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https://www.youtube.com/watch?v=a5Ya60GWt44
A música mundial para a "Paixão" de Gabriel
Artigo de Aramis Millarch originalmente publicado em 03 de setembro de 1989
Coincidindo com a chegada de "A Última Tentação de Cristo" nas locadoras (lançamento CIC Vídeo, agosto/89, dois volumes), temos a igualmente aguardada trilha sonora criada por Peter Gabriel, ex-Genesis, para o polêmico filme de Martin Scorcese - que, um ano após ser recebido com a maior hostilidade por hordas de radicais e fanáticos religiosos, hoje não assusta ninguém. Segunda experiência de Peter Gabriel em trilha sonora (a primeira foi "Asas da Liberdade / Birdy", 1984, de Alan Parker - álbum aqui lançado pela Polygram), "Passion", o título é dado aos dois discos (oferecidos num só envelope, Virgin / EMI / Odeon) mas constitui apenas uma parte do projeto. Isto porque, entusiasmado com os sons que buscou em várias partes do mundo para a trilha do filme de Scorcese (gravado in loco no Oriente Médio, África e Ásia), Gabriel chegou a produzir um álbum adicional (assim como fez o nosso Airto Moreira, que realizou um álbum adicional a trilha sonora de "Apocalypse Now", com o material que Carmine Coppola cortou da versão final). "Passion" foge das trilhas habituais. Como disse um crítico inglês, o trabalho de Gabriel é revolucionário em três tempos pois além de conseguir valorizar as imagens restitui toda a religiosidade do filme e rompe com o padrão de escalas, gamas e ritmos da tradição ocidental. Por exemplo, na faixa de abertura ("the Feeling Begins"), a melodia é interpretada por dois cantores de uma tribo da Armênia - e como a maior parte do material foi processada através de computadores e sintetizadores tocados pelo próprio Gabriel. Que não dispensou, entretanto, a participação de instrumentistas virtuosos como o baterista Bil Cobhan, violinista Shankar, ao lado de artistas telúricos em suas presenças - do brasileiro Djalma Correa (percussão) a Manny Elias (surdos e couros), Doudou N'Daiye Rose (loop de percussão) e o notável Manu Katchê (também na percussão). Envolvendo músicos de vários países, num desenvolvimento extremamente pessoal, "Passion" - que teve sua produção através do próprio Gabriel - já está entre os mais interessantes álbuns do ano. Evidentemente que "Passion" não é um disco destinado ao público do sucesso fácil. Como adverte a EMI / Odeon - que representa no Brasil a Womad (Mundo da Música, Arte e Dança, etiqueta de Gabriel), Peter não faz concessões às facilidades do sucesso e oferece um trabalho para ser ouvido várias vezes. A capa do álbum é um belíssimo óleo de Gail Colson - que em sua estilização de Cristo, tem toques que lembram a arte do inesquecível Franco Giglio (1937-1982), o grande artista italiano que tanto marcou a nossa vida cultural. LEGENDA FOTO - Peter Gabriel: pesquisa mundial para a música de "A Última Tentação de Cristo".
Texto de Aramis Millarch, publicado originalmente em:
Veiculo:Estado do Paraná
Caderno ou Suplemento:Almanaque
Coluna ou Seção:Música
Página:23
Data:03/09/1989
Fonte: http://www.millarch.org/artigo/musica-mundial-para-paixao-de-gabriel
Veiculo:Estado do Paraná
Caderno ou Suplemento:Almanaque
Coluna ou Seção:Música
Página:23
Data:03/09/1989
Fonte: http://www.millarch.org/artigo/musica-mundial-para-paixao-de-gabriel
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A polêmica sobre influências culturais não assumidas publicamente também atinge Peter Gabriel e a música de The Last Temptation Of Christ. Passion, a versão em álbum do filme de Scorsese sobre os medos e os delírios carnais de Cristo, é um grande disco, um dos mais bonitos e importantes dos últimos anos.
Não que Passion seja universalmente reconhecido como tal: embora largamente admirado, há quem diga que Gabriel roubou a música e as idéias de outros músicos para fazer essa obra-prima. Além do óbvio (e discutível) comentário sobre imperialismo, gerado pela apropriação dos ritmos e da música de países africanos, asiáticos e latino-americanos por um abastado roqueiro inglês, há quem diga que o ex-vocalista do Genesis tomou para si – sem pedir licença - conceitos já praticados por artistas como Brian Eno e os do selo ECM (um selo de jazz fusion muito popular nos anos 70).
