tag:blogger.com,1999:blog-54807325151781100982024-03-13T07:14:19.166-07:00Ars Gratia ArtisFather Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.comBlogger23125tag:blogger.com,1999:blog-5480732515178110098.post-12031246141292141302008-08-13T19:50:00.000-07:002008-08-13T20:35:02.614-07:00The chant of "the Field of the Stars"<div align="justify"><span style="color:#336666;"><em>I was listening recently one of the last CD by the Ensemble Organum :</em> <strong>Compostela – Ad Vesperas Sancti Jacobi - Codex Calixtinus XII century</strong></span></div><span style="color:#336666;"><strong></strong></span><br /><span style="color:#336666;"><strong><img id="BLOGGER_PHOTO_ID_5234209373425232706" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://2.bp.blogspot.com/_EmTuk18jQP8/SKOlsW8H60I/AAAAAAAABWY/bB23iTIop6I/s320/compostela.jpg" border="0" /></strong></span><span style="color:#336666;"><strong></strong></span><span style="color:#336666;"><strong></strong></span><br /><span style="color:#336666;"><strong><br /><div align="justify"></div><div align="justify"></strong><em>I have always appreciated the work of Marcel Peres - who likes to sing for the Latin Mass and organizes workshops for the priests and seminarians of our Fraternity in France – so I expected another great recording and I was not disappointed. It brings us back 9 centuries ago on the ways of one of the greatest pilgrimages of the whole Christendom. I wanted to know a little bit more about this music from an old Codex and I found the following text. </div></em></span><br /><div align="center"><strong><span style="font-size:130%;color:#cc33cc;"></span></strong></div><br /><div align="center"><strong><span style="font-size:130%;color:#cc33cc;">The Codex Calixtinus and the development of polyphony</span></strong></div><div align="center"><strong><span style="font-size:130%;color:#cc33cc;">in the twelfth century.</span></strong></div><div align="center"><strong><span style="font-size:130%;color:#cc33cc;"></span></strong><strong><br /></div></strong><div align="center"><span style="color:#cc33cc;"><em>by Sean M. Raleigh, Vanderbilt University.</em></span></div><strong><div align="center"></strong><br /></div><div align="justify">The city of Santiago de Compostela in northwestern Spain has been a popular destination for pilgrims since the middle ages. The origin and nature of this tradition are described by the twelfth century <strong>Codex Calixtinus</strong>. Especially noteworthy is the inclusion of music, some of which is polyphonic. The study of this early organum has provided new and often controversial insights into the development of the genre, owing to the fact that it is some of the earliest polyphony in our literature.<br /></div><div align="justify"><strong><span style="color:#cc0000;">The Cult of St. James</span></strong> </div><br /><div align="justify">In the late 8th century, Charlemagne had a "vision" in which a knightly figure appeared to him, identifying himself as St. James, the apostle (Santiago in Spanish). St. James described to Charlemagne that his body was resting in a tomb in the furthest reaches of western Europe, <em>finis terrae</em>, or "the ends of the earth." However, the path to his resting place was blocked by the "infidels," i.e., the Moors that had conquered most of the Iberian Peninsula. Charlemagne was to follow the path of the stars, the Milky Way, through Spain, liberating this holy ground from Islamic influence. So recounts Book IV of the Codex Calixtinus. The book continues on to describe the various battles of Charlemagne and other men in the reconquista of Spain. Throughout these "crusades" the name of St. James was invoked as a rallying point and became central to uniting all Christendom against the Moors.<br />The enormous influence of the figure of St. James contributed to a phenomenon known as the "cult of St. James." Legends of miraculous healings and blessings attributed to the power of St. James began to spread. The faithful Christians of Europe, seeking to magnify their piety and devotion, began making pilgrimages to the site which had been designated as his final burial place, a small town in northwestern Spain called Santiago de Compostela. </div><br /><strong><span style="color:#cc0000;">Santiago de Compostela</span></strong><br /><div align="justify">According to legend, after the martyrdom of James in Jerusalem at the hands of Herod, his body was carried in a boat to Galicia by some of his disciples. (Galicia is the name of the northwestern region of Spain.) Although the various stories differ significantly, the actual tomb was purported to have been discovered by one of two people in the 9th century: Pelayo, a local hermit, or Theodomir, a local bishop in Galicia. Nearly all the legends describe how the discovery of the tomb was accompanied by bright lights or stars above the wooded area where the tomb rested, and angels who proclaimed the divinity of the location. A small church was constructed on the spot, which would later be replaced by the stately cathedral now present. The place was called <strong><em>Campus Stellae</em></strong>, or "Field of the Stars," later shortened to Compostela. (Edwin Mullins, in his book The Pilgrimage to Santiago, points out that the true derivation of Compostela is the Latin Compositium or Compostum, meaning "burial ground.") The popularity of the pilgrimages to Santiago de Compostela was surpassed only by Jerusalem and Rome. There are a couple of reasons for such popularity. First was the idea of "divine grace," or the intercession of saints either to provide a miracle (such as a healing) or pardon from sins. Traveling long distances to pay homage to a saint was considered a worthy price to pay to merit forgiveness. The other motivation for pilgrims was the medieval fascination with relics. Oftentimes, these relics were believed to be endowed with healing or restorative powers. Less significant relics located in other places, such as slivers of wood from the Cross, or individual bones of some saint, attracted fewer people. The entire body of St. James was considered to be one of the more significant relics of the Middle Ages. </div><br /><br /><div align="justify"></div><img id="BLOGGER_PHOTO_ID_5234204178953684770" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://4.bp.blogspot.com/_EmTuk18jQP8/SKOg-ABmRyI/AAAAAAAABWI/ueQ_OXJX0_Y/s320/cathedral+st+jacques+compos.jpg" border="0" /><br /><div align="justify"><strong><span style="color:#cc0000;">The Codex Calixtinus</span></strong> </div><div align="justify">The Codex Calixtinus, housed at the cathedral in Santiago, is a manuscript of the book entitled <em>Liber Sancti Jacobi</em> written between 1130 and 1140. It is considered by many to be the first tourist promotional book in history. Its several books describe the history of St. James and his importance in liberating Spain from the Moors, the miracles of St. James on behalf of pilgrims and others, and information about the principal route leading to Santiago de Compostela (popularly called the "Camino de Santiago" or more specifically, the camino francés). It wasn't actually written in Spain; evidence suggests that monks in southern France may have authored parts of it. Scholars believe that it was carried to Spain in the early 12th century by a man named Aymery Picaud, who also happens to be the editor of the Liber Sancti Jacobi, and perhaps the author of Book V, which is the pilgrims' guide. Aymery Picaud was the chancellor of Pope Calixtus II, and in order to give the book more authority and authenticity, he inserted into the text forged letters from the pope and from other important historical figures. </div><br /><img id="BLOGGER_PHOTO_ID_5234204849729043266" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://3.bp.blogspot.com/_EmTuk18jQP8/SKOhlC25-0I/AAAAAAAABWQ/87mUDDtpiNw/s320/codex.gif" border="0" /><br /><div align="justify">It is not known exactly why those of southern France would be so interested in promoting the pilgrimage to Santiago. One reason may be that people of Europe first had to pass through southwestern France on their way to Spain. Fernando López Alsina, in his article, "La Formación del Camino de Santiago," attributes a more religious significance to the area of Galicia: ". . . The location of the tomb of the apostle James certified the sure fulfillment of the Master's charge to carry the good word to the ends of the earth." (Translation by the author.) The books of the Codex Calixtinus are as follows: </div><br /><div align="justify"><strong><em><span style="color:#00cccc;">Book I</span></em></strong> Book I contains sermons and other liturgical material, much of which is set to plainchant. Although much of the material is attributed to important historical figures, scholars doubt their authenticity. Since the codex is written in honor of St. James, it is fitting that the liturgy provided revolves around two occasions: July 25th, the Feast of the Passion of St. James; and December 30, the Feast of the Translation and Election of St. James. A collection of poetry and pilgrims' hymns is also included. </div><br /><div align="justify"><strong><em><span style="color:#00cccc;">Book II</span></em></strong> This book contains 22 chapters which describe various miracles that were performed through the power of St. James. Many of them occurred in cities along the Camino de Santiago, and the recipients of such miracles were often pilgrims. </div><br /><div align="justify"><strong><em><span style="color:#00cccc;">Book III</span></em></strong> The story of how James ended up in Spain is told in Book III. It is the shortest of the books of the Codex Calixtinus. </div><br /><div align="justify"><strong><em><span style="color:#00cccc;">Book IV</span></em></strong> After Charlemagne's vision of St. James, he began a series of campaigns against the Moors. The battles are described in this book. It was supposedly written by Turpin, an archbishop who accompanied Charlemagne in these military expeditions. Nevertheless, Book IV is often called the pseudo-Turpin because it is doubtful that Turpin had anything at all to do with the book or with the expeditions. </div><br /><div align="justify"><strong><em><span style="color:#00cccc;">Book V</span></em></strong> Book V is often labeled as Book IV because of King Philip, who ordered that Book IV be removed from the Codex. Later, of course, it was restored, but the numbering is often based on the unrestored version. </div><div align="justify">Book V is the pilgrims' guide, probably written by Aymery Picaud. It describes conditions along the camino for the traveler. Obviously, the travelers couldn't carry copies of the manuscript with them, but the information was available in copied manuscripts, especially in France. </div><div align="justify">Of interest musically is a supplementary section of polyphonic settings which augment the music available in Book I. There are a total of twenty pieces, each set for two voices with the exception of one which is probably a three-voice texture. It seems that, when performing this music (usually the polyphony was reserved for the masses, not the offices) the choirmasters were at liberty to substitute any particular section of the mass from Book I with a polyphonic equivalent from Book V. The most common substitutions seem to be tropes of the Kyrie and the Benedicamus Domino.