Programme musical and and

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CDuffy I wrote something about contemplation and meditation and learning in the depths
of the spell of music.

Then last night I remembered that section in Alain Badiou's book The Meaning of Sarkoszy about Art and how he thinks it ought to be working in this world, these days,
and this relevant passage about Music and the past and how to how can I say, how to connect it to our present experience of music that the work of the past is not more important than the present:A good lesson also to apply to literary matters as well : here is the excerpt from his book I was thinking of:

"We should also make clear that it
is ridiculous to place on the same level, in the name of the
uniformity of what are called 'musics', musical comedy, easy
listening, the folklore of distant islands, peasant dances,
African drumming, Boulez, Messiaen or Ferneyhough.
Music for entertainment, moreover, should be judged in
terms of genuine music, and not the other way round; and
in the last analysis, music of the past should be judged by
the standard of today's creations, as nothing better displays
the contemporary reactionary desire than to wax ecstatic,

like the fans of 'baroque', over the works of a seventeenth century
prig rediscovered under a well-deserved coat of dust
in the Montpelier library and interpreted with the aid of
shrill 'original instruments', while the greatest masterpieces
of the twentieth century are not played."

Now that to me does a nice job of putting some ideas false ones, snobbish
bourgeois ones about it to the grave
of musty old shites.

And in the meantime

we love

the beauty of what we love
for its energy and beauty
not its obligation
to be past
and 'classical so called.....

CP_ and from there what tentacles of ring anus and body mouth to mouth?
Cuffy __Last Summer for a while I gave a lot of my attention to an artist's 'work' who I eventually came to see was everything she pretends not to be: she was ambitious, vain and self seeking . And in my view art produced under these conditions or given that arrant and arrogant ego driven impulse does not create space of mutation and creation opening lines of flight...... Unlike this music and the poetry I have been speaking about to you... Badiou's point is that music and indeed any art form today has a living relation to what is happening around and in us and not merely an egotisic personal one... No matter how cute! eh,__ what does Deleuze teach us? If you get caught in the dream of the other , you're fucked... no matter what, so get out!
So I got out! eh __ (laughter hysterical tears)

another excerpt:

Point 2. "Art and creation, whatever its epoch and nationality, is
superior to culture ad consumption, no matter how contemporary.
There are a number of places where the validity and pertinence
ofthis point can be asserted. The media and the schools,
in particular. Maintaining, for example, that The TaleofGenji,
written in eleventh-century Japan by Lady Murasaki
Shikibu, is immeasurably superior to all the Goncourt prizewinners
of the last thirty years. Or that there is no reason
why students, even in the first form of secondary school,
should be offered Marcel Pagnol's La GLoire demon pcre rather
than La PrinCedde de CLeVed."

___________________________These are juxtapositions worth considering and it goes without saying that art as consumption and consumer good is bound to be less than worthy .... (continued from above:) Suffice it to say I have since discarded ____________'s project---- her counterfeit work and her to the dustbin where it belongs... a carefree egoism is not an artistic project that I can back up at any time, nor would I normally ....

And so back to Badiou ___he is not suggesting however that Popular Art or any Art for that matter does not have its place, and a legitimate one, and perhaps more than legitimate.

Cp_ It seems unusual for you to pick an open fight with another artist ... what is this....? you surprise me... In public you're not given to these sort of 'firefights'....

CDuffy___Usually I dont .... and I dont much like to engage in the negative or the negative critical of others work,even when I have mixed feelings about it... because for one thing these things change... and besides who knows the meaning of a work.. and where it works.. for another... but for myself the energy and attention that I give to something that ... 's another story ... eh? and to answere your question really I suppOSe it has to do with not even getting into
the negative energy and/or resentment this can call up... but from time to time a tiny polemic aimed at the unworthy's a good way to clear ones' head... So then, so then, Onward and away. ... It's not that serious ... I know what is good for me is what counts... and that's how I work.. theres no pretence to any objectivity....

Its a moment of passion or a change of affect... a shifting in the intense fold ... or the range of my own extensions into my own body without organs....

You know?

CP__ that's fine ... very good... yes....

So now
Let us listen to the music.

Apocalypse : poème symphonique
Orchestre du Festival de Spoleto
Richard Hickox, direction
réf : CHANDOS CHAN 9900

Roger Boutry
Chants de l'Apocalypse
Orchestre d'Harmonie de la Garde Républicaine
Roger Boutry, direction
réf : CORELIA CC 897804

Peter Zagar
Apocalypsis Iohannis pour soprano, mezzo-soprano, choeur mixte et orch. à cordes
Jana Pastorková, soprano
Petra Nosková, mezzo-soprano
Orchestre des Solistes de chambre de Bratislava

Tod Dockstader
Apocalypse : 3ème partie pour bande magnétique
réf : STARKLAND ST - 202

------------------------------------------Oleg Jantchenko
Apocalypse, Symphonie n°6 : 1er mouvement, " God's verb "

August Milovanov, récitant
Anatolij Safioulin, basse
Choeur Capella Minsk
Orchestre Symphonique du Conservatoire Tchaïkovski de Moscou
Marc Taddei, direction

Hymne de procession : Judicii signum
Ensemble vocal Anonymous 4

Anatole Liadov
Fragment de l'Apocalypse
Orchestre Philharmonique de la BBC
Vassili Sinaiski, direction
réf : CHANDOS CHAN 9911

Giovanni Pierluigi da Palestrina
Missa Ecce ego Johannes : Agnus Dei I
Choeur de la Cathedrale de Westminster
James O'Donnell, direction
réf : HYPERION CDA67099

Giovanni Pierluigi da Palestrina
Missa Ecce ego Johannes : - Agnus Dei II
Choeur de la Cathedrale de Westminster
James O' Donnell, direction
réf : HYPERION CDA67099

Leos Janácek
L'Evangile éternel
Gweneth-Ann Jeffers, soprano, Ange
Adrian Thompson, ténor, Joachim de Fiore
Choeur du Festival de Edinburgh
Orchestre Symphonique de la BBC Ecossaise
Ilan Volkov, direction

George Crumb
Susan Narucki, soprano
Joseph Alessi, Trombone
Choeur Philharmonic de Varsovie
Orchestre Philharmonic de Varsovie
Thomas Conlin, direction

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