O fato curioso é que Jon Hassell participou, com seu trompete, da faixa-título da trilha urdida pelo Gabriel para o filme do Scorsese. “Passion”, a canção (se é que se pode chamá-la desse jeito), é o coração da música concebida por Gabriel para o filme, pois sonoriza a seqüência da crucificação. É uma gravação antológica, de beleza intensa e singular, que conta com a participação de músicos excepcionais como o percussionista brasileiro Djalma Corrêa e os cantores Baaba Maal e Nusrat Fateh Ali Khan (esse tinha uma voz sagrada).
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Para garimpar:
Peter Gabriel – Passion Outtakes
Label:
Not On Label (Peter Gabriel) – none
Format:
CDr, Unofficial Release
Country:
Released:
Genre:
Style:
Tracklist
| 1 | The Feeling Begins [Extended] | |
| 2 | Disturbed [Alternate] | |
| 3 | Passion [Alternate] | |
| 4 | Cor Anglais Theme | |
| 5 | It Is Accomplished [Extended] | |
| 6 | Bass Bowl | |
| 7 | With This Love [Alternate] | |
| 8 | Wall Of Breath [Extended] | |
| 9 | Location Recording - Morocco | |
| 10 | Location Recording - Unknown | |
| 11 | It Is Accomplished [Alternate] | |
| 12 | Trills | |
| 13 | Bread And Wine [Flute Version] | |
| 14 | The Feeling Begins [Drum Version] | |
| 15 | Of These, Hope [Alternate] | |
| 16 | Lazarus Raised [Alternate] |
FONTE: https://www.discogs.com/Peter-Gabriel-Passion-Outtakes/release/5427563
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From the intricate genius of JS Bach’s St Matthew Passion to the quiet contemplation of Arvo Pärt’s Passio, Easter has inspired some of the greatest works in classical music. Here are ten of the best.
1. The Messiah, George Frederic Handel (1741)
Probably the essential piece of Easter music and so much more than the Hallelujah chorus. Handel has endured for his mixture of Baroque monumental (here, for instance, in the chorus ‘Behold the Lamb of God’ and ‘Surely he hath borne our griefs’) and delicious intimacy (‘But who may abide the day of his coming’). And The Messiah, like his famous operas which achieve success by mixing the pomp of larger orchestral sections with sensitive, memorable arias, is brilliant because it makes its huge subject matter intensely personal. My own highlight is the quiet, stately beauty of the pastoral symphony section, also known as Pifa. Sublime.
2. St Matthew Passion, JS Bach (1727)
Quite simply one of the greatest pieces of music ever written. Bach’s St Matthew Passion is regarded as a treasure trove of innovation, tirelessly surprising in its combinations of musical styles of the day and shrouded in mysticism. Some scholars associate the piece with numerology, supposing Bach’s placement of notes spells out a hidden religious or Masonic significance. Beyond the occult, the piece has been widely influential, with Paul Simon using a chorale melody that runs throughout the work in his 1973 song American Tune. It remains a piece that musicians and music lovers will constantly revisit. It played on the German composer’s mind, too: towards the end of his life, between the years 1743 - 46, Bach revisited and revised the piece.
3. Lamentations of Jeremiah, Thomas Tallis (1565-70)
Tallis served under Henry VIII, Mary I and Elizabeth, and adapted his music to meet the need of the day, Catholic or Protestant. His Lamentations were written when the composer was in his sixties, and in the 20 minutes of music you can hear a life of religious upheaval given voice through the most tumultuous of biblical narratives. The writing is sensitive and expressive, characterised in the second of his “lessons”, my personal favourite, by breathy, questioning pauses after sinuous phrases. These settings from the Old Testament would have been included in Easter weekend services, most likely on Maundy Thursday.
