Lūcia Garūtas has only two opuses with Aspazija’s poetry: the solo song “Three Lessons” (1929) and the duet “Red sun lent”, dedicated to Milda Brehmane-Stengele and Herta Lūse.
The song with Aspasia’s words “Three Lessons” has three contrasting but thematically related sections. The first lesson of the star made in dark colors is inspired by the words “don’t let, oh, don’t let the darkness in”, the second dramatic lesson at the end is the text “break, if you break, you won’t be able to bend like that”. The third – the coal lesson – crowns the song with a dynamized, flaming finale “burn and stay always burning”. This is actually the essence of Lūcija Garūta.
On the other hand, Lūcija Garūta has several important solo songs with Raini’s poetry: in the pre-war period – “Pats” (1929), “Mountain Climber” (1939) and “Mēnes laiva” (1939, a tribute to Milda Brehmane-Štengele) – undoubtedly pearls; after the Second World War – “Spring Song” (1945-46), “The Only Star” (1953), “Castle of Light” (1967), “These Great Days Tell You” (1967) and the duet “Snow Day”, composed in the first post-war years. According to Dzintra Erliha research on Garūta’s chamber music, there are also solo songs “Jaunais laiks” and “Zīlītes vēsts” with an unknown date.
Lūcijas Garūta’s first song with Raina’s words is “Pats” (a poem from the collection “Tālas noskaņas zilā vakarā”). The noble call of the poet “Working before others, develop | Himself in an untiring war – | And an eternal field of work will be in your power And forever renewed strength and weapons” makes the composer choose rhythmically intense chords. This song was performed at Garūta “III Composition Evening” on November 30, 1929 (almost three months after Raina’s death). Lūcija is then only 27 years old.
Apart from some choral songs, Lūcija Garūta also has an oratorio “Dzīvā kvēle” with poetry by Rainis. Raina’s work also inspired Garūtas to write the symphonic tale “The Golden Horse”. Initially, Lūcija Garūtas intended to write the opera “Zelta zirgs”, because this work of Rainis has been important to her since her early days, but then she found out that the opera was already being written by Arvīds Žilinskis. And for Garūta, a symphonic tale is created, in which a part of what was conceived in the opera sounds, which is not only in thoughts and heart, but already recorded on sheet music.
A similar story about Raini’s play “Pūt, vējini!” – this play has also been a favorite of Garūta’s from a young age, many scenes of this play have been acted out with her sisters. But the opera is written by another composer – Felicita Thomsone.
“Living Glow”
In the epigraph of the oratorio, the author writes “Memorial tribute to the 100-year birthday of Rainis, the singer of the Sun and Freedom, People’s Poet”.
From the composer’s memoirs (1972):
“.. the intensive work (JVLMA – author’s note) bound me so much that I could not devote myself to thinking about creating a large form: I was also aware that I still lacked mastery of it. I remember feeling that I would not be able to produce as big a composition as I wanted. .. I have always loved poetry and the works of our poets. Often the idea of a new composition, words and music are born in me at the same time. Aware that I am not a poet and that from a literary point of view such works of mine could have shortcomings, in the post-war years I have repeatedly asked the poet Mirdza Ķempe for advice. Sensitively understanding the special meaning of each word in the soundtrack, she sensitively corrects the second version of my opera “Sidrabotais putns”, the cantata “He flies!” and c. jobs.
The process of compositions that have the works of our poets is different. Many works of Latvian poets have been close to me. Because often, when reading poetry, I have immediately heard it in the sounds, experienced it: the next page remained unturned. Sometimes it is a small collection of poems because it has been read for a long time, loving every page and often hearing it in the sounds. Not everything has been written.
Another case is still vivid in my memory. Already in my youth, I loved Rainis’s poetry very much, there were many very lovely parts of the page, but out of awe of the greatness of Rainis’s poetry, I did not dare to touch it. Later I wrote some songs. For a long time I loved the poem “Living glow” (from [the collection] “Those who do not forget”). Returning to it several times, it is sad that this poetry cannot be embodied in the song. When I decided to dare to write a large composition with Raina’s words (which I had been thinking about for a long time), I realized that the small poem “Living Glow” in terms of the number of lines is so powerful inside that it cannot find its expression in a small song. Everything resonated in me, I wrote in great excitement – the sweet half of the page of poetry, combined with the poem “Vienpatis”, became the 5th part of my oratorio “Living Glow”. This oratory connected me with such an irresistible force that because of it, the work on the textbook “Harmony” that had been started was interrupted for a longer time. I have often wondered why it is impossible for me to split into two people – one of them could work on this book with all his heart, and the other would devote himself to composition. ..”
