Archive for the ‘ In memoriam ’ Category

In Memoriam Gustav Leonhardt – ‘Die Katze lässt das Mausen nicht’

No nono aniversário da morte de Gustav Leonhardt [1928-2012], o último movimento da cantata secular de Johann Sebastian Bach BWV 211, “Schweigt stille, plaudert nicht” (“Silêncio, não converse”) – também conhecida como “Cantata do Café,-, o Trio “Die Katze lässt das Mausen nicht” (o gato não deixa o rato passar).

Barbara Bonney · Christoph Prégardien · David Wilson-Johnson
Orchestra Of The Age Of Enlightenment · Gustav Leonhardt

Jimmy Cobb, the last ‘Kind of Blue’

Jimmy Cobb [1929-2020] era último sobrevivente do notável sexteto de músicos – Cannonball Adderley ( saxofone alto), Paul Chambers (baixo), Jimmy Cobb (bateria), John Coltrane (saxofone tenor ), Bill Evans (piano) que o trompetista Miles Davis reuniu em Agosto de 1959 para gravar Kind of Blue.
Morreu ontem, dia 24 de Maio de 2020, aos 91 anos.

‘Da Pacem Domine’, by Arvo Pärt

Arvo Pärt, estonian composer born on this day in 1935, wrote the prayer of peace “Da pacem Domine” to fulfil a commission from Jordi Savall. He began to set this ninth-century Gregorian antiphon two days after the Madrid bombings on 11 March 2004 as his personal tribute to the victims. Since then Da pacem Domine has been performed every year in Spain to commemorate the victims of this terrorist attack. Even while originally composing this four-voice piece, Pärt made allowances for variable scorings. As a result, it exists in several versions, not only for voice but also entirely for instruments.

Performers: Ensemble Vocale Odhecaton, Paolo Da Col

In Memoriam Charlie Haden [6 Ago 1937 – 11 Jul 2014]

“Every Day (I Thank You)”
Pat Metheny, guitar | Charlie Haden, bass | Jack DeJohnette drums
Dewey Redman tenor saxophone | Michael Brecker tenor saxophone
From Pat Metheny 80/81 | recorded May 1980, Oslo | 2004 ECM :rarum IX

Somewhere around in here it occurred to me that I had made four or five records and was so concerned with developing a band and a way of thinking and playing that was attempting to offer alternative views to the implications of the larger jazz tradition that I had somewhat neglected to address in a recording environment the music that I had played the most and longest in its more conventional setting.

I had always loved the playing of both Charlie Haden and Dewey Redman and had gotten to know both of them from the days when I was playing with Gary Burton and they were playing with Keith Jarrett and the two bands would occasionally do gigs together around the States. I had recently met and played with the amazingly gifted Mike Brecker who seemed to be an underutilized musical force at that time, and I had known Jack Dejohnette for a few years by then and had always hoped to do something with him.

Jack and Charlie had never played together before this session, nor had Dewey and Mike, but part of the idea was to set up these new connections between people who were real favorites to me and to see if what I thought could happen between all of us might work.

This piece “Everyday (I Thank You)” was written for this session in a hotel room in Bremen, Germany late one night after a gig. Mike Brecker has often talked about how he felt this record was a turning point for him, that he discovered something on this date about the way he played that affected things that he did later. To me, this is one of his finest recordings and the way he played this piece was really special and beyond anything I had hoped for. Charlie and Jack proved to be a magic combination, later utilized as a rhythm section by lots of people. And this record began a recording association and a deepened friendship between Charlie and I that has proven to be one of the most important relationships in my life. And one the best parts of this date was how much fun we all had making it – it was probably the most pleasant experience of all of the recording sessions I had during the ECM days.
Pat Metheny’s notes for the 2004 ECM :rarum IX

‘Remembering Tomasz Stanko’

Homenagem ao virtuoso trompetista e compositor Tomasz Stańko [11 Julho 1942 – 29 Julho 2018]. Pelo modo como deixava o trompete respirar, era por vezes apelidado de Miles Davis polaco.
A primeira gravação para a ECM ocorreu em 1976 com Balladyna e teve a participação de Dave Holland. Em 1981, colaborou no álbum de Gary Peacock Voice from the Past – Paradigm com Jan Garbarek e Jack DeJohnette. Ainda durante a década de 80 integrou a Cecil Taylor’s big band.
Com o seu Quarteto, gravou Suspended Night em 2004 e Lontano em 2006, ambos aclamados nos EUA e na Europa. O último trabalho de Tomasz Stańko que Manfred Eicher produziu para a ECM foi December Avenue de 2017.

