RED MOON (musick & other arts)

BACALOV LUIS ENRIQUE

IL VANGELO SECONDO MATTEO
(THE GOSPEL ACCORDING TO SAINT MATTHEW)


Original Issue: 1964 Mainstream (S/4000)

Reissue: 1996 RCA (74321-37416-2 OST-132)

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Margot-meter: 4 moons / 5

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1. GLORIA from "Missa Luba" (p.d.) (02:40)
2. SOMETIMES I FEEL LIKE A MOTHERLESS CHILD (spiritual) (03:08)
Voice: Odetta
3. SIGNORE MIO (from a Hebrew Song) (02:05)
4. TRE FRONDE TRE FIORI / VIENI DA ME (05:54)
(JERUSALEM: DAYTIME)
5. TRE FRONDE TRE FIORI (05:16)
(JERUSALEM: NIGHT TIME)
6. VIENI DA ME / TRE FRONDE TRE FIORI / VIENI DA ME (02:26)
(DANCE OF SALOME)
7. INDEMONIATI 1 (00:51)
8. INDEMONIATI 2 (02:22)
9. INDEMONIATI 3 (01:29)
10. GETSEMANI (01:09)
11. THE 13TH CENTURY (01:29)
Sergei Prokofiev from "Alexander Nevsky" Film Score
12. ADAGIO from the "Concerto in C minor" BWV 1060 Double Concerto for Oboe & Violin (05:09)
Johann Sebastian Bach
13. MAURERISCHE TRAUERMUSIK KV 477 (06:31)
Wolfgang Amadeus Mozart
14. DONA NOBIS PACEM from "Agnus Dei" from "Mass in B minor" BWV 232 (03:00)
Johann Sebastian Bach
15. ADAGIO from the "Concerto in E for Violin" BWV 1042 (07:32)
Johann Sebastian Bach
16. ERBARME DICH, aria from "St. Matthew Passion" BWV 244 (06:41)
Johann Sebastian Bach
17. WIR SETZEN UNS MIT TRANEN NIEDER from "St. Matthew Passion" BWV 244 (06:50)
18. GLORIA from "Missa Luba" (p.d.) (02:40)

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from http://jclarkmedia.com/:

The only aspect of this magnificent film which does not work, at least for me, is the self-consciously eclectic use of music, which extends from Bach to Prokofiev to folk music.

He wants this polyglot score in an attempt to create subtle, and shifting, tensions between the world of ancient Judea and our own. Sometimes it enhances the drama; other times its repetition or incongruity are distracting. For instance, the excerpts from the striking Missa Luba: An African Mass lose their impact with each subsequent repetition (there are many); and although the mood of the haunting spiritual "Sometimes I Feel Like a Motherless Child," sung by Odetta, matches the nativity scene beautifully, the lyric clashes with the action and ultimately proves distancing. (It's worth noting that Pasolini had once considered filming The Gospel in Africa with an all-African cast, to recreate the feeling of an ancient world still present today; a few years later he contemplated a similar juxtaposition regarding Greek myth, as seen in his fascinating documentary, Notes for African Orestes.) In contrast to the music here, Pasolini's use of only J.S. Bach's music on the soundtrack to Accattone, a contemporary tale of Roman slums, works to astonishing effect.

FULL STURGEON MOON (5 August 2009)

The musick dedicated to this Esbat is:

ROACH STEVE & STEARNS MICHAEL & SUNSINGER RON

KIVA


Original Issue: 1995 Fathom (HS11056-2)

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Margot-meter: 4,5 moons / 5

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1 Passage One (2:27)
2 East Kiva - Calling In The Midnight Water (13:42)
3 Passage Two (1:59)
4 South Kiva - Mother Ayahuasca (15:13)
5 Passage Three (2:12)
6 West Kiva - Sacrifice, Prayer, And Visions (17:27)
7 Passage Four (2:00)
8 North Kiva - Trust And Remenber (9:42)
9 The Center (2:33)

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from All Music Guide:

Ron Sunsinger, a Native American tribal artist and musician, joins two space music pioneers on Kiva, an atmospheric re-creation of sacred tribal ceremonies representing the directions of the Four Winds.

For the Southwest tribes, a kiva is a circular subterranean structure used for ceremony and ritual; other tribes may use a canopy of trees, the circular space of a Sun Dance, or a cavern. For this recording, Sunsinger obtained, with permission, field recordings of traditional ceremonies. The musicians then brought the kiva space into their music studio. Each wind direction is preceded by an atmospheric passage of chanting, nature sounds, and rattles. "East Kiva: Calling in the Midnight Water" features chanting with the rattles and rapid drumbeats of a peyote ceremony. The space music continues the ceremony to an expanded heartbeat, with horns signaling breakthroughs of thunder strikes. A more celestial space is heralded by organ tones and crickets. Hearing the overlapping layers of sound and the progression allows the listener's mind to travel, while still being connected to the ceremonial music and rhythms.

Ghostly voices usher in the passage to "South Kiva: Mother Ayahuasca." Here, breathy whistles and a hypnotic twang of a stringed instrument begin a trance that takes off on one of the most dramatic space blastoffs on record. It climaxes through shouts and ceremonial purging, a sacred song, and whistling; the organ/chanting drone background is very trippy with its sonic infinity pattern of organ tones, chanting, jungle birds, and distorted drumming. "West Kiva: Sacrifice, Prayer and Visions" includes the powerful powwow drumming, singing, and stomped bells of the Native American Sun Dance. The space music collides sounds and rhythms -- a dizzying and hallucinatory clash of reality and illusion.

