Elias A TALISMAN

Brian Elias

A TALISMAN for Bass-baritone and Small Orchestra

Score

CHESTER MUSIC (part of The Music Sales Group) 8/9 Frith Street, London W1D 3JB tel. 0207 434 0066 fax 0207 287 6329 www.chesternovello.com e-mail: promotion@musicsales.co.uk Exclusive distributor: Music Sales Limited, Newmarket Road, Bury St. Edmunds, Suffolk IP33 3YB tel. 01284 702600 fax 01284 702592

A TALISMAN Programme Note Amulets and talismans have been used since man first existed to protect against misfortune, illness, disease and above all, the Evil Eye. Their use is still universal, across all cultures and religions and they are made from all manner of materials, from precious metals and jewels to paper, bones, straw and pebbles. Middle-Eastern Jews are great users of amulets and the amulet from which the text for this work is taken was made in Kurdistan in the 19th Century. It is made of silver, is approximately 60x70mm (2½ x 2¾ inches) in size, has two loops so that it may be worn around the neck and is inscribed in Hebrew on both sides, Recto and Verso, with twenty-one lines of text. The amulet was given to my late mother in August 1969 by her uncle, whose family emigrated from Kurdistan to Bombay in the second half of the nineteenth century. In the letter accompanying the amulet, he wrote in his inimitable English, “Then I deeply thought what relief can I extend to my Beloved niece in her present circumstances. I decided in my heart this holy inestimable Talisman will afford you Relief and check future miseries. I hope it acted favourably for you……” When I found this object amongst my mother’s possessions, I was mystified by it, and knew it only as an object of superstition. I became intrigued and was thrilled to discover that the Hebrew and Aramaic text engraved on it was full of potent and highly evocative imagery. My research revealed that it conformed to long-standing traditions in the production of such items and the text is highly typical of many Jewish amulets. The text has perhaps as much to do with powerful and unshakeable superstitious beliefs as with religious faith, despite its biblical sources. The amulet quotes the names of several different angels, lines from Psalm 91, and single words that invoke whole chapters of the Old Testament, such as “Echah” (“How”), the first word of the Book of Lamentations, and “Eheyeh” (“I am [that which I am]”), the seminal words spoken to Moses at the burning bush (Exodus). Many mysterious words and phrases have remained untranslatable; some of these words are probably kabbalistic and others consist of anagrams, acronyms, inversions, palindromes and acrostics of sacred texts whose significance have long been lost or obscured and yet others may quite simply be mistakes made by the engraver. Most importantly, in the course of my investigations, it became apparent to me that rather than being an object of witchcraft and magic, the amulet was, above all, an object of devotion and a heartfelt, passionate and most moving appeal for help. Although the text was assembled without any overall structure, I have followed it exactly and rather than trying to colour each individual name or word, I have assigned particular kinds of musical material to various sections of the piece to create as clear a shape as possible. For example, the groups of angel names are generally accompanied by developing figuration in the strings, the untranslatable words are usually sung in the lower register of the voice, and so on. As angel names so dominate the text, I have given

the trumpet, an instrument strongly associated with Gabriel and other angels, a prominent part. The work is divided into two main sections entitled RECTO and VERSO so that the outer form of the piece imitates the two sides of the amulet; the second section reflects the music of the first part, and is slightly shorter. Since the text is almost entirely made up of single words and names, the baritone often has a declamatory role rather than a more lyrical one, although the second part of the piece does contain more extended and decorated phrases for the voice. I am much indebted to Shaul Shaked, Professor of Iranian Studies and Comparative Religion at the Hebrew University of Jerusalem, for first transcribing the text from the amulet and for his further guidance and direction. Jeremy Schonfield, Mason Lecturer at the Oxford Centre for Hebrew and Jewish Studies, spent an enormous amount of time with me, going through the text word by word and revealing its riches; I am so very grateful to him for vividly illuminating not only the meaning of the words but their myriad associations. Hebrew Amulets: Their Decipherment and Interpretation by T. Schrire (Routledge and Kegan Paul, 1966) and Jewish Magic and Superstition: A Study in Folk Religion by Joshua Trachtenberg (Behrman’s Jewish Book House, 1939) also proved most informative. I am also very grateful to Naomi Layish for helping me with the translation. A Talisman was completed in February 2004 and was commissioned by the Cheltenham Festival for performance at the 2004 Festival. It is dedicated to my brother, Ivan. Brian Elias 19th February 2004 (A shorter version of this introduction is available from Chester Music for use as a programme note.)

