25172. (Giovanni Bononcini) Astarto [complete opera; d. Biondi; Valentini, dalle Molle,
. . . . . Müller-Molinari]
25173. (Wale [Olubowale Victor Akintimehin]) Ambition
25174. (Brian Ferry) These Foolish Things
25175. (Johann Sebastian Bach) Cantata #80a “Alles, was von Gott geboren” [variant of #80]
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Category Archives: C - LISTENING - Page 9
First-time listening for August 2018
Kurdish Folk Music

Kurdish band Nishtiman performed their second album “Kobane” Toronto, Canada, Sep. 29, 2017. The band unites musicians from the different Kurdish communities of Iraqi Kurdistan Iran, and Turkey.
For a pedigree of musical continuity, you can’t beat Kurdistan. The oldest known notation of music dates from the ancient Hurrian kingdom, in the second millenium BC. Two sacred hymns recovered by archaeologists from that ancient civilization, located in the heart of today’s Kurdistan, are in the same mode and bear a visible kinship to the Kurdish folk music of today. The modern Kurdish folk movement is fragmented: variant scenes in Iraqi Kurdistan, Iran, Syria, or Turkey, as well as a Kurdish diaspora in Europe and North America. In Turkey, singing in the Kurdish language was against the law, punished by imprisonment and physical abuse, until very recently. In Iran, however, it thrived, and in newly self-governing Kurdistan, I’m sure it must be undergoing quite a renaissance. Other than a few stray pieces on general collections of middle eastern music, the only recordings I have are one by instrumentalists Tahmoures and Sohrab Pournazeri, with accompanying vocals by Rojan, entitled simply Kurdish Folk Music, and a cd called Kurdish Dances featuring Mohammad Bhamani on dozak and sornâ, ‘Abdollâh Nabiollâhi on dobol, and vocals by ‘Abdollâh Qorbâni. But I heard a marvelous live concert last year, at the Agha Khan Museum in Toronto. The first thing that strikes the listener is the music’s accessibility. The melodies are catchy and upbeat, and not buried in the microtonal intricasies and melisma that makes it hard for outsiders to follow middle eastern music. You could easily party to this music, in a modern disco, though it is purely traditional.
Estêvão Lopes Morago
Much of the artistic achievement of the Portuguese Renaissance was destroyed by the great Lisbon Earthquake of 1755, which killed 30,000 people. Among the losses where most of the works of the composer Estêvão Lopes Morago (c.1575 — after 1630). But some of his work that survives indicates that he was very good. I have only five short pieces, recorded by the Gulbenkian Foundation choir on their Portugaliae Musica series. All are polyphonic pieces, four of them for four voices, one for a double choir of 3 and 4 parts each. The most beautiful is the Jesu redemptor, which is a litany for the dead, praying for Christ to accept the soul of the departed, and perhaps sung during the cortège, between the house of the deceased and the church. Morago was actually a Spaniard, but apparently spent most of his life in Portugal as choir-master of the Cathedral of Viseu.
First-time listening for July 2018
25132. (Arthur Sullivan [& W.S. Gilbert]) The Sorceror [complete opera; D’Oyly Carte]
25133. (Global Communication) Fabric 26 [DJ Mix 12 by Mark Pritchard, 12 by Tom Middleton]
25134. (Giacomo Meyerbeer) L’Africaine [complete opera; d. Capuana; Stella, Nikolov, Rinaldi]
25135. (Kunnakudi Vaidyanathan) Golden Krithis: Colours
25136. (3 Inches of Blood) Here Waits Thy Doom
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Sichuan Folk Song
The huge western Chinese province of Sichuan has its own, distinct history. It consists of a broad and fertile basin around the city of Chengdu, ringed by a sparsely populated wilderness of mountains, forests and swamps. While this was a center of ancient non-Han civilization as early as the second millennium BC, it gradually became Sinified over the centuries, and the city and fertile regions are inhabited by Han Chinese speaking a southwestern dialect of Mandarin. However, most of the province consists of rugged mountains, and these are the home of many minority groups, ethnically and linguistically not at all Chinese. Among them are the Yi, related to the Burmese, the Qiang, and the Naxi (or Nakhi). The western half of the province is culturally closer to Tibet, many of the minorities speaking dialects of Tibetan, or closely related languages. All these minorities have distinctive musical traditions, and the metropolitan musical mainstream of China has drawn from them with the same mixing and mining process that went on in the development of America’s folk music. The album I have, Sichuan Folk Song and Ballad, Volume 2 gives a good sample of this variety. Personally, the more “folky” the songs are, the more they appeal to me. I particularly like the Naxi song “This Hill is Not As High As That One”.
