Recently, in part because of the question I was asked about whether or not a hermit could or should sing office, I have been thinking more about the various tensions that exist in the eremitical vocation, especially the tension that exists between ecclesiality and solitude and also that between physical silence and what canon 603 calls "the silence of solitude". While I was listening to a favorite piece of music -- Allegri's Miserere Mei, Deus done by the Tenebrae Choir under the direction of Nigel Short -- I thought I could see a perfect representation of these elements and the tensions that exist between them at work in what is one of the most beautiful pieces I know. In some ways they reflect in a more vivid way the dynamics I know personally not only from living as a hermit with an ecclesial vocation, but also from playing violin both alone and in chamber groups and orchestras. I'll say a little about what I heard and saw in this production that was helpful to me in thinking about these central vocational elements and tensions below, but for now you might listen to this piece once or twice before reading on.
What struck me first is the dialogical nature of the work --- dialogical in a broad yet still profoundly personal sense of the term. Each and every person is dedicated to listening and responding on a number of levels, first of all to the composer and his music, notations, and text, but also to the director who interprets these realities and communicates this to the singers in gestures and expressions. Every person is listening not only to themselves and the quality of sound they are producing, but to every other person in the ensemble. Each person is listening to a pulse within themselves which moves through the music and silences (rests) as well as to a mental sense of the music-as-heard over many different and differing performances. These will all guide the music each singer makes in response as they perform or live this work with personal and musical integrity.
What also struck me about this particular performance is the way one can hear the massed sound of all the voices but also clearly distinguish the individual voices (sometimes with the aid of one's eyes as different singers enunciate different syllables and/or notes in time --- we listen with all of our senses). The singers blend perfectly but they only do so insofar as they sing their own part in careful response to the the dynamic context which lets them be themselves alone in relationship. I was reminded most of the ecclesial nature of the eremitical vocation as I thought about this --- the way a beautiful performance is enhanced and completed only as it is sung/lived as an integral part of the whole. I thought this was especially true of the young male soloist whose silence was as critical to the balance and completion of the music as were his solos.
The way the schola in the main stands apart from the larger choir and at times is entirely silent but still very much part of the music as they listen so as to respond appropriately also made me think of the distinction between physical silence and the silence of solitude. And again, that was even more clear to me with the single voice of the young man standing up and "apart" in the arches above the nave and schola. His voice was often "heard" only in its silence and always in relation to others' welcoming or receptive silence. How very much more than simple physical silence is this listening and participative silence!! It is foundational to the whole piece. When I think as well of the hidden but still-startlingly pervasive presence of the composer, his music, notations (not always easy to imagine what is meant here or there!), and depth of meaning of the text he is communicating, I think of the presence and place of God in the hermit's life --- and again, of the meaning of being bound to obedience in all of the myriad ways we must each allow and achieve if the music we are called to be is to be realized in all of its potential.
And finally, I was struck (and moved with a kind of poignant joy) at the way the now-silent soloist remained apart but very much present in the performance as the schola moved closer to the choir during the last portion of the piece and joined them in singing it. Again, a striking symbol or image for me of the profound difference between eremitical solitude or eremitical anachoresis (withdrawal) and being a lone person or individualist. It is the distinction between belonging integrally to the choir while making music in one's silence and merely standing apart mutely. It is this kind of silence the hermit brings to the Church as a whole, the charism or gift quality of eremitical life c 603 calls "the silence of solitude". As I have written here before, my very first experience of solitude (as opposed to isolation) and also of genuine community was of playing violin, both alone and in orchestra. That was in grade school when I was nine or ten. Now, all these years later music is still the most vivid symbol for my own understanding the nature of eremitical life and what canon 603 could well refer to instead as "the deep music of personal wholeness and holiness in God".
N.B., I am aware there were things which struck me about the Allegri which I haven't mentioned here --- not least the incredible control, power, and brilliance of the diminutive soprano doing the very high solo line. I thought how incredibly suited the human voice is for this and what an incredible instrument God has made in us as I watched and listened to her sing. In this way too we are language events. I was also struck afresh at how it is the way tensions are created and resolved in music that makes the most wonderful harmonies and create moments of real transcendence. Perhaps some of you will have other observations or reflections on the way the piece resonates with your own understanding of eremitical life or prayer, etc.
The text in both Latin and English can be found online (or cf. Psalm 51). Gregorio Allegri: Miserere Mei, Deus
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