It is impossible to live without inner peace

On 11th March 2008 Madrid marked the fourth anniversary of the terrorist bombings (above) that claimed the lives of 191 people and wounded 1,856. It was the biggest terrorist attack in the history of Spain and, indeed, Europe, with 10 simultaneous explosions on four of Madrid’s district trains at the height of the morning rush hour. It happened a few minutes before 8 a.m. Later, the police exploded another two bombs that had failed to go off and a third was defused, leading to the identification of those responsible.

The ceremony of remembrance for those who were killed began at twelve noon in front of the monument inaugurated last year which stands in Plaza de Atocha. It was led by their majesties King Juan Carlos and Queen Sophia, who laid a wreath at the foot of the monument. After a minute’s silence in memory of the victims, there was a rendition of the Estonian composer Arvo Pärt’s “Da pacem, Domine”, a work commissioned by Jordi Savall for performance at the Barcelona Forum of Cultures in June 2004. Inspired in the Gregorian chant Danos la paz Señor, the piece was composed only two days after the tragic bombings as a tribute to the victims who were honoured at the ceremony of remembrance. Arvo Pärt’s “Da pacem, Domine” will be included in a forthcoming Alia Vox release.

In the words of Raimon Panikkar “It is difficult to live when there is no external peace in the world around us. It is impossible to live without inner peace, if there is no peace in our hearts”. Arvo Pärt’s Da Pacem Domine is a prayer for those whom we have lost, as well as an invocation to peace and hope, the music creating a space of peace, both in the world around us and in our hearts.

'For Inner and Outer Peace' is the title of an important book by another great musical humanitarian, Antal Dorati. It was published by International Physicians for the Prevention of Nuclear War (IPPNW), but is out of print. All this ... and what for?

Story source Alia Vox. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk

Goodbye Western art music

The storm was so bad even Peter Grimes would have stayed at home and watched BBC TV's repeat of a Steptoe film on its so-called culture channel. But a good-sized audience braved the worst Easter weather for decades to travel to Snape Maltings on Good Friday for a celebration of something more multi-cultural.

The collabaration between between early music group The Dufay Collective and the Spanish-based Al-Quimia was the outcome of one of Aldeburgh Music's pioneering artist residencies. This musical exploration of the multi-cultural society that flourished in Andalucia seven hundred years ago was a high risk project; this isn't exactly mainstream repertoire and hybrid projects such as this are rarely box-office hits. But that's not what Aldeburgh is about. Britten and Pears created Snape to celebrate the holy triangle of composer, performer and listener and on Friday evening, despite the stacked odds, the spirit of place prevailed and the vital electricity sparked from composer through performers to listener.

In fairness it wasn't so much a collabration as a triumph for Al-Quimia. When the two groups played in concert the collabaration really added no more than a strengthened rythym line. But when the players of the Spanish group took centre stage the music soared, and the Dufay musicians were quite content to join the audience in silent admiration. And what a vindication of Britten and Arup Associates' acoustic vision for Snape, even from our seats at the back of the 830 seater hall the nuances of the oud, dumbek, nay flute and kanun were crystal clear.

I have written here before about adventurous programming such as the celebrated concert comprising an Ockeghem Mass and a Mahler symphony in Berlin in 2000, while none other than Philip Glass has said that world music is the new classical. So, now Aldeburgh Music has seen what electifying musicians Al-Quimia are, please can we have a concert with a set by them in the first half and the Britten-Pears Orchestra playing Messiaen's might multi-cultural Turangalila Symphony in the second? Yes, I know there are boring problems like the platform lay-out. But I live close to Aldeburgh and will happily help swap the oud for the ondes Martenot and oboes in the interval.

Now see the art of the mosque.
Header image is Al-Quimia's only CD to date, available from Samsaoui in Spain. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk

Music of the Sephardic Jews on Future Radio

I find myself returning again and again to Diáspora Sefardí, Jordi Savaal’s anthology of Eastern Sephardic music and this Sunday, March 9, I will be sharing this wonderful music with Future Radio listeners. Migration, survival and assimilation are all too familiar themes today, and it is worth retelling the story of the Sephardic Jews to remind us that culture is still more resilient than politics.


During Roman times large numbers of Jews migrated into the Iberian peninsula of their own free, and their numbers were increased by Jewish slaves who were shipped into the region during the Diaspora following the defeat of Judea in the first century BC. In the fifth century Iberia came under Visigoth rule, and the conversion of the Visigoth royal family from Arianism to Catholicism brought the first persecution of Jews.


The Muslim invasion of southern Iberia in the eighth century was welcomed by the Jews, and the two centuries of Muslim rule are seen as the golden age of Sephardic Jewry. During this period Arabic culture had a major impact on the Sephardic community with Arabic being used as the principal language for Sephardic science, philosophy and everyday business. This golden age was nurtured by Abd al-Rahman III (882-942) who was the first independent Caliph of Cordoba, and the city became an important centre for Sephardic Jews.


