For your consideration, DIE ERSTE ELEGIE, a five movement “concerto” for soprano and chamber orchestra setting the first of Rainer Maria Rilke’s famous Duino Elegies.
BEST CLASSICAL COMPOSITION
DIE ERSTE ELEGIE. It is Rilke, more so than any other poet with whom I am familiar, who writes about the invisible world around us. Other poets describe the beauties (or the terrors) of the world we can see, but Rilke uses words that may be rooted in that world only to leave it and open a door beyond that to what we cannot fathom. Although I do not believe that angels, in the ordinary meaning of that word, exist, I had an immediate visceral, gut acceptance of Rilke’s words when I read “Every Angel is terrifying.” It reminded me of my love of studying stars when I was a child, and the terror that I felt when I began to understand, in a small way, the immeasurably vast distances between stars and how minute in comparison to the scale of the universe we all are (despite our species’ limitless capacity for self-aggrandizement). That terrifying realization put a quick end to that line of study for me. And he does, at least to my understanding, clearly describe how in the face of that vastness, humans shut themselves down, to shield themselves from the enormity of what surrounds us in order to protect ourselves. His opening line of the first elegy so powerfully expresses this – “Who, if I cried out would hear me among the Angels’ Orders? and even if one of them pressed me suddenly to his heart: I’d be consumed in his more potent being.”
But, more than an expression of humanity’s relationship to the infinite, invisible world, the poems are elegies – laments for the dead. But it is not just the dead that concern Rilke, but the relationship that the living have to those who have left the world of the living. The perhaps inevitable result of the too early death of my own father, this subject has never been far from my mind. How it is that we can bear such grief of loss is at the heart of these poems. While most people seem to me to find ways to ignore their mortality, or push it down to some deep place where they can avoid thinking about it, that has never been the case for me. And, as I grow older, it becomes still harder to ignore. The division between the living and dead is always present for me, and that, perhaps, is the thing that attracts me to Rilke’s ten elegies.
Composer: Stanley Grill
Soprano: Lisa Rombach
Conductor: Marek Štilec
Orchestra: Czech Chamber Philharmonic Orchestra Pardubice
Producer: Jiri Štilec
Recording Engineer: Vaclav Roubal
