Inspired by the spatial compositions of Charles Ives and Henry Brant.
The liturgy will be devised by the participants, through a rehearsal on the day before, using a prepared structure.
The main aspect of devising by the delegates will be to discuss where the material should be placed within the journey, and the incorporation of text (which is more easily handled than musical material). A short excerpt of music or text will be submitted by any participants who wish to. If musical, it must be material that can sustain repetition (this is a common factor intrinsically of most church musics though), as our musical idea is a musical slow changing of layers built up from the repetition of multiple individual contributions.
(A key will be chosen into which the material given will fit). The placing of each item will be very dependent on the duration of the repeating unit.
A straightforward structure (perhaps based on Gray codes, or a John Cage time-bracket) will be devised ready for the event (repeating musical mobiles, cued to start and stop in such a way that we continually hear new combinations of the material which the delegates bring).
Groups of participants will be given stop-watches to indicate when to initiate and stop their contributions.
Each group of delegates will need to practice their own portion so that it can be delivered confidently (whatever it is) and can be stopped and started on cue so as to play their part well in the overall structure.
A sonic and textual journey will be devised based on the types of material brought (a rule of the game is that no new material can be added by us), delegates will be placed around the Cathedral and remain in position ready to deliver their own material, and will be cued to do so in a way that creates a meaningful and engaging structure. The origin of sound moves around the Cathedral. It is like a procession except it is the sound that is moving, a Mexican wave concept.
Into this structure we will place whatever the delegates bring with them.
It would be good if those participating had a moment to step out of their participation and experience that of the others (the experience will differ as one walks around the space). The structure will be designed so that each participant is inactive for most of the time so is able to take in what is happening around them.
Organ improvisations will incorporate any musical material which cannot be included due to excess.
John Cage is the guide here: the experience will certainly be random but to work well it should be a randomness that is structured, so that the multiplicity is meaningful and inspiring rather than overwhelming.