</div><br /><div align="justify"><strong><span style="color:#cc0000;">12th Century Polyphony</span></strong> </div><div align="justify">Polyphonic pieces of music are often interspersed throughout the more standard, monophonic plainchant that makes up the liturgical service (whether it be an office or a mass). In the 12th century, as in the previous centuries, polyphony is limited to those sections of the music in which the soloist sings. Choir parts are still sung in plainchant. However, with the increasing usage of additions to the liturgy, such as sequences, tropes, and versus, more opportunities are provided for the use of polyphony.<br />The 12th century marks the beginning of the style called Aquitanian organum, or "florid" organum. In contrast to the note-against-note style of the 11th century, the organal voice is allowed to sing up to five or six notes to one note in the chant melody. Cadences are still found at perfect consonances, such as unisons, octaves, fifths, and sometimes fourths. </div><br /><div align="justify"></div><br /><div align="justify"><strong><span style="color:#cc0000;">The Polyphony of the Codex Calixtinus</span></strong> </div><div align="justify">What makes the Codex Calixtinus so important in assessing 12th century polyphony is its readability. Along with three other manuscripts originating from St. Martial in France, it is the best source of information for musicologists tracking the development of polyphony up to the Notre Dame school. These four manuscripts are in very good condition and the notation is clear and generally unambiguous. The Codex Calixtinus doesn't use "square-note" notation; the neumes are a modified variety of Aquitanian neumes which Paul Helmer (in The Mass of St. James, pg. 44) calls "Galician neumes." The polyphonic sections often distinguish between the two (or three) voices by writing one in red ink. </div><br /><div align="justify">There are, however, several difficulties in interpreting the musical texts. One such difficulty is the alignment between the voices. In the note-against-note style, it was fairly clear which notes went together, since they paired off nicely with few exceptions. On the other hand, when the upper voice is allowed to have more than one note for every note in the lower voice, one must determine on which notes the two voices coincide. A good indication is given by the theory of consonances, but there are many combinations possible which all align on proper intervals. Even this method fails to some degree: Theodore Karp indicates in The Polyphony of St. Martial and Santiago de Compostela (pg. 183) that certain intervalic dissonances, especially in some note-against-note portions, "have no strict counterparts in later practice." Helmer also notes, "Our polyphonic repertoire shows a decided penchant for dissonances which resolve to consonances. It is hard to believe that the chant singer surreptitiously waited for a suitable consonance before he leaped to that note; the organum here seems to embrace even dissonances of seconds and sevenths on occasion provided that they moved to a fourth, fifth, unison, or octave soon after." (The Mass of St. James, pg. 43) </div><br /><div align="justify">Another difficult and rather controversial question has been the issue of rhythm. Normally one associates the idea of metrical music with the rhythmic modes, codified in the 13th century. It is clear that if the rhythmic modes were written down in the 13th century, then there must have been at least some metrical music in the 12th century. The question that has not yet been fully answered is which music has measured rhythm and which has free rhythm. Under such circumstances, Helmer, in his transcription of the Mass of St. James, notes that there must be some music which has a metrical interpretation, but notates nearly all the music in uniformly spaced round note heads (lozenge notation). The only unequivocally metrical sections, in his opinion, are the Gloria trope and portions of the Epistle (pg. 43). These are, consequently, the only pieces which he notates in grouped, rhythmic notation. In contrast to this viewpoint, Karp meticulously outlines a system of rhythmic interpretation in which every bit of the polyphony in the Codex Calixtinus is metrical. His modern transcriptions of the polyphony are all written in grouped notation. </div><br /><div align="justify">Even after the question of rhythm has been decided, one still must decide whether the rhythm is duple or triple. Traditionally, much of the polyphony of the Codex Calixtinus has been transcribed as triple meter. Helmer states the opinion of most scholars that the editions prepared by Peter Wagner in 1931 and Dom Prado in 1944, which have functioned for many years as the "standard" transcriptions, are incomplete or misrepresentative (pg. 7). Helmer concludes that the few pieces that are metrical suggest more of a duple meter. Karp, when assuming that everything is metrical, uses the standard triple meter in nearly everything</div><br /><div align="justify"><strong><span style="color:#cc0000;">Congaudeant Catholici</span></strong> </div><br /><div align="justify">An illustrative example of the variations in transcription caused by such differences of opinion is the Benedicamus trope, Congaudeant Catholici. It is probably the most famous polyphonic piece of music from the Codex Calixtinus. It is the only piece that is scored for three voices, and it is the earliest known example of a three-voice texture. In the past, some scholars, including Peter Wagner, had argued that it wasn't really a three-voice texture, but was a two-voice texture with an optional tenor part. Their justification for this opinion was that one lower voice is written in black ink, the other in red ink. Helmer points out that the different colored inks did nothing more than distinguish between the two parts; since the two lines cross one another, it would be a necessary feature in the notation (pg. 80). The primary difference in the Karp transcription (Vol. 2, pg. 206) and the Helmer transcription (pg. 243) is that the former is in triple meter and the latter, duple. (Actually, the Helmer score is notated in free rhythm, but a duple meter is suggested. A grouped notation of the Helmer version can be found in the Norton Anthology of Western Music, Vol. 1, pg. 51.) Naturally, this affects the other important element of polyphony, the alignment of the notes. The only places on which the two versions agree on the alignment are the cadences because their placement is governed by rules which are more consistent and better understood. </div><br /><div align="justify"><strong><span style="color:#cc0000;">Conclusion </span></strong></div><div align="justify">The fact that there are so many differences in interpretation leads to two conclusions. One is that there is a lot of work yet to be done to standardize performance practices of 12th century organum. Because this type of polyphony is a major transition between two well-developed styles, the notation had not yet evolved to the point at which the modern performer can precisely interpret the composers' intent. The second conclusion is that the Codex Calixtinus (along with the St. Martial manuscripts) is a rare possession and a marvelous insight into the evolutionary process of early polyphony. </div>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com4tag:blogger.com,1999:blog-5480732515178110098.post-33306757612698583602008-05-28T20:31:00.000-07:002008-05-29T08:04:14.632-07:00Bagadou of Brittany<div align="justify"><span style="color:#000099;"><span style="color:#000000;">A bagad is a Breton band, composed of bagpipes bombardes and percussion. The pipe band tradition in Brittany was inspired by the Scottish example and has developed since the mid-20th century. A bagad plays mainly Breton music. The plural for bagad is unusual in that many are referred to as bagadoù but for two, three or any other specified number they are simply referred to as bagad (following the rules of Breton grammar).<br />Every major town and city in Brittany has at least one bagad and there are over 80 in total.<br />For competition purposes the bagadoù are ranked into five categories. Major competitions take place annually in Brest and in Lorient, where the National Championship takes place during the InterCeltic Festival in August.</span></span></div><div align="justify"></div><div align="justify"></div><div align="justify"></div><div align="justify"></div><div align="center"><span style="color:#000099;"></span></div><div align="center"><span style="color:#000099;"><strong>Bagad and Cercle Kevrenn Alre of Auray</strong></span></div><div align="center"><strong><span style="color:#000099;"></span></strong></div><div align="center"></div><div align="center"><a href="http://www.blogger.com/%3Cdiv"><object height="258" width="420"><param name="movie" value="http://www.dailymotion.com/swf/x2pc4v&related=1"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.dailymotion.com/swf/x2pc4v&related=1" type="application/x-shockwave-flash" width="420" height="258" allowfullscreen="true" allowscriptaccess="always"></embed></object><br /></div><p><b></a></b></p><p align="center"><strong><span style="color:#000099;"></span></strong></p><p align="center"><strong><span style="color:#000099;"></span></strong></p><p align="justify"><span style="color:#666600;"><strong><span style="color:#990000;">Interceltic Festival of Lorient</span></strong> - Each year over 650,000 visitors attend this lively festival that celebrates Celtic creative arts. During the 10-day event, over 4,500 artists travel to Lorient from all over the world to perform music, theatre and dance for the amassed crowds. Established in 1971, Celtic men and women continue to flock to the Breton harbour town of Lorient to express and celebrate their heritage. A real treat for anyone interested in Celtic culture, visitors can experience fiddle music, bagpipe lessons, Gaelic workshops and ceilidhs. There are also plenty of opportunities to sample traditional Celtic food and drink </span></p><p align="center"><strong><span style="color:#000099;"></span></strong> </p><p align="center"> </p><p align="center"><strong><span style="color:#000099;">Bagad de Lann Bihoue</span></strong></p><p align="center"><span style="color:#000099;"><em>The Bagad of the Navy</em></span></p><p align="center"><br /><a href="http://www.blogger.com/%3Cdiv"><object height="365" width="420"><param name="movie" value="http://www.dailymotion.com/swf/x2b147&related=1"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.dailymotion.com/swf/x2b147&related=1" type="application/x-shockwave-flash" width="420" height="365" allowfullscreen="true" allowscriptaccess="always"></embed></object></a></p><p align="center"></p><p align="center"><strong><span style="color:#000099;"></span></strong></p><p align="center"><strong><span style="color:#000099;"></span></strong></p><p align="center"><strong><span style="color:#000099;">Special bonus : When the Bretons invade the Capital!</span></strong></p><p align="center"><br /></p><b></b><p align="center"><br /><object height="357" width="420"><param name="movie" value="http://www.dailymotion.com/swf/x3lpra&related=0"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.dailymotion.com/swf/x3lpra&related=0" type="application/x-shockwave-flash" width="420" height="357" allowfullscreen="true" allowscriptaccess="always"></embed></object><br /></p>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-34433000090171248792008-03-22T08:48:00.000-07:002008-03-22T09:14:52.631-07:00Art et liturgie<div align="left">par Jean-Marc Warszawski : <a href="http://www.musicologie.org/">http://www.musicologie.org/</a></div><div align="left"></div><div align="center"></div><div align="left"></div><div align="center"></div><div align="center"><span style="font-size:130%;color:#009900;"><strong>L'Office des Ténèbres</strong></span></div><br /><br /><br /><div align="justify">Les solennités de Pâques sont un des moments essentiels de la liturgie catholique. Elles commémorent la mort du Christ, sa mise au tombeau, sa descente en Enfer et sa résurrection. Jusqu'au IVe siècle, Pâques rythme l'année liturgique avant d'être remplacé par Noël, la naissance du Christ, plus en phase avec les logiques humaines.