I’ve got to put my cards on the table here. Finally. I’ve let my collaborator-extraordinaire do all the music-talking, and I’ve sat in the shadows and nodded (frequently without comprehension) and watched — and mostly listened. Sometimes I’ve even heard. The fact is, I can’t believe I agreed to this contract we have at all. […]
Last Sunday’s “Kaddish” recording (kaddish_2010.12.19_veniEmmanuel) explores and tests how the nusach of “Kaddish” blends into Gregorian chant; see “a musicological view of kogan’s ‘kaddish’” and commentary passim for discussion. Historical analysis As I mentioned in the analysis, in Gregorian chant we see Catholic monks blending the Judeo- into the -Christian of the Judeo-Christian tradition. All […]
A musicological analysis of Kogan’s “Kaddish”; looking at the composition from a music historical and theoretical point of view.
Recent recordings have included Kaddishim for Elizabeth Edwards, Mark de Lemos, human rights, lost innocence, Terry Dobson, Bob LaBrie and microtonal, jazz, and lullaby interpretations.
It’s time to make an attempt at unraveling the conundrum of emotions and musical performance.
recent kaddishim address questions of musical expression, tragic events in El Akarib, and the cold solitude of musical labor
For our purposes, the “minyan” is our community of listeners. But we’re not all Jewish. (So far we’re all adults.) We don’t gather physically but virtually, by internet. And we don’t gather at the same time, exactly—we’re asynchronous.
descriptions of kaddish recordings from 18-26 November 2010
Mira wrote about having a grudge against optimism in a recent essay that has left me wandering lost in my own mind. See, I agree with just about everything she wrote. I largely agree with her worldview. But I am a persistent optimist. I am an optimist in the face of considerable clear evidence that optimism is irrational.
So yesterday I decided to try appealing to the historian in Mira, by playing the whole thing on natural horn. I did today’s take on natural horn, demonstrating the origins of the stopped horn sound. I used a Seraphinoff “Halari” model natural horn with the F crook and played “Kaddish” in the usual key.