In Memoriam – Montserrat Figueras [1942-2011]

Díaspora Sefardí | Romances & Música instrumental – Alia Vox AV 9809 A+B [CDx2]
Montserrat Figueras, canto | Dirección: Jordi Savall
Ensemble Hespèrion XXI:
Montserrat Figueras (voice), Yair Dalal (oud), Ken Zuckerman (lute, sarod), Pedro Memelsdorf (recorders), Begoña Olavide (psaltery, qanun) Andrew Lawrence-King (arpa doppia), Edin Karamazov (medieval lute), Arianna Savall (medieval harp), Jordi Savall, (lira, viola, rebab), Xavier Díaz (renaissance lute), Pedro Estevan (percussion)] – Jordi Savall, dir.

In Memoraim – Antoine Sibertin-Blanc [1930-2012]

Concerto em memória de Antoine Sibertin-Blanc
Igreja de São Luís dos Franceses | Sexta-feira, 22 de Novembro de 2013 – 21h00
Órgão – Rute Martins
Canto Gregoriano – Capela Gregoriana Laus Deo
Polifonia – Agrupamento Vocal Sacra Musica

Professor Antoine Sibertin-Blanc

Sir John Kenneth Tavener [1944-2013]

Sobre a sua música, disse John Taverner:
“Quis produzir música que fosse o som de Deus. Foi sempre isso que tentei fazer”

Margaret Thatcher

Edição especial do “The Times” dedicado a Margaret Thatcher, personalidade incontornável da história recente e cujo desaparecimento conseguiu esta tarde expôr a miséria moral da mesmíssima esquerda jacobina que deitou foguetes na noite em que Francisco Sá Carneiro morreu.

Margaret Thatcher

In Memoriam – Ravi Shankar [1920-2012]

Concerto for Sitar & Orchestra
Ravi Shankar, Sitar – André Previn, conductor – London Symphony Orchestra
“This is my first humble offering to be performed in the West, and I am proud and happy to be playing it with the LSO and André Previn. The listener will not find much of the harmony, counterpoint or sound patterns he is used to, and which form the basis of Western classical music. I have consciously avoided these, only using them minimally, because they are elements which, if emphasized, can spoil or even destroy the RAGA BHAVA (the mood and spirit of the Raga).
Modulation is not used in Indian classical music, but a musician may suddenly shift the tonic (the Sa) and in a flash suggest the pattern of a different Raga, before coming back to the originaltonic and Raga. This is a feat which gives a great thrill to connoisseurs and is known in Sanskrit as AVIRBHAVA-TIROBHAVA (appearance and disappearance). In the semi-classical form known as THUMRI, however, modulation is used quite frequently. I have made special use of this technique in Concerto. The basic Raga (first movement) is KHAMAJ, and D is established as the tonic (Sa). The second movement is in the morning Raga SINDHI BHAIRAVI. The tonic shifts to B. A few other notes are used occasionally as accidentals. The third movement is in the evening Raga ADANA, where the tonic shifted to E.
The last movement is in the evening Raga MANJ KHAMAJ, and the tonic moves back to D. Manj Khamaj is an offshoot of the Raga Khamaj of the first movement; it becomes different because of the change of stress, which is now on the 4th and 6th notes (Ma and Dha) instead of the 3rd and 5th.
The exact pattern of the ascending and descending note-sequence of the original KHAMAJ has not been used when modulating, but only the notes of the scale. The first movement (Khamaj) has been treated in more or less strict classical form with the traditional ALAP, JOR and GAT, and the third movement (Adana) is in fast KHYAL style. The beginnings of the second and fourth movements (Sindhi Bhairavi and Manj Khamaj) are written in the semi-classical form known as THURMI, which is more sensuous, romantic and sad.
I have used various TIHAIS and CHAKRADARS all along in my solo improvisations as well as when other instruments are involved. These rhythmic patterns are typical of Indian music, and are generally used at the end of a section to build up rhythmical excitement to the climax.
Due to the fact that my own sitar is tuned to C Sharp (Sa) which remains constant throughout, it has been necessary for me to adjust a second instrument for use in the Concerto, where the tonic shifts from D, to B, to E, and back to D. this means that I must play at a higher pitch than usual, and the adjustment is not only one of tuning, but also involves certain structural changes. ”
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