Katafala takes its name from two ancient roots (Greek and vulgar Latin respectively), kata and fala “supported/sustained” and “down”, respectively. The reference here is to a catafalque, the scaffolding of a funeral pier – an image echoed by the physical appearance of the marimba, referring most often to Abraham Lincoln’s catafalque which he himself dreamed into existence. Lincoln’s catafalque is still used for state funerals including those of presidents Kennedy and Reagan.
Steel surgical bowl “gongs” for Katafala
My intent in contemplating Lincoln was to invoke a profound absence of leadership in a time of decision and struggle, a contemporary commentary on the Bush/Cheney administration. The music seeks without finding, it comes back around upon itself without any true progress, it searches for wisdom where none can be found.
In one of many references to Lincoln’s death (and the attempts to save his life), the following short excerpt from Katafala drifts in and out of a dream, using triangles as wind chimes and large steel surgical bowls as “bells” and “gongs”.
Listen to Katafala (excerpt):
Quotations from the score:
1. “Now he belongs to the ages.”, page 1 – Secretary of War Edwin Stanton at the moment of Lincoln’s death, 1865.
2. “”In the night there are naturally the seven wonders of the world / and greatness, and tragedy.”, score page 9 – poet Robert Desnos in Les espaces du Sommeil (“Sleep’s Spaces”), the same source text for Witold Lutoslawski’s work of the same title for baritone and orchestra (which I quote in the timpani).
3. “Sic Semper Tyranus”, score page 10 – John Wilkes Booth’s shout to the Ford Theatre audience following his assassination of President Lincoln.
4. “Useless! Useless!”, page 12 – From the account of John Wilkes Booth’s last words, spoken while staring down at his own hands.
A score for Katafala can be viewed here..