A TALISMAN - TEXT RECTO 1 2 3 4 5 6 7 8 9 10 11

ADONAI SHADAI Avartiel Shamriel Yefiel Shathniel Sussiel Azriel Tseva’ot Metatron Amhiel SHADAI yohach calach yohach “lo tira mipachad laila mechets ya’uf” Bethuel Yehemiel “yipol mitsidechah elef u’revavah miminechah” Atriel Tsadiel Shalkiel Thariel Unha’el Uriel Refa’el Gavriel Micha’el Nuriel elem sit l’afor malki zan shatur azifo tinina ufira yotash

VERSO 12 13 14 15 16 17 18 19 20 21

ADONAI ADONAI ADONAI hoveh echah Sumiel g’hADONAI Hiphkadiel eheyeh Busthariel Huvushel Yeho’el kaphkaphokli oosafterin ADONAI Tseva’ot Chai v’kayam ya’ADONAI Hai Hai Hai sai’yada ADONAI hopha ADONAI atah hai yiheye noomiyah ADONAI ADONAI selah Hasih vehalav Meha’el kiel ADONAI ba’el Yekutiel Uriel Hayah’el lishmirat neko Amen Netzach Selah Va’ed Ken Yehi Ratson

A TALISMAN - TRANSLATION

RECTO 1 2 3 4 5 6 7 8 9 10 11

Lord God Almighty Avartiel Shamriel Yefiel Shathniel Sussiel Azriel - Lord of Hosts - Metatron Amhiel God Almighty - You may go “Thou shalt not be afraid for the terror by night; nor for the arrow that flieth” Bethuel Yehemiel - “A thousand shall fall at thy side, and ten thousand at thy right hand” - Atriel Tzadiel Shalkiel Thariel Unha’el Uriel Repha’el Gavriel Micha’el Nuriel elem sit l’afor malki zan shatur azifo tinina ufira yotash VERSO

12 13 14 15 16 17 18 19 20 21

Lord! Lord! Lord! Ever present - HOW - Sumiel Lord! Hiphkadiel - I AM - Busthariel Huvushel Yeho’el kaphkaphokli oosafterin Lord Lord of Hosts - Lives and Is - Oh Lord! Quickly! Soon! Immediately! Help me! Lord! Appear [to me]! Lord! You were and will be - His words - Lord - Lord - Selah Yasih vehalav Meha’el kiel Lord - In God Yekutiel Uriel Haya’el For protection neko - Amen Eternal Selah Evermore – May Such Be His Will

It has not been possible (as yet) to translate or decipher the words in bold type. Their meaning remains obscure, and they may be obscure ‘names’, acrostics of one kind or another (as in line 4), numbers of Kabbalistic significance whose meanings have been lost, or quite simply, mistakes made by the engraver of the amulet. Hyphens are used in the translation simply to clarify and separate quotations of words from different sources.