The composer has chosen poems for the oratorio from Raina’s poetry collection “Those Who Don’t Forget”. These are only six poems (out of 95!), selected from the two last parts of the collection, “Gaita bez telja” and “Mērķi zais ogundinim”.
The oratorio has five parts: “Convocation”, “Unusual”, “At the cauldrons of life”, “Farewell to a friend” and “Living glow”. The oratorio begins with the title poem: “The living glow of the sun burns | Today as a thousand years ago. | Genera grow, and genera fade, | But through kindred relatives | The spirit of freedom through the wires of hearts | Forever with the sun.
The oratorio did not manage to be completed in time for it to be performed during Raini’s great anniversary in 1965, when it was grandly celebrated. The sudden death of brother-in-law Arvīds Reinvalds in the last days of 1964 stopped work on the oratory for a long time. The last notes were drawn only in June 1965, and then the work on the instrumentation followed. At the end of June, Garuta presents the new work to the board of the Composers’ Union. It is significant that Jānis Mediņš, Garūta’s professor of instrumentation and the conductor of her first symphonic works, is visiting the Composers’ Union on his first and last visit to his homeland after years spent in emigration.
The premiere takes place on January 13, 1968 at the Great Guild. The oratorio is performed by the Latvian Radio Choir, the State Academic Choir “Latvija”, the Latvian National Symphony Orchestra under the leadership of conductor Leonidas Vīgners, the soloists are mezzo-soprano Leonarda Daine and tenor Jānis Zābers. The performance of the oratorio must be full, being in everything with heart and mind, and it succeeds in this premiere to the fullest extent – congenially, I dare say.
Garūta had a good understanding with the conductor Wigner. The conductor was at the console in the first concert performance of the Piano Concerto (the first performance on the recording was conducted by Arvīdas Jansons). Vīgner also conducted the cantata “Viņš lido!”, moreover, as it turns out, it was not only performed in the Great Hall of the University of Latvia, but also in Latvian churches – this is what the organist Tālivaldis Deksnis remembers.
“Living glow” Garūta wrote for the voice of Jānis Zabers. The singer is said to have said: “Finally there is something to sing!” On the other hand, Garūta was happy that there is once again a tenor who can chant her message the way she hears it – with a truly felt experience, a glow. Further cooperation with Jānis Zābera was interrupted by the untimely death of the singer. There is also a recording where both artists can be seen playing the song “Kaija” – a tribute to the first female cosmonaut Valentina Tereshkova.
Leonard Daine’s singing was also close to the composer with its clarity and nobility. Daine is also one of the best interpreters of the popular song “Holy Love”. Garūta established a good cooperation with Leonarda Daina. The singer sometimes visited Garūta’s house.
A sound recording of the oratorio is also being made, and it is a big event – the very fact that Garūta is getting such an honor. However, the record is taken out of circulation and becomes a rarity. As my father, Raimonds Pormalis, told me, he got one record because he knew an employee of the then department store (nowadays “Galerias Centrs”). However, this plate had to be returned to Garūta, because the author did not have the required number of copies at that time. My father told me many times how he was left without this album, which he would have liked to listen to and study. In later years, Latvian Radio plays only parts of this oratorio. I remember reading about it in “Rīgas Vilņi” in Garūta. It was a certain joy, because at least something was being heard.
About the difficult fate of the oratorio a few years ago, Olģerts Grāvītis shared his memories with “Mūzikas Saule”: “Already in the first part of the oratorio, Lūcīte lets loose in full steam: “Brothers, brothers, you are near and far!” After the concert, the Union of Composers receives a copy of the workers’ complaint from the Central Committee, they say, how do you allow that nationalist Garūta to invite us to fraternize with emigrants, traitors to the motherland?! Aivars Goris calls on the responsible secretary of the union Grāvīts to investigate this issue. We decided to call knowledgeable men from the Academy of Sciences to judge whether the scattered brothers of the tsar described in Raini’s collection “The End and the Beginning” in 1906 have anything to do with the post-war emigrants? A party meeting is taking place, we only blinked so that at the end we could write that a discussion took place, we examined the issue and found that Lūcija Garūta’s oratorio is a respectable modern piece. However, if I’m not mistaken, a responsible employee of Latvian Radio got scared and didn’t broadcast “Dzīvo kweli” for about two years. There was clapping again – we wrote to the radio, why don’t you play such wonderful music? Good thing no one ordered the record destroyed. By the way, we all managed to agree that we will not say anything to Lucija Garut about the complaint.”
