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How listening hard alters the music

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The guy who writes the music-themed blog On An Overgrown Path is a bit of an obsessive, but I like that. The entry for 14 August happily happens to chime with a number of my own obsessions. Listening to music, and I mean listening hard, alters the music, and preparing to listen makes it twice as strange. And wonderful. That post by Brian Connor on his blog From a far place appealed to me, because not only does it sum up nicely what I have been saying On An Overgrown Path over the last ten years, but it also hints at the huge untapped potential of the lost art of listening . My own recent listening - and I mean listening hard - has included Bridgettine Chant from Vox Silentii . Birgitta Birgersdotter (1303-1373) of Sweden was a visionary and founder of the Bridgettine monastic order of contemplative nuns: she was canonized in 1391 and declared Patron Saint of Europe in 1999. Sung by the by the Finnish all-female medieval music specialists Vox Silentii , these recordings are not ne...
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Nada Brahma - Sound is God

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It may be my age, but those moments when a piece of music really hits me in the solar plexus seem to get rarer and rarer. But during my recent extended travels in India I was metaphorically punched time and time again when listening to ECM's Codona recordings on headphones. Recent posts have touched on the potential of virtual concert halls and the fact that no one mixes for speakers these days , and the Manfred Eicher produced Codona sessions from between 1978 and 1982 really demonstrate the impact of the up close and personal sound of headphones . The line up for Codona was African-American trumpeter Don Cherry, Brazilian percussionist Nana Vasconcelos, and Colin Walcott on sitar, tabla, hammered dulcimer, sanza, timpani, and voice. The band took its name from a circus trapeze act of the early 20th century called the Flying Codonas , and the three albums packaged by ECM for CD as The Codona Trilogy capture the peerless musicians-beyond-frontiers performing their creative hig...
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John Lennon beyond the Maharishi

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I don't believe in magic, I don't believe in I-Ching,I don't believe in Bible, I don't believe in tarot, I don't believe in Hitler, I don't believe in Jesus, I don't believe in Kennedy, I don't believe in Buddha, I don't believe in mantra, I don't believe in Gita, I don't believe in yoga, I don't believe in kings, I don't believe in Elvis, I don't believe in Zimmerman, I don't believe in Beatles, I just believe in me That litany of rejected influences comes from the track God on the 1969 John Lennon/Plastic Ono Band album. John Lennon dismisses two elements of Christianity, the Bible and Jesus, and five of Eastern traditions, I-Ching, Buddha, mantra, Gita and yoga. But intriguingly Lennon does not reject Islam as an influence. There may well be a simple explanation for this: namely that Vedanta and Zen Buddhism but not Islam were the esoteric traditions of choice for the the 1960s counterculture. But there is another possibl...
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Travels beyond TripAdvisor

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These photos were taken on my recent spirit quest in Morocco to the Sufi shrine of Sidi Chamharouch, which is seen above. A 75 minutes drive from Marrakech brought me to Imlil where the road ends and the mountains begin. The hamlet of Sidi Chamharouch - which is one of those blessed places which returns a blank in a Trip Advisor search - is at an altitude of 2350 metres and is reached by a tough and potentially dangerous two hour climb up a rocky path. Access is impossible for wheeled vehicles and supplies are brought in by the mules seen in my photos. Beyond Sidi Chamharouch is Jebel Toubkal, which at 4,167 metres is the highest mountain in North Africa. During my trek I was struck by the similarity between the High Atlas and Ladakh on the border of India and Tibet . Film director Martin Scorsese was also struck by the similarity. With Tibet a no-go zone he used this region for location shooting of his 1997 movie Kundun ; this depicts the Dalai Lama 's flight into exile fro...
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BBC Proms - summer in the city

