Judah has gone into exile,
after oppression and harsh labor;
She dwells among the nations,
yet finds no rest:
All her pursuers overtake her
in the narrow straits. (Lamentations 1:3)
The music I composed below wells up from the plight of the world’s refugees which is as acute now as since the 30’s and 40’s of the 20th century. Refugees from the war torn Middle East, Southern Sudan, Latin America face untold dangers fleeing the horrors that have destroyed their lives. We hear of the “coffin ships” fleeing the poverty and starvation of the Potato Famine and British religious persecution in the mid-1800’s. These refugees are encountering the same in their attempts to find peace and a livelihood elsewhere in the world.
The response on the part of most European nations has been exemplary to the horror these refugees have faced. Under donald trump, my nation no longer can bear the inscription upon the Statue of Liberty proudly, its message virtually erased by trump and his administration’s cruel and immoral banning of refugees. He has brought such shame to the noble aspiration of the Founders of this nation. That sin and the ghosts of all the innocent refugees he has denied access will haunt him for ever.
The music below is my musical prayer for all refugees. May they find peace in God.
(c) 2017, by Deacon Bob Wagner. All rights reserved.)
For the music theorists out there. The form of this music for piano is A B bridge (development of A and B) recapitulation of A to Coda. There are two prominent motifs, one melodic and the other rhythmic. The opening two measure melodic motif is repeated throughout the music as is the rhythmic decoration (the 32nd note triplet followed by the dotted eighth note). The recurring accompaniment pattern in the left hand is reminiscent of a “Berceuse” (lullaby) from Chopin I once performed as a music major over 40 years ago. As is characteristic with much of the music in Opus 7, the melody is simple but possesses a haunting melancholy yearning that is never quite resolved. The melody is written in the Dorian mode (one of the scales the ancient Greeks created). It is not the typical minor key with which we are familiar.