<br />Les offices des ténèbres font partie des offices de lecture, les heures canoniales qui, sur fond de tradition hébraïque, permettent de lire ou cantiller les 150 psaumes et cantiques des Testaments dans la semaine. Ce sont des offices sans sacrements.<br />Fixés au VIIIe siècle, les offices des ténèbres prennent place à l'apogée des célébrations de Pâques, c'est à dire aux trois derniers jours de la Semaine sainte, le Triduum Sacrum, en réunissant les Matines (la fin de la nuit) et les Laudes (le début du jour), d'où le nom d'Office des ténèbres.<br />A l'origine, selon une organisation, en trois nocturnes de chacune trois leçons, c'est à dire en trois parties comprenant chacune trois lectures, on y lisait chaque jour en première partie les lamentations de Jérémie, en seconde, saint Augustin et en troisième saint Paul. Mais ce sont surtout les dramatiques Lamentations de Jérémie (Ancien Testament), écrites peu après la destruction de Jérusalem vers 587 qui ont marqué cet office. Les Ténèbres ont jouit d'une grande popularité et perdurent dans certaines églises orientales, luthériennes ou anglicanes.<br />Au centre de la dramaturgie est un chandelier triangulaire à quinze bougies qu'on éteint progressivement après chacun des psaumes. Les cierges représentent les onze apôtres fidèles, les trois Marie et le Christ. Le dernier cierge au sommet du chandelier symbolise le Christ. Après le 14e psaume, on le cache derrière l'autel ou dans une lanterne fermée pour évoquer les ténèbres de la crucifiction. On chante le Misere, et le public fait du vacarme (en frappant le sol avec les missels par exemple, ou des bâtons) pour simuler le tremblement de terre évoqué dans le Testament, mais aussi pour chasser les démons, selon les rites. On ramène le cierge caché, symbolisant ainsi la résurrection.<br />A partir de la renaissance, les Offices des ténèbres deviennent des spectacles prisés, pour lesquels les compositeurs produisent des oeuvres dramatiques avec les Leçons des ténèbres mais encore Les lamentations de Jémémie. En France, l'apogée se situe sous l'ancien Régime. Les Offices des Ténèbres sont alors un spectacle prisé.<br /><br /></div><div align="justify"><strong><span style="color:#993399;">Discographie</span></strong></div><div align="justify"><br /><br /></div><div align="center"><a href="http://bp3.blogger.com/_EmTuk18jQP8/R-UqyJzMGyI/AAAAAAAAA_k/UZLHkLyRZC8/s1600-h/white_cd01.jpg"><span style="color:#003333;"><img id="BLOGGER_PHOTO_ID_5180593987472071458" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 173px; CURSOR: hand; HEIGHT: 172px" height="190" alt="" src="http://bp3.blogger.com/_EmTuk18jQP8/R-UqyJzMGyI/AAAAAAAAA_k/UZLHkLyRZC8/s200/white_cd01.jpg" width="189" border="0" /></span></a><span style="color:#336666;"><strong>Robert White</strong> (1535-1574)</span></div><div align="center"><span style="color:#336666;"></span><br /></div><div align="center"><span style="color:#336666;">Le jeu de Daniel</span></div><div align="center"><span style="color:#336666;">Lamentations de Jérémie </span></div><div align="center"><br /><span style="color:#336666;"><em>The Clerkes of Oxford - David Wulstan, dir</em></span></div><br /><br /><br /><br /><br /><br /><br /><br /><div align="center"><a href="http://bp0.blogger.com/_EmTuk18jQP8/R-UrqZzMG0I/AAAAAAAAA_0/bWhc-c74m6c/s1600-h/gesualdo_cd01.jpg"><img id="BLOGGER_PHOTO_ID_5180594953839713090" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; WIDTH: 202px; CURSOR: hand; HEIGHT: 173px" height="165" alt="" src="http://bp0.blogger.com/_EmTuk18jQP8/R-UrqZzMG0I/AAAAAAAAA_0/bWhc-c74m6c/s200/gesualdo_cd01.jpg" width="140" border="0" /></a></div><br /><br /><br /><div align="center"><span style="color:#336666;"><strong>Gesualdo</strong> (1561-1613)</span><br /></div><span style="color:#336666;"></span><br /><div align="center"><span style="color:#336666;">Repons de la Semaine sainte</span></div><div align="center"><span style="color:#336666;">Benedictus - Miserere</span> </div><div align="center"><br /><em><span style="color:#336666;">A Sei Voce</span></em><br /><br /></div><br /><br /><br /><br /><br /><a href="http://bp3.blogger.com/_EmTuk18jQP8/R-Us-JzMG2I/AAAAAAAABAE/unIAuFsjT98/s1600-h/gesualdo_cd02.jpg"><img id="BLOGGER_PHOTO_ID_5180596392653757282" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp3.blogger.com/_EmTuk18jQP8/R-Us-JzMG2I/AAAAAAAABAE/unIAuFsjT98/s200/gesualdo_cd02.jpg" border="0" /></a><br /><br /><br /><div align="center"><br /><span style="color:#336666;"><strong>Gesualdo</strong> (1561-1613)</span></div><div align="center"><br /><span style="color:#336666;">Tenebrae</span></div><div align="center"><span style="color:#336666;"></span></div><div align="center"><span style="color:#336666;"><em>The Hilliard Ensemble</em></span><br /><br /></div><br /><br /><br /><br /><br /><div align="center"><span style="color:#336666;"></span></div><br /><br /><a href="http://bp3.blogger.com/_EmTuk18jQP8/R-UtZJzMG3I/AAAAAAAABAM/8Uyf8eetMwM/s1600-h/gesualdo_cd03.jpg"><img id="BLOGGER_PHOTO_ID_5180596856510225266" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp3.blogger.com/_EmTuk18jQP8/R-UtZJzMG3I/AAAAAAAABAM/8Uyf8eetMwM/s200/gesualdo_cd03.jpg" border="0" /></a><br /><br /><div align="center"><span style="color:#336666;"><strong>Gesualdo</strong> </span></div><div align="center"><span style="color:#336666;"><br /></div></span><div align="center"><span style="color:#336666;">Repons du Vendredi Saint</span></div><div align="center"> </div><div align="center"><span style="color:#336666;"></span></div><div align="center"><em><span style="color:#336666;"></span></em></div><div align="center"><em><span style="color:#336666;">A Sei Voci<br /></div></span></em><div align="center"></div><br /><br /><br /><div align="center"></div><p><br /><br /> </p><p><br /> </p><div align="center"></div><br /><a href="http://bp1.blogger.com/_EmTuk18jQP8/R-UuKpzMG5I/AAAAAAAABAc/7XEgB3Gw6MQ/s1600-h/Couperin_f_d01.jpg"><img id="BLOGGER_PHOTO_ID_5180597706913749906" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" height="180" alt="" src="http://bp1.blogger.com/_EmTuk18jQP8/R-UuKpzMG5I/AAAAAAAABAc/7XEgB3Gw6MQ/s200/Couperin_f_d01.jpg" width="181" border="0" /></a><br /><div align="center"></div><div align="center"></div><div align="center"><span style="color:#336666;"><strong></strong></span></div><div align="center"><span style="color:#336666;"><strong>François Couperin </strong>(1668 - 1733)</span></div><div align="center"><span style="color:#336666;"></span> </div><div align="center"></div><div align="center"></div><div align="center"><span style="color:#336666;"></span></div><div align="center"><span style="color:#336666;"></span></div><div align="center"><span style="color:#336666;">Leçons de ténèbres</span></div><div align="center"><br /><em><span style="color:#336666;">Les Arts Florissants</span></em></div>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com1tag:blogger.com,1999:blog-5480732515178110098.post-70118670798184086022008-01-05T13:54:00.000-08:002008-01-05T15:14:56.129-08:00Poésies en honneur à Marie<div align="center"><span style="font-size:130%;color:#3333ff;"><strong>Jean Bertaut</strong></span><br /><span style="color:#3333ff;"><em>(1552-1611)</em></span></div><br /><br /><div align="center"><em><span style="color:#3333ff;"></span></em></div><img id="BLOGGER_PHOTO_ID_5152116891127018818" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp2.blogger.com/_EmTuk18jQP8/R3__A_DqdUI/AAAAAAAAA4w/ED37_USP-2Q/s320/marie.jpg" border="0" /><br /><div align="center"><em><span style="color:#3333ff;"></span></em></div><br /><div align="justify"><span style="color:#333333;">Jean Bertaut était un homme d'Eglise,aumonier de Marie de Medicis, abbé d'Auney puis évêque de Sées. Ses oeuvres poétiques, parmi lesquelles on compte quelques cantiques nous ont été conservées.</span></div><br /><div align="justify"></div><br /><div align="center"><span style="color:#339999;"><strong>Cantique à la Vierge Marie</strong></span></div><br /><div align="center"><strong><span style="color:#339999;"></span></strong></div><p align="center"><a href="http://father.demets.googlepages.com/cantiquealaViergeMarie.mp3">http://father.demets.googlepages.com/cantiquealaViergeMarie.mp3</a> </p><div align="center"><span style="font-size:130%;color:#000000;">______________</span></div><div align="center"><span style="font-size:130%;color:#3333ff;"><strong></strong></span> </div><div align="center"><span style="font-size:130%;color:#3333ff;"><strong>Pierre Corneille</strong></span></div><div align="center"><span style="font-size:130%;color:#3333ff;"><em>(1606-1684)</em></span></div><div align="center"><em><span style="font-size:130%;color:#3333ff;"></span></em> </div><div align="justify"> "Corneille dans ses tragédies ne tente nullement d’écrire des pages d’épopée : il s’attache, en respectant en général la vérité historique, à mettre en évidence les grandes lois de la politique : il dialogue avec Plutarque, avec saint Thomas, avec Machiavel, peut-être avec Hobbes, et il recommande une soumission proprement chrétienne à l’ordre du monde, que la Providence a voulu. C’est le choix des Horaces, c’est finalement celui de Nicomède, c’est celui de Grimoald, celui d’Agésilas, et Suréna, quoi qu’en dise une critique, qu’on peut considérer comme romantique, s’égare en refusant par amour d’obéir à l’ordre de son roi. Le grand prince, le héros, n’est pas celui qui croit bousculer le réel, c’est celui qui l’accepte, quelque pénible que ce soit. Il en est au fond de même dans les comédies héroïques (où Tite, Bérénice et Pulchérie s’inclinent devant l’ordre politique) et dans les comédies parisiennes, où la rieuse Phylis, docile aux volontés des parents, est bien plus sage qu’Alidor et qu’Angélique.</div><div align="justify">Cette morale assez austère est celle que Corneille répète d’un bout à l’autre de sa carrière. Mais cette sagesse d’officier du roi passe à travers des prismes qui la colorent et la recomposent. Le bureaucrate dévot et timide ne cesse de renouveler son art, tentant toutes les voies, inventant de nouvelles formes de théâtre. En somme, la hardiesse, parfois la témérité, du poète équilibrent la rude sagesse de l’homme, et c’est cela la vraie leçon de Corneille : un art de persuader d’une infinie variété pour ramener à quelques vérités simples qui s’imposent aussi bien dans les palais de Byzance que dans les hôtels du Marais. Une prédication, pourrions-nous dire, presque élémentaire dans le fond et d’une extraordinaire diversité dans la méthode et l’élocution." <em>( Alain Niderst, présentation des Oeuvres Complètes de Corneille)</em> </div><div align="justify"> </div><div align="justify"> </div><div align="center"><span style="font-size:130%;color:#339999;"><strong>Regina Coeli</strong></span></div><div align="center"><strong><span style="font-size:130%;color:#339999;"></span></strong> </div><div align="center"><a href="http://father.demets.googlepages.com/Reginacoeli.mp3">http://father.demets.googlepages.com/Reginacoeli.mp3</a></div><p align="center"><br /></p><div align="center"><a href="http://father.demets.googlepages.com/cantiquealaViergeMarie.mp3"></a></div>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-26421888627767199542008-01-04T18:53:00.000-08:002008-01-04T19:14:37.436-08:00La Marche des Rois<div align="justify"><span style="color:#cc0000;">This a French traditional carol for Epiphany, originally from Provence in the XIII century. You will recognize the music, that is more recent. It is from "<em>L'Arlésienne</em>" of Georges Bizet.