In 1492 the Christian Reconquista of the Muslim and Moorish states of Al-Ándalus was completed when Granada fell to Ferdinand and Isabella, Los Reyes Católicos (The Catholic Monarchs). The same year the Jews were expelled from Spain by royal edict, and in 1497 they were also driven out of Portugal. Following their expulsion the Jews settled in north Africa, France and Italy. Initially Sephardic culture assimilated influences from the Arab culture of north Africa, from the Turks, Greeks, Bulgarians, Rumainians and Serbocroats and Bosnians. In more modern times Sephardic immigrants settled in other parts of Europe including the Low Countries, North and South America, and of course Israel.


The term Sephardic comes from standard Hebrew, and in modern Hebrew the term still means ‘Spain’. In Israel today the word Sephardic is used for any Jew who not in the main Ashkenazi grouping which originated from Germany, Poland, Austria and Eastern Europe. This means Sephardic includes Jews from Arabic and Persian backgrounds who may not be migrants from Iberia, but who use the Sephardic style of liturgy. As my illustrations show the Sephardic legacy is considerable, and notable Sephardic Jews (defined as having at least one Sephardic parent) include Maurice Abravanel, Mario Castelnuovo-Tedesco, Benjamin Disraeli, Hélène Grimaud, Otto Klemperer, Rosa Luxemburg, Darius Milhaud, Amedeo Modigliani, Murray Perahia, Charles and Maurice Saatchi, Baruch Spinoza, Diego Velázquez, Alexander von Zemlinsky and Cécilia Ciganer-Albéniz - aka the second Mrs Nicolas Sarkozy.


Diáspora Sefardí is a double CD of songs, ballads and instrumental music from the eastern Sephardic communities. The music is a real revelation, reflecting diverse influences including its medieval Hispanic origins, the Ottoman style, and the folk music of the Balkans. Jordi Savaal and Hespèrion XXI play on authentic ethnic instruments, and the charismatic Montserrat Figueras sings. The recording was made in 1999 in the Castillo de Cardona, Cataluna, and the sound captured by producer Nicolas Bartholomée is quite outstanding. I will be playing music from Diáspora Sefardí on my Future Radio programme at 5.00pm on Sunday March 9 repeated at 12.50am on March 10. The coupling is a new recording of Lou Harrison's Concerto for Violin with Percussion Orchestra.


Illustrations from the excellent University of California, Irvine Sephardic culture website. Now read about another lost people.
Listen on Future Radio at 5.00pm every Sunday and 12.50am every Monday UK time in real time here (convert to local time zones here). Windows Media Player doesn't like the audio stream very much and takes ages to buffer. WinAmp or iTunes handle it best. Unfortunately the royalty license doesn't permit on-demand replay, so you have to listen in real time. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk

Faking it in early music

Huge interest in the Joyce Hatto story. So I thought it worth reprising the story below which ran On An Overgrown Path back in June 2005 -

Piracy in Early Music

Back in December 2004 I bought the recording of the Morales Requiem performed by Musica Ficta on the Spanish Enchiriadis label (left). I find it a very good interpretation, and was researching on the internet to write a piece for On An Overgrown Path when I came across the following (literals and all) on the Cantus Records web site ...

Piracy against Cantus
Last July 2002 the Provincial Court of Madrid dictated sentence (which cannot be appealed) in favour of Cantus in the lawsuit against the label Enchiriadis, who had committed an act of piracy against Cantus in December 2000. In that date, the pirate label released a recording that had been stolen in our offices by an ex partner of us. Then they published the recording, which more or less corresponds to our ref. C 9627 Morales: Requiem, performed by Musica Ficta and Raúl Mallavibarrena.

They used a pre-editing of the final master, full of mistakes, and tried to present it as if it was the original recording and their copyright. And although the sentence of the Provincial Court of Madrid is in our favour, nor the label nor their distributor, Diverdi (and their international subdistributors) have yet retired the pirate recording from the market. This has obliged Cantus to use penal prosecution and proceed against the label Enchiriadis, Diverdi and all international distributors of the label, as they are dealing with illegal material.

All early music lovers are kindly advised by Cantus not to buy at all the pirated version. Firstly because it is illegal, secondly because the Cantus presentation, translations and inner booklet is far superior, and thirdly because the pirated version contains a large number of mistakes, childish mistakes, because it was manufactured using a stolen pre-edited version! While we try to effectively contact international distributors of the label that has committed piracy in order to retire all illegal Cds from international market, Cantus cannot accept any responsibilities if customers find the pirate version deceitful, as they will most probably do.

Despite this ruling in 2002 retailers including Amazon.com and Prelude Records here in Norfolk continue to stock the Enchiriais version - strange....

18 Feb - Important update

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Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk