Borges Music – Arnaoudov “Ritual III”

Mythology is a term derived from μῦθος—and that means a word, speech, whereas mystique comes from μύστης—a derivative of μύω—“to close” (in the ancient practice of initiation—the eyes or the mouth), “to keep silent.” To define these two categories derived from sound and silence, is something great.
—Gheorghi Arnaoudov

Ritual III, “Borges Fragment”
(1992)
For solo cello

Written for the Bulgarian cellist Kalina Krusteva, Ritual III is the third piece in Arnaoudov’s “Ritual” series, solo works designed to create mystical spaces through the gradual accumulation of sounds. Lasting only five and a half minutes, Ritual III moves from apprehension to tranquility by resolving oppositions, but maintains a general sense of unease that suggests an underlying impermanence. The cello enters gently, undulating like the waves of a dark ocean, its limits marked by a soft plucking of strings. A cycle of melodic explorations begins, anxious excursions in a higher register that become increasingly more dramatic. The tension created by this interplay resolves slowly, deep lows and tremulous highs merging into a stately communion, a solemn ritual that gives rise to a lyrical figure of fragile beauty. Like a plume of incense floating in the air, this theme unfolds with an elusive grace, dissipating into the surrounding silence before it can reveal itself completely.

Arnaoudov subtitled the piece “Borges Fragment,” and attributed its inspiration to a series of Borgesian motifs—“his Babylonian Universe, of the Library with all the books in the World, of his Rose and of his alter ego.” This seems a heavy burden for six minutes of solo cello, and Ritual III is hardly programmatic music. To me, the Borgesian connection seems more abstract; a refutation of time even as one succumbs to its inevitability, or the apprehension of eternity as a single shared moment.

Liner Notes (1998 Gega CD)

By Gheorghi Arnaoudov
Compositions
Gega, 1998

Ritual III was composed together with Ritual II and bears also the title “Borges-Fragment for solo cello.” The author says that this work is “a gesture of reason and mind in our striving after God. A gesture of Borges, of his Babylonian Universe, of the Library with all the books in the World, of his Rose and of his alter ego.”

Recordings

Gheorghi Arnaoudov: Ritual III, “Borges Fragment” (1992)
Cello: Kalina Krusteva
CD: Compositions. Gega GD187 (1998)
Purchase: [Amazon], Digital [Presto Music]
Online: YouTube

Track Listing
1. The Circle of Rites. For soprano and chamber ensemble (1991-93; 19:26)
2. Ritual I. For solo piano (1988; 7:27)
3. Ritual II, “Incarnation dans la lumière.” For solo piano (1992: 8:50)
4. Ritual III, “Borges Fragment.” For solo cello (1992; 5:26)
4. Kyrie (Summe Deus). For soprano and chamber ensemble (1993; 20:12)

Musicians
Musica Nova, Ensemble
Emilia Maximova, Soprano
Christo Pavlov, Flute
Boyan Vodenicharov, Piano
Kalina Krusteva, Cello

Like much of Arnaoudov’s music, Ritual III exists in a timeless space that recalls a distant dream—it’s not difficult to see why Arnaoudov is attracted to surrealist paintings, ancient languages, and the mystery of religious rites. Found on the 1998 album Compositions, Ritual III is best heard after its predecessors, Ritual I and Ritual II. Both share the meditative quality of “Borges Fragment,” but scored for solo piano, their otherworldliness is tempered by spiky dissonances and percussive outbursts. This places Ritual III in a different context, its solitary cello akin to a Rothko painting placed after a pair of Jackson Pollocks.

The three “Rituals” are framed by chamber works for soprano voice. Based on Sanskrit texts and Gregorian chant, both “Circle of Rites” and “Kyrie” are eerily beautiful, haunted by a sense of longing and never quite achieving tranquility. Unlike Arvo Pärt, another “mystical” composer to whom he is often compared, Gheorghi Arnaoudov is more willing to embrace frailty and imperfection. If Pärt writes to the divine part of us, Arnaoudov speaks to the human. While his music strives to establish a state of transcendence, it’s always colored by a foreknowledge of loss: we can work toward union with the divine, but the gulf can never be truly crossed. This acknowledgement of desire, yearning, and even frustration lends a sublime sense of humanity to his work.

My only critique of this excellent album concerns its packaging. Clearly a low-budget production, Compositions features minimal liner notes, and fails to include the texts for “Circle of Rites” or “Kyrie.” While a few of the instruments are miked a bit too closely for my taste, the overall recording quality is good, and the playing is first-rate.

Additional Information

Gheorghi Arnaoudov Website
The composer’s official homepage is the most complete source of Arnaoudov information on the Web.

Gheorghi Arnaoudov Borges-Related Works

Gheorghi Arnaoudov Main Page
Return to the Garden of Forking Path’s Gheorghi Arnaoudov profile.

Offertorium II after Jorge Luis Borges (1991)
Described on the composer’s homepage as “dance theatre,” Offertorium is Arnaoudov’s first piece inspired by Borges. It was choreographed by Mila Iskrenova. [Unreleased. This link directs you to Arnaoudov’s homepage.]

Phantasmagorias I (2010)
Also known as the Concerto for Violin, Harpsichord, Keyboard Instruments, Percussion, and Orchestra, its three movements were inspired by Ficciones, the poem “El sueño,” and The Book of Imaginary Beings.

Phantasmagorias III (2010)
A string quartet based on The Book of Imaginary Beings, this piece is subtitled “Imaginarium super Jorge Luis Borges.” [Unreleased. This link directs you to Arnaoudov’s homepage.]

Seven and One Nights (Catalog of Nightmares, Poetry, Blindness, Buddhism and Kabbalah) (2021)
A work for violin, bass clarinet and piano, Seven and One Nights is based on Borges’ series of lectures Siete Noches. [Unreleased. This link takes you the description of the NYC World Premiere.]

Notes of the Phantom Woman (2024)
A chamber opera for female voice, prepared piano, percussion, and electronics, Notes of the Phantom Woman is a monodrama based on the work of Bulgarian poet Iana Boukova and Borges’ “The Sect of the Phoenix.” [Unreleased. This link directs you to Arnaoudov’s homepage.]

Author: Allen B. Ruch
Last Modified: 9 August 2024
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