... In their day, the scroll texts were most likely chanted out loud, writes the Brandeis scholar Marc Brettler in a program note for Saturday’s Dinosaur Annex concert, though he conceded we don’t have any idea how that chanting might have sounded.The story of Enoch was also the subject of an opera earlier this year.
At a guess, probably not much like the modern electro-acoustic soundscapes created by Eric Chasalow for his new work, “Where It Finds Nothing But the Wind,” a setting of selections from the scroll texts that received its premiere on Saturday’s concert. Chasalow, a Brandeis-based composer, freely admits he came to the Scrolls with no previous knowledge about their origins or content. His work also makes no claim to any informed guesswork about the sound world of ancient liturgical traditions. Brettler, who assisted Chasalow on his project, pointed out in a preconcert lecture that even the pronunciation of the texts themselves is speculative since they predate the creation of the system of vowels that inform the speaking of Hebrew and Aramaic today.
So what we have in Chasalow’s new work is a purely contemporary fantasy on these texts, scored for soprano, percussion, guitar, flute, and electronics. The texts used here were culled by Chasalow from across the different scrolls, and include biblical passages, texts from the Qumran Psalms scroll, and even an extraordinary passage from the Book of Enoch that describes “the sons of the sky” siring a race of evil giants with the “daughters of men.” Chasalow’s musical response is an ever-shifting kaleidoscope that moves seamlessly from tonal music to abstract electronic noise and back. ...
Background on the Dead Sea Scrolls exhibition at the Boston Museum of Science is here and links.