Friday, June 23, 2017
These photos have just been uploaded to the Facebook feed of Syrian singer and oud player Waed Bouhassoun with the tag 'Feeling festive in Cardona, Cataluna, Spain. Félicitations #amour #amitiés #bonheur'. Waed has featured frequently On An Overgrown Path and has played many times with Jordi Savall. I have no official information but the groom is obviously Jordi, so my wife and I feel it is in order to add our Félicitations. 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).
News of Decca/Universal Music's release of an album by a young Syrian refugee violinist Rami leaves me conflicted. Of course the humanitarian tragedy sparked by the Syrian civil war is a terrible thing and any initiative that draws attention to it is laudable. And some of the proceeds from the project are going to the deserving cause of the British Red Cross. But why does a story like this only receive media coverage when it comes from the Universal Music spin machine? And is Decca's motivation in releasing this album entirely altruistic? Above is a photo taken at the conclusion of a workshop for refugees musicians held this month in Arc-et-Senans, France. The workshop was directed by that tireless advocate of humanitarian causes Jordi Savall who is in the centre of the photo; to his right is the Syrian classical musician Waed Bouhassoun who collaborated with Jordi at the workshop. I am not on the classical music press release circuit, but this workshop came to my attention. So did it not also come to the attention of the Sinfini Music diaspora who so eagerly spun the Decca album? Coming to that why did these lazy journalists not showcase Jordi Savall's Orient-Occident II, Homage to Syria album, or Waed Bou Hassoun's latest album La Voix de la passion which is steeped in the pain of contemporary Syria? And why did our self-styled cultural commentators not highlight the agonisingly relevant Zyriab from the exiled Syrian brothers Khaled Al Jaramani and Mohannad Al Jaramani? All these albums from independent labels speak of the Syrian tragedy in a musical language that Rami's renditions for Decca of One Republic's Counting Stars, Silent Night and Ode to Joy never can. Yes, Syria desperately needs help and attention. But for me at least, global brands, feel good music and humanitarian causes do not mix well. No review samples used. Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s). Also on Facebook and Twitter.
With a production of Marin Marais's 1706 opera Alcione conducted by Jordi Savall, the historic house where Bizet's Carmen and Debussy's Pelléas et Mélisande had their premieres is back with all its Belle Époque splendor renewed. Among the restorers' proudest achievements is recreating the auditorium's unique shade of red, somewhere between coral and brick. (slide show with text in French; Google Translate version here )
In the photo above I have just arrived at the Coptic monastery of Dayr al-Sahib (Monastery of the Cross) on the East Bank of the Nile in Upper Egypt. The Trappist monk, mystic and author Thomas Merton wrote of le point vierge - the virgin point - and described how there is "at the center of our being a a point of nothingness which is untouched by sin and by illusion, a point of pure truth... which is inaccessible to the fantasies of our own mind or the brutalities of our own will". Le point vierge is found in different forms in the great wisdom traditions including the esoteric strand of Islam known as Sufism, and it is from this tradition that Thomas Merton developed his vision of a point of pure truth. In Zen Buddhism the vision is manifested in what Shunryu Suzuki famously described as 'beginner's mind'. This vision is also found in popular culture: for instance in John Lennon's Imagine, which - in an unashamed hymn to le point vierge - implores us to "imagine there is no heaven.. no religion... no countries.. no possessions". My personal search for this elusive point where something approaching pure truth can be glimpsed if only momentarily took me late in 2014 to the Coptic monasteries of Dayr al-Sahib (Monastery of the Cross) on the East Bank of the Nile and Dayr Mar Girgis (Monastery of St George) on the West Bank in Upper Egypt, where I took the photos. The Copts, who are the indigenous Christians of Egypt, believe that they are the direct descendants of the first pharaoh King Narmer, who ruled around the 31st century BCE. The Coptic lineage is remarkably resilient and St Mark, who founded the Coptic church in 42 CE, was the first of an unbroken succession of one hundred and seventeen Coptic popes and patriarchs. Elements of Coptic culture predate Christianity, and the Coptic language, which today survives only in the liturgy of the Coptic Church, evolved out of Ancient