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If There Is Much In The Window There Should Be More In The Room
Akhenaten known before
the fifth year of his reign as Amenhotep IV, was a Pharaoh of the Eighteenth
dynasty of Egypt who ruled for 17 years and died perhaps in 1336 BC or 1334 BC. He is especially noted for abandoning traditional Egyptian polytheism and
introducing worship centered on the Aten, which is sometimes described as monotheistic
or henotheistic. An early inscription likens the Aten to the sun as compared to
stars, and later official language avoids calling the Aten a god, giving the
solar deity a status above mere gods.
Akhenaten tried to
bring about a departure from traditional religion, yet in the end it would not
be accepted. After his death, traditional religious practice was gradually
restored, and when some dozen years later rulers without clear rights of
succession from the Eighteenth Dynasty founded a new dynasty, they discredited
Akhenaten and his immediate successors, referring to Akhenaten himself as
"the enemy" in archival records. An opera in three acts.
Possessing a theatrical almost romantic quality,
Philip Glass takes the ancient myth setting it into the contemporary music
landscape with consummate ease while retaining the
primordial substance of the original story.
Akhnaten, the third of
Philip Glass's "portrait" operas (composed in 1983), is based on the
life of the Egyptian pharaoh Akhnaten, who ruled Egypt from 1375 BC to 1358 BC.
Like Einstein on the Beach and Satyagraha, it is not a "story" opera
but an episodic-symbolic portrait of a historical personality whose visionary
ideas dramatically changed the perceptions of the world around him. Here,
Glass, in his own libretto, tells the story of the man who supposedly introduced
monotheism into classic Egyptian culture (and thereby the Western world), thus
complimenting the realms of science and politics as portrayed in his previous
two operas.
Akhenaten known before
the fifth year of his reign as Amenhotep IV, was a Pharaoh of the Eighteenth
dynasty of Egypt who ruled for 17 years and died perhaps in 1336 BC or 1334 BC.
He is especially noted for abandoning traditional Egyptian polytheism and
introducing worship centered on the Aten, which is sometimes described as monotheistic
or henotheistic. An early inscription likens the Aten to the sun as compared to
stars, and later official language avoids calling the Aten a god, giving the
solar deity a status above mere gods. Akhenaten tried to
bring about a departure from traditional religion, yet in the end it would not
be accepted. After his death, traditional religious practice was gradually
restored, and when some dozen years later rulers without clear rights of
succession from the Eighteenth Dynasty founded a new dynasty, they discredited
Akhenaten and his immediate successors, referring to Akhenaten himself as
"the enemy" in archival records.
An opera in three
acts. Possessing a theatrical almost romantic quality,
Philip Glass takes the ancient myth setting it into the contemporary music
landscape with consummate ease while retaining the
primordial substance of the original story.
Akhnaten, the third of Philip Glass's "portrait" operas(composed in 1983), is based on
the life of the Egyptian pharaoh Akhnaten, who ruled Egypt from 1375 BC to 1358
BC. Like Einstein on the Beach and Satyagraha, it is not a "story"
opera but an episodic-symbolic portrait of a historical personality whose
visionary ideas dramatically changed the perceptions of the world around him. Here,
Glass, in his own libretto, tells the story of the man who supposedly introduced
monotheism into classic Egyptian culture (and thereby the Western world), thus
complimenting the realms of science and politics as portrayed in his previous
two operas. After
Einstein and Mahatma Gandhi, now an exponent of religion is the protagonist of
the opera, the Egyptian pharaoh Akhnaten. Akhnaten revolutionized the leading
religion in ancient Egypt by introducing the monotheism, that means, for him
"Aton" was the only god. But after all he failed because of the
striving for power and force of the traditional priests, and he was overthrown. The score of the opera
is a bit strange, because it is a mostly classical orchestra but without the
violins. One reason for this kind of orchestration was the fact that the
premiere took place in the state-theatre Stuttgart (Germany), where the main
house (the "Großes Haus") was closed this year because of some
renovation, and in the little house there was not enough place for a full
orchestra.