SOME NOTES ON THE TEXT The amulet from which this text is taken was made in Kurdistan in the early to mid nineteenth century. It is made of silver, has a beaded edge, and is approximately 2½x2¾ inches (60x70 mm.) in size with two loops for a cord so that it may be worn around the neck. It is inscribed in Hebrew, with 11 lines on one side and 10 lines on the reverse. This was one of many different kinds of amulet in fairly common use by middle-eastern Jews, and was believed to be effective against the Evil Eye and all manner of illness and danger, often being used to protect women in childbirth. Whereas European custom frequently believed in warding off the Evil Eye by making various gestures or shouting curses or words that would ‘distract’ it, the Jewish means of protection has been based on a firm belief in the power of the various names of God (shemoth), of angels and of quotations from the bible. The quotation of even a single word from a holy text was thought to be immensely powerful because it invoked a complete biblical chapter or event by association. Angel names were constructed by using a word to represent the character or qualities of the Angel and by the addition of the suffix ‘el’, meaning ‘God’; for example, Gavr = strength, Gavriel (Gabriel) = “God is my Strength”. There were believed to be innumerable angels existing in a complex hierarchy, with Metatron at their head as the most powerful angel of all. Where possible, I have attempted to translate or give some indication of the function of the angel names. The numbers below refer to the appropriate line of the text: 2. Avartiel – an angel whose name is associated with pleas to assist women in childbirth and the prevention of miscarriages. Shamriel - “My guardian is God” Yefiel – “My beauty is God” Shathniel – An angel of silence 3. Sussiel – “My steed is God” Azriel – “My helper is God”. One of the leaders of the Angels of Destruction and an angel who watches over the earth. Metatron – The greatest angel in Heaven, once the biblical prophet Enoch, who is said to be the link between the human and the divine. He is the chief of the ministering angels and is also the Master of Heavenly Song. 4. yohach calach yohach The four Hebrew letters of the word ‘yohach’ and the three Hebrew letters of ‘calach’ are a seven letter ‘name’ made of the final letters of Psalm 91:11, in other words, a terminal acrostic. Psalm 91:11 reads “For he shall give his angels charge over thee, to keep thee in all thy ways”. These three words also mean “You may go/He shall go” in Aramaic. 5. Another quotation from Psalm 91 that was considered especially powerful and was quoted frequently to drive off demons. “Thou shalt not be afraid for the terror by night; nor for the arrow that flieth [by day]” Psalm 91:5 6. Bethuel, Yehemiel – Angels who ward off evil spirits A further quotation (continuing on line 7) - Psalm 91:7 “A thousand shall fall at thy side , and ten thousand at thy right hand; [but it shall not come nigh thee]”

Atriel, Tsadiel, Shalkiel, Thariel, Unha’el – Angel names found on amulets Uriel, Refa’el, Gavriel, Micha’el, Nuriel These five angel names (including three archangels) put together formed an especially potent and strong ‘spellbinding’ name. In Hebrew the acronym/mnemonic of this group is ARGAMON and it was common to see these names together. Uriel - “Fire of God”. One of the seven archangels, Uriel holds the keys to Hell and watches over thunder and terror. He is an angel of Poetry, Prophecy, Repentance, Light, Music amongst many other attributes and duties. Refa’el – (Raphael) “Shining One Who Heals”, one of the seven archangels. He is sometimes listed as an amulet angel summoned at childbirth. He is charged with healing mankind and the earth and is the Angel of Love, Heat, Science and Knowledge amongst many other attributes. Gavriel – (Gabriel) “God is my Strength”. One of the seven archangels and one of the two highest ranking, he is best known for bringing important announcements to mankind. He is symbolized by the trumpet and is the angel of Annunciation, Resurrection, Mercy, Death and Revelation amongst other attributes. Micha’el – (Michael) “Who is as God?/Who is like the Lord?” One of the archangels, he is said to be God’s warrior and ruler of the Seventh Heaven. He battled with Satan and his angels and cast them out of Heaven. He prevented Abraham from sacrificing Isaac, appeared to Moses with the Burning Bush and rescued Daniel from the lions’ den. He is the Prince of God, Leader of the Archangels, Viceroy of Heaven. Nuriel – “My fire is God” His name is often found on charms worn by pregnant women. He is the angel of hailstorms and sometimes manifests as an eagle. He is a ‘spellbinding power’ and is grouped with other powerful angels. 9/11. elem…..yotash – meaning unknown. 13. ADONAI – In this and subsequent lines, much is made of the tetragrammaton, the four letter name of God, YHWH. Palindromes, anagrams and other variants of this name are used freely in the rest of the text. echah – “How” The first word of the Book of Lamentations. “HOW doth the city sit solitary that was full of people! HOW is she become as a widow!” (Lam.1:1) Sumiel – An angel name found on amulets 14. Hiphkadiel, Busthariel, Huvushel – Angel names found on amulets EHEYEH- “I AM [THAT I AM]” (Exodus 3:14) (God answers Moses at the Burning Bush.) 15. Meaning obscure 16. chai v’kayam – “[The] Lord of Hosts Lives and Is” (Daniel 6:27 “….for he IS the living God, and stedfast forever….”) 18. selah – Let His Name Be Praised 19. yasih vehalav – meaning unknown 19/20. Meha’el, Yekutiel, Haya’el – Angel names; meaning unclear. 21. Amen Netzach Selah Va’ed – written as a four letter acronym/mnemonic on the amulet (equivalent to ANSV) as is customary meaning Amen Eternal Selah Evermore; similarly KYR, Ken Yehi Ratson, May Such Be His Will 7/8. 8/9.