Egyptian, and once used the pictorial writing system of hieroglyphics. Coptic theologians have also pointed to parallels between the monotheism of the pharaohs - le point vierge of all the great wisdom traditions - and Christianity, and the Coptic Cross - seen below - is derived from the hieroglyph ankh symbol. The inherent conservatism of the Coptic Church means that its music tradition has remained virtually unchanged over the centuries. It is generally accepted that the Coptic Church practices not only the oldest form of Christian music, but also the oldest form of any music in the world. It is also thought that Coptic music predates Christianity and has its origins in the Ancient Egyptian religious ceremonies, with the distinguished Egyptologist Étienne Drioton explaining that “the key to the secret of the music of the pharaohs can be found in a good, modern-day rendition of Coptic liturgical music. In an impressive but overlooked exercise in speculative musicology the composer and musicologist Dr. Rafael Pérez Arroyo reimagined Egyptian music from the Old Kingdom (c3000BC) based on studying the iconography and hieroglyphics of the period, instruments of the period conserved in museums and the Coptic litany. One result of this project was the 2001 CD Ancient Egypt: Music in the Age of the Pyramids which used reconstructed period instruments including a seven-string curved harp and with musicians including Jordi Savall' percussionist extraordinaire Pedro Estevan. The sound is impressive with the choral sections recorded in the famous Abbey of Santo Domingo de Silos where many great recordings of Gregorian Chant have ben made. Although the CD is deleted it lives on as a download. Sadly There has been a long history of persecution of Coptic Christians, starting with a pogrom by the Roman emperor Diocletian in the third century. In 639 CE the Muslims conquered Egypt, but the transition from a majority Christian to majority Muslim country took another eight hundred years. There are no accurate statistics on the number of Copts in Egypt today, and the alleged manipulation of data by the theoretically secular but actually Muslim biased government has generated considerable controversy. However it is generally accepted that an estimate of eight million Christians (10% of the population) is reasonably accurate. Persecution of Copts became widespread during the reign of the Fatimid caliph Al-Hakim bi-Amr Allah in the eleventh century and has continued to this day. In July 2013 Salafist mobs killed five Coptic Christians in the area we visited recently. Monasticism is the most important contribution of the Copts to history. Cenobitic (communal) monasticism originated in Egypt, and Saint Anthony of Egypt (251-356 CE) is known as "the father of the monks". An early monastic rule was developed by Saint Pachom in the third century; this was subsequently translated into Latin and taken by travellers to Europe where the rule was adapted to form the basis of the great Catholic monastic orders including the Benedictine. Today there are twelve inhabited Coptic monasteries in Egypt at which more than six hundred monks lead a cenobitic life. My pilgrimage predated the destruction of the Russian Metrojet over the Sinai desert on a flight from Egypt, which made Upper Egypt a virtual no go areas for foreigners. But during my visit Egypt's already beleaguered tourist industry was totally focussed on its pharaonic heritage: if I had wanted to visit the famous temples at Luxor and Karnak, or the tombs in the Valley of the Kings, that was not a problem at all. But engaging with the rich Coptic heritage was really a struggle. When it comes to the Coptic tradition, collective amnesia afflicts the Muslim population. For instance, the generously staffed Luxor tourist office, which had absolutely no clients other than me, was unable to offer any advice or information about travelling to the nearby Coptic monasteries. You will search in vain on the internet for any information about the two monasteries that I visited - thankfully this is a TripAdvisor free zone! - and thanks go to the Coptic staff of the Gaddis Bookshop in Luxor for their valuable assistance. When I reached the Coptic monasteries there was the inescapable feeling of stepping into a war zone. Because of the continuing attacks on Copts, their monasteries have become fortified communities with massive gates and protecting walls - see photo below. In fact the entrance to Dayr Mar Girgis was protected by an armed soldier when I arrived, and I was the only visitor of any ethnicity at both monasteries. Coptic churches are celebrated for their art and architecture; below is the interior of the church at Dayr Mar Girgis. But these are also functional places where