RESURGAM
A Tone Poem
by
Eric Walter John Ball (October 31, 1903 - October 1, 1989)
(Notes by Robert Getz)
The word resurgam comes from the Latin word resurgo, meaning
"to rise again, to appear again, to lift oneself". Resurgam means "I shall rise
again", the most intimate and personal form of the word.
A World War II war correspondent coined the now famous
phrase: "It is a riddle wrapped in a mystery inside an enigma". Not
surprisingly, this piece written by "brass banding's mystic" (born on All
Hallows Eve) fits this description perfectly -- a riddle wrapped in a mystery
inside an enigma.
Several things point to this conundrum. Eric was not in the
habit of dedicating his works, yet he dedicated Resurgam to his wife's younger
sister, Elsa, with no explanation. Some say it was because the piece came to him
during the time of his struggles over resigning from The Salvation Army, the tragic
illness which took Elsa and which perhaps led him deeper into spiritualism --
which may have led him to Resurgam. Perhaps, but we will never know. Another
mystery is that Ball, a former Salvation Army Officer, elected to use text from
the ancient apocryphal book of The Wisdom of Solomon, rather than the more
accepted Scriptures. Is the choice of text tied to his bitterness over being
pressured to resign his Army commission? (Yes bitterness was there, but not broadcast.)
If Not, why did he select so pointed a text from "secret" and sometimes doubted
scriptures when equally convincing or superior texts can be found in the more
universally accepted books? There are musical riddles as well. For example, what
does the hammering figure in the development section mean? First there is one
note, again, then three, then four, one, one then six . . . why? Some say "fate
knocking", while others are mystified that it seems not to fit at all and yet
somehow strangely belongs -- a riddle wrapped in a mystery inside an enigma?
There is more. Little is known about the creation of the
piece. The composer stated to this writer that he did not remember writing it at
all. Peter Cooke confirms this in the biography, Eric Ball -- the man and his
music. However, the piece didn’t magically appear on paper. Clearly, memory
notwithstanding, much thought went into the writing, the inclusion of quoted
tunes or motifs, even the selection of an obscure Latin title. The opening
phrase is a modified quote from Ball's vocal piece "The Awakens", a Salvation
Army Training Session song: "Awake thou that sleepest, and arise from the dead".
Interestingly, these opening notes also fit the first phrase of the selected
text from the Apocrypha if the word "but" is omitted.
"But the souls of the upright are in the hands of God,
And no torment can reach them.
In the eyes of foolish people they seemed to die,
And their decease was thought an affliction,
And their departure from us their ruin,
But they are at peace".
The tone poem has five basic elements which are presented as
in the following outline: A B A C D E A D. Considering the subject matter, one
is left to ponder whether or not Ball was aware of the word spelled by the
second half of the form outline. Is this a part of the mystery, or just
coincidence?
The composer has clearly stated that there was no intent to
specifically tie any text to any musical ideas, but this rather should be left
to each listener to divine for themselves. Such statements notwithstanding, Ball
was as much a literalist in selecting musical themes that directly portray text
and ideas as was Bach. One need go no further than his beautiful setting of
Psalm 150, where trumpet figures accompany similar words, and men’s voices form
rich chordal sonorities for the word “organ”, etc. Consequently, it is not out
of the realm of possibility, in fact likely, that he had thoughts of specific
texts (at least in the back of his mind) as he wrote various sections of
Resurgam. Regardless, this writer has conducted and played the piece many times
and listened many more and finds some possible conjectures useful when searching
for further individual access to the spirit of the piece.
The piece begins with what has been called the "Faith" motif
(theme A). This is very solemn but hopeful music, but which ends questioningly,
almost as though the players are singing, unconvinced, a quote from the
apocryphal text: "and no torment can reach them". This is abruptly interrupted
by a driving, conflict-ridden section filled with questioning and wailing (B),
which is repeated. The faith motif (A) returns followed by even more questioning
and doubting, reiterating over and again the uncertain entreaty "and no torment
can reach them. . . reach them . . . reach them". This leads to a cornet solo
filled with deep despair (C). Once again, the words from the text seem to fit
emotionally and are easily adapted musically (especially the second phrase):
"And their decease was thought an affliction, and their departure from us their
ruin . . .” In rehearsals Eric used the words, “death took my love away” to
illustrate the pathos needed (some speculate more, due to the mysterious
dedication). This theme is transferred to the euphoniums accompanied by a cornet
obbligato . A brief euphonium recitative evolves into a soaring melody of hope
(D). This is interrupted by sinister forces represented by the lower instruments
and turmoil and bitter conflict are the stuff of this section (E). We hear a
battle between the upper voices seeming to try to triumphantly shout "But they
are at peace" against the sinister forces of evil and death in the lower voices.
Cascading chromatics, the pounding or "fate knocking" motif, and the insistent
Dies irae ("day of wrath", from the 13th century mass for the dead) -- are the
elements of this section. Finally as the last pounding of fate dies, distant
bells toll, and the "death" motif (borrowed from the composer's own Exodus)
followed by a crash of the gong ominously ends this section. The faith motif (A)
introduces the return of the soaring euphonium melody of hope (D), which is now
wonderfully fulfilled and transformed from hope to promise of eternal life in
the resurrection. As the music lifts us beyond life, could there perhaps be a
suggestion of the composer's own setting of "In the Secret of Thy Presence"? The
earlier questions are transfigured into quiet "amens", underscored by a final
reminder of the faith, which began our pilgrimage.
The great British composer/conductor, Elgar Howarth, states:
"The spirituality of Resurgam as much as its superb scoring has made it the most
performed and best loved piece in the band repertoire". It was the Belle Vue
test piece in 1950. Eric Ball conducted the fourth place band and admitted that
the first place winner, Harry Mortimer, understood the piece and found more
depth in it than he, the composer! Such a piece and such a man may never be
encountered again until we all experience Resurgam. Amen.