Guillaume de Machaut Ma fin est mon commencement Vídeos
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2024-04-15
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Arvo Pärt Ticciati Domenico Scarlatti Rondeau Guillaume Machaut Rea William Byrd John Tavener Lamb Bach Schubert 1300 1377 1996 2015
Hugo Ticciati violin Diane Ketler piano Miyoko Shida Rigolo sanddorn balance Recorded live at Festival O/MODERNT 2015 ('Scarlatti and the Twofold') in Ulriksdals Slottstheater, Confidencen (http•••) Have you ever been to a concert where the second half is a repeat of the first half played backwards – that is, a fully palindromic concert, but one that also has a musical mirror in the middle? To hear the same pieces performed twice – once forwards, once backwards. This was the theme for the concert 'Scarlatti in a Mirror'. Approaching the midpoint of this concert – the point at which we turn and retrace our steps – Arvo Pärt’s Speigel im Spiegel (‘Mirror in the mirror’) provides an explicit musical exploration of the conundrum we started out with. Pärt’s bell-like chimes find a terpsichorean-gravitational correlative in the mysterious balancing feats of Japanese Zen dancer, Miyoko Shida, world-famous exponent of the Sanddorn Balance. The extraordinary success story of the Sanddorn Balance began in 1996 when a Swiss theatre producer created a balancing act for a stage production using ribs of date and coconut palm leaves. Nowadays this remarkable show attracts audiences large and small the world over as people come to marvel at the simple but exquisite beauty of equilibrium in action. Miyoko Shida Rigolo interprets the Sanddorn Balance in a way that has been described as mysterious, almost mystical, and which profoundly touches those who witness her artistry. FURTHER NOTES ON THE CONCERT A microcosm of the concert is contained in the famous rondeau by Guillaume de Machaut (c.1300–1377), Ma fin est mon commencement, the first line of which reads: ‘My end is my beginning and my beginning my end.’ The text gives us a clue as to how the piece is constructed. It consists of a single melody rea- lized by three voices. The highest voice sings the melody from beginning to end, the second voice sings it backwards (retrograde), while the third voice sings half the piece and then doubles back on itself (repeat- ing what has just been sung, but backwards).The ingenious result is a piece that can be performed in either direction – a masterful polyphonic palindrome.The two other pure palindromes in the concert are William Byrd’s Diliges Dominum no. 25 from Cantiones Sacrae and John Tavener’s The Lamb. If you feel like suggesting that these might not be true mirrors, then please suspend your disbelief until you hear the keyboard sonata and concerto grosso by Domenico Scarlatti being played backwards – this is the paradoxical essence of reflectivity. A more covert concatenation of mirrors is hidden in Bach’s Contra- punctus 12 from his Art of Fugue: not only do melodies mirror each other in this piece, so also do voice entries, tonal functions, sequences and cadenzas. Finally, we encounter psychological mirroring in Schubert’s Der Doppelgänger where the singer finds himself looking at the house where his beloved once lived and is horrified to see someone standing outside it in torment – that someone is none other than himself, aping the misery he experienced long ago.
Guillaume Machaut Rondeau Daniels 1300 1377 2016
For more information, visit (http•••) (see August 2016) Guillaume de Machaut (c. 1300 – 1377) - Rondeau 14, "Ma fin est mon commencement" ("My end is my beginning") Transcription and animation by Jordan Alexander Key website: (http•••) transcription: (http•••) Performance found on Machaut: Dreams In The Pleasure Garden - Chansons Performed by: Charles Daniels, Angus Smith, & Don Greig The form of a Rondeau is AB-aA-ab-AB, with letters representing musical content and capitalization representing text content. Where a letter is capitalized, the same text and music as before appear. Where a letter is lowercase, the same music but different text appear. You can see how the form matches the text below. The musical content of this Rondeau is particularly interesting and hinted at by the text "in my end is my beginning. As you can see in the animation, the music is not always read from left to right, but sometimes starts to move in reverse. This is because this music actually "retrogrades" in a variety of ways between verses 1 & 2, 5 & 6, and 7 & 8. For example, at the end of the first line "Ma fin ce mon commencement," the Tenor (lowest voice) begins to read his music backwards. Meanwhile, the Triplum (top line) and Cantus (middle line) swap lines. The Triplum moves down and reads the Cantus backwards while the Cantus moves up and reads the Triplum backwards. In this way, the beginning of the verse becomes the end of the verse. Machaut provides variety and variation by simply reversing the original music. Ultimately, the Triplum line is just the Cantus line sung backwards and the Tenor line is a palindrome. Knowing this, one realizes that while each verse of the piece can be somewhat long, the musical content is actually minimal. One could notate the music fully, actually writing out the retrogrades for each voice, but this is unnecessary. All one really needs to realize this music is what is provided here. Enjoy some enigmatic music from the 14th century! Take note that the text of those lines which are sung in retrograde are also written syllabically in retrograde for this animation. For more information on this music feel free to visit my website and read my blog at (http•••) Blog Post: (see August 2016) (http•••) / French Text: A. Ma fin est mon commencement B. Et mon commencement ma fin. a. Et ceneure vraiement A. Ma fin est mon commencement. a. Mes tiers chans trois fois seulement b. Se retrograde et einse fin. A. Ma fin est mon commencement B. Et mon commencement ma fin. / English Translation: A. My end is my beginning B. And my beginning my end a. And this holds truly, A. My end is my beginning a. My third melody three times only b. Reverses itself and thus ends. A. My end is my beginning B. And my beginning my end.
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