believers worship under constant threat of attack and in harsh physical - temperatures stay above 40 degrees celsius in the summer months. So sacred art mixes with defensive walls, air conditioners, and cooling fans. And some of the art is a little less sacred, as can be seen in the photo below advertising the monastic shop at Dayr al-Sahib. The monastery of Dayr Mar Girgis is just one of four in Egypt that venerate Saint George (Girgis = George). Saint George was a Roman soldier and Christian martyr who never visited England and who has absolutely no connection with the country other than being adopted at its patron saint. In the photo below taken at Dayr Mar Girgis the representation of Saint George could have been taken staight from an English pub sign. Saint George is venerated in many other countries including Romania, Lithuania, Iraq and the Ukraine, and is respected by Muslims as a manifestation of the mystical figure al-Khidr in the Qaran. In 431 CE a dispute over the Monophysite doctrine (the belief that the human and divine natures of Christ were fused into a single nature) caused the Coptic Curch and other Oriental Orthodox Churches (Armenian, Syriac, Goan and Eritrean) to split from the established churches of Rome and Constantinople. Despite this split there are clear visual links between the Coptic and Eastern Orthodox churches. These can be seen from the photos above and below taken at Dayr al-Sahib and Dayr Mar Girgis. In her book Sufism, Mystics and Saints in Modern Egypt Valerie J. Hoffman describes how the liberal Sufi mysticism of Islam has much in common with Christian Coptic spirituality. Examples of this common ground include the mosque built by monks for local Bedouins in the precints of one of the oldest continuously occupied monastery in the world, the Coptic monastery of Saint Catherine's on Mount Sinai. Another example is that the first spiritual master of the celebrated early Sufi saint Ibrahim ibn Adham was a Christian monk called Simeon. The visual common ground between Islamic Sufism and Coptic Christianity can be seen in the following photos. Look at the geometric decoration around the figure of Christ on this gate at Dayr al-Sahib. Then compare it with this decoration at the shrine of the thirteenth century Sufi saint Sufi Shaykh Yusuf Abu al-Hajjaj in nearby Luxor. The representation of living beings is, of course, forbidden in Islam. When the figure is removed the commonality between Islam and the Coptic tradition becomes even more striking. The photo below shows a doorway in a recent addition to the monastery at Dayr Mar Girgis. Compare it with the photo below taken by me the Koutoubia mosque in Marrakech, Morocco 3500 miles to the west. Central to the visual language of both Sufi and Coptic architecture is the dome. The photo below shows the exterior of the church at Dayr Mar Girgis. Below is the eponymous Sufi shrine in Sidi Ifni on the western margin of Islam in Morocco. If such le point vierge exists it must be somewhere close to the heavens, and there is a striking resemblance between the minarets of Islam and the bell towers of the Coptic Church, both of which point towards the heavens. This mosque was photographed from the luxuriant gardens of the Winter Palace Hotel in Luxor. While the photo below shows the entrance of the Coptic monastery of Dayr al-Sahib. My Egyptian search for a point of common truth uncovered some surprising common ground between Coptic Christianity and mystical Islam. Some of this commonality may well be tentative. But at a time of escalating tension between extreme elements in both traditions, any path that leading to the point that Thomas Merton described as "inaccessible to... the brutalities of our own will" demands exploration. Because as Hazrat Inayat Khan, who created an ecumenical Sufi order as his contribution to the search for le point vierge' told us: "“If people but knew their own religion, how tolerant they would become, and how free from any grudge against the religion of others”. Sources include: * The Churches of Egypt by Gawdat Gabra and Gertrud J.M. van Loon * Coptic Monasteries: Egypt's Monastic Art and Architecture by Gawdat Gabra * Sufism, Mystics and Saints in Modern Egypt by Valerie by J. Hoffman * Paths to the Heart: Sufism and the Christian East edited by James S. Cutsinger * Zen Mind, Beginner's Mind by Shunryu Suzuki * Who are the Copts? by H.P. Rev. Fr. Shenouda Hanna * Ancient Egypt: Music in the Age of the Pyramids - CD * Liturgy of the Coptic Orthodox Church - CD This post is a revised version of one first published in December 2014. dAll photos (c) On An Overgrown Path 2017. My trip to Egypt was entirely self-funded. Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s). Also on Facebook and Twitter.
