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…
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.
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.