4. The Seven Last Words of Our Saviour on the Cross, Joseph Haydn (1783-96)
A bother for scholars but a delight for the listener. Haydn’s piece was commissioned as an orchestral work, music to punctuate seven readings during an Easter service, in 1783; it was then concentrated into a string quartet a few years later; and ended its life as an oratorio, dramatising the seven discourses that were originally to be read by priests. It is as yet undecided which is the finest incarnation, but the oratorio, with the expressive advantage of the master’s wonderful vocal writing, can hold its own among earlier classics of the genre by Handel and Bach.
5. Passio Domini Nostri Jesu Christi secundum Joannem or “Passio”, Arvo Pärt (1982)
This 70-minute cantata, based on the Passion narrative of John, is one of the Estonian minimalist’s best-known works. Harking back to Medieval church music via an Eastern Orthodox aesthetic, this modern oratorio focuses on Jesus, Pilate and St John the narrator. Specific pitches are assigned to each character, building the story and its religious significance through hypnotic repetitions of similar phrases. The listener is compelled into a state of contemplation.
6. Easter Oratorio, J S Bach, (1725 - 1746)
This optimistic work – a semi-staged musical drama with religious content rather than the secular drama of opera – was revised over 20 years, growing out of a single cantata written for a Lutheran church service. The action skips the Crucifixion and begins after the death of Christ, with the discovery of Jesus’s empty grave. A joyous, trill-riddled opening sinfonia similar to the Brandenburg Concertos ushers in a work of elegant proportion and poise.
7. Tenebrae Responsoria, by Carlo Gesualdo (1611)
Italian composer Carlo Genualdo, Prince of Venosa, was an anomaly. Being rich he could write whatever he wanted, not needing to earn a living by catering to the taste of benefactors, and so developed an unorthodox, dissonant style that came to be appreciated 300 years later by modernists such as Stravinsky. His Tenebrae service – which dwells on the unhappy events of Christ’s Passion and is traditionally performed on Maundy Thursday or Good Friday – is a perfect example of his tortured mind at work. The composer brutally murdered his first wife and her lover when he discovered their affair, and towards the end of his life he turned from secular music to the religious. In his Tenebrae Responsoria we can sense Gesualdo dwell on his own uncertain afterlife.
8. Symphony No 2, “Resurrection”, Gustav Mahler (1888 - 1894)
A different sort of passion. Mahler got the idea to turn a short piece he had written into a longer work about the nature of the afterlife while attending the funeral of his friend, the conductor Hans von Bülow. Here the grandeur of the Baroque greats and their visions of Christ’s death and resurrection are answered by the young Mahler’s secular, angry, late-romantic slab of sound, in which we can hear Beethoven, his beloved Wagner and even Bruckner. Audiences loved it, and this was the work that established Mahler as a composer.
9. Petrushka, Igor Stravinsky (1910-11)
Admittedly this is a ballet about jealous puppets in a love triangle, but the source material for the music at the beginning of Stravinsky’s classic, culled from Russian folk melodies, were originally sung as Easter carols in the provinces on the Monday after Easter.
10. Stabat Mater, Giovanni Battista Pergolesi (1736)
The opening of Pergolesi’s simple, resourceful Stabat Mater – a hymn focusing on the pain of Mary watching her son die – puts two singers in dissonant counterpoint over a small chamber orchestra, the duet creating the eerie feeling of voices crying out. The 26-year-old Italian composer was suffering from tuberculosis at the time of composing this restrained meditation on a mother watching her son’s pain. He died a few weeks later.
Fonte: http://www.telegraph.co.uk/music/classical-music/the-10-best-pieces-of-easter-classical-music/
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1. Johann Sebastian Bach: St Matthew Passion
The St Matthew Passion is a masterpiece that many people know well, but few tire of hearing. One of only two JS Bach passion settings still in existence (the St John is the only other to have survived), the piece was originally performed in Leipzig on Good Friday 1727, although the score as we know it dates from 1743-6.
The work’s two halves were originally intended to be sung on either side of the Good Friday sermon - a test of the piety of the most ardent churchgoers (even performances without the sermon tend to last over two-and-a-half hours). So why do we love it so much? Could it be those intricate baroque figures that tug at the heartstrings? Or the effortless coupling of soli and chorus; of arioso with aria? Perhaps it’s simply the sheer number of terrific tunes that litter the work. John Eliot Gardiner's version with the Monteverdi Choir and English Baroque Soloists remains one of our all-time favourite recordings of the work.