</span></div><div align="center"><strong><span style="color:#336666;"></span></strong></div><div align="center"></div><div align="center"><br /><br /><param value="http://www.youtube.com/v/1nbmn2drWbA&rel=1" name="movie"></param><param value="transparent" name="wmode"></param><embed src="http://www.youtube.com/v/1nbmn2drWbA&rel=" width="425" height="355" type="application/x-shockwave-flash" wmode="transparent"></embed></div><div align="center"></div><div align="center"><em>Interpreted by José Van Dam</em></div><div align="center"><em>Christmas Concert in Ostend, Belgium</em></div><p align="center"><strong><span style="color:#336666;">De bon matin,<br />J'ai rencontré le train<br />De trois grands Rois qui allaient en voyage,<br />De bon matin,<br />J'ai rencontré le train<br />De trois grands Rois dessus le grand chemin.<br /><br />Venaient d'abord les gardes du corps,<br />Des gens armés avec trente petits pages,<br />Venaient d'abord les gardes du corps<br />Des gens armés dessus leurs just'au corps.<br /><br />Puis sur un char,<br />Doré de toute part,<br />On voit trois rois modestes comme d'anges<br />Puis sur un char,<br />Doré de toute part<br />Trois rois debouts parmi les étendards.<br /><br />L'étoile luit<br />Et les Rois conduit,<br />Par longs chemins,<br />Devant une pauvre étable,<br />L'étoile luit<br />Et les Rois conduit,<br />Par longs chemins devant l'humble réduit.<br /><br />Au fils de Dieu<br />Qui naquit en ce lieu<br />Ils viennent tous présenter leurs hommages,<br />Au fils de Dieu<br />Qui naquit en ce lieu<br />Ils viennent tous présenter leurs doux vœux.<br /><br />De beaux présent,<br />Or, myrrhe et encens<br />Ils vont offrir au Maître tant admirable<br />De beaux présent,<br />Or, myrrhe et encens<br />Ils vont offrir au bienheureux enfant. </span></strong><br /></p></object>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-61451561658624655932007-12-27T10:20:00.000-08:002007-12-27T10:24:42.302-08:00Christmas piece<div align="center"><span style="font-size:130%;color:#3333ff;"><strong>Kyrie of the Mass of Midnight </strong></span></div><div align="center"><span style="font-size:130%;color:#3333ff;"><strong>by</strong></span></div><div align="center"><span style="font-size:130%;color:#3333ff;"><strong>Marc-Antoine Charpentier</strong></span></div><div align="center"> </div><div align="center"><em><span style="color:#ff0000;">conductor: Yen-hsiang Nieh</span></em></div><div align="center"><span style="color:#ff0000;">annual concert at Taipei Zhongshan Hall</span> </div><div align="center"> </div><div align="center"><embed src="http://www.youtube.com/v/w7W24-SR_oE&rel=" width="425" height="355" type="application/x-shockwave-flash" wmode="transparent"></embed></div></object>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-78945685756255457792007-11-17T20:02:00.000-08:002007-11-19T09:55:29.110-08:00Edinburgh Military Tattoo<div align="justify"><span style="color:#990000;">The Edinburgh Military Tattoo is a great international gathering. Every year, more than 100 million people around the world watch the Tattoo on TV … more than 11 million people from over 100 countries have experienced the Tattoo live at Edinburgh Castle … and more than 40,000 performers from over 40 countries have taken part.<br />The Tattoo, timeless but ever changing, is one of the great entertainments on the world stage today.<br />Now, located in the shadow of Edinburgh Castle, at the top of the Royal Mile in a 150-year old Victorian Reservoir, is the Scottish Capital’s latest free to access visitor attraction – Spirit of the Tattoo – the story of this enduring entertainment experience.</span></div><div align="justify"></div><div align="justify"><em>website:</em> <a href="http://www.edinburgh-tattoo.co.uk/">http://www.edinburgh-tattoo.co.uk/</a></div><div align="justify"></div><div align="center"></div><div align="center"></div><div align="center"><strong><span style="color:#333399;">Opening of the 1998 Military Tattoo</span></strong></div><div align="center"><strong><span style="color:#333399;"></span></strong></div><div align="center"></div><div align="center"></div><div align="center"><embed src="http://www.youtube.com/v/2xgwRitTgU4&rel=" width="425" height="355" type="application/x-shockwave-flash" wmode="transparent"></embed></div><div align="center"></div><div align="center"><strong><span style="color:#006600;">A great show by the New Zealand military Band ( 2006 Tattoo )</span></strong></div><div align="center"><strong><span style="color:#006600;"><span style="font-size:85%;"><em>With a great sense of humour.. and the famous Haka !</em></span></span></strong></div><p></object><br /><param name="movie" value="http://www.youtube.com/v/GRTaDX2fOqc&rel=1"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/GRTaDX2fOqc&rel=" width="425" height="355" type="application/x-shockwave-flash" wmode="transparent"></embed></object> </p><p></p><p></p><p align="center"><span style="color:#ff0000;"><strong>The Top Secret Drum Corp of Switzerland ( 2006 Tattoo)</strong></span></p><p align="center"></p><p align="center"></p><param name="movie" value="http://www.youtube.com/v/o7k6VYGtm8g&rel=1"></param><param name="wmode" value="transparent"></param><p align="center"><embed src="http://www.youtube.com/v/o7k6VYGtm8g&rel=" width="425" height="355" type="application/x-shockwave-flash" wmode="transparent"></embed></p></object><p align="center"><strong>The US "Old Guard"<br /></strong><param name="movie" value="http://www.youtube.com/v/1dxTBK7jI1s&rel=1"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/1dxTBK7jI1s&rel=" width="425" height="355" type="application/x-shockwave-flash" wmode="transparent"></embed></p></object>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com3tag:blogger.com,1999:blog-5480732515178110098.post-85728210192693709632007-11-03T12:38:00.000-07:002007-11-03T12:51:51.505-07:00Letter'a Mamma<div align="center"><strong><span style="color:#000066;">Des chanteurs corses en visite au Dôme des Invalides ( rendaient-ils visite à l'Empereur ? ) exécutent un paghjella</span></strong></div><div align="center"><strong><span style="color:#000066;"></span></strong></div><div align="center"><strong><span style="color:#000066;"></span></strong></div><div align="center"><a href="http://www.blogger.com/%3Cdiv"><object height="335" width="425"><param name="movie" value="http://www.dailymotion.com/swf/4LK1l0n1AcSRSnpRE"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.dailymotion.com/swf/4LK1l0n1AcSRSnpRE" type="application/x-shockwave-flash" width="425" height="335" allowfullscreen="true" allowscriptaccess="always"></embed></object><br /></div><p><b></a></b></p><p align="center"><strong>Mamma risponde n'un possu a le vostre dulente chjame</strong></p><p align="center"><strong>Troppu miserie aghju adossu e mi si rode la fame</strong></p><p align="center"><strong>So prigiuneru languente in l'aria prussia a punente</strong></p><p align="center"><strong>Venisse una rundinella ch'eo la mandi messagera</strong></p><p align="center"><strong>O venga puru una stella a purta la mio preghera</strong></p><p align="center"><strong>Le mio pene e lu mi amore versu voi mamma d'amore</strong></p><p align="center"><strong>V'abracciu per lu penseru vi mandu sti versi soli</strong></p><p align="center"><strong>Dicendu so prigiuneru chi tuttu que vi cunsoli</strong></p><p align="center"><strong>Mamma la vostra tristezza a me da tant'amarezza</strong></p><p align="center"><em><span style="color:#993399;"><a href="http://www.chanteurscorses.com/">www.chanteurscorses.com</a></span></em></p>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-37873242559090757492007-11-03T11:47:00.000-07:002007-11-03T12:06:48.832-07:00Pieta by Bellini<div align="justify"> <strong><span style="color:#333399;">Giovanni Bellini</span></strong> (1426-1516) was a painter from Venice and can be considered as the founder of the Venetian school of painting. Under his influence Venice became a center of Renaissance art that rivaled Florence and Rome. He brought to painting a new degree of realism, a new wealth of subject-matter, and a new sensuousness in form and color. This made him become one of the early masters in the techniques of oil painting. Albrecht Durer himself recognized that "<em>he is the best painter of them all</em>."</div><div align="justify"><br /><br /></div><div align="justify">His pictures combine a severe and rigid style with a depth of religious feeling and gentle humanity, as the following pictures show. It is a pieta painted in 1460</div><div align="justify"> </div><div align="justify"><img id="BLOGGER_PHOTO_ID_5128690931112075106" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp3.blogger.com/_EmTuk18jQP8/RyzFOpez32I/AAAAAAAAAyY/y8wApub_Gtc/s320/027pieta.jpg" border="0" /></div><p><img id="BLOGGER_PHOTO_ID_5128691081435930482" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp2.blogger.com/_EmTuk18jQP8/RyzFXZez33I/AAAAAAAAAyg/8Jj7ICH0RjA/s320/027pietc.jpg" border="0" /></p><p align="justify"><span style="color:#666600;">One of the artist's most complete and programmatical figurative works. On the parapet on which Christ is held by the Madonna and St. John is the inscription:</span></p><p align="justify"><span style="color:#666600;">HAEC FERE QUUM GEMITUS TURGENTIA LUMINA PROMANT: BELLINI POTERAT FLERE IOANNIS OPUS (When these swelling eyes evoke groans, this work of Giovanni Bellini could shed tears). </span></p><p align="justify"><span style="color:#666600;">This is a fragment of a hymn from the first book of Propertius's "Elegies", whose presence at the base of the painting affirms the artist's religious education.<br />The Pietà is rightly considered one of the most moving paintings in the history of art. Deep feeling is expressed throughout, from the landscape that recalls Flemish antecedents to the lucid architectonic composition of the group and the abstract geometry of their movements, deriving from Piero della Francesca. A passionate feeling that is not so much religious as human and psychological pervades the actors in the drama. The rendering of grief has here its most universal expression and, at the same time, its most private and conscious dimension. The mother's pathetic gesture is reflected in St John's turning away. The construction of the work shows careful thought. The figures, borrowed from popular imagery, are grouped in the foreground against an infinite horizon. The pentagonal arm of Christ ending in a closed fist is that of a fallen but un vanquished athlete. The barely glimpsed landscape, with its road wandering up a height and its torrent coursing below, pulsates with earthly life.