I have changed my blog to the following site!
cmontaguehermann.wordpress.com
"One of the greatest pains to human nature is the pain of a new idea." - Walter Bagehot
ARTIST(S) | RECORDING | CUT(S) | SOURCE |
Hilliard Ensemble & Jan Garbarek | Officium | Parce Mihi Domine [6:30] | ECM #1525 |
Alfred Schnittke | Concerts for Mixed Chorus | Sabran je pesen sikh [8:00] | Chandos 9332 www.chandos.net OR Download from Emusic.com |
Hilliard Ensemble & Jan Garbarek | Officium | Beata Viscera [6:30] | See above. |
Eric Whitacre | Cloudburst | Cloudburst [8:30] | Hyperion #67543 |
Einojuhani Rautavaara | Sacred Works for Mixed Chorus | Canticum Mariae Virginus [7:30] | Ondine #935 ** |
Sequentia | Saints-Music of Hildegard von Bingen | O Euchari, in leta via ambulasti [7:00] | Deutsch Harmonia Mundi #77378 Available at Amazon.com* |
Shirley Rumsey | Music from the Time of the Templars | Viderunt Omnes, excerpt [3:00] | Naxos 8.503192 www.naxos.com |
I think the reason I really like the relatively-new Charlotte Gainsbourg album IRM is because it was almost entirely written and produced by Beck. I think Pitchfork, in their infinite wisdom and smarminess, is right to say that this is the best album he has produced in seven years - Sea Change was produced in 2002…
Although Sea Change was clearly my favorite Beck album of all time (it is incredible, you must pick it up), this album is clearly enhanced with Gainsbourg’s vocals which add a level of indelible beauty – something contrasting with Beck’s sorrowful, frank voice. “Voyage” and “Trick Pony” are excellent tracks on IRM
Go here to listen to the album
On such a dreary, drizzling afternoon, I can’t help but get lost in a little of Maurice Ravel’s dreamy Rapsodie Espagnole. Ravel, one of my favorite French composers, wrote this little didy in 1907 and in so doing, successfully captured the essence of Spain from the foreigners perspective. Having a partly Swiss, partly Basque background, Ravel was always torn between his father’s pragmatic background and his mother’s more sensual side, ultimately reveling in the sensual – the reason he composed such incredible works in the Spanish idiom.
For those who are new to this piece, here it is – in two parts – for your enjoyment:
Part 1: Prélude à la Nuit and Malaguena
Part 2: Habanera and Feria
I am sitting here, enjoying a bowl of killer soup, and listening to the Clash’s “Straight to Hell” and “The Call Up.” It is in moments like these that make me feel like I am tapped into the world, that I have a purpose. I can’t say there are many bands out there making music that makes you want to shake your shit while concurrently forcing you to acknowledge – and act – upon global injustice. Both songs are fervent anti-war ballads, but could easily be misinterpreted as club hits (at least back in the 70’s and 80’s). I suppose M.I.A achieves this level of success with “Paper Planes,” but I take away frustration and anger from that adaptation of “Straight to Hell” instead of a sense of purpose.
On a related note, I just want to share a photo or two from my good friend Kate Simon, one of the closest photographers of the Clash. She has shot everyone – Bob Marley, Led Zeppelin, Iggy Pop, William Burroughs, etc., etc. – and her work speaks for itself. If you haven’t explored her world, I highly recommend it. Word on the street is that she will be publishing a memoir in the next year or so, highlighting her extensive career.
Bob Marley and Kate Simon
Robert Plant, 1975
Joe Strummer, 1977