Taizé Christmas


The icon of the Virgin Mary in the Church of Reconciliation, Taizé. This icon was blessed by Metropolitan Nicodim of Leningrad, during his visit to Taizé in 1962. Read about, and hear, the music of Taizé here, and see a photo-essay here. Find Western takes on Russian music here.

More Lux Christi here. Image credit Taizé Community. 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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I have seen the future and it is cardboard

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This striking structure is the work of the Japanese architect Shigeru Ban. It houses one of the electric powered tugs that worked on the Burgundy Canal until the 1930s, and is part of the Cap Canal museum at Pouilly-en-Auxois in France which we visited recently. By any criteria this is a remarkable work of art, but it becomes quite exceptional when it is explained that this is one of Shigeru Ban's famous paper tube structures. Shigeru Ban is famous for his innovative work using paper and cardboard tubing as a material for building construction, and he is particularly known for using recycled cardboard paper tubes to quickly and efficiently house disaster victims . His designs are influenced by the pioneering geodesic domes created by Buckminster Fuller, who made a guest appearance in Karlheinz Stockhausen - part of a dream . Free thinking chamber music ensemble Domus used a geodesic dome when they performed outside the comfort zone , while maverick architect Louis Kahn's
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Four great albums that are victims of clickbait correctness

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Clickbait correctness - if ain't clickable, don't hype it on social media - means some great albums are not receiving the attention they deserve. My recent rewarding listening has included the new Alice Coltrane release Kirtan: Turiya Sings . Kirtans are sacred Vedic chants, and  Turiya Sings  was originally released exclusively on cassette in 1982 for the students of Alice Coltrane's ashram at the The Vedantic Center, northwest of Los Angeles. For this cassette release synthesizers, strings, and sound effects were added to Alice Coltrane’s voice and organ. Although this mix was never commercially released, it achieved cult status as a bootleg recording. The reason for the absence of a commercial release remains unclear, but the most plausible explanation is that the complete master tapes were not retained, making quality remastering impossible. But in 2004 Ravi Coltrane , who is Alice’s son by John Coltrane and producer of this new release, discovered tapes of just Ali
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Towards infinite potential

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The Copenhagen interpretation of quantum mechanics postulates that "atoms form a world of potentials and possibilities, rather than of things and facts". Following a parallel path Ajahn Sumedho , a teacher from the Thai Forest Buddhist tradition , has proposed that: We do not know the future. But we do not need to know. We can let the future be the mysterious unknown, the infinite potential - the possibility for pleasure, the possibility for pain, the possibility for peace. As we let go of the fear of the unknown, we find peace. My photo of a stormy sky over Colombo in Sri Lanka hints at that infinite potential. There are many ways to experience it, and music is one of them. For me two examples particularly relevant to this post are Claude Vivier's Siddhartha and Jonathan Harvey's Body Mandala . It is now time for me to defy my advancing years and travel into the mysterious unknown of the future. Which means On An Overgrown Path  will fall silent, When, or indeed i
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New classical audiences need new music

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A reader's  perceptive comment  explained that to reach a new audience classical music must help listeners across the classical/non-classical divide.  Electronic Dance Music  (EDM) is the immensely popular staple fare of classical's elusive new young audience, and EDM lacks any narrative progression. Classical music can also be non-linear: one example is John Luther Adams' Become Desert , a seamless 40 minute sonic mirage which   abandons the horizontal narrative structures of works such as Beethoven's Pastoral Symphony  with its 'Awakening of cheerful feelings on arrival in the countryside'.  Become Desert sits comfortably in the concert hall, yet it would not be out of place in a sunset session at Ibiza's Café Del Mar or a full moon trance party on Koh Pha Ngan . As John Luther Adams described in a New York Times essay ,  Become Desert  literally entrances its audience - "You find yourself listening in ways you never have before. The scale of yo
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Forgotten heroes

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After seven years my post ' Scott Ross and the paradox of genius ' is still one of the most widely read Overgrown Path articles. This popularity at first sight seems pardoxical, as Scott Ross lacks any click bait or celebrity appeal. But his flame is kept alive by thoughtful articles such as the one in today's FranceSoir by Moufid Azmaïesh which links to my 2004 post.  What is remarkable and heartening is that Moufid Azmaïesh's article  is given prominence in a respected international publication without the clickable hook of virtue signalling , an anniversary or a scandal to hang the story on. In his thoughtful appraisal Moufid Azmaïesh avoids the sensationalism that blights so much of today's classical music writing . Instead he ponders on how art, and Scott Ross' art in particular, takes us to a better place beyond today's ailing materialistic culture. Moufid Azmaïesh goes on to explain how at this time of global crisis art exposes us to "the s
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A Negro in front of a white symphony group? No - I'm sorry

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It is reported that Everett Lee has died at the grand old age of 105. Everett Lee was an early victim of the institutionalised racism that still pervades classical music, and he deserves far more than to be lauded in a trite obituary and then forgotten again. My Overgrown Path articles about him ten years ago were in the vanguard of the movement to give musicians of colour the recognition they deserve. So here again are three of those articles: 'I don't believe in Negro symphony conductors': July 25th 2011 'Oh, come in, young man. I'm reading these reviews. They are out of this world. You really have something. But I might as well tell you, right now, I don't believe in Negro symphony conductors. No, you may play solo with our symphonies, all over this country. You can dance with them, sing with them. But a Negro, standing in front of a white symphony group? No. I'm sorry.' That is the impresario Arthur Judson discussing career opportunities with
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...and the musicians were paid £800

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