Given in 2012 by the pianist Jérôme Ducros, entitled L'atonalisme et après by way of comments at this post at Slipped Disc, to which I was sent from Dr Townsend's Friday Miscellanea. I've put the English and the original versions here. Jacques Attali, eh, he is a clever fellow and a perceptive commenter on matters cultural and political but his affliction by that Mitterand fellow is something I cannot myself get quite out of mind.
Since I'd written here; good heavens. Well, it is the dies caniculares, the dog days (and we have had and are having hundred degree days, although I expect today is the last of them), so perhaps I'll pretend to have been on vacation.
Was prompted to write here because of a post of Fr Hunwicke's today. It is the first in a series but I did want to note the profound thesis:
Athanasius contra mundum, one bishop withstood that wretched English king, &c &c.
For piano, a reduction to the piano, it is called, made by Mme Messiaen, Yvonne Loriod; was performed at the Festival Messiaen Meije on the 23rd of this month. Let's see if this will embed: three snippets of video from their Facebook page.... It will not, unfortunately; I don't quite understand why but, pft.
From the minimalist 70s. Here is the original version, for organ:
There is a version for kantele (which is a Finnish plucked string instrument):
For flutes (the piece was written for the organ or for four recorders, I think, depending on where you look; Jeremy Grimshaw, here, says for 'four wind instruments originally, then organ, then recorder quartet', eh):
For bajan, bayan, which so far as I can tell is a Russian accordion made in the early part of the last century (and which is quite lovely really, surprisingly):
For piano, four hands:
For two pianos:
For solo guitar:
For bassoon quartet:
Et post commotionem ignis: non in igne Dominus. Et post ignem sibilus auræ tenuis.
This morning, although I cannot recall the composer's name; I don't mean fantastic as a synonym for marvellous or wonderful. But certainly it had my attention for a few minutes. All things considered, however, after the events of the last several days it is more fitting to listen to the Requiem of Victoria.
As part of the title of his Galimatias musicum in D major KV [why is this not just K? what is KV? so much I'm ignorant of...] 32; Peter van der Graaff broadcast that Mozart on KWAX earlier... I've already written this on Facebook.
I found the entry for the word at the CNRTL site:
I am specially pleased by the likelihood that the expression derives in part anyway from the garbled reading (plus ça change...) of the genealogy in the first chapter of the Gospel according to St Matthew.
10. Komm, Jesu, komm BWV 229 (organ) [Thursday 7 July]
11. O Lamm Gottes, unschuldig BWV 656 (organ) [Thursday 7 July]
12. Partita for Solo Flute in A minor BWV 1013 (arr Rachel Podger for solo violin) [Saturday 9 July]
13. Partita no 2 for Solo Violin in D minor BWV 1004 [Saturday 9 July]
And what was sung at the Conductors Showcase, which of course now, five entire days later, I cannot recall, tsk.
14. Jesu, meine Freude BWV 227 [Thursday 7 July]
6. Magnificat BWV 243 [Saturday 2 July]
7. Sanctus in D minor BWV 239 [Sunday 3 July]
8. Concerto for Violin and Oboe in C minor BWV 1060 [Wednesday 6 July]
9. Sinfonia from the Cantata Ich liebe den Höchsten von ganzem Gemüte BWV 174 [Wednesday 6 July]
And I missed a couple in my answer. Quite frankly, I could have concluded by saying 'and the Fantasia on a Theme by Jeffrey Archer' and been believed, not that I would have abused my interlocutor's trust in such a way.
1. Mass in B minor BWV 232 [Thursday 23 June]
2. Christmas Oratorio BWV 248 (partes IV, V, and VI-- the first half was performed last season-- at three separate noon concerts, none of which I was able to attend) [Monday 27 June, Wednesday 29 June, Tuesday 5 July]
3. Von Gott will ich nicht lassen BWV 658 (organ) [Monday 27 June]
4. Trio Sonata in E minor no 4 BWV 528 (organ) [Monday 27 June]
5. Concerto for Three Violins in D minor BWV 1063R [Thursday 30 June]
(This is having to be put into two or three posts lest all the weight of the videos tip it into the realm of inaccessibility.)
Ending to this season's Oregon Bach Festival, and I was very pleased to see Silva Hall so full. It is true, however, that am finding this keeping up here rather tedious at this point. Perhaps in a day or two or a few days I will write a more substantial bit of nonsense about this or that. In any event, a video recording of Brahms's Symphony no 3:
Matthew Halls is most definitely not Christian Thielemann, ahem. And the second half of the program, Brahm's Ein Deutsches Requiem, with the lovely soloists Nicole Cabell, soprano, and Morgan Smith, baritone.
