The special originality and genius of the War F80 ...1iem, it seems t.-, l'T'e, lies in the dramatic infusion of Wilfred Owen's"war p(•.s-':.1_yinto the La~j :-, Mass for the Dead.
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The Requiem Mass, even apart from its religious significa.l.ce: is itself an extraordinary poetic, dramatic accomplishment. The~ Irae, a ratl:er longish "hymn" from the thirteenth century. written by Thomas of Celano, with j ts enr,rmously compact verse structure and economical lines climaxed by extravagc.nt duple rhymes, is a work of unique colour and vitality. And the poetry of Wilfred Owen, while tragically limited in total output (Owen was killed in action just seven days before the armistice in November, i9lg, after a long, arduous and distinguished service record) is not at all limited in its philosophical sensitivity and vigor or in its poetic invention and individuality. Consider, for instance, the rhymings of 11Move him into the sun" (page 4): "sun-sown, once-France, seeds-sides, star-stir, tall-toil" -- certainly personal, fresh and evocative. "A-B-A-B-C-C-C" is also an individual. and vital stan~a form. But the most provocative-and-moving "technical" thing is the length of lines one and seven. Lines two through six, however free, are four-foot lines; and one is led to expect them to continue. But the three-foot final line, particularly of verse two, comes as with a sudden loss of breath. However, given even these two great text sources, it is Britten's .2!'!!!~and dramatic vision which structures, informs and inspires the War Requiem. I cannot think of a single composer of our time so sensitive to word values. Who else could have contrived Christopher Smart's Rejoice in~ Lamb, Melville's Billy~, Peter Grimes,! Ceremony of Carols, Noye1 s Fludde -- to name scarce a hand£ul out of scores. With what fantastic sensitivity has he infused Owen's 20th Century personal (and cosmic) 11pityt 1 into a centuries-laden liturgical classicism~ For example
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Page 1, lines 11
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6 and 7: Hearken unto my prayer:
"What passing-bells
unto thee shall
.fil
flesh~·"
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for these who die as cattle?"
In addition to the myriad disturbing fragmentary associations that surround this juxtaposition -- cattle-bells, man made flesh, mand made meat, butcher-boy, boys butchered -- in addition to these connotations, here within the first few minutes of this extended work, is squarely placed its rather total argument, titled (I presume by Owen) "Anthem for doomed youth." Page 2, top: It is of course a "natural" to couple the Tuba Nirum, the "wondrous trumpet", with "Bugles sang." But by the extraordinary collaboration of Britten and Owen in one moment we have the "Tuba Mirum" calling, even "driving" fil unto the Throne; and inunediately foil owing bugles are calling, are II singing", but only bugles answer, "sorrowful to hear". The voices of boys who~ to be by the riverside can never again respond.
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Page 2, middle:
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Verse three: "Quid sum miser ••• " "What shall I say in my misery when scarcely the righteous may be without fear?"
Diabollically pertinent is Britten's placement of "Out there we've walked quite friendly up to Death~' -To which is added Owen's wistful bitter twist at the end. (Like Sandberg's little girl who'd just had her Daddy explain about war: "You know what, Daddy? Someday they're going to give a war and nobody's going to come.") Page 3: This is the only one of Owen's poems -- to my knowledge -- which implies "right or wrong" to that war. In the main his subject, as he states over and over again, is "war and the pity of war, the pity war distills." It is ill wr-ong. There is ~ right. a partisan
But in this poem, in lines five and six, he about to curse." "Reach at that arrogance which down before its sins grow worse ••• " Taken in only assume, I think, that the "arrogance" which at least, was Prussian. It is a partisan line.
says to the "great gun ••• needs thy harm, and beat it ite entire context, one can he had in mind, for the moment,
But Britten -- and this is the stinger -- gives the entire poem to the baritone soloist who, in the great final "Strange Meeting" (page 7), turns out to be the German Soldiert Now -- I could go on concerning Owen's imagery and Britten's poetic genius for more pages then Eddie should have to suffer. (Most of my study this week has been an exploration and memorization of the texts; strangely, I never had come to a "by heart" familiarity with the Missa de Profunctis strictly as poetry; I usually hear Mozart or Verdi along with these words.) But -- if you'll bring these pages along with you on Monday night, I'll go through the entire texts with you with a ravishing Norman Vincent Peale acuity and thoroughness. One footnote. I don't know all the answers to our problems of rehearsing the COCC;but of one thing I 1 m sure: nothing is being accomplished by hurried and harried 45-minute rehearsals on Monday evenings. THEREFORE, everybody: amend your rehearsal schedule to re-instate our usual 8:00 p.m. rehearsal schedule for the full choir. We'll fix the COCCother ways. Monday
March
1
8:00 p.m.
All
Monday
March
8
8:00 p.m.
All
Other rehearsals
as scheduled,
Sunday
February
Sunday
March
28
7
including: 3:00 p.m.
Tenors and Bases
3:00 p.m.
Sopranos and Altos Love, R