Harmonizing History: Pärt's Mirror

Note: This is Part IV of a series in which I’m curating a soundtrack to accompany my reading of Aleksandr Solzhenitsyn’s “The Gulag Archipelago.” For background information about the project, please read Part I. Here you can find Part II, Part III. You can also access an Apple Music playlist of the soundtrack here (music will be added as installments are released).

Rather than summarizing recently read passages as in the previous installments of this project, I feel compelled to examine one of the prominent themes in Solzhenitsyn’s The Gulag Archipelago thus far — the nature of humanity and its capacity for evil. The motif of mirrors will aid this exploration and lead us to the musical selection for Part IV.

The Monster Within

Anytime I explore the grim annals of history, I can’t help but question human nature. Why do atrocities happen? How can one justify inflicting cruelty on another? What inner madness unleashes our monstrous potential?

Solzhenitsyn’s masterwork plunges readers into the icy hell of the Gulag, where the remnants of humanity huddle together against the brutal Soviet machine. His experiences have been the focus of this project’s previous installments, but The Gulag Archipelago is not merely a chronicle of one man’s suffering; it’s an exploration of the very essence of evil.

How does evil insidiously seep into societies, transforming neighbors into adversaries? How do falsehoods and propaganda contort entire systems of governance, becoming tools of oppression? What frailties of character pave the way for individuals to commit acts of brutality, indifferent to the pain they inflict? Solzhenitsyn tackles these questions with the wisdom of one who has gazed long into the abyss. The revelations are unsettling.

It’s tempting to categorize people as purely good or evil. But Solzhenitsyn insists we ask ourselves: “If my life had gone differently, might I too have become an executioner?” This compels me to examine the shadowy corners of my own soul. Do the seeds of evil lurk within, waiting to be watered by fear or ideology? How can I prevent such manifestation? The Gulag Archipelago holds up a mirror to humankind, reflecting uncomfortable truths.

Good & Evil

In examining evil, let us dismiss the false dichotomy between good and evil. The fantasy that some are wholly good while others are inherently wicked is a childish oversimplification. As Solzhenitsyn wrote, “Reality is far more complex.”

In getting to the heart of the matter, Solzhenitsyn said:

To do evil, a human being must first of all believe that what he’s doing is good.

At first glance, this seems implausible. How can those who torture, kill, and oppress genuinely believe they act rightly? The ability to justify one’s actions is a powerful trait that allows us to shield ourselves from the darker aspects of our nature and frames even heinous acts as moral.

If not evil people, what enables horror? Solzhenitsyn points an accusatory finger at ideology.

Ideology

Ideology-that is what gives evildoing its long-sought justification and gives the evildoer the necessary steadfastness and determination. That is the social theory which helps to make his acts seem good instead of bad in his own and others’ eyes, so that he won’t hear reproaches and curses but will receive praise and honors. . .Thanks to ideology, the twentieth century was fated to experience evildoing on a scale calculated in the millions.

As Solzhenitsyn was enduring the brutal gulag system, a fierce conflict raged on another front — the Soviets were locked in a battle of survival with the Nazis. The soldiers on both sides, hunting their enemy, unknowingly gazed into a mirror across the battlefield, where the reflection was none other than their own likeness.

The enemies were more alike than they could ever have imagined. Each held convictions and loyalties forged by their personal experiences, upbringing, and the rhetoric of their leaders. They were entangled in a deadly dance, a reflection of humanity’s struggle writ large on the canvas of war.

Amidst an array of tools of destruction, like atomic weapons, firebombs, and mines, one stood out as the most potent — ideology. It divided populations, sowed seeds of enmity between brothers, and provided a cloak of justification for brutalities committed in its name. Even today, this looming specter continues to cast its long reach. 

Spiegel im Spiegel

To disarm the potent force of ideology, there may be only one tool — the mirror. Thus, I have chosen Arvo Pärt’s Spiegel im Spiegel, which translates to “Mirror(s) in the Mirror(s).” I first encountered this piece during a meditation session, and while it possesses a serene beauty, it made me snap from my meditation and listen more intently. 

The initially simplistic sound unraveled as I listened, revealing a meticulously structured composition perfectly embodying its name.

Infinity Mirror

When two mirrors face each other, one mirror generates a reflection in the other, bouncing back, creating a second mirrored image heading in the reverse direction. And on and on it goes, in an endless loop of recursive reflections.

Physicists call this the “infinity mirror effect.” The reflections travel back and forth ad infinitum, like ghosts between realities. And in fact, photon particles rebound between surfaces in hypnotic recursion.

Pärt’s music captures this visual phenomenon. The melody starts with two notes, the first “reflection” occurs, then a three-note melody, and so on, with fragments growing in length, always ending in A.

Meanwhile, the piano plays in Pärt’s tintinnabuli style, where the melody is harmonized in thirds, while at least one note of the tonic triad, in this case, F major, is always maintained. The long, low, and high bell tones are also always from that tonic triad.

The result is spellbinding. Visual artist Mary Husted said, “It’s like dropping little drops of water into water — it has that stillness about it, the ability to set a mood of reflection.”

And while Spiegel im Spiegel doesn’t sound complex, violinist Tasmin Littleit calls it “one of the most difficult pieces to perform because the playing has to simply be perfect, or the mood is lost.” To capture the reflective effect, virtuosic vibrato, and bow control are required.

I recommend referencing this visual as you listen to the piece — (sequences 1.1, 1.2, 2.1, 2.2, 3.1, etc., follow one another in this order):

Visual of the Structure from: https://kenan.monsite-orange.fr/page-5e179d3cdffc8.html

Reflections

The emotional effect of Spiegel im Spiegel is hard to pin down. Though serene, the work is not inherently sorrowful. In 100+ listens, I’ve found the music acts as an emotional mirror — reflecting rather than dictating mood. When sad, its melancholy emerges. When nostalgic, its wistfulness resonates. The genius of Pärt’s minimalist composition lies in this mutability.

Rather than imposing a set effect, Spiegel im Spiegel gives back what the listener brings. As its title suggests, the piece holds up a glass to one’s inner state. The experience feels intimately tailored to each moment and listener as the music bends and shifts to match our emotional tides.

As I listen to the final notes of Spiegel im Spiegel fade into silence, I’m left with a sense of hope. Despite the grim realities of humanity’s capacity for evil, there is a path forward. By gazing into our mirrors and acknowledging our darkest potentials, we gain power over them. 

Only through this radical self-honesty and knowing ourselves, can we guard against future atrocities. We must peel back the layers of justification and confront the inner shadows. In this profound act of inward sight lies the hope of positive change. When we hold up the glass to our innermost selves and recognize our reflection with clear eyes, we can finally step into the light. This is the journey we must undertake, not just as individuals but as a society, to reach our true human potential. The mirror provides a way forward.