<br />The figures stand out against a leaden dreamlike sky. The painting retains a strong Paduan element that is evident in the contours, adjusting gestures and figures to the strong expressive requirements of the drama. The silent exchange of emotions in the faces is reflected in the masterly play of the hands. The landscape behind them, empty and metallic in the cold, shining greys of the painful dawn of rebirth, accentuates the sense of the scene's anguish. Both the Donatello of the altar of St Anthony of Padua and, once again, Mantegna and the Flemish masters are the influences which spurred Bellini along the path of a sad and bitter pathos. </span></p><p align="justify"><em><span style="color:#339999;">(From Web gallery of art)</span></em></p>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-63694626243985195942007-09-01T12:41:00.000-07:002007-09-01T13:03:48.423-07:00Versailles<div align="justify">Back in 1623, Louis XIII - father of Louis XIV - built a 'hunting lodge, a little gentleman's chateau' of brick, stone, and slate at Versailles. The king liked it so much that he soon had it enlarged by his 'royal engineer and architect', Philibert Le Roy (this early chateau survives in the buildings that flank the Marble Courtyard). Then from 1661 to 1668 the young Louis XIV, known as the Roi-Soleil (Sun-King), had his own architect, Louis Le Vau, embellish the residence. Yet this little house of cards', as the memorialist Duc de Saint-Simon called it, remained too small. Extensions were deemed necessary.<br /><a href="javascript:getPage("></a><br />Le Vau was once again charged with carrying out the work. From 1668 to 1670 he built the 'envelope', which Saint-Simon severely criticized for contrasting with the old chateau: 'the beautiful and the ugly, the vast and the restricted, were stitched together'. Indeed, Le Vau's 'envelope' entailed wrapping the old chateau in a second building whose uniformly white stone facades served as a fine garden setting. Work on this building, whose central terrace was inspired by Italian baroque villas, was taken up by François d'Orbay on Le Vau's death in 1670. It houses the State Apartments.<br /><a href="javascript:getPage("></a><br />In May 6, 1682, Versailles became the official residence of the Court of France, supplanting the palaces at the Louvre and Saint-Germain-en-Laye. From 1678 to 1684, meanwhile, the terrace of the new chateau was transformed into the Hall of Mirrors, symbolizing the power of the absolute monarch. Feverish building activity then gave birth to the North and South Wings, the Orangery, Stables, and Grand Lodgings; the vast construction site was headed by royal architect Jules Hardouin-Mansart. The last major feature built during the reign of Louis XIV, the Chapel Royal, was completed in 1710 by Robert de Cotte.<br /><a href="javascript:getPage("></a><br />Toward the end of the reign of Louis XV, around 1770, Jacques-Ange Gabriel built the Opera and began reworking all the facades on the chateau's town side. Only the right wing, which threatened to crumble, was executed. It strictly obeyed the rules of French classical architecture, as seen in its colonnaded pavilion. Inside, the grand staircase known as Grand Degré was begun in 1772, but only recently completed in 1985. A symmetrical pavilion on the other side of the courtyard, planned by Napoleon Ier, was finally erected in 1820.</div><div align="justify"> </div><div align="justify"> </div><div align="justify"><span style="color:#993399;"><em>The following video shows some views of the Chateau. The music is from Jean-Baptiste Lully (1632-1687):</em> <strong>Idylle sur la paix</strong><em>.</em></span></div><div align="justify"> </div><div align="center"><embed src="http://www.youtube.com/v/IF9BO1FiyiY" width="425" height="350" type="application/x-shockwave-flash" wmode="transparent"></embed></div><div align="center"><span style="font-size:78%;"><em>Video by marcusrozenperk on Youtube.com</em></span></div></object>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-77522663638565809962007-08-25T12:07:00.000-07:002007-08-25T12:34:27.927-07:00Cluny et les chapiteaux des tonsLes chapiteaux du chœur de l'abbatiale de Cluny III ont sans doute été sculptés au début des années 1090. Deux de ces chapiteaux représentent les huit modes musicaux grégoriens et portent sur chacune de leur face une figure sculptée et une inscription.<br /><br /><div align="justify"><span style="color:#3333ff;">The story of music at Cluny was told visually with compelling beauty in two sculptured capitals that survive from the apse of Hugh's great church. In the sanctuary, the architectural climax of the whole edifice, was a series of columns grouped in a semicircle around the high altar, and the capitals of these pillars constituted the apogee of late 11th-century sculptural skill. Here, capital by capital, were to be seen symbolic expressions of the highest ideals of the monk's life. One capital, for example, presented on its four faces the theological virtues; another, the cardinal virtues. On a third were pictured the cycles and labors of the monk's year in terms of the four seasons; and his hopes for the hereafter were portrayed by the four rivers and trees of Paradise. Finally, his praise for the Creator was expressed in a double quaternity with figures to symbolize the eight tones of sacred psalmody. This inclusion of music in the sacred precinct, next to the symbols of the highest human virtues and heavenly beauties, was further evidence of the high esteem in which the tonal art was held by the monks of Cluny.</span></div><br /><div align="center"><strong><span style="color:#cc6600;">Les 4 premiers tons</span></strong></div><strong><span style="color:#cc6600;"></span><div align="justify"><br /></strong></div><br /><div align="justify"><a href="http://bp1.blogger.com/_EmTuk18jQP8/RtCAXOWjAzI/AAAAAAAAAmw/yc6PNsL-_gU/s1600-h/cluny17x.jpg"><img id="BLOGGER_PHOTO_ID_5102719514288784178" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_EmTuk18jQP8/RtCAXOWjAzI/AAAAAAAAAmw/yc6PNsL-_gU/s200/cluny17x.jpg" border="0" /></a>Le premier ton est représenté par un jeune homme jouant du luth. Son personnage, comme tous ceux du septième chapiteau, sont entourés d'une mandorle, le long de laquelle court un texte, en latin le "titulus".<br />Ici , le texte dit : "<em>Hic tonus orditur modulamina musica primus</em> - <em>Ce premier ton ordonne les harmonies musicales.</em>"</div><div align="justify"><br /></div><div align="justify"><span style="color:#3333ff;">On the first of the eight faces of these twin capitals is inscribed: "This tone is the first in the order of musical intonations," and the figure is that of a solemn-faced youth playing on a lute. Here the symbolism of the stringed instrument stems from the belief in the power of music to banish evil, as David had cast out Saul's evil spirit when he played to him. </span></div><div align="justify"><br /></div><div align="justify"><br /></div><div align="justify"><a href="http://bp3.blogger.com/_EmTuk18jQP8/RtCA-uWjA0I/AAAAAAAAAm4/Iwrdy59RwlA/s1600-h/ton2.jpg"><img id="BLOGGER_PHOTO_ID_5102720192893616962" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp3.blogger.com/_EmTuk18jQP8/RtCA-uWjA0I/AAAAAAAAAm4/Iwrdy59RwlA/s200/ton2.jpg" border="0" /></a>Le deuxième ton est illustré par une femme qui danse, rythmant la musique à l'aide de petites cymbales, attachées ensemble par un cordon. Le texte dit : "<em>Subsequor ptongus numero vel lege secundus - ensuite vient un son qui est le second en nombre ou selon la loi.</em>" </div><div align="justify"><br /><br /></div><div align="justify"><span style="color:#3333ff;">The second tone is represented by the figure of a young woman dancing and beating a small drum, the inscription reading, "<em>There follows the tone which by number and law is second.</em>" Such percussion instruments are known to have been used to accompany medieval processions on joyful feast days in the manner described in the 68th Psalm: "<em>The singers went before, the players on instruments followed after; among them were damsels playing with timbrels.</em>"<br /></div></span><div align="justify"><br /><a href="http://bp3.blogger.com/_EmTuk18jQP8/RtCB2uWjA1I/AAAAAAAAAnA/iLY4LcP-W4k/s1600-h/ton3.jpg"><img id="BLOGGER_PHOTO_ID_5102721154966291282" style="FLOAT: left; MARGIN: 0px 10px 10px 0px; CURSOR: hand" alt="" src="http://bp3.blogger.com/_EmTuk18jQP8/RtCB2uWjA1I/AAAAAAAAAnA/iLY4LcP-W4k/s200/ton3.jpg" border="0" /></a>Le troisième ton est figuré par un homme jouant du psaltérion ou de la cithare. On peut lire, sur le pourtour de la mandorle : "<em>Tertius impigit Christumque resurgerre pingit - le troisième met en avant et peint la résurrection du Christ</em>" Le troisième ton rappelle donc, le troisième jour après la crucifixion, le jour de la Résurrection.</div><div align="justify"><br /><span style="color:#3333ff;">The next inscription says: "<em>The third strikes, and represents the resurrection of Christ</em>." The instrument here is of the lyre type with a sounding board added, which is one of the 11th- century forms of the psaltery, the legendary instrument with which David accompanied himself as he sang the psalms. This instrument with its gut strings stretched over the wooden frame roughly resembles a cross and was used as a symbolic reference to Christ stretched on the Cross for the redemption of the world. </span></div><div align="justify"><br /></div><div align="justify"><br /><a href="http://bp1.blogger.com/_EmTuk18jQP8/RtCCCOWjA2I/AAAAAAAAAnI/nEJFSA6zf2s/s1600-h/ton4.jpg"><img id="BLOGGER_PHOTO_ID_5102721352534786914" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; CURSOR: hand" alt="" src="http://bp1.blogger.com/_EmTuk18jQP8/RtCCCOWjA2I/AAAAAAAAAnI/nEJFSA6zf2s/s200/ton4.jpg" border="0" /></a>Le quatrième ton est représenté par un jeune homme portant un tintinnabulum particulier, puisque sonnant le glas funéraire. Le texte dit : "<em>Succedit quartus simulans in carmine planctus" - Vient ensuite le quatrième, qui par ses chants, imite les lamentation</em>s". Evocation probable de l'histoire de Lazare, qui ressuscite le quatrième jour, après de nombreuses lamentations de ses amis et de sa famille (Jean 11 : 1- 26 et 12 : 1-11). </div><div align="justify"><br /><span style="color:#3333ff;">The fourth figure is that of a young man playing a set of chime bells, and the accompanying inscription reads: "<em>The fourth follows representing a lament in song</em>." The Latin word planctus denotes a funeral dirge, and the practice of ringing bells at burials is pictured in the contemporary representation of the burial procession of Edward the Confessor from the Bayeux Tapestry where the figures accompanying the bier have small bells in their hands</span></div>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com1tag:blogger.com,1999:blog-5480732515178110098.post-47921469799566873212007-08-14T14:32:00.000-07:002007-08-14T14:51:33.497-07:00Pathétique by L.v. Beethoven<div align="justify"><strong>This is the third movement of the Pathétique by Ludwig van Beethoven interpreted by Peter Carter, one of my young parishioners. Peter is 13 years old. He started to practice the piano at the age of 7. This performance was a recital played at Southern Keyboards in Atlanta, Georgia.</strong></div><div align="center"><strong></strong> </div><div align="center"><strong></strong> </div><div align="center"><embed src="http://www.youtube.com/v/tfUkOnjuV8s" width="425" height="350" type="application/x-shockwave-flash" wmode="transparent"></embed></div></object>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-81974469888134007712007-08-14T04:30:00.000-07:002007-08-14T15:04:44.325-07:00Magnificat for three voices<div align="center"><strong><span style="font-size:130%;color:#993399;">Marc-Antoine Charpentier</span></strong></div><div align="center"><span style="font-size:130%;color:#993399;"><em>( 1643 -1704 )</em></span></div><div align="center"><strong><span style="font-size:130%;color:#993399;"></span></strong></div><div align="justify"><span style="color:#003333;">« <em>Je suis celui, qui né naguère, fut connu dans le siècle ; me voici, mort, nu et nul au sépulcre, poussière, cendres et nourriture pour les vers. J’ai assez vécu mais trop peu en regard de l’éternité [...]