Commissioned by the Cheltenham International Festival of Music, and first performed by Pauls Putnins and the National Youth Orchestra Sinfonietta conducted by Geoffrey Paterson on 18th July 2004 in the Bacon Theatre, Dean Close School, Cheltenham.

SCORING Piccolo Flute Clarinet in B flat (doubling Bass Clarinet) Bass Clarinet in B flat 2 Horns in F Trumpet in C Trombone Percussion (1 player): 1 Timpani Side Drum Bass Drum 3 Gongs (HML) Tam-tam Harp Strings (Minimum 6.5.4.3.2)

Duration: c.16 minutes

SCORE IN C : All instruments sound as notated except for Piccolo (sounding one octave higher than written) and Double Bass (sounding one octave lower than written). Natural harmonics for strings sound at written pitch (including those for Double Bass); Harp harmonics sound one octave higher than written.

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 0

 

 

    SRFR *

 

%DU











HO

9OQ ,

r 





 

&

  

                       







9OD



9F

SL]]





 



   

                      

   



s











   

   

    

   

00



*

&E



IL

00



00

                         *

*

 

 

<H

*

9OQ ,,

 



   

 

0





*

00



  



3LFF

r 









)O











&O











  

  *

% &O

s















/0

+Q

r  

 

0





+Q

  







/*







 

 

*0







 

*0





& 7SW





 



*0

7EQ

s



















&9

+S

/*

  

   %DU

  

HO

r  

<H



    

 

 





 





 ®   

 IL





   

     

9F



 

   

 

 

 



  /*





 





 

     

  *

   

  







 

  

  

   *

   





     



 

 



    

SL]]



 



*

&E

 s 







 /0

  

*

DUFR





/*

   







/*

    



 

/*0 SL]]

 

 

HO



   

   

 

/*0

9OD

 

 

*0

/*

9OQ ,,

 

 

9OQ ,





  /*







3LFF

r 









)O











&O











% &O

+Q

s



 

 





r  



 

 

 







 

 







   

 







 





 

/*

 

+Q

*0







 

/*

 

& 7SW

*0







/*

7EQ

s

 

*0







   

/*

0

*









        

9OQ ,

9OQ ,,



          

  





9OD

9F

        

GLY

&E





  s 



 



  





*

      *

   





   







QL





HO

   

   

   

   

   

   

   

   

 

 

 

 

/0

    /0

 

*

/0

 







 

6KDWK

r             



/*

 

/*



*



 

0



+S



 

*0





%DU



 

 



 

 

*C

/0



 

3LFF

r 















)O

&O

  



+Q

s

  





  





 

 



r  











0



s































 

  

   

 









*



 

  

r   











    

  



  s 















       

 



*

*

/*

 





                        

        



 





    

SL]]



  



  









  

  



 





     

 



        

     0

 

             





 

 

*

&E





*

9F





*

9OD





*

9OQ ,,



**0

+S

9OQ ,



/*



%DU



/*

0

7EQ

 

/*

 