But the lack of the violins fits very good to Glass' intention with this work:
the music has a warmer, deeper and darker sound, and the contrast to the winds
is more intensively. Also the percussion-instruments get more place, especially
in scene 2 of the first act, the funeral of Akhnaten's father. There is a kind
of music, which never appears in "Einstein on the Beach" nor in
"Satyagraha". In fact, this "Funeral" was the first piece
of "Akhnaten" that was played in public, because there is a special
version for the Philip Glass Ensemble. This piece was recorded for the CD
"Dancepieces", which might be one of the best Ensemble-CDs.
In most parts of the opera there dominates a restful and nearly calm sound;
most of it stands in a-minor. The strength and power of Akhnaten himself is
represented with the trumpet, which is used as "his" instrument. But
there is another really emotional scene with the full orchestra: Akhnaten's
fall. Act II portrays the
changes Akhnaten wrought: he leads a revolt that deposes the powerful priests
of Amon, the old older; he abandons the polygamy of prior pharaohs for the love
of his beautiful wife, Nefertiti; and he creates Akhetaten, "City of the
Horizon of Aten", a temple of art and beauty in honor of his new god. Like the legendary
King Arthur, here he seeks to create his Camelot, inspired by the beneficence
of his god Aten. The act ends with Akhnaten's hymn to the god, praising its
beauty and recognizing it as the force of creation which only he, as the son of
Aten, can recognize.
SCENE 3: THE CITY -
DANCE
The Scribe speaks the
first part of this scene alone, without musical accompaniment. His speech is
taken from the boundary markers (or stelæ) of Akhnaten's new city, Akhetaten
(The Horizon of the Aten). During his speech,
Akhetaten - a new city of light and open spaces that represents architecturally
and visually the spirit of the epoch of Akhnaten - appears behind him. Text: Recited by the
Scribe (from the boundary markers found in the valley at Tel-el-Amarna, in
Breasted, A History of Egypt)
Stela 1
And his majesty said
unto them, "Ye behold the City of the Horizon of the Aten, which the Aten
has desired me to make for him as a monument in the great name of my majesty
forever. For it was the Aten, my Father, that brought me to this City of the
Horizon. There was not a noble
who directed me to it; there was not any man in the whole land who led me to
it, saying, 'It is fitting for his majesty that he makes a City of the Horizon
of Aten in this place.' Nay, but it was the Aten, my Father that directed me to
make it for him. Behold the Pharaoh
found that this site belonged not to a god, nor to a goddess, it belonged not
to a prince or to a princess. There was no right for any man to act as owner of
it.
Stela 2
"I will make the
City of the Horizon of the Aten for the Aten, my Father, in this place. I will
not make the city south of it, north of it, west of it or east of it. I will
not pass beyond the southern boundary stone southward, neither will I pass
beyond the northern boundary stone northward to make for him a City of the
Horizon there; neither will I make for him a city on the western side. Nay, but I will make
the City of the Horizon for the Aten, my Father, upon the east side, the place
for which he did enclose for his own self with cliffs, and made a plain in the
midst of it that I might sacrifice to him thereon: this is it. "Neither shall
the Queen say unto me, `Behold there is a goodly place for the City of the
Horizon in another place', and I harken unto her. Neither shall any noble nor
any man in the whole land say unto me, `Behold there is a goodly place for the
City of the Horizon in another place', and I harken unto them. Whether it be
downstream or southward or westward or eastward, I will not say, `I will
abandon this City of the Horizon.'," The dance, which
immediately follows the brass fanfare, contrasts with the heavy traditional
ritual of the temple scene which opened this act. Musicians (triangle,
wood block, and tambourine) appear on stage with dancers, as well as Akhnaten
and principal members of his entourage, in a dance that marks the celebration
and inauguration of the city of Akhetaten.
