Music of Remembrance: Ceija
Sunday, May 21, 2017 @ 5:00 pm
Nordstrom Recital Hall at Benaroya Hall, Seattle
Traveling through Zion National Park, I found myself strolling through a slot canyon. I was noticing the smoothly carved rock, cut and shaped by eons of rushing, flowing water. Climbing out of the slots, back up to the road, I noticed a very different rock formation: turbulent, violent waters had crushed against this wall. Continuously.
It occurred to me that water has this duplicity – smooth or turbulent, flowing or crushing, friend or foe. We, too, have this parallel with our fellow humans, our neighbors, our friends. Each of us wants to think that we can love and respect each other, live and flow together. But sometimes that doesn’t happen. The human turbulence becomes inhuman and horrific.
The water we can understand, watch, and marvel. The humans? Painful and not understandable. We fail to confront.
Seattle’s Music of Remembrance gives us a way to begin the confrontation, in a space where music, art, and community come together to address conflict and horror.
MOR has commissioned Mary Kouyoumdjian to compose an original piece. Mary has found meaning in meeting and studying people who have lived through genocides; it provides an understanding of her own family. Her grandparents, both maternal and paternal, lived through the Armenian genocide, eventually being displaced to Lebanon, where much of her family still lives.
Mary’s new piece, to open myself, to scream, celebrates the life of Austrian-Romani Ceija Stojka, born in 1933, who survived the Holocaust and internment at Auschwitz, Ravensbrück, and Bergen-Belsen. Ceija was a painter, artist, writer, and musician; she passed away in 2013.
I spoke with Mary about her work, about Ceija, and about being a first-generation Armenian-American.
Mary got to know Ceija through her artwork, books, and, later, documentaries that featured her.
“She was an incredibly joyous person, but then you see the burden of her experience weigh her down from time to time. Understandably. Getting to know people on that level where you start to understand how these events, which happened so long ago, still eat away at them every day… That’s how I connect to these people,” Mary tells me.
Mary’s new work is a multimedia piece in 4 movements, each movement inspired by selected paintings of Ceija’s. Each movement features a pre-recorded audio track as a backdrop, on top of which a 5-person ensemble (clarinet, trumpet, violin, cello, and double bass) will play live. The audio playbacks are influenced by Mary’s observation that past events continue to impart sorrowful backdrops to survivors’ lives; they live in the present, but they are also always living in the past. In addition, a hand-painted, 25-minute, animated film by projection artist Kevork Mourad will be synced to the pre-recorded audio, adding a visual experience for the audience.
This is a heavy, emotional space to work in. I asked Mary: Does the work become a burden?
“It can be totally burdensome, and these are not easy topics to confront, but I think it’s good to confront them,” she says. “Given my own family’s history, I’m drawn to these topics, and every time I re-approach them, it gives me a bit more understanding about my own family history and what my family members have gone through… and why my community is where it is in our present day. Selfishly, I’m getting something from it, too.”
Emotionally and intellectually, the enormity of genocide triggers overwhelm. As we’re stymied on how to proceed, this phenomenon continues to occur throughout the world. Music of Remembrance, Ceija’s art, and Mary’s new work give us a way to begin to understand – and discuss – the horrors of genocide. Perhaps, by learning the stories of individual lives and sorrows, some humanity can be regained while opening the door to progress.
Music of Remembrance’s Ceija will take place on Sunday, May 21, 2017 @ 5:00 pm in the Nordstrom Recital Hall at Benaroya Hall, Seattle. With Laura DeLuca (clarinet), Alexander White (trumpet), Mikhail Shmidt (violin), Walter Gray (cello), and Jonathan Green (double bass). Full details are here.
Kent Karnofski has been a Seattleite most of his adult life. By day he is a research engineer at a local manufacturing firm, by night he is an extraordinary audiophile. In addition to his work with the Live Music Project, he is the curator and primary contributor at CommunityNoise.blog.