& 7SW

  

0

+Q

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*

*

% &O

 

  *

 

  

   

 



3LFF

r 



)O

   

  



  







 

  







/0



&O

% &O

s

WR %DVV &ODULQHW



















  



*

+Q

r 





 













0





+Q



*

 









0





& 7SW









0

7EQ

s

 







/*







/* & ) %(





 

*

 



 

*

 



 













 

*









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  

 *

 

%DU

6X

9OQ ,

r 

  







 

 

VVL



 





9OQ ,,



HO

  

 

  

/0

    

    

    

   

   

   

     

 

 

 

s

  



     

 

      







 



 



 

 

 



  

 



  

 

 

 

*

 



      

*

/0

&E

  

*

/0

9F

*

/0

9OD















  

 

 

3LFF

r 

 

 



 



 



 



 



 



 





*



)O

+Q

 



  

r       



       





& 7SW

 



  



 







+Q

  





s





  

 





*



% &O

% &O

  

 





  





 



 











 

*









  *

  







 





*

7EQ

s

        







  

  

*



 



 



 



 

  

 

 

 

 

 

 

 



  

 

**



%DU



$]

r 

 

 



9OQ ,,

 

 



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        

   00 VXE

             

    00 VXE



3LFF

r 







)O

























+Q

r 







+Q









& 7SW

















% &O

% &O

7EQ

s

s

  

'((9





  







  SD

9OQ ,

*





00

+S

%DU

 



r 

 





 

 

 

FKDG

 



ODL



  





   

OD

PH

   



    



 





FKHWV

  





\D

    

   

  

   

  

 

     

  

 

   

   

 

/*

9OQ ,,



      

  

  



 



 

    

   /*

9OD

            

    

                     /*

9F

                                  

   /*

&E

   s 

 



 

 

   









/*

 







3LFF

r 

 



   

  



    

*





)O







         

  

 

     

   

 

      

  

 

  



 



   



       

          

   

 



 



 

 

 





   

 

 

 

   

 

*



% &O



*

% &O

s







*

+Q

r 

 00

*

 

+Q

00



  

00

7EQ

s





 

 

  





        

  

            

 





   

 

 

 







 

 

            







  

  





  

 

 

 



  





         

 







  

*

    

  

 



  



 

'9((



    

         

 









 * 







  











* 6,'( '580







*

00

3HUF

      

   

*

 

& 7SW

 

            

+S

%DU

XI

9OQ ,

   r     



*

9OQ ,,

 

 

 

    



    



  

 

    



  

 



  

       

*

9F

s



    *

 

  

          



 



 

 







  

 

 





   

 

       



      

             

     

            

 





   

 

    

          





 

  

 

* &E

 



*

9OD

 





      

3LFF

r 

    

    



**









)O

   







   









 





 





**



% &O

% &O

+Q

s



 





 







 



 





r   





 

 

















+Q





**

/0

 



**



& 7SW

7EQ

7LPS

s















  





  

    





  

  

  





  

  





 

 



















**

6 ' VWLFNV







 

 





    

*

  

 





 



3*7

r 







 



 













 

3*7

**









%HWK







X





9OQ ,,





 

 



 



HO

 



   

9F

&E

s







 











 

 

















   







 













   

   

  

  

**



**





 

** 9OD

3*7



**



 



/0





 







3*7











*

*



9OQ ,

 *



+S

%DU

*00







  

**

**

r s

3HUF



/0

**

  



**

  3L]]



     







 

3**7





    VLP





+

3LFF

r 

VXELWR 3L PRVVR 1 FD 1 1

 









 

 

 



 



  



 

 

   

  

  



  

 



       

 

 



    

  

  

 

  



  

 



**

    

)O

 

 









  

 

 



**

 

% &O



**





/0

 



** % &O

s

 



**

+Q

r    

+Q

& 7SW





/0

  

    

 

   

 



 

**C





















      **

*

**

*

7LPS

s





  



r  s  













 









 

 

3*7

3*7





+ 9OQ ,

r 

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