Listening Project

Well, well, well. The usual suspects cannot really "ignore" me (her, according to Bazza). I tend to believe even Bazza feels the need to call me, at every opportunity, a..."troll", to urge people not to..."feed" her since, in this way, it will die. I won't definitely "feed" this kind of literature further.

In the meantime, Tsaras and Jane pop up just to show their frustration, because I still exist in this forum. Tsaras made his bold statement that, since the forum tolerates/accepts such a member, he has no place here and he made another impressive exit, like his beloved primadona. Jane, before you talk about "real corkers" in my posts, check your own posts so far. You have created enough reaction and frustration to other members "dealing with" me, without having contributing a word on the substance! However, I have to commend you that, thanks to Chris, we have your first post to the point (#14). Funnily, you don't say something far different from what I have said about Schnittke and Nyman. Actually, your post is quite aggressive and "strong" ("utter crap"!).

Chris, as you may realize, it's not about "the centimetre" I have to cover to nominate a piece. The fact of the matter is that I don't agree with the terms of reference, the concept of the so called "project". However, this does not prevent me from commenting on various issues of the thread, as it is being developed. Far from what Bazza believes for my intentions, I do not try to "disparage/sabotage" the thread. In any case, it is blossoming even with four people actively involved!

Parla

Jane, I am always busy. It's interesting how quite a few people translate the word "assignment" with the "spy" (however, it's more elegant, witty and nicely formed than Bazza's descriptions)!..I thought, in any profession, people deal with their own assignments. Anyway, Jane, it will start sometime early next year. Whether I'm going to be that busy, we'll see...

In the meantime, keep listening: the "project" gets harder and harder. Soon, you will have to deal with the extreme beauty of the "newish" music of Kalevi Aho...and, in particular, the no.13 ("Symphonic Characterizations" rather than "Symphonic Character Studies"). Bon courage!

Parla

Now, since it's 23 December, it's time for Cavalli's Salve Regina.

Previous to hearing this Venetial choral work I knew only Cavalli's operatic music, so this came as a surprise. 

I got to know it from the recording with The Sixteen, which you can find on the link given above by Brumas, but the one I found on YouTube at:

http://www.youtube.com/watch?v=hyJoE7XuQNo

Is given by members of Westminster Cathedral Choir, and I rather thgink I prefer that performance.  Anyway you can try either, or both.  The Westminster one includes a score that plays along with the music.

I hope you find it makes good listening for Christmas.

Is it too fanciful to suggest that there is in it already a the germ of that wonderful Italian gift for perfectly absorbing the operatic into sacred music, that eventually produced such great works as Pergolesi's Stabat Mater (and Rossini's), Rossini's Petite Messe Solennelle and of course Verdi's Requiem?

Good listening for Christmas time anyway. And with it, greetings and best wishes for Christmas and the New Year to all those members of the Forum, with whom I have shared much enjoyment arising out of our joint passion for classical music, as well as to those at The Gramophone who have made the Forum possible.

 Chris

Since I have to "fill" another "wrong" post, may I make some suggestions for anyone interested to formally propose them (as I have stated I do not wish to participate but only to comment). I realise you like only "newish" stuff. So here some of some interest to explore:

- Hartmann's Suite No 2 for Solo Violin.

- Petr Eben's Symphonia Gregoriana.

- Michael Rot's Violin Concerto, op.40.

- Henze's Royal Winter Music.

Just suggestions for anyone of the active participants interested.

All the best,

Parla

Hi, Graham

Thanks for your enthusiastic response. Here is the English text:

Hail holy Queen, Mother of mercy.
Hail our life, our sweetness and our hope.
To thee do we cry,
poor banished children of Eve.
To thee do we send up our sighs, mourning
and weeping in this vale of tears.
Turn then, most gracious Advocate, thine
eyes of mercy towards us.
And after this, our exile, show unto us the
blessed fruit of thy womb, Jesus.
O clement Virgin,
O holy Virgin,
O sweet Virgin Mary.

I had not expected to hear from you today! I thought you'd be too busy. Anyway it provides me withj a welcome opportunity to offer you congratulations and very best wishes!

Chris 

Hi Chris! Hope you are enjoying the season.

Enjoyed the Cavalli, on the youtube link you gave with the score. I felt it was simple supplication, if you see what I mean - not a criticism - as befits a prayer to the blessed Virgin. (And memories of that prayer sometimes used, but not that often, in English in the RC Mass).

Is there a tradition that music to the Virgin should be simpler and less ornate than other sacred music genres? Gorecki's settings to the Virgin I have read somewhere tend to be in simple chordal progressions rather than anything more elaborate in the way of counterpoint. This is certainly true in the only such score I have by Gorecki, Under Your Protection (Pod Twoja Obrone) opus 56, for 4-part a cappella voices, where the durational values used are crotchet, minim and semibreve only, plus dotted values here and there. (Of course there is counterpoint in the Cavalli, but it is restrained throughout).

Viz Faith in Eastern Europe in the 20th Century - yes, and I have again come across the view that the music of Penderecki, Gorecki, Ligeti's Requiem - according to one author and I can't just remember who - shows that the faith thrives more when people are living under oppressive regimes.

Mark