[lit-ideas] Re: Why are the greatest composers all German?

  • From: JimKandJulieB@xxxxxxx
  • To: lit-ideas@xxxxxxxxxxxxx
  • Date: Sat, 17 Jun 2006 21:43:52 EDT

I wonder if anyone here is familiar with Osvaldo Golijov?  
_http://www.osvaldogolijov.com/_ (http://www.osvaldogolijov.com/) 
National Public Radio featured La PasiÃn segÃn San Marcos on All  Things 
Considered. To listen, visit the _NPR website_ 
" Argentine composer Osvaldo Golijov has written a Latin American  Passion, 
according to Saint Mark. The Passion tells the story of Christ's  betrayal, 
death, and ressurection; perhaps the best-known Passions are those by  Johann 
Sebastian Bach. Our music critic Tom Manoff says Golijov's achievement is  
remarkable, a musical drama set in a New World for a new time. It's a mixture 
traditions -- Spanish, Latin, and Aramaic words are set to a music that draws 
 Latin American folk music, African drumming, flamenco and Gregorian-like 
chant  melodies."

<<David: What is the instrumentation of the  Passion? 

Osvaldo: The instrumentation is mainly voices and  percussion. There is a 
very strong tradition that news or stories are told by  voices and drums in 
and Bahia, Brazil, the Latin geographical centers of my  Passion. This musical 
tradition comes from Africa, you knowâand that's how this  Passion is being 
toldâmainly by voices and drums. The voices represent the  people who don't 
understand, who are in fear, and Jesus himself who understands  but also fears 
and then doesn't fear. There is a male soloist, a female soloist,  and a choir. 
I am using these voices because, unlike Bach's Passions, in my  piece there is 
no identification between the male soloist and the Evangelist who  always has 
the most lines. Jesus has relatively few lines in the Passionsâso  Jesus in 
Bach is always a bass with a halo of strings and the Evangelist is the  tenor 
voice. In this Passion I thought that most of the time the voice of Jesus  
would be the choir because for me Jesus represents the people, transformed into 
collective spirit. At other times his voice will be the male soloist and  
sometimes the female soloist. I have sections where there are three 
divide themselves into threeâbecause a lot of my piece has to do with  
processionals. I imagine choirs from three villages proceeding down from the  
tops of 
the mountainsâthis is based on a South American Easter tradition. There  are 
some sections that are divided into two choirs, especially when one  
represents Jesus and the other the people, or the mob, and then there will be  
when they are just one. >>

I heard the piece on NPR and immediately ordered the CD.  The music is  all 
over the place.  Some tracks are primitive-sounding heavily drummed  Latin 
American bits; some tracks are amazingly lyrical arias....he brings a  wide 
variety of various cultures' "pop" musical influence and a wide  variety of 
classical influence.  It's an extraordinary CD.  
At least give the NPR piece a listen!
Julie Krueger

========Original Message========
Subj: [lit-ideas] Re: Why are the greatest composers all  German?  Date: 
6/15/06 5:18:24 P.M. Central Daylight Time  From: _carolkir@xxxxxxxxx 
(mailto:carolkir@xxxxxxxx)   To: _lit-ideas@xxxxxxxxxxxxxx 
(mailto:lit-ideas@xxxxxxxxxxxxx)   Sent on:    
> Come now. Is this a verbal argument  ('pop=superficial' etc.)? Surely there 
> is
> 'popular' music with  depth - how about Beatles' 'A Day In The Life', ...

ck: Andreas's  post talks to this list of old icons. More recently (but not 
much)  Brazilians like Nascimento have distinguished their music from popular 
melancholia. Not that I dislike pop melancholia, or Miles Davis's album  
_Kind of Blue_. But melancholy is the most easily accessed emotion of depth.  
Rammstein digs deeper, into grief (not mere "regret'), and beyond rage into  
something more disturbing and complex that belongs more to Beethoven and  
Mahler than to U-2.

And I LIKE U-2! This is not a discussion about  likes and dislikes in pop or 
classical music. I love Jobim, and I adore  folksy Arabic music. But few 
artists enter the land of awe, and when they  do, it's miraculous. Not always 
likable,  however.

----- Original  Message ----- 
From: "Donal McEvoy" <donalmcevoyuk@xxxxxxxxxxx>
To:  <lit-ideas@xxxxxxxxxxxxx>
Sent: Thursday, June 15, 2006 2:35  AM
Subject: [lit-ideas] Re: Why are the greatest composers all  German?

>>I haven't heard anything
>> close to  Rammstein's profundity on the pop scene.
>>  Carol
> 'Like A Rolling Stone', Television's 'Marquee  Moon', 'Astral Weeks', 
> 'Forever
> Changes', Presley's 'Heartbreak  Hotel', Radiohead's 'Ok Computer'? (And 
> what
> about old  _popular_ blues and folk and jazz?).Of course you could be just
> saying  none of this is close to the profundity of Rammstein. Never heard 
>  him.
> But I have heard 'Kind of Blue' - that's popular and has depth,  surely?
> See, even without yet using ears to check I doubts Rammy  is profundier 
> than
> Bachers and some poppermost music has I  think depths at least closing to 
> some
> of that. Plus, of course  Bachers and Mozzie and Beethy were popular in 
> their
> time - even  if not always as recognised as hindsight might tell us.
>  Donal
> Taking a conciliatory stance in the high/low art wars
>  England
> Send instant messages to your online  friends http://uk.messenger.yahoo.com
>  ------------------------------------------------------------------
> To  change your Lit-Ideas settings (subscribe/unsub, vacation on/off,
> digest  on/off), visit www.andreas.com/faq-lit-ideas.html  

To  change your Lit-Ideas settings (subscribe/unsub, vacation on/off,
digest  on/off), visit www.andreas.com/faq-lit-ideas.html

Other related posts: