'Tis the gift to be free



Among the most read On An Overgrown Path posts in recent weeks has been the one seen above. It dates from the early days of the blog and was created by cutting and pasting the text of Aaron Copland's 1953 testimony to Senator Joseph R. McCarthy's notorious Senate Permanent Subcommittee. There could be two reasons why it is attracting so many readers. One is that it now appears to be the only online version of this important document as the link to its source, a US State Congress document, is broken. Another reason could be its topical resonances. The full text of Aaron Copland's McCarthy hearing can be read via this link.

Also on Facebook and Twitter. Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s).

Comments

Post a Comment

Recent popular posts

If you like Spem in alium try this …

Image
Read next week's Proms picks by Pliable here. Tuesday's late night BBC Prom by the Tallis Scholars includes a little known work by Alessandro Striggio. A search on Amazon.com for Thomas Tallis’ mighty forty part motet Spem in alium returns 43 results. But a search for Striggio’s motet for the same forces, Ecce beatam lucem , returns just 2 results . The popularity of Tallis’ masterpiece is perfectly understandable, but the neglect of its progenitor is something of a mystery. Alessandro Striggio worked in Florence and Mantua in the 1550s, and developed a luxurious and opulent style of choral writing that culminated in a Sanctus for sixty voices that has sadly been lost over the intervening centuries. The motet Ecce beatam lucem was composed in 1561 as a celebration of Catholicism. It was written to mark the visit of Cardinal Ippolito d’Este to France where he was preaching against Protestantism, and uses forty voices organised in varying groupings through the course of t...
Read more

Nada Brahma - Sound is God

Image
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...
Read more

John Lennon beyond the Maharishi

Image
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...
Read more

Travels beyond TripAdvisor

Image
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...
Read more

BBC Proms - summer in the city

Image
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...
Read more

Reginald Goodall – the holy fool

Image
Goodall showed that as a Wagner conductor he has no equal. His control of the musical architecture is absolute. The huge span of the score was shaped as if in a single phrase. At the same time the music seemed to move spontaneously, by its own inner force, and with a glowing beauty of sound, an inevitability of rise and fall and a kind of natural momentousness of expression that will remain ideal. These were the words of David Cairns writing in the Sunday Times in August 1987. The occasion was Reginald Goodall’s last ever conducting engagement, the Proms concert performance of Act 3 of Parsifal shown in the rehearsal photo above. Wagner’s saga of the holy fool somehow sums up Goodall; as David Cairns wrote he was a Wagner conductor without equal, he was also a champion of Britten’s music who conducted the first performance of Peter Grimes , yet he flirted with fascism and alienated himself from many who tried to help him during a career that lasted more than sixty-five years. Goodall...
Read more

Cleveland leave a bit of a Missa behind in London

Image
Last year's planned Cleveland Orchestra Proms appearances were binned as agreement couldn't be reached with their musicians union on the fees for webcasts of the concerts. This year's performances of Mahler's 3rd Symphony (right) and Beethoven's Missa Solemnis went ahead last week, and the orchestra became the only major US orchestra to appear this season. But somewhere a God was angry as two of the soloists for the Beethoven fell ill, and then the Royal Albert Hall's air-conditioning failed leaving the audience sweltering in truly biblical heat. The problems didn't end there. The Cleveland musicians union contract now only allows live internet streaming - not delayed streams. So the two concerts can't be reprised on BBC Radio 3's Listen again service if you missed them first time round. But they will be broadcast in the US by WCLV , WCPN and WKSU in September The irony is that the two Cleveland concerts were two of the least memorable of the se...
Read more

A treasure trove of Stokowski downloads

Image
A Japanese site has a treasure trove of recordings by the legendary conductor Leopold Stokowski ranging from 1917 acoustic recordings to 1953 electric recordings. All were 78rpm shellac releases, and the site claims they are copyright free. There are a lot of very fine things to listen to including two complete Tchaikovsky symphonies, a complete 1941 No 4 recorded with the NBC Symphony in 1941, and a 1940 Symphony No.6 'Pathetique' with the All American Youth Orchestra . Thanks go to US reader and internet sleuth Walt Santner whose research uncovered these, and the Norwegian historic MP3s , for us, and to the unknown Japanese webmaster for making them available. Stokowski was the role model for today's jet set maestros. Born in North London in 1882, a short distance from what was to become EMI's famous Abbey Road Studios , he started his musical career as organist in St James' Church, Piccadily . He moved to the US in 1905, and ten years later became a naturali...
Read more

You say Mariinsky - I say Mravinsky

Image
The Mariinsky Theatre Orchestra is the house orchestra of the the Mariinsky Theatre in St. Petersburg, formerly Leningrad, and is also known as the Kirov Orchestra. It dates back to the 18th century and was known before the revolution as the Russian Imperial Opera Orchestra. Today the Mariinsky is known for its association with Valery Gergiev . Yevgeny Mravinsky (1903-1988) was a legendary Russian conductor who led a different orchestra, the Leningrad Philharmonic, for fifty years. Among the first performances given under Mravinsky's baton were Shostakovich's symphonies numbers 5,6,8,9, 10 and 12. But the story of Mravinsky and the Mariinsky are intertwined. Yevgeny Mravinsky was the nephew of the Mariinsky's star diva Yevgeniya Mravina. He literally grew up in the famous theatre where he worked as an extra while studying, and in 1933 made his debut there conducting Tchaikovsky's The Sleeping Beauty . Valery Gergiev's biography has him attending Mravinsky'...
Read more

Masses of early music on iPods

Image
'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...
Read more