Waiting Music

At one point of my life before UNH, I spent a lot of time in waiting rooms. Two albums which kept me company through those times are still my favorites today, and they hold special meaning from the time I spent waiting and listening.

Mussorgsky: Boris Godunov (Karajan, Ghiaurov)

Ghiaurov is, as I have mentioned elsewhere (http://majoringinunhstudies.blogspot.com/2011/05/prima-la-musica-dopo-le-parole-or-opera.html) one of my favorite singers of all time. His magisterial bass was smooth and intense, with a real bite to the attacks - he was trained in Italy as well as his native Bulgaria, and the legato phrasing he brought to Russian opera is a great gift. Even before Ghiaurov makes his first entrance with the monologue at Boris’ coronation, however, the music for the chorus resonates with me. They too are waiting, considerably more uncomfortable than I, out in the Russian winter outside the palace, and they are waiting for their “father” to come and save them – they wish for Boris to ascend to the throne and remember the Russian people. They pray dutifully, seemingly without much hope of fulfillment. The chorus is answered indirectly, by Shchelkalov, a minor official who takes up the themes of their dissatisfaction and hope but cannot promise that Boris will accede. He sings a short monologue of a few lines which are some of the most reassuring in opera; reassuring, yet realistic in their limited optimism. In my time waiting in March 2007 I listened to these scenes from the Prologue over and over, enjoying Mussorgsky’s sympathetic harmonies.

Brahms: Ein Deutsches Requiem (Maazel, Prey, Cotrubas)

A requiem which is not in Latin, and does not use the Requiem text, Brahms’ is a Requiem in name only. The main theme of a Latin Requiem is death and eternal damnation from which we pray to be saved, but the theme of Brahms’ Requiem is comfort for those left behind. As one not yet left behind, this piece was key to the beginning of my grieving my father before he had actually gone. Nearly everything in the Requiem is oriented toward this process of grieving, with the solos especially moving in their recognition of realistic emotions. The Requiem is a particular kind of dark music which is not morbid but knows that there are times in winter when there is less sunlight around, just as it knows that there will be a spring. The last movement, I feel, can see that spring as the year turns.