2. Thomas Tallis: Lamentations of Jeremiah the Prophet
Tallis composed his Lamentations around 1565-70, when he was in his early sixties. Setting Holy Week bible lessons to music was a trend that had developed on the Catholic continent during the early 1400s. Nevertheless, by the mid-16th century England had gamely caught up and the practice was enjoying a brief flourish of popularity. Alhough the jury is still out on Tallis' religious affiliations (he may have been Catholic at a time when this was politically inadvisable), the pieces could well have formed part of the Maundy Thursday liturgy in his lifetime.
These settings of verses from the Book of Jeremiah are among Tallis’s most expressive works. The composer used all the compositional techniques available to him to squeeze every last ounce of poignancy from the text. The five vocal lines imitate, suspend, clash and build towards the final section: 'Jerusalem, turn again to the Lord your God!'
3. Nikolay Rimsky-Korsakov: Russian Easter Festival Overture
This 1888 overture is named for the Svetlïy prazdnik or ‘Bright holiday’, as Easter is known in Russia. An avowed atheist, Rimsky-Korsakov wrote that he wanted to capture 'the transition from the solemnity and mystery of the evening of Passion Saturday to the unbridled pagan-religious celebrations of Easter Sunday morning’. The piece paints vividly the explosion of light and colour at the end of a long, hard Russian winter.
Religious and pagan themes are entwined at the very heart of the work: Rimsky-Korsakov borrowed themes from the Obikhod, a collection of Orthodox chants that since 1848 had been a mandatory part of the liturgy for every church in Russia. These austere motifs shine through the wild textures of the orchestra, no more so than at 8’35 when a solo tenor trombone (‘a piena voce’) evokes the chanting of a priest.
https://www.youtube.com/watch?v=bxsLb1u0LgA
4. James MacMillan: Seven Last Words from the Cross
MacMillan’s cantata for choir and string orchestra was commissioned by BBC Television and premiered in seven nightly episodes during Holy Week in 1994. The piece is a setting of the final sentences uttered by Jesus as he lay dying on the cross. The Aurora Orchestra’s Nicholas Collon recently described it as ‘one of the greatest sacred pieces written in the last 100 years’ - the writing is dramatic, emotionally-charged and extraordinarily moving.
Mantra-like settings of the gospel texts are well ornamented like many of Macmillan’s vocal works. The first movement is particularly moving with the plainsong-like chant of the sopranos and altos underpinned by savagely discordant murmurings in the strings.
Not one to listen to if you’re feeling fragile, though.
5. Gustav Mahler: Symphony No 2 ‘Resurrection’
Mahler’s second symphony makes for great Passiontide listening. The journey from the tension of the first movements to the resolution of the finale mirrors Easter’s themes of destruction and redemption - hence the unofficial 'resurrection' title.
The symphony took six years to complete and was first performed in 1895. Mahler always planned for the fifth movement to feature voices but lacked inspiration for a text until 1894, when he heard a setting of Friedrich Gottlieb Klopstock’s Die Aufersterhung (‘The Resurrection) performed at the funeral of his colleague and mentor, Hans von Bülow.
Mahler was deeply moved. ‘It struck me like lightning, this thing,’ he wrote to a friend, ‘and everything was revealed to me clear and plain.’ He borrowed the first eight lines of Klopstock’s poem and supplied a further twenty or so himself. Halfway through the final movement, the choir comes in with the words: ‘Rise again! Yes, rise again will you, my dust, after a short rest!’
6. Francis Poulenc: Quatre motets pour un temps de pénitence
The critic Claude Rostand famously described Poulenc as ‘le moine et le voyou’ - half monk, half rascal. Though legendary in Parisian social circles as a bit of a dilettante, the death of a close friend in 1936 prompted Poulenc to make a religious pilgrimage that led to a dramatic personal transformation. While he retained something of the rascal throughout his career, much of the composer’s work after this time bears the hallmarks of a deep and abiding spirituality.
This set of four Lenten songs, completed in 1939, are among his most popular choral works; notable for their sense of restraint, they display a beauty and subtlety appropriate to their somewhat gloomy subject matter. Yet the songs are as dramatic as they are devotional.
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