An Analysis of “Even When God Is Silent” by Michael Horvit

Introduction

This piece was written by Michael Horvit to commemorate the 50th anniversary of Kristallnacht. Michael Horvit is an American composer who studied at Yale and Boston University. He also studied composition with Aaron Copland, among others. He taught Music theory at the Moores School of Music, and Houston University. He is the co-author of a well known aural skills textbook Music for Ear Training.

Kristallnacht, also known as the Night of Broken Glass, refers to the violent anti-Jewish pogroms that occurred throughout Nazi Germany on November 9-10, 1938. The name “Kristallnacht” comes from the shattered glass that littered the streets from the windows of Jewish-owned stores, buildings, and synagogues that were smashed during the attacks. Kristallnacht was a turning point in Nazi Germany’s treatment of Jews, signaling a shift from legal and social discrimination to open violence and terror.

The text for this poem was found written on the walls of a basement in Cologne Germany by allied troops, and its author is anonymous.

Overview

This piece is broken up into three sections of increasing length and complexity, as shown in the form diagram below. Each section sets one line of text, with some repetition within section two (“even when feeling it not”) and three (“I believe in God”).

I believe in the sun, even when it is not shining
I believe in love, even when feeling not
I believe in God even when God is silent

Each line has two parts: a stated belief, and then “even when….” In the music, the shift between the two parts of each line is articulated by a shift from more diatonic music in the first half (redder bubbles in the diagram) to more chromatic and surprising music in the second half (yellower bubbles). The first two lines’ first parts are roughly in the style of imitative Renaissance polyphony.

Analysis

This text is very much like a proverb, declaring some more obvious truths in lines 1–2 as a preparation for the third, more enigmatic perceived truth in line 3. This progression is reflected in Horvit’s composition, as each section becomes progressively longer and more complex. The first two sections display an interesting and significant shift in texture that is also rooted in the text. In measures 1-6, and 12-18 the voices enter one by one in imitation before switching to homophony at measures 7 and 19 respectively. In both instances, the imitation occurs on the text “I believe”. By writing these opening verses this way, the composer highlights the individual nature of belief. It is as if each voice part is an individual, stating their own belief. Once all voices have entered, the texture shifts to homophony. This shift might also represent how individuals who share a common often faith unite, creating a community of believers. As the voices sing in homorhythm, there is a written crescendo. These two elements work together to give the sense that the music is building to something bigger.

Another interesting aspect of this piece is its use of borrowed chords in the first two sections. Both verses start the same, saying “I believe in…” and then using a different noun to evoke a different image. In these sections, the nouns used are “the sun” and “love” respectively. Both times, following the imitative opening and homophonic build in momentum to this point, the lines come to a cadence on a C major chord, borrowed from the parallel major key. This is surprisingly harmonically, but not uncomfortable or dissonant. The shift serves to emphasize the inviting, beautiful nature of the two words it accompanies (“sun” and “love”). After this happens for the first time, we get an interesting chord composed of two fourths stacked on top of each other rather than thirds. These kinds of chords are known as quartal chords, and this precedes a G major chord, which is a half cadence in the key of Cm.

The third section of this piece is interesting, and unlike the previous two sections. At this point, the poem leaves metaphor behind and turns to a simple, profound declaration: “I believe in God, even when God is silent.” In measure 31 the time signature shifts to 4/4, and there is a clear Bb7 chord that prepares a modulation to the key of Eb minor. At this point there is a shift in the rhythm of the piece also, as the melody from m. 33-35 is in quarter note triplets being traded across different parts. At 37, the tonal center shifts suddenly. It is a little ambiguous here, existing somewhere in the realm of Fm/AbM. There is another shift at measure 40, then 41, followed by a monophonic restatement of the first line of the poem, “I believe”, solidly in Cm again. Each of the surprising rhythmic changes and harmonic shifts applied in this section are  significant, because they are striking, unsettled, and perhaps even uncomfortable. The sudden unprepared changes may be representative of how many times our faith is challenged. This has reference to the last line of text, “…even when God is silent”. It shows musically that even in uncertain circumstances and unfamiliar situations, one’s faith in God can remain steadfast.

Teaching

This piece could be used by a teacher to show different styles, specifically, imitation and homophony. It might be interesting to program some renaissance pieces that employ this style, showing how it can be used in its original, or a more modern context such as this piece.

Another music concept that could be taught through this piece is borrowed chords, and modulation. There are many chords and modulations in this piece that follow the standard, and many that do not. For example, in measure 9, the C major chord is clearly borrowed from the parallel major key. However, in measure 40, the chord is also unexpected, but certainly not borrowed from any key being referenced before it. As far as modulations, there are certain shifts that are prepared by a dominant 7 chord (such as in measure 31) and others that are sudden, and therefore more jarring (such as in m. 37).

Rehearsal

When rehearsing this piece, it is important to anticipate the potential pitfalls in singing the harmony. There are numerous instances where the line departs from the key in unexpected ways. Luckily, this is typically by a step or a third and not much larger than that. Encourage your students to engage their aural skills in finding these new harmonies instead of just playing them on the piano. It could be useful to point out their function in the new chord as well (root, third, fifth, etc.).

Performance

In performing this piece, it is important that the tempo and dynamics are flexible within each section. If the piece starts too loudly, the third section will not feel as impactful as if it is preceded by a quieter dynamic. Specifically in the first two sections, the imitative line must start quiet. It should only start to crescendo when nearing the texture switch to homophony in the middle of the section. I would even say that the crescendo can carry through one measure after it is notated, to the borrowed chord that accompanies the subject of that line of text. If the conductor wants even more emphasis on this line, they can relax a little with the tempo here as well, picking back up directly after the borrowed chord.

Throughout the entire piece, there are many surprising harmonic shifts. As mentioned in the analysis section of this case study, these are of high importance. Especially before each unpredicted shift, when there is some dissonance that resolves (whether expectedly or not) to the new chord, it is useful to lean into this a little more than other notes. This emphasizes the tension evident in the text the music is portraying, and will make for a more nuanced performance.