. J’étais musicien, considéré comme bon parmi les bons et ignare parmi les ignares. Et comme le nombre de ceux qui me méprisaient était beaucoup plus grand que le nombre de ceux qui me louaient, la musique me fut de peu d’honneur mais de grande charge ; et, de même qu’en naissant, je n’ai rien apporté en ce monde, en mourant, je n’ai rien emporté...</em> ». </span></div><div align="justify"><span style="color:#003333;"><br />Ainsi se présentait Charpentier dans son étonnante pièce en latin intitulée Epitaphium Carpentarii dans laquelle il se met lui-même en scène : il imagine qu’il revient sur terre après sa mort, sous l’aspect d’une ombre, et se penche sur sa vie avec un curieux mélange d’humilité et d’amertume.<br />On peut dire que trois siècles plus tard, Charpentier a pris une sorte de revanche. Ainsi, aujourd’hui, il est le compositeur français de l’époque baroque le plus présent au disque. Depuis les années 1950, son œuvre monumentale qui compte plus de 550 numéros a été enregistrée pour plus de la moitié. Cette diffusion, tout à fait exceptionnelle, a permis de reconsidérer la place de Charpentier dans le paysage musical occidental. Pourtant, l’homme garde toujours son mystère et, malgré d’importantes études (notamment celles de Patricia M. Ranum), il est difficile de savoir exactement qui il était, comment il a vécu, quelle était la nature de ses relations avec ses contemporains, les musiciens et les autres. Seule, son épitaphe laisse percevoir les sentiments qui pouvaient être les siens à un moment de sa vie, probablement peu de temps avant son arrivée à la Sainte-Chapelle en 1698, c’est-à-dire après avoir réalisé l’essentiel de sa carrière et supporté maints tourments.</span></div><div align="center"></div><div align="center"><span style="color:#666600;"></span></div><div align="left"><span style="color:#666600;">D'après Goldberg Magazine</span></div><div align="left"><span style="color:#666600;"></span> </div><div align="left"><span style="color:#666600;"></span> </div><div align="left"><span style="color:#666600;"></span></div><div align="left"><span style="color:#666600;"></span></div><div align="left"></div><div align="left"><span style="color:#666600;"></span></div><div align="justify">“<em>I am he who, born in another time, was known during the century; here I am, dead, naked and nobody, in the tomb, dust, cinders and food for the worms. I lived enough but too little in relation to eternity [...]. I was a musician, considered good among the good and ignorant among the ignorant. And as the number of those who despised me was much larger than the number of those who praised me, music was of little honour to me but a great burden; and, as when I was born, I brought nothing into this world, in dying, I took nothing with me...</em>”<br />Thus does Charpentier introduce himself in his astonishing piece in Latin entitled Epitaphium Carpentarii, in which he himself appears on the stage: he imagines that he returns to earth after his death, in the guise of a shade, and looks over his life with a curious mixture of humility and bitterness.<br />One might say that three centuries later, Charpentier has taken a kind of revenge. Today, he is the most recorded French composer of the baroque period on disc. Since the 1950s, of his monumental output, which includes more than 550 works, more than half has been recorded. This circulation, quite exceptional, has allowed a reconsideration of Charpentier’s place within the western musical landscape. However, the man still retains his mystery and, in spite of some important studies (notably those by Patricia M. Ranum), it is difficult to know exactly who he was, how he lived, what was the nature of his relationships with his contemporaries, musicians and others. Only his epitaph allows one to perceive the feelings which could have been his at a particular time of his life, probably shortly after his arrival at the Sainte-Chapelle in 1698, that is, after having completed the greater part of his career and suffered many torments.</div><div align="center"></div><div align="left"><span style="color:#666600;">From the Goldberg Magazine</span></div><div align="center"></div><div align="center"><embed src="http://www.youtube.com/v/AC8zNWfPoT8" width="425" height="350" type="application/x-shockwave-flash" wmode="transparent"></embed></div><div align="center"></div><div align="center">Live Recording of Marc-Antoine Charpentier's Magnificat for 3 voices.</div><div align="center">Jay Carter, countertenor</div><div align="center">Daniel Mutlu, tenor</div><div align="center">Wesley Chinn, Bass</div></object>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com2tag:blogger.com,1999:blog-5480732515178110098.post-71870622074743356122007-06-07T08:09:00.000-07:002007-06-07T08:20:50.412-07:00Missa Pange Lingua de Josquin Deprez<div align="justify"><strong><span style="color:#000099;">« Missa est cantus magnus cui verba Kyrie, et in terra, Patrem, Sanctus et Agnus, et interdum caeteae partes a pluribus canendae supponuntur, quae ab aliis officium dicitur.”</span> </strong><em><span style="color:#000099;">( Johannes Tinctoris, in Terminorum Musicae Diffinitorum ; 1475 )<br /><br /></span></em><strong>"La Messe est un grand chant où l’on chante à plusieurs voix les textes Kyrie, et in terra, Patrem, Sanctus et Agnus, et parfois d’autres parties que certains nomment Office."<br /><br />"The Mass is a great chant in which the words of the Kyrie, et in terra, Patrem, Sanctus and Agnus, and sometimes other parts are sung in several voices. Some call it the Office."</strong><br /><br /></div><div align="center"><strong><img id="BLOGGER_PHOTO_ID_5073341722271639474" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp3.blogger.com/_EmTuk18jQP8/RmghaqwrZ7I/AAAAAAAAAdc/gwCmJf4w1uE/s320/HMC901239.jpg" border="0" /><span style="color:#006600;">Josquin Desprez ( 1440-1521 )<br /></span></strong></div><div align="justify"><br />En un siècle, la messe polyphonique est devenue le genre musical majeur, imposé à la suite de Machaut par plusieurs à la suite de Machaut par plusieurs générations de grands polyphonistes – Dufay, Ockeghem, Obrecht, Busnois, Josquin Desprez. Le Cantus Magnus rest avant tout une musique liturgique, destinée à la célébration du rite majeure qu’est la messe.<br />La Missa Pange Lingua de Josquin Desprez est construite sur l’hymne Pange Lingua ( 3e ton ) de la Fête du Corpus Christi et est manifestement destinée à la messe de la Fête-Dieu. La mélodie de cette hymne sert de matériau – ou de ‘sujet’ – à la tonalité de l’ordinaire.<br /><br />In a single century the polyphonic Mass had become the major musical form, imposed, after Machaut, by several generations of great polyphonists – Dufay, Ockeghem, Obrecht, Busnois, Josquin Desprez… We should not forget that the Cantus Magnus is above all, a liturgical music destined for the celebration of the major ritual of the Mass.<br />The Mass Pange Lingua of Josquin Desprez is built on the hymn Pange Lingua ( 3rd tone ) for the feast of Corpus Christi. The tune of this hymn serves as the material, or ‘subject’, throughout the ordinary. </div><div align="justify"><br /></div><div align="justify"></div><div align="justify"><br /></div><div align="justify"><strong>D'après Jean-Pierre Ouvrard</strong></div><br /><div align="center"><span style="color:#cc0000;"><strong>Ecouter le Kyrie de cette messe</strong></span><br /></div><div align="center"><span style="color:#cc0000;"><strong>Listen to the Kyrie of this Mass</strong></span><br /><br /></div><div align="center"><a href="http://father.demets.googlepages.com/02_Kyriepangelingua.mp3">http://father.demets.googlepages.com/02_Kyriepangelingua.mp3</a></div><div align="center"> </div><div align="center"></div><div align="center"><em>Interprété par l'Ensemble Clément Janequin</em></div><div align="center"><em></em></div>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com1tag:blogger.com,1999:blog-5480732515178110098.post-51402892409182951082007-06-06T09:24:00.000-07:002007-06-07T07:44:40.112-07:00Patrimoine et mémoire : la musique militaireArticle publié sur le site " Chemins de mémoire"<br /><br /><br /><div align="justify"><strong>De tout temps, les forces armées ont utilisé la musique comme expression vivante répondant à un besoin précis, qu'il soit d'utilité ou d'agrément. Trait d'union dans les relations avec la nation, l'art musical militaire reste l'un des témoins de la culture et du patrimoine militaire, avec le chant ou les orchestres. Cette rétrospective explique son rôle et sa raison d'être.</strong></div><p align="justify"><strong></strong></p><p align="justify"><strong></p></strong><img id="BLOGGER_PHOTO_ID_5072989517773498226" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp1.blogger.com/_EmTuk18jQP8/RmbhFqwrZ3I/AAAAAAAAAc8/aENu0mpdCuo/s320/InfanterieMarineXL.jpg" border="0" /> <p align="justify"><strong><br /></strong>En 1848, Georges Kastner, auteur d'un Manuel général de musique militaire à l'usage des armées françaises, écrit : «La musique est le plus ancien, le plus universel de tous les arts». Elle occupe une place privilégiée dans l'histoire des peuples. Éveillant en l'homme d'agréables sensations, elle a aussi le pouvoir de développer en lui les affections les plus pures, les plus durables, les plus nobles et parfois les plus sublimes.Dans les armées, cet art a également pour mission d'inciter le soldat à la bravoure, d'inspirer l'enthousiasme en substituant chez le combattant l'exaltation et l'intrépidité à la crainte du péril de la mort. Mais la musique n'a pas pour unique dessein d'enflammer l'ardeur des soldats et de les aider à vaincre : dans la manoeuvre et l'exercice, au quartier, c'est elle qui réglait le pas, déterminait les évolutions, les actions, transmettait les ordres et harmonisait la vie quotidienne. Dans la marche, elle soutenait le soldat, soulageait ses labeurs et le reposait de ses fatigues. Loin du champ de bataille ou du quartier, elle a été et demeure un lien entre les communautés civiles et militaires, une vitrine des forces armées, et, bien sûr, une source de divertissement.</p><p align="center"><img id="BLOGGER_PHOTO_ID_5072989882845718434" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp2.blogger.com/_EmTuk18jQP8/Rmbha6wrZ6I/AAAAAAAAAdU/hDCW1DTkF9U/s320/Nouba1RTM.jpg" border="0" /><em><span style="color:#336666;"><span style="font-size:85%;">La nouba du 1er RTM lors du défilé de la Victoire en 1945, Paris. Source : 1er R.T</span>.</span></em></p><p align="justify"><br />A quelque époque et dans quelque contrée que ce soit, la musique est présente au sein des armées, s'exprimant par des cris, des mélopées, bruits, instruments discordants dans certaines civilisations ; dans d'autres, devenant réglée, pleine d'harmonie, de charme ou de solennité, et avec les rythmes adaptés. Dans le domaine militaire, l'antiquité et le début de l'ère chrétienne ont utilisé la musique unique ment au combat ou comme moyen de transmission. Les instruments appartenaient alors essentiellement à trois familles: les flûtes qui étaient aussi syrinx ou flûte de pan ; les lyres ou cithares, chélys et phorminx ; les trompettes, instruments imparfaits et difficiles à jouer. À ces trois familles venaient s'adjoindre les instruments employés pour le rythme ou pour faire du bruit.Progressivement, au sein du royaume de France, au Moyen Âge et surtout à l'époque de la Renaissance, la trompette devient l'instrument militaire privilégié et le tambour s'impose dans l'ensemble des troupes d'infanterie alors que les timbales restent l'apanage de la cavalerie.Les vaisseaux du royaume embarquent des musiciens; ils permettent au commandant d'affirmer son prestige. Les tambours, les trompettes puis les fifres sont les instruments par excellence utilisés sur les vaisseaux du royaume.