Lūcija Garūta writes: “The work on the oratorio was very exciting, because Raini’s poetry and thought take wings and fill the air. Each word of the poem is like carved in granite, multi-meaning, so powerfully expressive that I used the full texts of the poems without omitting anything, only repeating as the flow of the music demanded. Raini’s poetry has both drama and tragedy, fighting strength and endless longing for light, faith in light and the fact that humanity always goes to the sun.” This last thought is especially close to the composer.
The design of the oratorio “Living Glow” is seamless and carefully thought out. The composers suggested the great generalization mainly by the idea of the work, its strong and humane basis – longing for the rainy sun. Like a shining string, they weave through the entire piece and find their fulfillment in an almost Beethovenian anthemic uplift in the closing part.
Silvija Stumbre writes: “It is felt that the general technique of composition has become more productive – the choir and orchestra have become more sonorous, large ensembles of soloists and choirs, various polyphonic techniques are used skillfully and versatilely. In addition, this mighty set is completely arising freely, without any artifice.”
In the year of Lūcija Garūta 100th birthday (2002), the Lūcija Garūta Foundation manages to have the oratorio performed in the Great Guild. Raina’s poetry collection in German was created by Kristīne Circenis already in 2000. There was a plan to invite the Swiss conductor Marcello Viotti (Viotti, 1954–2005). I met the conductor in Vienna, he accepted it all with responsiveness. Unfortunately, the conductor fell ill and left this world after a few years.
With Lūcija Garūta oratorio “Dzīvā kvēle” Latvian music gets another Rainis composition. The monumentality of the conception of the news voratorium resonates with such works as Jānis Mediņš’s opera “Fire and Night” and Ādolf Skulte’s Second Symphony Ave sol.
After “Living Glow”
Summer of 1967. The song “Viņu saks” with the words of the composer comes into being in the quiet hours of work [in the summer house of the Garūtas family] in Vecākis. It seems to continue the idea of the oratorio “Living Glow” – brothers who are far away, be close! The song was written by Jānis Zāber. At the end of the summer, the composer composes the epically powerful solo song “Gaismas pils” with the words of Rainis (from the collection “Vētras sēja”). I want to compare this composition with the powerful songs of Alfred Kalniņš’s “Pastardienas”, it is so impressive with its deep bass-sounding, broad instrumental introduction, ambitious, vocally sounding and inspired singing and brilliant climax. The symphonic nature of the piano part of Garūta’s “Gaismas pils” is actually more suitable for orchestral accompaniment. This emphasizes the main idea of the song – only in work, in struggle, a person’s personality is formed and the meaning of life is created. The clear thought of Raini’s poetry is expressed by a specific and uplifting melody. Here, the composer uses diatonics for the first time, abandoning the alterations that give even the brightest major in Garūta’s compositions a kind of shading. And only in the middle part, along with the text “beware of being poor in spirit, who, throwing themselves away, are happy”, the piano accompaniment contains chromatically escaping, sliding harmonies.
Like Mediņa and Skulti, Lūcija Garūtas was also influenced by the greatness of Rainis’s poetry. The importance and wide resolution of each word and thought subjected music to poetry, pushing back the boundaries of musical form. It is not easy, because the volume, the idea is too big. You can’t just run over it. The development of Garūta’s music has its own logic and justification. Because it is usually not enough for a person to say something once. Coverage takes more time…
The symphonic tale “The Golden Horse”
Raini’s play “Pūt, vējini!” has been very close and dear to Lūcija since childhood. characters. Both with her sister Erna quoted whole passages of the musical lines of the play’s text. And so throughout my life: I had to experience this when the relevant lines were heard at the right moment (Anna Brigadere was also often quoted, for example, from the play “Sprīdītis”). But – Raini’s “Blow, windy!” composed by Felicita Thomson.
