If you happen to be
reading
Moby Dick right now, and you
live in Washington, DC, congratulations! The Kennedy Center is putting on an
opera.
Go see it (it closes tomorrow). If you don’t live in DC, however, and you live
in some benighted cultural desert (like New York City) then nobody is putting
on an opera, but you did have the chance to see something else: an oratorio
called Moby Dick: Death and Other Curiosities.
The product of
West Fourth
New Music
(or W4)—a composer
collective made up of Matt Frey, Tim Hansen, Molly Herron, and Ruben Naeff—
Moby Dick: Death and Other Curiosities is
split into twelve movements, or three from each composer. As might be expected,
these composers have very different styles, interpretations, and approaches to
setting the text (or even whether or not they attempt to set the text at all).
W4 can get away with these
differing styles because
Moby Dick
does, too. Melville’s novel slips from pure
narrative to sermon to internal monologue to play to cetology primer. When one thinks
it has exhausted all formal possibilities it still finds a way to surprise. It
might seem fitting, then, that the oratorio is bound together by a shared
source material and a few shared themes (identified as “mortality, identity,
the hunt”), but not by a shared understanding of
Moby Dick as such.
Yet Moby
Dick’s endless variation serves a uniting purpose and that purpose puts it
at odds with W4’s adaptation, or with any musical adaptation at all.
Moby Dick is “about” a lot of things.
But its technical variety is not simply—as W4 calls—a curiosity box. Instead,
the variety creates an important sense of
estrangement—or,
to use a different word,
homelessness.
From its opening invocation of Ishmael,
Abraham’s pseudo-legitimate and rejected son,
Moby Dick focuses on those who are too restless or too strange to
be really at home wherever they are. Ishmael flees to the sea when he can no
longer stand to remain on the land, but he is not really at home on the
Pequod either. His closest companion,
Queequeg, is a cannibal. Ahab, the captain, seems only barely to inhabit the
same world as his crew, his drive for revenge making little sense to
anyone—even to Ahab.
Those sudden switches in genre and in style deny
the reader any steady place from which to take in the action of the book. Nowhere
is this more apparent than in the infamous cetological passages, which in showing
just how obsessed Ishmael is with gaining a masterful understanding of his
world also demonstrates how futile that attempt is.
A person setting
Moby Dick to music is thus faced with a tricky task. Music, too,
has great variety; but it is immersive. It fills up the space around its
audience as well as passing their time. In a narrative, music helps its
listeners to share a perspective in a more immediate way. So maintaining this
sense of estrangement is difficult (perhaps impossible). But even given this
limitation, a musical version of
Moby
Dick
still has a lot it can adapt or embellish: It can mimic the variety,
or provide an entryway into its world, or interpret the book. Or it could try
to do all of these things. Or (which comes to the same thing) none of them.
So what does Moby Dick: Death and Other Curiosities try to do? It’s hard to say,
but the result is a mixed bag. The lows are very low: One of the movements felt
like nothing so much as hearing the opening song of
Moby Dick! The Animated Musical. And while Melville’s text isn’t
exactly libretto-ready, the movements that opted to rewrite the text often
ended up sounding clunky and awkward. Take this sentence, for instance—coming
at a moment when Ishmael is bound to Queequeg, who is performing some dangerous
work:
So strongly
and metaphysically did I conceive of my situation then, that while earnestly
watching his motions, I seemed distinctly to perceive that my own individuality
was now merged in a joint stock company of two; that my free will had received
a mortal wound; and that another’s mistake or misfortune might plunge innocent
me into unmerited disaster and death.
This sentence became the much flatter “my
individuality will be merged,” which was then dropped into a different context
altogether. Instead of serving as a meditation on the ways in which we are
dependent on one another, it became a thin statement about death. Not an
improvement.
But the oratorio wasn’t all bad. Here’s one
of those cetological passages, a perfect example of the way they seem obsessed
with trivialities and yet possess a haunted quality, how they express the
mystery of the whale and of the body as it dies:
One of [the
whale’s] peculiarities it is, to have an entire non-valvular structure of the
blood-vessels, so that when pierced even by so small a point as a harpoon, a
deadly drain is at once begun upon his whole arterial system; and when this is
heightened by the extraordinary pressure of water at a great distance below the
surface, his life may be said to pour from him in incessant streams. Yet so
vast is the quantity of blood in him, and so distant and numerous its interior
fountains, that he will keep thus bleeding and bleeding for a considerable
period; even as in a drought a river will flow, whose source is in the
well-springs of far-off and indiscernible hills.
This passage, striking as it is, is not an
obvious candidate to be set to music. But it was, in fact, set—word-for-word,
so far as I could tell—in a gorgeous composition. Through careful use of
repetition, it brought to mind not only the whale, bleeding and bleeding, but
Ishmael’s own fascination with that bleeding, and Melville’s own aims in
bringing this aspect of the whale to our attention.
And
sometimes the looser adaptation of the text works. In the movement that struck
me the most, “Some Ships,” different fragments from the book come together to
demonstrate the isolation of the different ships calling out to one another on
the sea. The result was so strikingly beautiful and convincingly lonely that I
almost jumped to my feet in a burst of pure feeling.
Moby Dick is about estrangement and
homelessness, which is another way of saying
Moby Dick is weird. It
was greeted with uncomprehending disdain when it was published and that disdain
is not hard to understand, even when one recognizes and indeed loves it for
that very weirdness.
Even if
Moby
Dick: Death and Other Curiosities
doesn’t quite manage to translate this
sense of weirdness into music, as an illustration of how difficult a book
Moby Dick is to grasp the oratorio works
very well. And though beautiful parts can’t themselves make a whole, the beauty
of those parts remains with me. Moby Dick is too powerful for those who seek to
capture him. But then, he always was.
B. D. McClay is a graduate of St. John’s College and a junior fellow at First Things. Image from the Z. Smith Reynolds Library.
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