Korach 5785: Hit the Drum
If you were in band class at Pioneer High School in Ann Arbor in the 1980s and 90s, you probably had Robert Albritton for a teacher. And if you had Mr. Albritton for a teacher, you probably remember some of his many colorful sayings. More than 30 years later, my brothers and I still find occasion to recite them to each other. One of our favorites was what Mr. A would occasionally say to a percussionist by way of encouragement: “Young man/woman, Hit the drum! I promise it won’t hit you back.”
Naturally, this phrase came to mind the other night as I attended a moving performance of Giuseppe Verdi’s Requiem with the Chicago Symphony, led by Riccardo Muti. While the entire piece is one of the crown jewels of the classical repertoire, its most memorable section by a mile is the Dies Irae, a truly terrifying piece of music set to terrifying words about the “day of wrath” that will “break up the world into ash” and “how much trembling there will be.” The words are brought to life by the full orchestra, soloists, and double chorus, who perform music that feels like a freight train on a roller coaster at maximum volume, punctuated by the repeated thunderous booms of two bass drums and the tympani played as loud as humanly possible. Mr. Albritton would love it. (And kids, I can testify with my own eyes: the drum did not hit back.)
While the piece contains many moments of beauty that offset this fire-breathing energy, theologically speaking the Dies Irae is pretty representative of the liturgical text of this requiem mass overall. The view of the Divine that Verdi presents here is not, on the whole, a comforting one: It’s a lot of Day of Judgment, prayers for salvation from a fiery fate and the like, concluding with the words of the Libera me, “Deliver me, Lord, from eternal death on that awful day. Deliver me.” While we have some of this kind of thing in traditional Jewish liturgy (most notably, perhaps, on Rosh Hashanah), on the whole the portrait of God presented here lands as a striking contrast to the gentler, more loving, less judgmental, and less angry conception that predominates much of contemporary Jewish theology—including the approach we teach here at IJS.
Which makes sense. I mean, today we can choose what kind of service we want to go to—or even make for ourselves. And while Verdi’s music is breathtaking, it’s hard for me to imagine many folks in my world vibing with a vision of the Divine as a terrible, destructive force. To put it crassly: that view of God just isn’t good for business.
And yet, as I write these words, there is terror and violence all around. A war has just taken place between Israel and Iran involving weapons whose destructive power were unimaginable in Verdi’s time. And that war comes on top of a war between Israel and Hezbollah, which of course came on top of the ongoing war in Gaza, with its enormously devastating toll. Which of course came on top of the October 7 massacre. And this is to say nothing of the terrors of ICE raids and deportations, or attacks on vulnerable minorities (including Jews) here in the US, or the fear and trembling at the destructive power of Mother Earth in the form of tornados and hurricanes and punishing heat waves, all of which we have managed to make even worse through our own collective action and inaction.
While we may listen to Verdi’s Requiem and think, “Well that’s not a very sunny view,” all we have to do is take a look at the news and we might find ourselves saying, “Maybe he wasn’t so wrong.”
Parashat Korach is not only about the story of a rebellion against Moses. At its heart lies the latent terror that can be present in the collective human encounter with the Divine, with the source of life—which is also the source of death. In this Torah portion we read of the earth swallowing people up and sending them down to she’ol, and a plague of Divine wrath that takes the lives of 14,000 people. At its core, perhaps, is the people’s anguished cry to Moses: “‘Lo, we perish! We are lost, all of us lost! Everyone who so much as ventures near YHVH’s Tabernacle must die. Alas, we are doomed to perish!” To paraphrase, perhaps: How are we supposed to do this—to live together with the Holy One in our midst, to trust our leadership and one another? We can’t seem to pull it off.
In response, the Torah offers us a system of social-spiritual order: The kohanim will be specialists in God-service, as it were, assisted by the Levites, so to that the whole camp can function without further risk of plagues and death. (Note: Ibn Ezra comments that this whole episode comes out of order, and in fact occurred before the people left the wilderness of Sinai.) In exchange for receiving special gifts from the people, God instructs that the Aaron that “you and your sons alone shall bear any guilt connected with your priesthood.”
This is a solution, of course, but it’s far from perfect. Leaders who are granted power and privilege then face their inevitable temptations—which can just lead to a repetition of the cycle that started all of this to begin with. This leads Rabbi Kalonymos Kalman Epstein (1753-1825) to interpret this charge to the kohanim this way: “You must always mindfully tend to the concern that you are doing this sacred service for your own glory and enjoyment. You must regularly engage in deep discernment as to whether your intention is aligned with that of the Creator.” And, being a Hasid, Rabbi Epstein sees this as not only the work of the kohanim, but, in the nascent democratic spirit of the age in which he lived, the spiritual labor of us all.
It seems to me that a good deal of that regular practice of reflection and discernment involves touching in with our fears and acknowledging them: fears of violence, death, destruction, and loss, or even of their less extreme expressions—fear of rejection, humiliation, not belonging. The embers of these fires are ever-present—that comes with being human—so we can show ourselves some compassion for having them. Yet I would suggest the work that we are called to do is to acknowledge those fears and then choose life-giving responses—in our words and our actions. I think that’s what Verdi did with his music, and I bless us all that we may do it with the music we make too.