</p><p align="center"><img id="BLOGGER_PHOTO_ID_5072989625147680642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp2.blogger.com/_EmTuk18jQP8/RmbhL6wrZ4I/AAAAAAAAAdE/r1QOpzOQ_1w/s320/Nouba4RegTirailleursXM.jpg" border="0" /><em><span style="font-size:85%;color:#336666;">Nouba du 4e régiment de Tirailleurs tunisiens, aquarelle de A. Brenet. Source : 1er R.T.</span></em></p><p align="justify"><br />On doit à Philidor l'Aîné, musicien de la cour, le soin d'avoir, en 1705, réalisé un recueil, certainement le premier du genre, regroupant les marches et batteries de tambours, les airs de fifres et de hautbois, les sonneries de trompettes et les marches pour trompettes et timbales, les appels et fanfares de trompes... De même s'instaure la tradition d'écrire des airs adaptés aux circonstances, aux faits marquants de la vie militaire. De ce mouvement datent certaines marches célèbres comme La marche de Turenne, Auprès de ma blonde, Malbrough s'en va t-en guerre. Au fil des siècles, vont se succéder de multiples textes destinés à fixer les effectifs de musiciens, leurs tenues et équipements et la nomenclature instrumentale des formations musicales au sein des armées. L'orchestre militaire se constitue alors et se différencie, peu à peu, du groupe des instruments utilisés pour les signaux.La Marine, pour permettre aux marins de se divertir et pour garantir son prestige, fait appel à des instruments d'agrément comme les clarinettes, bassons, hautbois, cors, etc.. et utilise également la ressource des musiciens régionaux tels les joueurs de biniou sur les navires armés en Bretagne ou de flûte et tambourin sur les navires armés sur les côtes de Provence. Cet emploi de régionaux se perpétue encore de nos jours avec l'emploi de « bagads » et de «tambourinaires».Les airs de musique militaire, les instruments et leur emploi sont en constante évolution. Ainsi va naître le Pas redoublé. La construction du Pas redoublé prend modèle sur celle du menuet, danse française à l'honneur aux XVIIe et XVIIIe siècles. Il comprend schématiquement deux pièces distinctes qui s'enchaînent sans interruption et dont la première est reprise intégralement à la fin de la seconde appelée trio.Le répertoire des batteries et des sonneries de l'infanterie et de la cavalerie sera renouvelé et codifié à plusieurs reprises. David Buhl, trompette de la Garde consulaire, compose en 1806 de nouvelles sonneries ; il les révise en 1825 et son travail est encore en partie utilisé de nos jours. Les instruments dits tactiques ou d'ordonnance -tambours, trompettes, fifres- sont associés aux instruments de l'orchestre militaire d'harmonie et progressivement la structure des musiques militaires actuelles se met en place.À partir de 1822, les régiments sont dotés d'un nouvel instrument destiné à transmettre les signaux: le clairon, qui remplace alors le cornet et le fifre ; en 1831, sa place devient prépondérante. Une circulaire de 1827 autorise la création de deux musiques de la Marine, l'une à Brest, l'autre à Toulon. Les grands rassemblements de musiques militaires, déjà à l'honneur au début du XIXe siècle, sont à nouveau à l'ordre du jour après la Révolution de Juillet.</p><p align="center"><img id="BLOGGER_PHOTO_ID_5072989758291666834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp1.blogger.com/_EmTuk18jQP8/RmbhTqwrZ5I/AAAAAAAAAdM/VBLzC0MxLlA/s320/BatterieFanfareGRep.jpg" border="0" /><span style="font-size:85%;color:#336666;"><em>Batterie fanfare de la Garde républicaine. Source : SGA/DMPA - JP le Padellec</em></span></p><p align="justify"><br /><strong><span style="color:#000099;">De l'armée professionnelle à l'armée de conscription</span></strong></p><p align="justify">En 1840, un rassemblement de musiciens est mis à la disposition d'un compositeur de génie pour la création d'une oeuvre colossale destinée à célébrer le dixième anniversaire de la Révolution de 1830. Ce compositeur, Hector Berlioz, écrit à cette intention la Symphonie funèbre et triomphale. Elle est exécutée par plusieurs musiques militaires et orchestres symphoniques, des choeurs et une centaine de tambours.La loi du 27 juillet 1872 provoque un bouleversement en substituant au principe d'une armée professionnelle celui d'une armée de conscription avec le service militaire obligatoire et personnel. Les musiques et fanfares sont reconstituées. À la population qui tournait le regard vers la «ligne bleue des Vosges», les musiciens en uniforme jouaient Vous n'aurez pas l'Alsace et la Lorraine, Paris Strasbourg, La marche lorraine, Sambre et Meuse...La mobilisation, décrétée le 1er août 1914, rappelle musiciens, tambours et clairons de la réserve ou de la territoriale. Les directives prévoient, d'une part, pour les musiciens une double mission d'exaltation du moral des combattants et d'aide au service de santé comme brancardier, secouriste ou ambulancier ; d'autre part, pour les tambours et clairons une mission de transmission sonore des ordres.</p><p align="justify"><br /><strong><span style="color:#000099;">La musique militaire contribue au patriotisme populaire</span></strong></p><strong><span style="color:#000099;"></span></strong><p align="justify"><br />Après l'armistice, les formations musicales retrouvent l'audience qu'elles avaient en 1872. Prises d'armes, cérémonies patriotiques, concerts, défilés, retraites aux flambeaux, rassemblements de musiques militaires, tournées en France et à l'étranger... vont témoigner du crédit et de la confiance accordés aux musiques militaires durant tout le XXe siècle.La période de l'entre-deux guerres est ponctuée de nombreuses modifications au sein des armées. Les régiments de chars sont créés et pourvus d'une fanfare. Les régiments de transmissions se voient dotés d'une musique, les fanfares du génie et de l'artillerie sont supprimées puis rétablies.</p><p align="justify"><img id="BLOGGER_PHOTO_ID_5072989251485525858" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp3.blogger.com/_EmTuk18jQP8/Rmbg2KwrZ2I/AAAAAAAAAc0/LcPXUUfaymg/s200/InstrumentAventCor.jpg" border="0" /><br />Une école de formation des sous-chefs de musique voit le jour en 1930 à Courbevoie ; la musique de l'air est créée à Paris en 1936. Les fanfares de zouaves et de tirailleurs nord-africains, défilant en tenue orientale, se multiplient avec leur nouba et se dotent d'un animal mascotte : le bélier ou le mouton. En dépit de la progression de l'antimilitarisme, du pacifisme, du développement de la musique enregistrée et de la radio, la place des musiques militaires reste inscrite dans l'expression du patriotisme populaire.De 1946 aux années 1950, l'audience des formations militaires va diminuant auprès de la population meurtrie, qui assimile leur musique au militarisme dur et au bellicisme. Les nombreuses modifications concernant les armées, après les conflits d'Indochine et d'Algérie, conduisent à reconsidérer leur rôle. Les unités militaires sortent des casernes et avec leurs musiques ou fanfares se rapprochent de la population : les cérémonies, les présentations des jeunes recrues aux emblèmes des unités, les concerts et aubades se multiplient dans le milieu civil. Cette action est toujours menée aujourd'hui.</p><p align="justify"><em><span style="color:#009900;">Pour tout renseignementContacter le conservatoire militaire de musique militaire de l'armée de terre (CMMAT) et son responsable patrimoine au 01 39 67 20 62.<br />Source : François-Xavier Bailleul, Chef de musique des armées, Directeur du conservatoire militaire de musique de l'armée de terre. Revue "Les Chemins de la Mémoire n° 163" - Juillet-Août 2006 pour MINDEF/SGA/DMPA<br /></span></em></p><p align="justify"><em><span style="color:#009900;"></p></span></em><div align="center"><object height="335" width="425"><param name="movie" value="<a href="><object height="335" width="425"><param name="movie" value="http://www.dailymotion.com/swf/3stHDUiE81sddftT0"><param name="allowfullscreen" value="true"><embed src="http://www.dailymotion.com/swf/3stHDUiE81sddftT0" type="application/x-shockwave-flash" width="425" height="335" allowfullscreen="true"></embed></object><br /><b><a href="http://www.dailymotion.com/video/x2732m_musique-legion">Musique Principale Légion Etrangère</a></b>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-71909417750995427982007-05-31T08:21:00.000-07:002007-06-01T13:14:34.418-07:00江南春色<p align="center"><object height="350" width="425"><param name="movie" value="<a href="><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/WPwWsR03OkM" width="425" height="350" type="application/x-shockwave-flash" wmode="transparent"></embed></object></param><param name="movie" value="http://www.youtube.com/v/WPwWsR03OkM"></param><param name="wmode" value="transparent"></param></object></object><br /></p><p align="center">Nous partons cette fois-ci vers la Chine. L'erhu ( 二胡 )est un instrument chinois ancien. Le morceau joué est <strong><span style="color:#000099;"><em>scène de printemps de Jiang-nan</em></span></strong>!</p><p align="center"></p><p align="center">Ce morceau est aussi admirable, mais je n'ai pas reussi a en traduire le titre !<br /></p><p align="center"><object height="350" width="425"><param name="movie" value="<a href="><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/Fj13KU3SAvE" width="425" height="350" type="application/x-shockwave-flash" wmode="transparent"></embed></object></param><param name="movie" value="http://www.youtube.com/v/Fj13KU3SAvE"></param><param name="wmode"></p>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-83345305246694707772007-05-17T04:42:00.000-07:002007-05-17T05:02:40.572-07:00Ascension<div align="center"><strong><span style="font-size:130%;color:#3333ff;">Ascensione di Cristo</span></strong></div><br /><br /><a href="http://bp0.blogger.com/_EmTuk18jQP8/Rkw_1aWBbeI/AAAAAAAAAYA/zgMInyFLnHo/s1600-h/dellarobia.jpg"><img id="BLOGGER_PHOTO_ID_5065493867722272226" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 389px; CURSOR: hand; HEIGHT: 467px; TEXT-ALIGN: center" height="428" alt="" src="http://bp0.blogger.com/_EmTuk18jQP8/Rkw_1aWBbeI/AAAAAAAAAYA/zgMInyFLnHo/s400/dellarobia.jpg" width="349" border="0" /></a><br /><div align="justify">Il s’agit d’une scultpure réalisée probablement en 1510 par <strong><span style="color:#339999;">Andrea della Robbia (1435 -1525)</span></strong>. Andrea, est le neveu de Luca della Robbia, dont il a hérité du style et de la technique. L’œuvre est visible au Musée National du Bargello à Florence.<br /><br />Notons que le Musée du Louvre possède un autre retable en terre cuite émaillée de l’Ascension réalisé par Andrea et Giovanni della Robbia. Ce retable est en attende d’une restauration.</div>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-6663190212089805622007-04-28T17:26:00.000-07:002007-04-28T17:29:55.672-07:00A beautiful piece of Art !<div align="center"><span style="font-size:130%;color:#000099;"><strong>When God Himself is the Artist....