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Hot town, summer in the city Back of my neck getting dirty and gritty Been down, isn't it a pity Doesn't seem to be a shadow in the city All around, people looking half dead Walking on the sidewalk, hotter than a match head Lyrics from Lovin' Spoonful's 1966 song Summer in the City On Friday, as my photos show, there didn't seem to be a shadow in the city as a sweltering London launched into the 112th season of the Henry Wood Promenade Concerts. The concerts are in the Royal Albert Hall , which is located west of the city centre in the university and museum district. The hall is located between two major roads out of London, and the traffic and parking are horrendous. The Albert Hall was opened by Queen Victoria in 1871, but only became the Proms venue in 1941 when the more central, and acoustically far superior, Queen's Hall was destroyed by German bombs. Unique is the only word to describe the Albert Hall; the Grade 1 listed building is oval in shape, and is...
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No flowers please for Herbert von Karajan

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Few musicians have generated such a mixture of respect and revulsion as Herbert von Karajan. It takes Richard Osborne 851 pages in his masterly biography to capture the essence of this extraordinary conductor, entrepreneur and opportunist, and it would be impertinent to even attempt to cover the same ground here. So instead, with the centenary of Karajan's birth falling on April 5, I offer this personal vignette from my time at EMI, which I hope in some small way illustrates the conundrum that was this extraordinary man. During the late 1970s the Machiavellian Karajan had carefully nurtured a deadly rivalry between EMI and his other contract company, Deutsche Grammophon. This meant that EMI had, at very considerable expense, outbid DG for the four act version of Verdi's Don Carlos with José Carreras and Mirella Freni , and Debussy's Pelléas et Méliande with Frederica von Stade and Richard Stilwell . Pélleas was a personal passion of Karajan, and because of this he ...
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Masses of early music on iPods

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'Mass settings or collections of motets were never intended to be heard in unbroken sequences as they often are today, and once one has started performing sacred liturgical music to a concert or record-buying audience, and in a context so remote from the composer's intentions, arguments about what is or is not appropriate or authentic in terms of presentation become fairly pointless. It is wonderful that people still love the music, and if a general audience today that might be unlikely to listen to a whole Palestrina Mass might still enjoy one of his beautiful Agnus Dei settings, or a few 'sampled' gems from one of Byrd's large motet collections on their iPods, who should complain?' Those are the words of the founder and director of the William Byrd Choir Gavin Turner. In August last year I wrote a very complimentary review of Hyperion's re-release of Masterpeices of Portugese Polyphony , but also commented: "The only quibble (and it is just a quibbl...
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New year, new music, not so new recording

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Toru Takemitsu's music is currently in the lacuna that obscures a composer's reputation for the two decades following their death, after which usually comes a major reappraisal. Given the current neglect of Takemitsu's oeuvre it is not surprising that his solo piano music is not heard very often often, despite Takemitsu being the posthumous recipient of the 1996 Glenn Gould Prize . (The previous recipient was Oscar Peterson ). In the sleeve notes for the CD seen above pianist Paul Crossley says: Toru Takemitsu's music for solo piano is some of the most distinctive, distinguished and best of the second half of the 20th century, and consistently represents him at his finest. That is, already saying a lot for his is a quite extraordinary and original oeuvre, a music that, above all, breathes differently. Paul Crossley's account of Takemitsu's complete works for solo piano was recorded in 1999 for the GMN label and has now been reissued at mid-price (I paid £9.99) ...
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Songs for Syria in London

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That header photo shows Ali Keeler in the studio cutting his new album with the Al Firdaus Ensemble. My 2015 interview with Ali ran here under the headline ' Classical musician's brave journey from Mozart to Morisco ', and tomorrow (Saturday 8th April) Ali and Al Firdaus play a Songs for Syria concert at London's Conway Hall to raise funds for the Al Khair Foundation . This Muslim NGO supports children in some of the worst-affected parts of war-torn Syria, a cause made poignantly relevant by the escalating violence there . I would very much like to be at the concert; but, sadly, weekend engineering works on the Norwich-London to mainline that have been in place for the last 20 years, coupled with rapacious Easter holiday hotel prices in London makes this impossible. Those who have enjoyed industry jollies to Hamburg and who advocate solving London's concert attendance problem by spending £675 million on the Rattlephilharmonie should reflect on the following: ...
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Very great composers still without recognition?

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' Emanuel Moór , Donald Tovey and Julius Röntgen (above). These are three very great composers still without recognition. But I feel sure their time will come' - Pablo Casals Now read about Furtwängler and the forgotten new music . 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
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