I selected Friedrich Burgmüller's "Harmony of the Angels, Op. 100, No. 21" for this purpose, making a few slight modifications to tailor it more specifically to Klara’s context (https://youtu.be/TeNLUvP4pVA). This piece, written in G-major and in ternary form (ABA), features a melody comprised of arpeggios that move in a stepwise motion. Soft dynamics dominate the composition, creating an atmosphere of tranquility and calmness. The melody is repeated multiple times, with the right hand mirroring the left, while the middle section briefly explores a developmental variation of the theme. Finally, the piece concludes with a return to the opening melody, played in its original form, and ends with a gentle cadence. To showcase Klara’s mind, I sustained the pedal continually to convey the jumbling and intertwining of thoughts.
Within the music, a crucial moment is captured during an interruption where Klara encounters the manager, as she exclaims, "Several days ago, there was a very special incident" (Ishiguro, 398). This interruption serves as the middle section of the song, where Klara joyfully engages with the external world before reverting to her previous contemplations. The piece concludes by seamlessly merging her continued thoughts with a sense of peace and acceptance, symbolizing her satisfaction with herself as she concludes her life.
The concept of purpose and self-harmony is vividly demonstrated in Klara's experiences: "such composite memories have sometimes filled my mind so vividly, I’ve forgotten for long moments that I am, in reality, sitting here in the Yard, on this hard ground" (Ishiguro, 396). Despite her inability to move, she finds solace in these angelic recollections, stating, "I like this spot. And I have my memories to go through and place in the right order" (Ishiguro, 402). Furthermore, the final lines about Manager “continu[ing] to walk away” reveal that Klara's old life is behind her; she no longer cares about Boy AF Rex, AF Rosa, or any other AFs she could socialize with (Ishiguro 404). Her insecurities about not being a B3 and meeting Josie's expectations have finally faded away.
Creating this interpretation provided a key insight into Klara's character evolution. She transforms into an entity that, despite her physical immobility, discovers purpose and self-harmony through memories and introspection. The selected music accentuates her inner world, emphasizing her ability to find solace within herself.
However, this adaptation simplifies and omits certain elements from the text and Klara's character. The scraping noises, bird distractions, and overall stiffness, from Klara's robotic nature and limitations, are idealized in this romantic utopic setting. Her multitude of overlapping experiences could not be expressed at once purely through auditory means, and I prioritized the overarching themes to Klara’s smaller reflections. Yet by these same decisions, Klara garners still more respect in her ability to find peace during her final moments. Unlike the title "Harmony of the Angels", Klara will not be in a divine Paradise with Josie or the Sun - the fact that she is able to find solace despite knowing that she will have no afterlife nor much time for respite (as she will soon be recycled for spare parts) makes it more impressive that she remains satisfied rather than resigned in her final moments.