Saturday morning quotes 3.37: Last gasp
Over the past several weeks, our Saturday quotes have been tailored to connect with our campaign to fund three recordings in 2014, which is coming to a close in one week. While we hear from many of our colleagues and peers that our campaign seems to be plugging into the new and innovative “crowdfunding” concept that is the wave of the future, we are here to tell you that it is the wave of the present, and is essential if art is to remain in the realm of a human-to-human interaction.
To accentuate the humanity of what we do, today’s post features the wildly new and innovative phenomenon of quoting one another.
As very quiet and private personalities, we find that the cloak of public self promotion is ill-fitting and chafes uncomfortably. However, what we do very well is provide our audiences with a deeply-felt musical experience that reflects the intensity of our understanding of and commitment to the music we perform.
And we also happen to be very good listeners. The music for our three recording projects slated for 2014 was chosen in response to specific requests from our audiences—requests for music that matters to real people. Of course like any good listeners, we possess obliging personalities and we strive to make music that successfully moves our audiences. But as artists we have our own personal reasons for investing so much of ourselves in our music, and what we feel about each of the three recording projects. Read on:
“The music of early 17th century French court has all the characteristics of good pop music of any era: it’s full of feeling and great tunes. It’s beautiful, it’s fun, it’s romantic, it’s silly, it’s heartbreaking. It touches people, whether or not they understand the language or know anything about the music. We get mail from all over the world about it; we’ve discussed it in lecture/recitals and graduate seminars, and we’ve sung it for 5-year-olds, who’ve asked us to ‘sing it again’. It’s absolutely universal.”
“In addition to our usual slate of seasonal performances, we’ve been presenting an annual Christmas concert for the benefit of a local food pantry for the past six years. It’s always a warm and peaceful respite in the midst of the holiday madness, for us and for our audience, which has inspired this next recording with their many requests.”
“I’ve been singing Gregorian chant, in its functional context, for decades now. Ron & I met singing this music together with some of our favorite people, in a beautiful old church. For chant more than most music, the sound of the space is part of the music. The opportunity to share these ancient hymns and antiphons and the magical sound of one of our favorite sacred spaces is very exciting.”
“While we met in a schola cantorum singing chant and sacred polyphony, our first performance as a duo for solo voice and lute featured airs de cour from early 17th-century France, and we are always delighted to return to this repertory. What I find appealling in French music of this era is the surprising connection of attractive melodic phrases with the subtle underlying propulsion of dance rhythms. Of course, I also react in a particular Gomez Addams manner when Donna sings in French…”
“I have always loved music for the Christmas season, and our concentration on sacred polyphony for solo voice and lute led us to some of the very best Christmas music ever composed. The choice of music for our new recording was largely inspired by audience requests for specific pieces, but we have added several rare gems by the likes of Morales, Hassler and Willaert that deserve to be heard again and again.”
“Sacred chant heard in a sacred space has a special transporting quality, moving hearts, minds and souls for the past few millennia. The chant hymns and antiphons Donna selected for this project have special meaning, and we are very pleased to offer this beautiful meditative recording to the many listeners who have requested it.”
If you know us, you know that we carry out our work without the support of state, academic or institutional grants. We do not benefit from organizational connections, recording contracts, or artist representation. We personally carry out all aspects of the production, from research to audio engineering, mastering and design of our CDs, to typesetting, photography, design and printing of our music publications and promotional materials. Since historical aesthetics seem to be fading fast into oblivion, we are doing our bit to preserve meaningful music of the past, and we are asking listeners to Support our tropes.