Raini’s “Golden horse” also always remained a cherished but unfulfilled dream for Garūta. She was particularly close to the image of Antiņš with his sincere and selfless love for Saulcerīte. Garūta even started work on this opera, but then it became known that Arvīds Žilinskis had already started composing. And the second opera cannot be made. However, Garūta has already composed enough to include it in a symphonic tale. In 1958 and 1959, she worked on this work. In 1960, the premiere of the tale was performed at the “Latvian New Symphonic Music” concert.
“Zelta zirgs” ir programmatisks darbs. Tā saturu Lūcija Garūta, tāpat kā agrāk instrumentālajā daiļradē, fiksējusi ne vien ar paskaidrojošiem virsrakstiem, bet arī ar norādēm partitūrā līdzās
tempu apzīmējumiem.
Teiksma veidota divās daļās: I. “Antiņš pie apburtā stikla kalna” un II. “Antiņš izglābj Saulcerīti”. Pirmo daļu var uzskatīt par teiksmas ievadu vai prologu, savukārt otrā daļa atklāj Antiņa varoņdarbu.
The introduction of the tale depicts the mountain of glass shrouded in mystery. Small motifs of cello and harp stand out in the background of vibrating strings, as if sounding from afar, they are intercepted by other low-sounding instruments. After that, the French horn and cello start the theme of the tale, characterized by the interval of a fifth. In the middle of the first part, the musical images of the counterforces are heard – the Black Mother, the winds and the ravens, which protect the eternal sleep of Saulcerīti on the top of the glass mountain. The Black Mother’s theme is resounded by the gusty arpeggios of the strings, depicting wind auras, and the fatally gloomy Black Mother’s theme continues to sound in brass instruments. Along with this motif, new three-tone sequences have entered the harmony language of Lūcijas Garūtas’ music, which gives the music a bright fantasy tone with a peculiar coloring of degrees. –
“Daddy, who’s going to wake it up?”
– “Who will be as lovely as the sun.”
– “Daddy, who will carry it to the ground?”
– “Who will be as strong as the sun.”
Antin’s questions are based on the vocally singing intonations of his subject; the musical expression is sad. The white father’s answers, on the other hand, are light, intonatively related to the characteristic intonation of the ending of Antiņš’s motif. The tonal planning of the composition is remarkable here – Baltās tēva’s answers and the following three stages of Antiņas’ growth are made in the same tonalities.
Picturesquely, for example, with the glissando of two harps in opposite direction, the transformation of Antin into the copper horseman and his first ride on the glass mountain are depicted. The relaxation of the tension and the plaintive sound of Antin’s theme show that the copper horse has not reached the top of the glass mountain. The same thing happens with the silver horseman. The forces of evil triumph. The most dramatic climax of the composition is formed when the themes of the Black Mother, the winds and the ravens are heard.
Antins’s third progression is amply depicted, leading to the brilliant, compelling C major transformation into the golden horseman. In the music, the sad intonation of the third is no longer dominant, but the fifth of Antin’s cry. In a bright glow at the top of the glass mountain, Antiņš sees Saulcerīte. The picturesque description of the glass mountain close to the introduction of the first part is heard again. The violin solo sounds warm.
In the score, the composer added Raini’s words to the violin part: “My heart felt longing for forever | We fondly call a distant voice, | We are lovingly shining a distant star.” (from the fourth act of the play “The Golden Horse”)
Saulvedis calls the sunflower, invites it to get up, look where the sun rises. The motifs of the white father and Antiņas have now merged into one, and the falling plaintive intonations have turned into uplifting ones.
A thrilling Appassionato section sums up Antin’s feelings, marking the ancient long fulfillment. It moves into the Maestoso – concluding with a hymn singing in the brass instruments and a jubilant, gusty movement in the strings, confirming Raina’s point:
“Sunflower! | Well, it was saved from death! | The sun has returned to us.”
In the depiction of the forces of darkness, a violin solo, or the theme of Antiņa’s long song – “Saulcerite, Saulcerite!” The rhythmic pattern of the motif completely corresponds to the intonation of the pronunciation of the word ‘Sunflower’. But then the forces of darkness rise up and suppress Antin’s cry. The first part of the tale ends with the musical representation of the enchanted mountain, in which the mournful, sigh-like leitmotif of Antiņas’ cry and the ominous undertones of the musical image of the Black Mother are interwoven.
