The Fragments of Redemption: Utopian Dimensions in the Music of Ralph Shapey

Abstract

Ralph Shapey utilized an on-going ‘theology’ throughout his life to guide the composition of his music. Visits to Israel in the 1970s helped solidify his new creativity in search of meanings. His work began to embrace Judaic thought and history, culminating in a final opera on Moses later revised, and an unfinished oratorio.

Keywords:

• Theology
• Being
• Judaic Thought
• Ethics
• Judeities
• Conceptual Triad
• Antiphonal
• Opera
• Timbre
• Collective Messiah

Acknowledgement

I wish to thank Angel Nava, who prepared all the ensemble graphics.

Notes

[1] Emil Fackenheim (1916–2003) was a ‘fideist’ where the emphasis on faith animated his thinking, as Shapey's, who proclaimed to be a ‘Deist’ who believes in God but not necessarily the institutional forms where God is represented. They share ‘total commitment’ of experience within their chosen practice demonstrated (as in music) to the existential relation between man and God.

[2] Levinas, 1996. Also see Newton, 2001, p. 184.

[3] Derrida (2007) is a collection of writings, thoughts, responses on ‘Judeities’, ‘Jewishnesses’, suggested within the life and work of Derrida.

[4] Marc Ponthus, Trailer on YouTube, describes the seemingly unending violence of spatial/linear ‘irrationalisms’ in Boulez's Second Sonata as suggesting ‘another’ place not within the work itself. See: http://www.marcponthus.com/.

[5] I owe these references to Barry Wiener, December 2007.

[6] Also see: Entretien réalisé au printemps 1984, avant la création de la première version de Verso Prometeo. (1987). Édition Festival d'Automne à Paris, Paris: Contrechamps.

[7] This is the onionskin orchestral score for The Protagonists.

[8] From a conversation with Elsa Charlston, August 2007.

[9] Bloch traces highly complex materials on Utopia by locating its ‘time’ within history, culture, iconic expressions and religions forms.