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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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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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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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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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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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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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Sound yoga - ancient wisdom or New Age nonsense?

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Classical music cannot stand still; so that means it must find new audiences. Western classical music has evolved into a highly dualist art form with clearly demarcated boundaries around its core offering of the orchestral and operatic repertoire. There is little debate that this repertoire must - and will - remain central to the art form. But it can be argued that to open up new markets the current watertight boundaries around that core offering must become porous. An example of a blurring of these boundaries would be an entry into the mind, body and spirit market; a market which a post here in 2011 pointed out was then worth around $11 billion annually in the US, compared with $200 million for classical album sales. It is tempting to dismiss the mind, body and spirit market opportunity as no more than 'Mozart for meditation' and 'Gregorian Chant for the soul', but that would be a mistake. As my earlier post noted , the spiritual dimension is found in many of clas...
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Wagner, Mahler and Shostakovich all sound like film music

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In a typically thoughtful contribution to my post Why not play the premier league composers more often? Richard Bratby - who is professionally involved in classical music - mused "speaking solely from my own experience - there is a very noticeable falling-off in ticket sales when a symphony orchestra programmes pre-Beethoven repertoire, irrespective of the quality of the performance or the music, or the energy with which it is marketed. But why?" Now Kea has answered Richard's question with the following comment: Wagner, Mahler, Shostakovich, etc, all sound more or less like film music (or -- more accurately -- film music sounds more or less like recycled bits of Wagner, Mahler, Shostakovich, etc) and therefore don't require any intellectual involvement or serious effort to listen to. Understanding the music of Bach, Mozart or Haydn, etc (or for that matter Schumann, Brahms, Webern, Cage, etc) actually requires people to listen actively rather than being pulled alo...
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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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Reheated gestures from a museum

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I would love to hear something genuinely new from a US composer of any age, let alone Jay Greenberg (above) at 15. But if you were thinking of using Cilla Black's wonderful putdown - "I've got tights older than that" - be warned that Greenberg's musical language is on the antique side. The fifth symphony is an impressively skilful exercise in academic harmony, orchestration and counterpoint, with no sense of anything new in the voice at all. The first movement begins with a standard, late-19th-century unison string tune answered by a woodwind chorus; the harmony is Mahler, the orchestral style Dvorak. The galumphing scherzo shows that Vaughan Williams's reputation had gone further into the US than anyone knew - the model here is the Sinfonia Antartica, which even in 1952 was an incredibly conservative piece. The kindest thing to say about the finale is that it made one wonder whether the Bartok Concerto for Orchestra is still under copyright. Striking...
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