Unfinished business
My Ireland travel journal sputtered out with a partial paragraph for March 19, 1985, yet another piece of unfinished business that will remain so. Though reading the previous entires jogged many memories, there's no way I can call back the final three days of our trip of 20 years past.

I know that we competed in a concert band competition in Galway, taking first place in our division. At the hotel in Galway, I nearly overflowed the tub when I couldn’t get the water to shut off. I sent my roommate to get a chaperone while I shivered, mortified, in my bathrobe, and prayed one of the adult women knew something about plumbing (alas, several men came with one of the women). We did some sightseeing at the end of the trip, including a drive around “the Ring of Kerry” on the west coast, and a stop at the Cliffs of Moher. But so many details are lost to me now.

Unfinished-ness seems a recurrent theme in my life right now. Last week I read through the "end" of Elizabeth Gaskell's Wives and Daughters, only to find that Gaskell died before completing the book. It's a thoroughly enjoyable read, even though one must use one's imagination to complete the trajectory of the plot. I’d seen a film adaptation before reading the book, and now understand why the film’s ending seemed a little unsatisfying. Andrew Davies did a good job in making the screenplay work for a contemporary audience and the ending he created mostly followed Gaskell’s trajectory. I’m fairly sure, however, that she didn’t intend for Molly’s storyline to wrap up quite so easily. There are inklings in the text that obstacles to her marriage will not instantly disappear, but take many chapters to resolve.

On Good Friday, I sang Mozart’s Requiem with my church choir, a piece he did not complete before his death. From what I’ve read about the piece, several people had a hand in stitching it together. The student who had some of the greatest influence, Sussmayr, was not someone Mozart particularly admired. He merely seemed to be in the right place at the right time when Mozart’s wife Constanze was having difficulty finding someone to complete the piece. The pieces attributed to Sussmyer—-the Sanctus, Benedictus and Osanna—-are perhaps some of the more dull or clunky bits to sing. Purists like Christopher Hogwood of the Academy of Ancient Music jettison the Sussmyer contributions entirely. Despite the hackneyed additions, the piece is extremely moving, a challenge and a joy to perform. Peter Shaffer’s musical Amadeus (later adapted for film) has made the Requiem one today’s best known and most loved classical pieces. (FYI, to hear our performance, go to the archived webcast and scroll down to "3/25/05 - Good Friday Choral Concert")

An odd parallel between the novel and requiem mass setting is the fact that these unfinished works are considered some of their creators’ very best work. Are we to sit and lament the “untimely passing” of Gaskell and Mozart? Perhaps the works they left are an encouragement to all discouraged creators to keep working hard, for even the scraps you leave behind may become beautiful in their time.