to the divine. Tallis’ Spem in Alium is no exception, considered to be one of the most important pieces of English sacred music. The words sung by the choir – ‘I have never put my hope in any other but in You, O God of Israel’ – are a prayer of thanks and praise intended to glorify God. It is such personal expressions of faith – be they historic or contemporary, public or domestic, grand or humble – which we intend to explore in the permanent faith galleries at Auckland Castle.

We are delighted to have the opportunity to present The Forty Part Motet at Auckland Castle this summer. Exhibited across the world, the installation continues to resonate with people of all ages and backgrounds. JanetCardiff uses the universal language of music to address each listener in person, as they weave a path through the speakers to hear the individual voices of the choir. We hope that Janet Cardiff’s work will offer an intimate and contemplative experience for our visitors.”

Janet Cardiff commented: "While listening to a concert you are normally seated in front of the choir, in traditional audience position. With this piece I want the audience to be able to experience a piece of music from the viewpoint of the singers. Every performer hears a unique mix of the piece of music. Enabling the audience to move throughout the space allows them to be intimately connected with the voices. It also reveals the piece of music as a changing construct. As well I am 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.

I placed the speakers around the room in an oval so that the listener would be able to really feel the sculptural construction of the piece by Tallis. You can hear the sound move from one choir to another, jumping back and forth, echoing each other and then experience the overwhelming feeling as the sound waves hit you when all of the singers are singing.”