</strong></span></div><div align="center"><strong><span style="font-size:130%;color:#000099;"></span></strong></div><div align="center"><strong><span style="font-size:130%;color:#000099;"></span></strong></div><br /><br /><div align="center"><object height="335" width="425"><param name="movie" value="http://www.dailymotion.com/swf/2r2AaPyxUPqZecYWm"><param name="allowfullscreen" value="true"><embed src="http://www.dailymotion.com/swf/2r2AaPyxUPqZecYWm" type="application/x-shockwave-flash" width="425" height="335" allowfullscreen="true"></embed></object><br /></div>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com1tag:blogger.com,1999:blog-5480732515178110098.post-88042564204950719682007-04-12T16:46:00.000-07:002007-04-12T17:10:30.213-07:00Idoménée de Campra<div align="justify"><span style="color:#006600;">André Campra, born in 1660 in Aix-en-Provence, was an organist and a composer. He was ordained a priest in 1678 and was appointed "Maitre de chapelle" in Toulon, in Arles, Toulouse and finally at Notre-Dame de Paris. </span></div><div align="justify"><span style="color:#006600;">Antonia Banducci says that " <em>many of his works include such italianate elements as the ariette, a da capo air characterized by elaborate vocal display, and the composer himself indicated that he sought to mix French 'délicatesse' and Italian 'vivacité'. Nevertheless, Campra's style was repeatedly praised by his contemporaries for its true and natural expression of a text or situation, an assessment that was the hallmark of 'le bon goût' in eighteen-century France</em>."</span></div><div align="justify"><span style="color:#006600;"></span></div><div align="justify"><span style="color:#006600;">The premiere of Idoménée - the fifth of Campra's eight tragédies lyriques - took place at the Opera of Paris in 1712. It depicts the tragedy of Idoménée, King of Crete, fated to sacrifice his son to fulfil a vow made to Neptune.</span></div><div align="justify"><span style="color:#006600;">The opera is divided into a Prologue and five Acts. Here is the Scene III of the First Act.</span></div><div align="justify"></div><div align="justify"></div><br /><br /><div align="center"><object height="335" width="425"><param name="movie" value="http://www.dailymotion.com/swf/6MSWYSg50KvA7bYXK"><param name="allowfullscreen" value="true"><embed src="http://www.dailymotion.com/swf/6MSWYSg50KvA7bYXK" type="application/x-shockwave-flash" width="425" height="335" allowfullscreen="true"></embed></object><br /></div><div align="center"><em><u><span style="color:#0000ff;"></span></u></em></div><div align="center"><em><u><span style="color:#0000ff;"></span></u></em></div>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com5tag:blogger.com,1999:blog-5480732515178110098.post-64153481062241215302007-04-04T17:32:00.000-07:002007-04-04T17:35:11.447-07:00Tous en choeur !<p align="center"><strong>Un petit hommage a notre choeur polyphonique qui a du pain sur la planche pendant la Semaine Sainte. Je me suis permis une petite visite...sans trop les gener dans leur travail !</strong></p><p align="center"> </p><p align="center"><strong><span style="color:#000099;">Thank you very much for the great job you are doing for the Glory of God!</span></strong></p><p align="center"> </p><p align="center"><object height="335" width="425"><param name="movie" value="http://www.dailymotion.com/swf/6VJFHImx0SoHqbuHT"><param name="allowfullscreen" value="true"><embed src="http://www.dailymotion.com/swf/6VJFHImx0SoHqbuHT" type="application/x-shockwave-flash" width="425" height="335" allowfullscreen="true"></embed></object><br /></p>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com2tag:blogger.com,1999:blog-5480732515178110098.post-18444709034293536742007-04-01T15:45:00.000-07:002007-04-01T16:46:40.643-07:00Entrée du Christ à Jérusalem<div align="center"><strong><span style="font-size:130%;color:#cc33cc;">Philippe de Champaigne</span></strong></div><br /><div align="center"><em><span style="color:#cc33cc;">(1602-1674)</span></em></div><br /><div align="center"></div><img id="BLOGGER_PHOTO_ID_5048603880395871714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp0.blogger.com/_EmTuk18jQP8/RhA-ewanleI/AAAAAAAAAPo/RsjxyxTuxbw/s400/champ.jpg" border="0" /><br /><div align="center"><span style="font-size:85%;"><em><span style="color:#006600;">Pueri Hebraeorum portantes ramos olivarum obviaverunt Domino, clamentes et dicentes: Hosanna in excelsis!</span></em> </span></div><br /><br /><br /><div align="justify"><strong>Toile de circonstance en ce dimanche des Rameaux, réalisée entre 1630 et 1635, actuellement dans l'église royale Notre-Dame du Val-de-Grâce.</strong></div><br /><div align="justify"><strong></strong></div><br /><div align="justify"><strong>Philippe de Champaigne est, avec Nicolas Poussin, une figure incontournable de l'art baroque français. Membre fondateur de l'Académie Royale de Peinture et de Sculpure en 1648, il met son talent au service de l'Eglise et de l'Etat, travaillant pour Marie de Médicis, Louis XIII et Richelieu. </strong></div>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0tag:blogger.com,1999:blog-5480732515178110098.post-18636934329377099422007-03-31T17:05:00.000-07:002007-03-31T17:31:18.568-07:00A Filetta<div align="justify"><span style="color:#336666;">En octobre 1978, naissait le groupe A Filetta. A l'époque nous ne savions pas et d'ailleurs, nous ne savons toujours pas, s'il s'agissait du rêve d'une esquisse ou de l'esquisse d'un rêve. L'esquisse d'une demeure à jamais ouverte où pourraient venir trouver refuge, les âmes entremêlées, qui dans leur quête d'éternité, tissent et retissent les fils de ce vieux partage qu'est le chant.<br />Le rêve d'un navire sans pavillon, parti de nulle part sillonner l'ailleurs où des phares immémoriaux pourraient peut-être un jour lui dire : " <em>c'est là, parmi vous, dans l'éphémère partagé que sont les étendues éternellement heureuses.</em> " </span></div><div align="justify"><br /><span style="color:#336666;">Vingt ans aux côtés de tous ceux qui ont la conviction que la vie est de ces batailles à mener dont il ne faille sortir ni vainqueur ni vaincu, mais grandi.<br />Et, s'il fallait, au terme de ces quelques années que subsiste une empreinte et une seule, nous souhaiterions vraiment que ce soit celle de voyageurs dont la seule préoccupation était de ne rien vouloir altérer.<br />Il faut être ce que nous sommes et l'être pleinement et ne pas chercher ni à plaire, ni à complaire; il ne faut pas tricher avec cela. </span></div><br /><div align="justify"><span style="color:#336666;"></span></div><br /><div align="justify"><span style="color:#336666;"><strong>Chanter c'est, aussi et peut-être surtout, dire tendrement des choses puissantes et puissamment des choses tendres.<br /></strong>Notre chant est de pierre et d'eau. Dans ses plis et replis, dans ses arcanes, il épouse les contours de l'âme de ce rocher tumultueux qui nous a engendrés.<br />Notre chant est un chant qui consacre la mémoire, il est aussi un chant qui prône l’ouverture, l’accès à l’autre. Surtout, il traduit le besoin profond de n’être que ce que nous sommes, mais à l’être pleinement, sans complexes, en authenticité et généreusement. Pas en essayant d’en faire un sanctuaire. Le sanctuaire, cela sent déjà la mort. "</span></div><br /><div align="justify"></div><br /><br /><div align="justify">( d'après Jean-Claude Casanova: </div><div align="justify"><a href="http://cguelfucci.free.fr/Html/afiletta.htm">http://cguelfucci.free.fr/Html/afiletta.htm</a> )</div><div align="justify"></div><div align="justify"></div><div align="justify"><br /></div><img id="BLOGGER_PHOTO_ID_5048246775340045746" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp1.blogger.com/_EmTuk18jQP8/Rg75sganlbI/AAAAAAAAAPQ/_RWI5C2whJM/s320/a+filetta.jpg" border="0" /><br /><div align="justify"></div><br /><div align="justify"></div><br /><div align="justify"><span style="color:#3333ff;">Nowadays, Corsican polyphonies are renowned worldwide… This is thanks to pioneers such as A Filetta.Born in Balagne in 1978 out of a passion for singing and folklore, the band is deeply rooted in the land of its origin, like the local fern from which it gets its name. Entirely vocal, their repertory illustrates the artistic journey of the band : sacred and profane hymns inherited from tradition as well as original songs. These are all witnesses to a dynamic culture that refuses to stay crystallised in its past.The band knows how to revive and share this difficult but magnificent art to which they hold the key. Their voices are mystifying and unique. Their gazes reveal a strong bond and a love for their island and for their public.<br />The power of their passion, of their generosity and of their great talent means that you don’t come out of their concerts unchanged.</span></div><div align="justify"><span style="color:#3333ff;"></span></div><div align="justify"><span style="color:#3333ff;"></span></div><p></p><p align="center"><strong><span style="color:#993399;">I Impiccati di u Niolu</span></strong><br /><br /></p><div align="center"><object height="335" width="425"><param name="movie" value="http://www.dailymotion.com/swf/14guB49EqFPNb9DyF"><param name="allowfullscreen" value="true"><embed src="http://www.dailymotion.com/swf/14guB49EqFPNb9DyF" type="application/x-shockwave-flash" width="425" height="335" allowfullscreen="true"></embed></object></div>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com1tag:blogger.com,1999:blog-5480732515178110098.post-8390772717176282272007-03-31T10:12:00.000-07:002007-03-31T10:36:46.129-07:00Rondeau des Indes galantes<div align="center"><strong><span style="font-size:130%;color:#cc0000;">Jean-Philippe RAMEAU</span></strong></div><br /><p align="center"><span style="color:#cc0000;"><em>(1683 - 1764)</em></span><br /></p><p align="center"><em><span style="color:#cc0000;"></span></em></p><br /><p align="center"><em><span style="color:#000099;">"La vraie musique est le langage du coeur. "</span></em></p><img id="BLOGGER_PHOTO_ID_5048139117689804194" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="http://bp3.blogger.com/_EmTuk18jQP8/Rg6XyAanlaI/AAAAAAAAAPI/ne7nTW8k-d8/s320/rameau-aved.jpg" border="0" /><br /><p align="center"></p><br /><p align="center"></p><br /><p align="center"><br /><object height="350" width="425"><param name="movie" value="http://www.youtube.com/v/RKvd4tMkFHc"><param name="wmode" value="transparent"><br /><embed src="http://www.youtube.com/v/RKvd4tMkFHc" type="application/x-shockwave-flash" wmode="transparent" width="425" height="350"></embed></object></p><p align="center"></p><p align="justify"><strong>Les Indes galantes is an opéra-ballet consisting of a prologue and four acts. The première, including only the first three entrés, took place in Paris at the Académie Royale de Musique et Danse on August 23rd 1735.</strong></p><p align="justify"><span style="color:#000099;">Rondeau des Indes Galantes de Rameau interprété par Magali Léger et Laurent Naouri, les Musiciens du Louvres sous la direction de Marc Minkowski en version de concert.</span></p><p align="justify"><strong><span style="color:#993399;">Zima, Adario en duo</span></strong></p><p align="justify">"<em>Forêt paisibles,Jamais un vain désir ne trouble ici nos coeurs.S'ils sont sensibles,Fortune, ce n'est pas au prix de tes faveurs</em>."</p><p align="justify"><span style="color:#993399;"><strong>Choeur des sauvages</strong></span></p><p align="justify">"<em>Forêt paisibles,Jamais un vain désir ne trouble ici nos coeurs.S'ils sont sensibles,Fortune, ce n'est pas au prix de tes faveurs."</em></p><p align="justify"><strong><span style="color:#993399;">Zima, Adario</span></strong></p><p align="justify"><em>"Dans nos retraites, Grandeur, ne viens jamais offrir de tes faux attraits !</em></p><p align="justify"><em>Ciel, tu les as faites pour l'innoncence et pour la paix. Jouissons dans nos asiles, jouissons des biens tranquilles !</em></p><p align="justify"><em>Ah ! Peut-on être heureux,Quand on forme d'autres voeux ?"</em></p>Father Demetshttp://www.blogger.com/profile/07650616782680257472noreply@blogger.com0