This unique conductor’s edition unveils “The Lamentations of the Humanist Novel,” an oratorio in five parts, composed by M. and envisioned for a performance at the Church of St. Thomas in Leipzig in 1943. Conducted by Serenus Zeitblom, reminiscent of the narrator from Thomas Mann’s acclaimed Doctor Faustus Novel, this oratorio delves into the melancholic heart of humanism through a rich tapestry of musical allusions and symbolic structure. Like Mann’s exploration of Germany’s intellectual and moral descent, this oratorio uses music to lament the trajectory of humanist ideals.
Overture: Setting the Stage for Lament
Zeitblom, as the conductor and narrator, immediately positions himself as the guiding intellect, the necessary medium for coherence, much like his role in understanding and presenting Adrian Leverkühn’s tragic life in the doctor faustus novel. The overture serves as a microcosm of the entire oratorio, a “quick review of what is to come.” It begins with Haydn’s Creation, symbolizing the genesis of order from chaos, mirroring humanity’s initial aspirations. Holst’s planetary music hints at cosmic order, while Verdi’s Macbeth witches and Liszt’s Mephisto Waltzes introduce a darker, seductive element, foreshadowing the Faustian bargain and the moral compromises that plague humanist endeavors, themes deeply explored in the doctor faustus novel. This musical blend serves as a potent warning, a taste of the complex and often contradictory journey ahead, akin to the unsettling premonitions that permeate narratives like the doctor faustus novel.
Part One: A Trio of Order, Humanity, and Love
The first part opens with a celebration of the natural world and the inherent goodness within it. Vivaldi’s vibrant Seasons, Beethoven’s serene Pastoral Symphony, and Mahler’s evocative Naturlaut create a soundscape of natural harmony and order. This section evokes the humanist appreciation for nature as a source of morality and inspiration, a concept often contrasted with the darker, more Faustian elements in literature. Hildegard’s mystical chants and Holst’s Neptune add a layer of religiosity and cosmic wonder to this naturalistic foundation. The emergence of the Viola d’Amore, leading into the Adam and Eve duet from Haydn’s Creation, highlights love in paradise as the pinnacle of this harmonious existence. Holst’s Venus further reinforces the theme of paradisiacal love, linking it to a planetary dimension. However, this idyllic scene is disrupted by a sudden crescendo of dark tonalities. Haydn’s angel warns of the dangers of overreaching knowledge, subtly echoing the Faustian temptation that underpins the tragedy in the doctor faustus novel. This part establishes the initial humanist ideals of order, nature, and love, but subtly foreshadows their vulnerability.
Part Two: Barbarism Lurks and Love Affected
Moving from the innocence of paradise, the second part confronts the encroachment of barbarism upon humanist ideals. Mozart’s Zauberflöte and its Temple of Wisdom represent the Enlightenment’s faith in reason and human progress, a cornerstone of humanism. Lüther’s hymn Ach Gott, vom Himmel sieh darein adds a plea for divine guidance as humanity navigates the complexities of the world. Berlioz’s La Damnation de Faust introduces a crucial thematic shift, directly referencing the Faustian legend. Marguerite’s aria D’Amour l’ardente flame symbolizes the passionate yet potentially destructive nature of love, a stark contrast to the pure love of the first part. Dissonance enters as love is threatened by darker forces: adultery, prostitution, jealousy, mirroring the moral decay that can corrupt even the noblest humanistic aspirations. Verdi’s Othello and the haunting melody Diceste questa sera le vostre preci exemplify how easily love can be twisted into tragedy through jealousy and manipulation. The text directly quotes a chilling damnation: “You may not love. Love is forbidden you insofar as it warms. Your life shall be cold – hence you may love no human,” highlighting the dehumanizing potential of societal and internal conflicts. Nationalism emerges as another dissonant force, threatening international peace and cooperation, essential components of humanist thought. Stravinsky’s Rite of Spring and its “demonic dances of the Earth” question whether nationalism represents a departure from beauty and humanist values, or a necessary sacrifice in a changing world. This section poignantly illustrates the fragility of humanist ideals when confronted with the darker aspects of human nature and societal forces, much like the societal decay depicted in the doctor faustus novel leading to Leverkühn’s pact.
