Seal Lullaby, by Rudyard Kipling

Recently it was my pleasure to sing with a very talented choral group (Concordia Sacrae), in concert and recording session, the Eric Whitacre musical composition of The Seal Lullaby (among other gorgeous musical numbers, including Barber’s Agnus Dei adapted from his Adagio for Strings). Coming across this commentary about the Kipling poem, I thought it suitable for re-blogging. I’ve been absent from eklektikos for too long; maybe this will jump-start me again!

Bernadette's avatarPoetic Anthropology

Oh! Hush thee, my baby, the night is behind us,
  And black are the waters that sparkled so green.
The moon, o’er the combers, looks downward to find us,
  At rest in the hollows that rustle between.

Where billow meets billow, then soft be thy pillow,
  Oh weary wee flipperling, curl at thy ease!
The storm shall not wake thee, nor shark overtake thee,
  Asleep in the arms of the slow swinging seas!

When I was small (and not so small) my father read to us.  By “us” I mean all my siblings together.  He read Canticle for Liebowitz, and early Heinlein space operas, and books of Pogo cartoons.  When reading the latter my father would position himself in the middle of the living room floor, or on my parents’ big bed, and we would arrange ourselves like rays around the book, our sun.  We…

View original post 500 more words

William Billings (1746-1800): David’s Lamentation (Sacred Harp #268)

William Billings (1746-1800): David’s Lamentation (Sacred Harp #268)

Some readers of this blog will have also followed the drama of young Adam Smelser’s disappearance, death, and the search for his body, now recovered.  The stalwart faith of Adam’s parents and other family members have been inspirational to many.  No doubt many have had the text of David’s lament regarding his son Absalom in 2 Samuel 18:33 in mind.  Jared Saltz did a favor by providing a Facebook link to Eric Whitacre’s choral piece, “When David Heard” – see a performance at http://www.youtube.com/watch?v=G2ZKKXCuaYc – which is a work of musical genius, though the dissonances are probably too difficult for those not trained in choral performances.

My own musical tastes run more to older American hymnody, and of course the well-known piece (“David’s Lamentation,” 1778) by William Billings (considered by many the first truly American composer and lyricist) springs to mind, and has been in my head for several days.  Billings’ composition is often performed, almost in “counterpoint,” to Whitacre’s in some choral performances.

Googling the Billings piece reveals quickly how international is its appeal – performed not only in its raw, “native” settings by Sacred Harp groups from the hotbed of fasola singing in the American South (Alabama, Georgia) to Cork, Ireland, and elsewhere, but in more formal contexts as well.  For example, the musical score and text from the Sacred Harp (#268) can be seen on a German fasola website (Bremen, Georgia to Bremen, Germany?) – http://www.sacredharpbremen.org/lieder/200-bis-299/268-david-s-lamentation –  and here is a link to a stirring rendition in the cathedral at Pontevedra, Spain, in 2007:  http://www.youtube.com/watch?v=ZFXYA7nmYts

While you are listening, please say a prayer for Adam’s family, and thank the Almighty that we can live in the blessed hope of eternal life!