Ḫumbaba, for piano and orchestra

Program Notes

This work for piano and orchestra is a story about Ḫumbaba, the Guardian of the Cedar Forest, from the Epic of Gilgameš. I took some creative liberty in my musical depiction of Ḫumbaba choosing to imagine him with more anthropomorphic traits so I could express his inner torment and duality as both Monster and Protector. This work was not only inspired by the Epic of Gilgameš, but also by new text discovered on a clay tablet in 2011 at the Suleimaniyah Museum in Iraq. The discovered tablet, describes the Cedar Forest as alive with the sounds of birds, crickets, and monkeys singing like musicians and drumming “out a rhythm in the presence of Ḫumbaba.” The first movement depicts Ḫumbaba patrolling the Cedar Forest and interacting in a friendly manner with the local wildlife. I imagined Ḫumbaba as a kind-hearted and misunderstood demigod; maybe a little clumsy, but terribly dangerous - in a way a large dog may not fully comprehend its own strength and power.

The 2nd movement describes Ḫumbaba's inner turmoil. He was created to be a terrifying monster and servant of the gods, but he is also alone and feels a great burden as the sole protector of the Cedar Forest. The new clay tablet confirmed the belief of previous scholars that Enkidu and Humbaba were familiar with one another before the epic battle scene. Notions that Ḫumbaba may have considered Enkidu a friend personify his character and add another level of drama considering that Enkidu may have used this relationship to betray Ḫumbaba in the end.

The 3rd movement is an obsessive motion forward. It drives without concern for consequence. It does not know or care to know why it moves forward. It is incessant and mechanical.

The 4th movement depicts Ḫumbaba's primal anger and frustration with the arrogance and greed of Gilgameš, as well his final recognition of Enkidu’s betrayal as he pleads for his life only to hear Enkidu encourage Gilgameš to slay and finish him quickly. Previous translations described the concern Enkidu and Gilgameš had for their actions, mostly a fear of angering the great gods [Enlil and Šamaš], but the new, more preserved clay tablet opens the possibility that Enkidu may have also experienced environmental guilt for destroying the Cedar Forest. The movement ends with a melting and dematerializing of Ḫumbaba’s spirit as he rejoins the Universe, finally free from his enslaved servitude and loneliness.

For more information on the discovered tablet please read the essay, Back To The Cedar Forest: The Beginning And End Of Tablet V Of The Standard Babylonian Epic Of Gilgameš, coauthored by F. N. H. Al-Rawi and A. R. George.

– David Witmer