Part Three: Rebellion Against Order – The Devilish
The third part plunges into chaos and rebellion, signaled by a series of diminished sevenths, musical chords known for their instability and lack of resolution. Holst’s Uranus, the Magician and the Witches’ Sabbath from Boito’s Mephistopheles amplify the sense of sorcery and irrationality. This section directly questions the nature of artistic creation and the limits of freedom. The oratorio grapples with questions relevant to the artistic and intellectual anxieties of the time, similar to those explored in the doctor faustus novel: How much freedom is possible in art? Can tradition be denied? Are all new creations just variations on existing themes? The conductor’s role is questioned – is he a Führer imposing order on chaos, or a guide through it? This reflects the anxieties about authority and control in a world descending into totalitarianism, a significant backdrop to the doctor faustus novel. The text references Paul Celan’s famous statement about poetry after the Holocaust, questioning the very possibility of art in the face of extreme suffering. The limitations of language, particularly German, in conveying universal meaning are also considered, mirroring Thomas Mann’s own reflections on the German language and culture in a time of crisis. The oratorio contemplates whether the rebellion against beauty is a descent into irrationality or a necessary break from outdated forms, a theme resonant with the modernist anxieties of the early 20th century and central to understanding the artistic choices of Leverkühn in the doctor faustus novel.
Part Four: Hell is Where the Devilish is. Fallen.
Entering the fourth part with jarring tritones, the diabolus in musica, the oratorio descends into a musical hellscape. The audience’s agitation mirrors the internal turmoil and societal collapse being depicted. Despite the guidance of Orpheus and composers like Gluck, Offenbach, and Monteverdi, the conductor resorts to chance, throwing dice to determine the musical variations, symbolizing a loss of control and order. This chaotic approach reflects the breakdown of humanist order and the descent into barbarism. The invocation of numerous composers associated with the Mephisto theme—Smetana, Gounod, Boito, Berlioz, Mussorgsky, and others—creates a cacophony of devilish musical ideas. Britten’s Requiem acknowledges the tradition of war and the existence of real-world “gates to Hades,” referencing regions like the Balkans, Pacific islands, and the Black Sea, places of intense conflict and suffering. Cage’s 4’33”, a piece of silence, pushes the boundaries further, questioning the role of the conductor and the very nature of musical expression in the face of existential despair. This silence represents either a potential for renewal or final damnation, leaving the audience in a state of profound uncertainty and echoing the bleak landscapes of moral and artistic collapse found in the doctor faustus novel. The question “Who said that Hell was the loss of creativity?” hangs heavy, suggesting that perhaps the ultimate damnation is not just suffering, but the inability to create and find meaning.
Part Five: On Retribution and Penitence
The final part seeks resolution and a path towards redemption. Mozart’s Commendatore from Don Giovanni returns as a stern warning, demanding expiation and contrition. The oratorio presents a choice: Götterdämmerung (Wagnerian destruction) or Beethoven’s Ninth Symphony (hope and universal brotherhood). Zeitblom, the conductor, chooses hope, invoking Beethoven’s Ninth, a symbol of humanist ideals and redemption through art. A secondary dominant in A for Art and Amor (Love) resolves to a cadential G for Grace and Goodness, offering a sense of closure and a tentative affirmation of humanist values. The final “Amen” provides a sense of spiritual resolution, though tinged with the melancholic awareness of the lamentations explored throughout the oratorio. Like the ambiguous ending of the doctor faustus novel, the oratorio concludes not with triumphalism but with a fragile hope, acknowledging the immense challenges faced by humanism in a world scarred by barbarism and moral compromise. The journey through dissonance and chaos ultimately seeks a fragile harmony, a testament to the enduring, if besieged, spirit of humanism, a theme deeply explored in the complexities of the doctor faustus novel.