Maestro Halls dedicated the concert on the altar of the memory of those who have died in the past week in such infamously tragic circumstances.
Am going to listen to Arvo Pärt's Für Anna Maria, which is an album of his then-complete piano works performed by Jeroen van Veen from 2013; there do appear to be Partian compositions for piano after that year but am too eager to be off the machina to investigate further.
I have no doubt; and she seems such a charming and vivacious lady, too, although one may regret her politics, I suppose (Facebook is probably only a semi-useful tool for judging those sorts of things). The program this evening begins and ends with Bach. I'm presuming that Miss Podger has herself put the solo flute partita, BWV 1013, into shape for her violin-- there don't seem to be any 'standard' versions for violin on YouTube, anyway.
Giuseppe Tartini's Sonata no 13 in B minor B:H1:
And then four selections from Nicola Matteis's Ayers. There are all sorts of recordings of Matteis's airs but I don't see an exact reproduction of the set of four individual pieces on the agenda tonight (passaggio rotto, movimento incognito, fantasia, corrente) so am including this video, which is airs occupying about the same nine minutes allowed for tonight.
Finally-- and I mean I have been eagerly awaiting this since I first noticed its presence in the evening's program a couple of months ago-- Heinrich Ignaz Franz Biber von Bibern's famous Passacaglia.
And in this performance by Andrew Manze.
And Bach to end the evening, his Partita no 1 in B minor BWV 1002.
Gabriel's Guide to the 48 States was potentially 'offensive', I gather, prompting the University to post this notice at the doors to Silva Concert Hall:
Who the hell knows exactly what the University people were really thinking, tsk. I speculate on Facebook....
I think I've needlessly confused things by not distinguishing myself between 'the University's guardians of public speech' and then the 'speech guardians'. The speech guardians are a real University office, although that's not the name they use. By 'the University's guardians of public speech' in the first sentence in the quotation from Facebook I meant whoever makes identity politics/pc nonsense decisions in the administrative Empyrean over there. The Register Guard article, by Diane Dietz, is here. I should re-read it and see whether or how much I've distorted it, ahem, but not tonig... this morning.
If perhaps in different ways; as Gabriel Kahane remarked at the beginning of his Gabriel's Guide to the 48 States, following such a splendid performance of the Piano Concerto no 1 is not the most easy of second acts, or something like that.
I was not a little conflicted with the Gabriel's Guide: I wanted to like the piece, and the concept is certainly interesting and clever, and did enjoy much of it but, frankly, had Mr Kahane consulted with me I should have advised him to stick with a song cycle with his own instrumental accompaniment and perhaps a quartet of other musicians backing him-- as 'part song cycle, part oratorio', eh, the guitar and banjo seemed superfluous and the orchestra made some of his vocals incomprehensible (although, again, I was pleasantly surprised at how immediately understandable much of the text was without consulting the libretto). Perhaps over time and with more performances Kahane will make an emendation or two here or there.
After weeks of demi-perpetual sunlight, which is a relief after yesterday's relatively exorbitant humidity-- one doesn't mind the Sun's exertions on our behalf but we need not welcome Humidity (surely there is a deity or demi-deity there?) too. I didn't in fact go back out last night, missing my likely only chance to hear Frank Martin's Mass for Unaccompanied Double Chorus but while the flesh was weak the spirit was weaker, alas. I posted videos of the works performed here.
The Oregon Bach Festival Facebooker posted an intriguing sentence yesterday to the effect that, 'yes, we'd love an encore performance of MacMillan's A European Requiem'-- so I have been daring to entertain the hope that somehow that is being managed. I don't see how it could be done at any time other than Sunday evening, however, and, as pleasant a place as Eugene is, I myself, were I here only for OBF or some other event for a week or so, I should be very disinclined to change my travel plans to stay beyond the originally scheduled time of departure. Still, spes contra spem. (One of the soloists, the baritone Morgan Smith, is still in town, certainly-- he's performing in Brahms's Ein Deutsches Requiem Sunday afternoon.)
Tonight's concert, before the interval, features the pianist and ensemble director Jeffrey Kahane performing Beethoven's Piano Concerto no 1 in C major with the OBF Orchestra.
Mentioned earlier on Facebook that I've never heard this in concert but that's not true, I think, because I have vague memories of listening to a performance at Music Hall in Cincinnati-- suppose if I cared I could go and investigate when that might have been, or if my memory is playing tricks again.
Gabriel Kahane, after the interval, will perform his 'part art song cycle, part oratorio' (something like that) Gabriel's Guide to the 48 States, referring to the US as it was during the Great Depression. I have expectations of at least goodness! Chose the video infra because it also features Chris Thile, who was here the other day, whose concert I missed, alas.