In the introduction of the second part of the tale “Saulvedis saves Suncerīte”, the dialogue between Antiņas and Baltā’s father sounds as if: “Daddy, who got dressed for that mountain?” – “Who will be as clear as the sun.” as the last triumphant closing chords sound out, the composer gently makes Antiņas’s cry ring out once again, underlining the idea that only his great longing for the distant star brought people the sun and happiness – Saulcerīte.
There are a lot of beautiful, evocative musical thoughts in Lūcija Garūta symphonic tale “The Golden Horse”. The composer’s ability to fuse musical images and themes into an organic unit and show them in a transformation to highlight the idea of growth and development of Rainis’s play is amazing. The sound of the score is rich, it has many new colors. The composer has depicted the most ideologically significant fragments of Rainis’s play, even the dialogues, in such detail that it could be imagined as a vocal symphonic performance, if some of the very singable themes with Rainis’ words were sung by soloists.
Two memories
The oratorio “Living Glow” is personally associated with some stories from the distant past.
My mother, Zvaigzne Pormale, worked as a manager of the household department at the Rainis Museum of Literature and Art History, which was very active during the Rainis centenary. I was also “involved” in all of it, because mom had a lot to say about what was going on.
In our garden, Raini’s now famous bathrobe, which was entrusted to my mother for restoration and washing, was airing. All of us could not go to the sea in the evening, because someone had to stay at home so that the coat would not be left alone in the yard.
The beautiful desk with heavy legs of my grandfather Reiņas Pormaļas (he was born in Dignāi, Selia, so relatively close to Jasmuiža, and ten years later than Rainis, you can draw an emotional link here) traveled to Jasmuiža. It’s like a hazy image in my memory. I haven’t been on that side for a long time. The desk that was suitable for furnishing Rainis’ office of the relevant period should be inspected.
There is a special story about the opening of Raini’s and Aspazija Majori’s house, we also have some photos. The workers who restored this house were devastated when they came to the opening. But they had to stay behind the fence because distinguished guests had arrived. There was no place for ordinary people. True, the rooms in the house are narrow, and this limits the number of visitors in one visit. But the main thing was the attitude against people. This episode has remained a vivid memory in my mother’s story, as if it had happened recently, but at that time I was only nine years old.
Another story is connected with the memorial of Lūcija Garūtas. It was opened in commemoration of the composer’s 80th birthday on May 14, 1982 at the I Meža cemetery in Riga. The motto of the memorial is “The living glow of the sun shines” from the finale of the oratorio “The Living Glow”.
The sign was created in response to the sound of this theme – in bronze chords as staves. Due to financial reasons, the size of the sign had to be reduced (similar to the recent Palace of Light), and I, being the author, took it without response, because the relationship between the area and the formation changed, but others did not feel it that way.
The design and implementation of the memorial came about in connection with the Ministry of Culture of Latvia and the then minister Vladimirs Kaupužs. It was also supported by the Latvian Composers’ Union and the Jāzeps Vītolas Academy of Music of Latvia. During the work, the design of the memorial sign was consulted by the sculptors’ commission of the Ministry of Culture, architect Jānis Dripe, representatives of JVLMA. The sign was made in collaboration with my sister, the sculptor Baiba Pormale, because the work had to be created in a relatively short period of time, while simultaneously working intensively as a teacher. The financial basis was provided by relatives – Olga Krastiņa and Erna Reinvalde, sisters of Lúcia Garūtas. Unfortunately, at the end of January 1993, in snowy and cold weather, the memorial was toppled. As far as can be concluded – to get bronze, what it is made of. Due to a lucky coincidence, it was soon discovered, and the sign was saved thanks to the help of the national guards. The dismantled memorial, consisting of twelve elements, was placed in the Brethren cemetery. After some time, the sign came to the Latvian National Art Museum with an agreement that it would be stored there.
It’s been a long time. We thought and hoped that we would be able to place the sign back at Garuta’s resting place. For now, this is a possibility increasingly distant. There is no right to destroy it, and the owner of the mark is not the Lucija Garutas Foundation.
The sign was included in the lists of monuments, it was written about in the book dedicated to Meža graves, etc. c. In dismantled form, the memorial has almost only material value – bronze. But careful work has been done on each element of the sign, on the copy and overall design. At the time the work was created, bronze was expensive but not desirable. The bronze monuments and letters stood for decades because there was no way to “realize” the bronze.