That photo shows from left to right Pierre-Laurent Aimard, Tristan Murail and George Benjamin listening to a playback of their world premiere recording of Murail's piano concerto Le Désenchantement du monde (The demystification of the World). The concerto is one of three works on a new NEOS CD, the others are György Ligeti's Lontano for large orchestra and George Benjamin's Palimpsests for orchestra. Tristan Murail was together with Gérard Grisey a pioneer of the spectralist movement, and it was Grisey who reminded his peers that "We are musicians and our model is sound not literature, sound not mathematics, sound not theatre, visual arts, quantum physics, geology, astrology or acupuncture". Andrew Clement's Guardian review of this new disc does full justice to the music. So in this post I want to focus on the sound captured on it; because just a few minutes of listening provides literally resounding confirmation that the musicians' model is indeed first and foremost sound. George Benjamin conducts all three works, and the orchestra is the Symphonieorchester des Bayerischen Rundfunks playing in their primary concert venue, the acoustically blessed Herkulessaal in Munich's Residenz. NEOS is one of the few independent labels which have persevered with the SACD format - another is Jordi Savall's Alia Vox - and auditioning the SACD layer through my high-end system provided a timely reminder of just how good recorded sound can be if managed correctly. Despite Gérard Grisey's assertion that we are musicians and our model is sound, classical music has always had a schizophrenic approach to sound. In the concert hall sound quality is god, to the extent that more than £300 million may be spent building an acoustically state of the art concert hall in London a few hundred yards from the acoustically imperfect but nevertheless sonically perfectly serviceable Barbican Hall. But many of those clamouring for a new hall delivering acoustic nirvana are record reviewers, and as recounted in an earlier post my past experience has been that some critics audition recordings on less than optimal audio systems. In fact a recent selfie on social media from a record reviewer included a glimpse of what looked suspiciously like a definitely sub-Barbican sound system. Which amused me as that writer is a staunch advocate of the new Rattle Hall. Sound quality, as opposed to performance quality, has become the Cinderella of record reviewing. Would a critic write a concert review without telling us where the performance took place? So how about the critics revealing the replay systems they use? Of course every critic cannot afford a high-end audio system; but it would be illuminating to at least know where the goal posts are. The truly visceral SACD sound of this new NEOS disc does raise the important question of what is actually wrong with the compact disc format. The resurgence in vinyl sales is put down to a rejection of virtual formats and a return to physical media and collectability. But the CD is also a tactile and collectable format which avoids the problem of fragility that blights the LP. It is not a coincidence that in Japan, a country with a strong aesthetic sensibility and a canny approach to technology, 85% of recorded music sales are CDs compared with a global figure of 39%, and Japan has 6000 record stores compared with 1900 in the U.S.. Portability is the current must-have; but a digital file can be ripped from a CD for personal use in 90 seconds, thereby covering both physical and virtual bases. It should also be said however that the SACD encoding is definitely not the only reason for the sonic impact of Tristan Murail's Piano Concerto and the other works. Ripping the CD to AAC files provided an equally stunning but different sonic experience when replayed via the reductionist solution of my iPod Classic and AKG 451 headphones. The three works by Tristan Murail, György Ligeti and George Benjamin were recorded at concerts given in 2012 as part of the venerable and esteemed Musica Viva - living music - series in Munich. Several threads link the music on this immensely rewarding new disc. One is that all three composers are in their unique ways more interested in sound than meaning. Another is that all three works provide much-needed reminders that neither the orchestra, nor superlative quality recorded sound, nor classical music itself is dead. No review samples used in this post. Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s). Also reluctantly on Facebook and Twitter.
La Capella Reial de Catalunya/Hespèrion XXI/Savall (Alia Vox, CD and DVD)The Benedictine abbey of Santa Maria de Montserrat, perched high in the Catalonian mountains 30 miles west of Barcelona, has been a site of pilgrimage since medieval times. It’s best known for La Moreneta, a 12th-century romanesque statue of the madonna, but among its other treasures is the Llibre Vermell, a codex from the very end of the 14th century that is a collection of devotional texts, prayers and papal bulls as well as a “songbook” containing 10 anonymous hymns, folksongs and dances.Jordi Savall’s performance, taken from a concert with his choir and ensemble in the very resonant acoustic of Barcelona’s Santa Maria del Pi in 2013, shapes the music from the Llibre into a 70-minute sequence. The 10 numbers are punctuated by bells and interspersed with instrumental improvisations, so that as so often with Savall, it’s all undeniably atmospheric, but hard to separate what might be authentic from what is purely speculative. Continue reading...