China’s many ethnic minorities, who comprise tens of millions of people, have been hidden from the world’s view by millennia of obsessive imperial centralism and racism. In some cases, there are cultures of a million or more people about whom one cannot find a single book in a large university library. Can you imagine what it would mean if there was not a single book in a major library devoted to Wales, or the Basques, or to Estonia? Fortunately, the musical wealth of Sichuan can give us a foot-in-the-door to celebrating a diversity that has been kept from our view by ideology and intellectual laziness.
First-time listening for June 2018
25099. (Hector Berlioz) La Damnation de Faust [complete opera; d. Inbal; Gulyás, Lloyd, Ewing]
25100. (Dinah Washington) Dina Washington [Verve Jazz Masters #40]
25101. (Imagine Dragons) Night Visions Live
25102. (Lakshminarayana Shankar) Raga Aberi [w. Zakir Hussain]
25103. (Slam) BBC Essential Mix, May 1,1994
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First-time listening for May 2018
25081. (Arthur Sullivan) Suite from the Incidental Music to The Merry Wives of Windsor
25082. (Afghan Whigs) Big Top Halloween
25083. (Gioacchino Rossini) Armida [complete opera; d. Serafin; Callas, Albanese, Filippeschi]
25084. (Sleater-Kinney) The Hot Rock
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First-time listening for April 2018
25061. (John Dunstaple) Beata Mater à 3
25062. (Giuappe Sammartini) Recorder Concerto in F
25063. (Bruce Kurnow) Sky Passage
25064. (Ken Johnson) The Natural Piano
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Rough Guide to the Music of the Indian Ocean
There is a Mauritian restaurant in Toronto (there used to be two). Can you picture Mauritian food? Probably not. Few places sound more exotic and out-of-the-way. But Mauritius was a key point on the sea lanes of the British Empire. A former British colony with a population speaking a French patois, but descended from South Asians, Africans, Portuguese, Dutch, Arabs, and whatever else wandered by, Mauritius provides a sophisticated, cosmopolitan cuisine. Very tasty. Much the same can be said of the music.
But there is not just Mauritian music to listen to. There is Réunion, an overseas département of France, settled by Africans, Chinese, Malays, and Tamils. There are the Islamic Comoros, and the closely related French possession of Mayotte. There is the Republic of the Seychelles, largely Catholic, though formerly a British colony, and the most indebted country, per capita, in the world. There is tiny Rodrigues. And finally, there is the huge and populous island of Madagascar, whose culture and language come originally from Borneo, half-way around the world from them. The diversity of the nations at the western end of the Indian Ocean produces a delightful variety of music. The performers in this collection include Tarika, Feo-Gasy, Ricky Randimbiarison, Jean-Noël, and Lego from Madagascar; Denis Azor, and Kaya from Mauritius; Danyel Ward, Françoise Guimbert, Baster, Tam-Tam Des Cools from Réunion; Kaskavel from Rodrigues; M’Toro Chamou er les Watoro from Mayotte; Belle Lumière from Comoros; Seychelles String Band and Seychelles All Stars; and even a band from Zanzibar (Culture Music Club), which is part of Tanzanyia, but an offshore island. But if there is anyone who could be called a big star, it is René Lacaille, the master of the spicy séga rhythms of Réunion, here performing with American guitarist Bob Brozman. Lacaille is well known in the French music scene, and has successfully toured here in Canada.
Rough Guide compilations are always well chosen. It is unlikely that you will come across most of the this material, even in a well-stocked “world music” store. The music is mostly upbeat and danceable. After Lacaille, I was most drawn to the Malagasy musicians, especially Feo-Gasy, but it would be hard to choose favourites. All the bands are good.
First-time listening for March 2018
25011. (Shpongle) Museums of Consciousness
25012. (Atomic Rooster) Death Walks Behind You
25013. (Johann Sebastian Bach) Cantata #77 “Du sollt Gott, deinen Herren, lieben”, bwv.77
25014. (Johann Sebastian Bach) Cantata #78 “Jesu der du meine Seele”, bwv.78
25015. (Miles Davis) Dig [with Sonny Rollins]
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