Tag Archives: Ascetism

Roma. In principio erat verbum

Cantul vechi roman – veriga lipsa dintre ierusalim si Roma – este, spre deosebire de cantul gregorian, marele uitat al muzicii Bisericii latine occidentale. Daca pana in secolul al XII-lea inca se mai intonau imnuri ce urmau linia melodica a acestui stil muzical, in secolul al XIII-lea, mai precis dupa captivitatea papala de la Avignon, a cazut in desuetudine, devenind un fel de relicva muzicala expusa doar in timpul solemnelor Vecernii sau Messe papale din Lateranum sau Sf. Petru. Un secol mai tarziu, nu mai era nici macar o amintire. Totul a ramas in nemiscare pana la inceputul secolului XX.

Redescoperirea cantului vechi roman de catre Dom Andoyer a reprezentat o adevarata bomba pentru comunitatea stiintifica si religioasa occidentala. Spun bomba deoarece socul provocat a fost unul de proportii, in special din punct de vedere ideologic: cum se (mai) poate reconcilia viziunea, dominanta in acel moment, despre stilul gregorian, inventat chiar de Sf. Grigorie (secolul VI), ce trebuia sa reprezinte forma muzicala universala a Bisericii Catolice, cu realitatea istorica, având in vedere ca nu exista la Roma manuscrise gregoriene mai vechi de secolul XIII? Muzica gregoriana, neclintita de secole intregi de pe piedestalu-i, s-a vazut pusa din nou in fata vechiului sau rival.

Piesele propuse aici au aparut pe CD in anul 2008 si sunt interpretate de corul Organum condus de muzicologul, teologul si filologul francez Marcel Peres.

Impresionant prin sobrietate, minimalism, forta expresiva si incarcatura simbolica, cantul vechi roman defineste un crestinism aparte de ceea ce vedem astazi.

O prezentare a lui Peres:

Kenneth Levy – A New Look at Old Roman Chant (Early Music History, Vol. 19 (2000), pp. 81-104 / Vol. 20 (2001), pp. 173-197). Part I, Part. II.

Thomas H. Connolly – The “Graduale” of S. Cecilia in Trastevere and the Old Roman Tradition. Journal of the American Musicological Society, Vol. 28, Nr. 3 (1975), pp. 413 – 458.

Un interviu cu Peres, Leurres de l’Apocalypse, in lb. franceza, aici.

Pur

no dynamics, no change, no entertaiment” – Vomir

Ceea ce veti auzi mai jos se numeste nihilistic wall of noise sau harsh noise wall si reprezinta opusul linistii absolute. Linistea absoluta este mai degraba un concept spiritual decat o realitate “naturala”, palpabila. Zgomotul este ceea ce auzi pe strada, la televizor, la meci, in orele de varf. Vomir insa nu face zgomot. El intoarce linistea mistica, spirituala, linistea completa, cea care nu exista in “realitate”, pe dos. Ne-o ofera asa – fara idei, fara variatii, fara imaginatie. Static. Continuu. Alb. Pur.

Vomir reprezinta revelatia isihasta in varianta post-umana.

Thomas Merton

Albumul Hidden Wholeness: The Visual World of Thomas Merton este rodul colaborarii dintre monahul trapist si John Howard Griffin.

Thomas Merton’s approach to photography is truly personal, lay in his use of his lenses primarly as contemplative instruments… Thomas Merton published few of his photographs. But in the last three ears of his life, when he photographed steadily, he buit up a large archive. From his negatives, I have selected, whenever possible, those photographs that Merton had marked as coming closest to what he hoped to convey through the visual image

scrie Griffin in prefata la albumul mai sus mentionat. Si continua (sublinierile imi apartin):

… Merton’s extraordinary personality permeated his works. To understand anything about this personality, popular pietistic images about contemplatives have to be discarded. Merton was a mystic and a poet, with an ability to see many facets of the same object and to combine within himself seeming opposites. He was simultaneously a man of profound discipline and astonishing freedom; a man who expressed himself eloquently concerning the spiritual life but who kept his own secret prayer private; a man of profound religious abandonment who refused to veil his humanity in the gauze of pietism; a man of the intellect who relished the simplest of manual labor. He combined strength and toughness with a faultless courtesy to others. He possessed a high sense of humor and showed great personal warmth in his relations with others, but had not time to waste on what he called “silliness” or “foolishness” and could terminate such encounters with masterful tact. He would not wear religious masks or pretend, for anyone’s edification, to be other than what he was: a man whose interior life was not for display and who was not going to act out anyone else’s version of what a contemplative should be.

Thomas Merton si Jacques Maritain.

Fotografiati de John Howard Griffin in octombrie 1966

Pentru cei ce doresc intregul album, aici.