Garden of Gethsemane |
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On Saturday, 22 September, in the Garden of Gethsemane in Jerusalem, all Christian heads of Churches and Communities gathered under the open sky in front of the walls of the Holy City for an extraordinary concert: the world première of the Eucharistic Symphony.
One of the latest compositions of the titular organist of the Basilica of the Holy Sepulchre in Jerusalem for the Roman Catholic Church, the Italian musician Maestro Armando Pierucci, the 'Eucharistic Symphony' was written upon commission by Mr Arnoldo Mosca Mondadori, the President of the Milan Conservatory of Music. It is inspired by liturgical pieces ordinarily sung during the Eucharistic liturgy from twelve different Christian musical traditions in the Holy City, with twelve corresponding movements and an introduction on a Jewish theme. It will be performed by the Duni Choir and Orchestra of the Matera Conservatory of Music, directed by Maestro Carmine Antonio Catenazzo, with Carlo Rotunno as baritone singer.
In itself a Western piece in nature but using themes in the antique musical modes of the Eastern traditions, no longer in usage in Western music, the Eucharistic Symphony is not only musically unique, but also highly symbolical: it shall give a sight of the beauty and harmony of the rich different Christian traditions interacting precisely “in symphony”, a vision of Christian communion expressed through the art of music. It is meant to be an invitation to all Christians to become more aware of their own Church and liturgical tradition, which reflect their history and cultural identity, as well as to discover with loving care the multiplicity of traditions of other Christian Churches.
To see a video presentation click here: http://www.fmc-terrasanta.org/en/actuality-events-and-society.html?vid=2588
Many thanks to Jan Bidaud for telling us about this. |
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1 comment:
There is a Russian saying that 'if you chase two rabbits, you will catch neither one'. To make claims for a musical work that it will give a 'vision of Christian unity, that it will promote peace, reconciliation, to make a stand for religious freedom' among other objectives this work is supposed to fulfil, is madly running after a whole warren of hares, and patently suspicious. A musical work, if it has integrity, can and should stand on its own merits and subject to accepted musical standards.
First of all there is the issue of harmonizing Oriental music, and giving it alleged spiritual significance. There is almost universal agreement that this should not be done as the musical systems are so different and even incompatible. But in this case, doing so is not only flaunted but rationalized as a tool of Christian unity.
If in listening to this work, one doesn't perceive "sight of the beauty and harmony of the rich different Christian traditions interacting precisely 'in symphony', a vision of Christian communion expressed through the art of music", something must be wrong with one's ears. Apparently, objective musical criticism is neither solicited nor wanted, as independent music critics were not in evidence in Gethsemane to assess the musical value of the work. Instead, the Franciscan Custody of the Holy Land spread around luxuriant praise even before it was performed. Even Beethoven didn't have such privileges of advance publicity.
But holy exaggeration is not unknown for the activities of Fr. Pierucci and his Magnificat School of Music. From 2006, Pierucci has won peace prizes practically every year in Italy for having a few non-Palestinians in the music school he founded. The PR has no limits on the praise that can be lavished on it, "a living miracle, an oasis, providing serenity, exploding a bomb of peace" and much more that was apparently successful in raising hundreds of thousands of Euro to renovate the Custody premises to house the school.
If one wants to believe the outrageous claims for 'peace in Jerusalem' for having a few non-Palestinians making music, then one could accept all the folderol that this so-called composition is supposed to accomplish.
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