Archive for the 'Music' Category

If ye love me

September 13, 2017

Here is a good recording of Tallis’ If ye love me in rehearsal, sung by the superb ensemble Vox Luminis. I always find these rehearsal videos a bit jarring: it seems incongruous to see such a slovenly assortment of unshaven, rumpled creatures producing such a heavenly sound. I imagine it must have been quite amusing to this group to show up on rehearsal day and find that two of the singers had dressed the same. “Let’s put them in the middle!”

Anyway, the music is divine.

 

A hymn to the Virgin

September 8, 2017

It’s the birthday of Our Lady. Here is Britten’s Hymn to the Virgin, in a wonderful performance from King’s College, Cambridge:

In memoriam Josquin Desprez

August 27, 2017

Today is a good day to remember Josquin Desprez, who died on this date 496 years ago. Here is a video I made a few years ago to go along with one of my favourite of his pieces,  Mente tota (more background here).

Incidentally, I’m pretty proud of that video. The closing section, from about 3:10, turned out especially well.

And, since we are remembering Josquin today and not just celebrating him, here is the opening section of Jean Richafort’s impossibly gorgeous Requiem in memoriam Josquin Desprez:

Screwtape on music and silence

July 6, 2017

Infernal ambitions:

Music and silence — how I detest them both! … no square inch of infernal space and no moment of infernal time has been surrendered to either of those abominable forces, but all has been occupied by Noise — Noise, the grand dynamism, the audible expression of all that is exultant, ruthless, and virile … We will make the whole universe a noise in the end. We have already made great strides in that direction as regards the Earth. The melodies and silences of Heaven will be shouted down in the end. But I admit we are not yet loud enough, or anything like it. Research is in progress.

And, I daresay, a bad deal of progress has been made since Screwtape wrote these words in 1942.

Arvo Pärt on music and life

June 29, 2017

In the reading about Arvo Pärt that I have done over the years, the most memorable and insightful bits are almost invariably those spoken or written by Pärt himself. I was very pleased, therefore, to find video of a short address which he gave, in English, when he received an honorary doctorate from St Vladimir’s Seminary in 2014. It does not disappoint.

 

Way over yonder

June 16, 2017

A few interesting items I’ve stumbled upon in the last few weeks:

  • When Mother Teresa was canonized last year, I missed this superb reflection on her life by Fr George Rutler, who knew her personally. “The canonization of Teresa of Calcutta gives the kind of satisfaction that comes from having your mother declared Mother of the Year.” It’s a quite beautiful tribute to her and her significance for the rest of us.
  • Bob Dylan’s Nobel lecture finally appeared, and it’s well worth a listen (or, if you must, a read). Fr Schall has interesting things to say about it, both for better and worse, although I think he underestimates the degree to which Dylan’s body of work has a transcendent dimension.
  • Speaking of Dylan, one of the best things I’ve read about him since he won the Nobel last year is this essay by Carl Eric Scott, published in Modern Age. Scott selects “To Ramona” as one of Dylan’s most underrated songs, a judgement with which I heartily agree.
  • At City Journal, John Tierney writes about something we don’t hear much about: the left-wing war on science.
  • Ben Blatt has written a book called Nabokov’s Favorite Word is Mauve: What the Numbers Reveal About the Classics, Bestsellers, and Our Own Writing, in which he subjects famous works of literature to statistical analyses. It prompted one of the most enjoyable scathing reviews that I’ve seen in a long while, from Matthew Walther: “Never, I think, has a purported piece of “literary criticism” been so disconnected from literature and non-suggestive of all the things that might, and very frequently do, induce people to read.” The review was so withering that I actually got the book, just to see how bad it was. It’s tremendously bad.
  • In the midst of a stew of troubles, Anthony Esolen wrote a graceful critique of illiberal habits of education. It was an elegant farewell note to Providence College.
  • And finally, from New Criterion, a very interesting biographical essay about Fr Reginald Foster, an American priest who was for many years the Vatican’s chief Latinist.

For an envoi, here is Bob Dylan singing “To Ramona”, live in Manchester in 1965:

Livre du Saint Sacrement

April 27, 2017

Today is one of the notable musical dates of 2017: the 25th anniversary of the death of Messiaen. Some might recall that I’ve ambitions to listen to all of his music this year, and today I was enjoying Livre du Saint Sacrement, one of his major compositions for organ. Here is the final section, “Offrande et Alléluia final”, played by Monica Czausz.

I adore Messiaen’s organ music; for me is the greatest composer for the instrument after Bach. Imagine, for a moment, that the throne room of Heaven were opened, and we could hear the music of the Heavenly Court. It would be terrible and majestic, like an angelic host, solemn, and so beautiful that it would overwhelm our senses, just as the sight of that Court would dazzle our eyes. It would, in other words, sound like the music of Messiaen.

Gloria in profundis Deo

April 2, 2017

In the world of early music, where manuscripts are often bereft of temporal markings, dynamic markings, and even pitch indications, a certain amount of creative interpretation is an inescapable part of any performance. But there’s interpretation and interpretation: sometimes musicians come along with a bold challenge to the received wisdom about how the music of a particular time and place should sound.

Case in point: Graindelavoix give us a version of Machaut’s Messe de Nostre Dame that is frankly bizarre: pitches slide all over the place, the timbre is rough and unpolished, and ornamentation, inspired, it sounds, by Middle Eastern and Arabic singing, pervades all.

This embedded video contains a full performance of the Mass, with propers, but I’m queuing it up to the Gloria, which lasts for about 6 minutes. I’m mostly thrilled by the bass in this ensemble, who is some kind of monster: listen, for example, to the notes he sings at “Jesu Christe” (about 2-1/2 minutes in, and again at about 4 minutes in). Amazing.

I’m honestly not sure if I like what they’re doing — it comes close to being an early-music freak-show — but I do like that they emphasize how little we really know about how this music sounded to those who first wrote and performed it. And I definitely like that bass.

If you don’t know how this Mass usually sounds, here is a fairly typical reading of the same section.

Winter’s come and gone

March 21, 2017

Technically.

Quartet for the end of time

March 17, 2017

As this year marks 25 years since the death of Olivier Messiaen, I have been listening to his music on a regular basis, with an ambition to listen to all of it, chronologically by date of composition, by year’s end. This week I came to the Quatuor pour la fin du temps, which is probably his best-known work, largely on account of the conditions under which it was composed and first performed — namely, in a POW camp during the Second World War.

All of that is wonderful, but even more wonderful is the music itself, which is by turns fiery, weirdly unsettling, and miraculously serene. That serenity is heard to good effect in one of the quartet’s middle movements, “Praise to the Eternity of Jesus” . I love that this hymn of praise came from Messiaen’s heart in the midst of a great war. Here it is, played by Mihai Fagarasan and Rikke Sandberg:

Several books have been written about this quartet, including one for children that I can recommend highly: Music for the End of Time, by Jen Bryant, illustrated by Beth Peck.