The music then "passes out" and takes the listener on a voyage through a sonic tunnel where all time is suspended. The final "North Kiva: Trust and Remember," recorded in a cavern, thunders with resonant drums and the growls of the didgeridoo. This recording is an excellent introduction to space music and the shamanic experience. You'll find it's not a free ride.

Carol Wright

SACRIFICE MOON (offering musick)

Kindly donated by Rousselle

MONTGOMERY JOCELYN & LYNCH DAVID

LUX VIVENS (THE MUSIC OF HILDEGARD VON BINGEN)

Original Issue: 1998 Mammoth ( 354 980 183-2)

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Margot-meter: 3,5 moons / 5

Rousselle lovely introduction to the musick

"Hello Margot, what a lovely job you do with Wheel of the Year! Recently you posted Miranda Sex Garden, a lovely selection. One of the founders, Jocelyn Montgomery released a splendid CD of the works of the medieval mystic Abbess Hildegard Von Bingen in collaboration with David Lynch, of all people! Hildegard, regarded by many as centuries ahead of her time, considered the feminine principle,(the flowering branch) as essential to spirituality. One can argue back and forth about context, whether she is or is not fairly regarded as the "patron saint" of the eco-movement, but her contributions, though suppressed by the church for centuries, endured and have re-emerged with powerful force since the dawning of the Age of Aquarius. Her music, which was in many ways centuries ahead of the rest of western music- rooted in the pagan folk melodies she heard as a child, married to the church music, and the Latin structures"

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1 Flame And Vision (1:53)
2 Sapientie (3:10)
3 O Tu Illustrata (8:23)
4 Et Ideo (3:21)
5 Viridissima (5:07)
6 Battle And Aftermath (1:41)
7 Gloria Patri (2:31)
8 Lux Vivens (8:22)
9 Deus Enim (2:50)
10 Clarissima (7:21)
11 Orzchis (2:43)
12 Caritas (2:49)
13 Kyrie (2:56)
14 Hodie (2:56)
15 Alleluia (3:51)

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from Geocities:

David Lynch goes sacred; dug around in the past and found something to bring back with him.

It's never certain what a man who uses animal carcasses and ants in his hanging art will unearth or create. For example, he has directed truly mesmerizing films from Eraserhead to Blue Velvet. This time he has scraped up some old songs, dusted them off and recruited a talented songstress to add the perfect polish. The new album Lux Vivens is the result.

David Lynch came up with a beautiful new album that explores a few familiar themes – religion, vindication and the contemporizing the past. His artful production presents a smooth, unified recording.

Despite the album's ingenuity, it surely won't be played on B-94 until they start playing 12th Century German sacred music alongside Matchbox 20 and Hanson. In fact, this album not only marks Lynch's return to music; it is also the debut of Jocelyn Montgomery, the album's vocalist.

Lux Vivens came about through Lynch's fascination with the music of an outspoken, 12th century nun. Hildegard Von Bingen was one of the most radical feminists of her time. She was also thought to be a child prophet whose visions culminated in the text "Scivias – Know the Ways." She was even challenged by Pope Eugene III to further prophesy, and eventually was confirmed as a visionary by the pope.

Lynch needed a singer who could make Von Bingen's music her own. Although she had no interest in a recording deal, Jocelyn Montgomery's vocal style attracted Lynch and Lux Vivens is their debut.

Lynch opens the album with "Flame and Vision," which evokes images of a fiery sky and landscapes ravaged by storms. It works to jolt the listener into a curiously introspective mind-set. Each song consumes and haunts you with its surrealism. It's a beautiful revival of an artistic expression that's nine centuries old. This is art in its beauty and texture – layered and complex.

Montgomery's voice echoes as though she were singing in a large abandoned cathedral in outstanding pieces like "Lux Vivens," the title track, and "Sapientie." Montgomery's soprano touches the soul with Von Bingen' s words, deeper each time you press play.

Lux Vivens is incredibly unique. There are no hooks, no gloss and no sheen to the music. It is designed to be as faithful to Von Bingen' s Latin originals. But it's still a very interesting period piece that someone like David Lynch can filter through his vision. Listen with an open mind and leave your prejudices about sacred music at the door.

MEDITATION MOON (OM musick)

MICUS STEPHAN
ATHOS (A JOURNEY TO THE HOLY MOUNTAIN)

Original Issue: 1994 ECM ( ECM 1551) Buy it here!!!


Margot-meter: 4 moons / 5

01 - On The Way
02 - The First Night
03 - The First Day
04 - The Second Night
05 - The Second Day
06 - The Third Night
07 - The Third Day
08 - On The Way Back (2 Bavarian Zithers, Sattar, 11 Voices)

from Celebforu.com:

Athos is a 1994 album produced by Stephan Micus for ECM. Based on a three-day visit to Mount Athos, in it Micus tries to capture his experiences with the Greek Orthodox liturgy he experienced in the monasteries there, framing it with pieces that evoke his emotions at going to and leaving the isolated peninsula. Between them he recreates the liturgical experience of the services over the three days he was there, in six alternating pieces of night and day.

As in his other works, Micus uses a combination of traditional instruments from various cultures to capture the feel of the monastery. These include the sattar (a bowed 10-string instrument used by the Uyghur people), the shakuhachi (a Japanese bamboo flute), the suling (a reed flute from Bali), the ney (a Middle Eastern flute), and even 22 flowerpots, filled with water, which he plays with his hands and with mallets. These instruments are only used in the pieces representing the days on Mount Athos. To emulate the Greek Orthodox tradition of not using musical instruments in their services, his pieces devoted to the nights are performed by a 22-man choir singing prayers to the Virgin Mary.