On May 14, 2002, on the centenary of the composer Lúcia Garuta, a stone memorial was unveiled, and it was an initiative of the Lúcia Garuta Foundation. The financial basis was donations from Garuta’s cantata “Dievs, Tava zeme deg!” of the performance in May 2002.On May 14, 2002, on the centenary of the composer Lúcia Garuta, a stone memorial was unveiled, and it was an initiative of the Lúcia Garuta Foundation. The financial basis was donations from Garuta’s cantata “Dievs, Tava zeme deg!” of the performance in May 2002.
Rainis and work
One of the best-known samples of Rainis’s work can be named the poem “First and last word”. It is often quoted, and as is the case with texts we hear a lot, we often do not hear them at their core. It would be worthwhile to shake off all the dust of prejudices and listen to Raina’s words again:
“My name is one, he will seem harsh: | When your spirit is lazy
and conjoined, | When you are left as a burden to yourself, | There is only one
remedy: | A job.”
This poem can be read in the collection “Those who don’t forget”, in which Lucija Garutas drew inspiration for the oratorio “The Living Glow”. The introduction given by the poet himself helps to understand and feel the message of the collection much better. Here are the first paragraphs from Raina’s introduction.
“Many things can be forgotten, many can be forgotten: a friend of a friend, a brother of a brother, even more – a mother’s child, even more – a husband’s duty, even more – the motherland itself, its children and its future at the same time. Iron disintegrates, people’s brains are iron. But long forged iron becomes steel. There have been and always will be those who do not forget. They are living history that stings the memory. When the homeland forgets its future, they will not forget it – they are the living future that drives the drive. And they have been and will always be those whom the motherland will expel from itself, because they will bring a spiritual life that the motherland cannot live yet, but without which she will have no future. These are the same ones who lose their father and find the world, lose themselves and find humanity… “the one who loved”…
But let it be said; she summons feelings that are better left unmoved. – “Yes, it’s better not to move!” I hear fierce voices, “but who were those seducers and movers who, with their loud phrases, exaggerated feelings and ideals, led everyone into ignorance? However, those who still don’t want to forget what everyone is already tired of. But now that time is over; well we are up and we will determine. Everything will be forgotten. – And what did you get out of it? How happy are you then? They didn’t want to work on serious peace works…”, and I hear spirits talking like that for a long time.
But let it be said; she summons feelings that are better left unmoved. – “Yes, it’s better not to move!” I hear fierce voices, “but who were those seducers and movers who, with their loud phrases, exaggerated feelings and ideals, led everyone into ignorance?” However, those who still don’t want to forget what everyone is already tired of. But now that time is over; well we are up and we will determine. Everything will be forgotten. – And what did you get out of it? How happy are you then? They didn’t want to work on serious peace works…”, and I hear spirits talking like that for a long time.
You are melted, I understand: from ideals and from the efforts and sufferings of others; – you want to rest quietly in a “sunny corner”, and you are looking for it among silent graves, where those who want other peace rest. Who gets excited about graves? Maybe the same thing is allowed and only sadness is allowed? What more intangible responsibilities when you need tangible success? – You cannot do otherwise.
We are also unable to give ourselves. Time will turn your generation like a boy turns a page in a book. We do not know the next generation, but the unknown has always been closer to me than the familiar.
But I involuntarily became bitter, imagining that I also came from the same root a long, long time ago, and that maybe I still have unknown friends there, because people are everywhere and deep down, everyone is a person. How can I be bitter towards you? – for you say, you laughing hearts, are you happy? Green fields, are you fertile? The fields may be green with weeds; dejected hearts commit suicide and remain fruitless. To-day the greatest that was among you, Tolstoy, fled from you, though late, at the end of his life, though not to a new life, but to death; fled without being pushed out, without being driven out, of his own accord; because of feelings of clarity, because he was human. Well, your life is even emptier. – How can I hate you? You are so unhappy. There will be those among you who have suffered – and cannot be forgotten. And how to hate those who are destined to win?
This book does not want to embitter or frighten anyone; the quieter she is, quieter than “quiet”; let there be a book of the weaned and the widowed, and the quiet heroes of the long-suffering. This autumn song sounds from the memory and the past, and only so far can he be attributed to the present, that his pain and exile and – we hope, also the memory – still continued, even though everyone was tired of them, like long strikers.
