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Kasilag vs Zimmermann: How Our Filipino Faith Challenged Existential Crisis


In truth, the typical elements of a Latin mass for the dead and an incorporated liturgical nuance involved in a requiem are not always strictly followed by many compositions. Possibly born out of the virtue of more cathartic expression or artistic ingenuity, different composers across history have delivered various twists to the otherwise traditional and liturgical genre of composition. Two powerful and unique requiems that fit this description and are worthy to compare may potentially belong to Bernd Alois Zimmermann in his work “Requiem für einen jungen Dichter” (Requiem for a Young Poet) and Lucrecia Kasilag’s De Profundis (From the Depths).

“Requiem für einen jungen Dichter” (Requiem for a Young Poet) acts very much as a homage towards the existential crises and struggles of the intellegista--and be they poets, philosophers and politicians--given the context of the century that Zimmermann lived in. In a word, it deals with the frustration of these agents of change relative to the development of radical, catastrophic sociopolitical upheaval that was characteristic of the 20th century--the century that both world wars occurred--that was threatening to consume all. Themes like Albert Camus’ Absurdism, Hitler’s Racial-Radicalism, Hungarian Nationalism, Mao Tse-Tsung Revolutionary Thought and the like satisfies Zimmermann’s attempt to make sense of the sociopolitical chaos of his time. Because his work infused of elements from literary, philosophical, religious and political themes and juxtaposed these with the traditional Latin Requiem texts, Zimmermann’s work stands to be an embodiment of a very avantgarde approach to composing a requiem--a hodgepodge of musical flavors and tastes that form a unique lamentation for the dead. Here, it was as if he was trying to using the Latin Mass for the Dead format or tradition in order to find one last source of peace before reaching out into the void via suicide. It should be noted that he accomplished this ingenious reinvention of the traditional mass of the dead by playing with elements of audio play, cantata, and oratorio. Moreover, he 1 also made use of soprano and baritone soloists, three choirs, jazz band, organ, tapes and a large orchestra. In the end, English translation by Patrick Sharpe (1999) really captured the darkest 2 recesses of Zimmermann's tortured mind.

On the other hand, De Profundis (From the Depths) by national artist Lucrecia Kasilag provides a grand example of “Filipinized” sacred music. One that is tremendously reminiscent of the Filipino’s innate genius in having the ability to take foreign influence make it his own. Consistent with the Philippines’ deep rooted Roman Catholic tradition and its peoples folk take on this fatih, the composition endeavors to paint a picture of how a departed soul may possibly find forgiveness and eventually comfort in the presence of God in Heaven in the following afterlife; and thus deviating somewhat from the traditional “fire and brimstone” of Latin Requiems. In a word, the work beautifully covers the theme of salvation through the grace of God. First, it does this by making use of Old Testament verses from the Book of Psalms instead of traditional text. Second, by incorporating elements of orchestra, voice soloists--Soprano Solo 3 and Alto Solo, quartets and double choruses. Moreover, Kasilag also incorporated indigenous 4 elements such as pentatonic structures and Igorot derived tempos.

Ultimately comparing the two side by side, it is clear that De Profundis follows more liturgical tradition than Requiem für einen jungen Dichter. Although strictly sacred instead of liturgical, it could be said that Kasilag’s work actually mirrors the of Johannes Brahm’s own non-liturgical but nonetheless sacred requiem: Ein deutsches Requiem (A German Requiem). On the other hand, Requiem für einen jungen Dichter can be perceived as more secular given its stresses on sociopolitical and existentialist underpinnings that obviously encumbered Zimmermann’s heart. Thus, it could equally be said that in this way he preempted his own suicide by writing his own requiem--and very much like Mozart’s Requiem in D minor, wrote for his own death.

To conclude, in terms of similarities in text, one great example of similar text that cover the same theme is “ Lord, hear my voice. Let your ears be attentive to my cry for mercy. If you,Lord, kept a record of sins, Lord, who could stand?” (De Profundis) and “Everyone should consider that the day will come when they will have to account for their actions before the Lord and Creator, who will also be their ultimate judge” (Requiem für einen jungen Dichter). Here, the two compositions manage to converge at the central theme of human helplessness against the judgement waiting in the afterlife--especially in the face of transcendence or God, perhaps the prospect of forgiveness, and dying in the name of the Lord. These themes seems to be the few focal points where they agree on as Zimmermann’s work really focused more on the lamentation of dangerous existential political and philosophical ideologies, and while Kasilag’s still focused mostly on the lamentation of Christian souls bound to meet God. However, what these convergence points reveal is that across cultures, experiences and backgrounds the Requiem never ceases to be an effective catharsis for an individual to find respite or peace when confronted with death.

 

RESOURCES

Psalm 32 (Living Bible). Bible Gateway. https://www.biblegateway.com/Accessed July 3, 2018 Isiah40: 6-7(Living Bible).Bible Gateway. https://www.biblegateway.com/Accessed July 3, 2018 Psalm 130: 1-4 (New English Bible). Bible Gateway. https://www.biblegateway.com/Accessed July 3, 2018 Matthew 5:3-12. Bible Gateway.https://www.biblegateway.com/Accessed July 3, 2018 Revelations. 21:3-4 (New Jerusalem Bible). Bible Gateway.https://www.biblegateway.com/ Accessed July 3, 2018 Philippians 4: 19-20. Bible Gateway. https://www.biblegateway.com/Accessed July 3, 2018 Kasilag, Lucrecia R. De Profundis. Quezon City: National Media Production Center, 1978. Pompe, G.“Bernd Alois Zimmermann's Requiem für einen jungen Dichter and Leonard Bernstein's Mass: European and American postmodernism, or pluralism vs. eclecticism”. in From Modernism to Postmodernism: Between Universal and Local. University of Ljubljana. August 11 2016, :207-229 Salaria, Redd. ““DEO GRATIAS!”: Lucrecia Kasilag’s Contribution to Philippine Sacred Music”, in Ateneo Blue Sound.http://ateneobluesound.wixsite.com/blue-sound/ single-post/2018/05/16/%E2%80%9CDEO-GRATIAS%E2%80%9D-Lucrecia-Kasilag% E2%80%99s-Contribution-to-Philippine-Sacred-Music Accessed July 3, 2018

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