Sacred Sunday: “Om Namah Shivay Dhun,” Jagit Singh

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This is one of the most popular mantras in Hinduism, and the most important in Shaivism, the sect of Hinduism that reveres the god Shiva.

Shaiva temple in Sibsagar, Assam, India.

Shaiva temple in Sibsagar, Assam, India.

These words are known in Shaivism as the panychAkshara mantra, or the Holy Five Syllables.   Its loose translation is, “Adoration to Shiva,” but its essence is much more closely associated with the sublimation of the ego along with complete devotion.  The mantra has been set to countless melodies but this is one of my favorites.

Today is the Sunday in church we read the gospel lesson in which Jesus tells his followers, “I am the Way, the Truth, and the Life.”  As Bishop Mariann Budde, the head of the Diocese of Washington, preached this morning, it’s a deceptively difficult statement to wrestle with because it seems to imply exclusion – i.e., the only way towards the divine is through Jesus, and therefore through the Christian faith.  Bishop Budde said that, to her, this is much more of a statement of love between Jesus and his disciples than it is a commandment that those who are not followers are condemned.  The Holy Five Syllables is another such love song.  What a wonderful thing that humans evolved so many ways of approaching the divine, and that each of them begins with love.

Worldly Wednesday, “Imidiwan Matanam,” Tinariwen

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I have a vision of the northern Sahara at dusk.  There are bare scrubby trees, and sentient-looking rocks carved by wind and sand.  It looks like a place called Tassili N’Ajjer Plateau, in Algeria.  This is where the Tuareg group Tinariwen recorded their 2011 album “Tassili,” from which this song comes.  The album was recorded outside in the desert.  I have a lot of wanderlust by nature, but this song – and the vision this song gave a tune to – makes me all but grab my passport and run out my front door.

Tassili mountains, Algeria

Tassili N’Ajjer Plateau, Algeria

Imidiwan ma tennam dagh awa dagh enha semmen?
Tenere den tas-tennam enta dagh wam toyyam teglam
Aqqalanagh aljihalat tamattem dagh illa assahat
Tenere den tossamat lat medden eha sahat
Aksan kallan s tandallat taqqal enta tisharat
Aqqalanagh aljihalat tamattem dagh assahat

What have you got to say, my friends, about this painful time we’re living through?
You’ve left this desert where you say you were born, you’ve gone and abandoned it
We live in ignorance and it holds all the power
The desert is jealous and its men are strong
While it’s drying up, green lands exist elsewhere
We live in ignorance and it holds all the power

Modernism Monday: “Not Half,” Alfie

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Normally I’m pretty perky on Monday.  Today, though…man.  The problem is, this weekend was particularly fun, and I know this week at work will particularly suck.  So there’s really only one song I can think of that will make me feel like I’ve got a compassionate friend.  Check out the horn interlude (you knew it was coming) at 1:43.  I had this on my headphones when I was grocery shopping once in college and I actually literally started dancing down a vegetable aisle.  I regret nothing.

Worldly Wednesday: “Farewell to Stromness,” Peter Maxwell Davies

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This has already been a tough week for me and a lot of people I know, so I thought I would share a piece that has helped me recenter myself when things get a bit much.  Davies wrote this for a play, “The Yellowcake Review,” which was a work of protest against a possible plan to build a uranium mine in Stromness, in the Orkney Islands of Scotland.

Stromness

Stromness

 

“I will not walk backward in life.”

– J.R.R. Tolkein

Modernism Monday: “April Rain,” Harvey Reid

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I’m feeling homesick for New England today, and whenever I’m homesick, I usually turn to one guy: Harvey Reid.  Harvey Reid is an American folk artist and incredibly talented musician.  I grew up on his album “Of Wind and Water” and play it whenever I want to remember what home feels like.  This beautiful track especially conjures up memories of where I’m from.  Once on the train home to visit my family, I made a list of the things that define what that means:

  • Iron rail track nails
  • Hot weeds
  • Frozen mud
  • Sail cloth
  • Tiny fish bones
  • Sweet corn
  • Rambling stone walls
  • Chickadees
  • Pavement undulating with tree roots
  • Low tide seaweed
  • Splinters
  • Bare white churches
  • Bare white birch trees

I’m also from cold April rain.

Throwback Thursday: “String Quintet in C, D. 956: II. Adagio,” Franz Schubert

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Ever get that feeling that the universe is up to something?  Like there is something going on and you don’t know what, but something is definitely up?  That’s how this week has felt to me and I’ve needed music constantly.  Anyone who knows me will tell you I never go anywhere without my headphones.  I literally never leave the house without those happy little wires running from my ears to my iPhone.  This week, the second movement of Schubert’s extraordinary string quintet has been on heavy rotation.

This piece is a prime example of why I just adore classical music.  It seeks out and absorbs your emotions like rice absorbs the water around salt crystals.  As rice expands in water, so too does music like this grow as it finds and absorb your thoughts and feelings, and in the end, you can see its real shape.  It helps you look inwards and check in with yourself – “oh, so that’s what’s going on.”  When you hear this piece, how do you feel?  What do you think about?  Where does your mind go?  Pay attention to whatever comes back to you; you may or may not be surprised.  For me, this piece magnifies both happiness and sadness, which is why I have been listening to it so much this week.  It calms me down the way sharing a burden with a worldly friend can be calming.  I have to be very careful listening to this piece, among others, when I’m in a certain kind of mood – otherwise it becomes too sodden and it takes on that mood’s shape permanently.

Your results may vary, of course.  But I hope it enhances and magnifies good things when you hear it.

Funk Friday: “But I Do,” Poldoore

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I.  Cannot.  Stop.  Playing.  This.  Song.  This is a remix of O.V. Wright’s Song “I Don’t Know Why,” which, as you’ll see is much slower.  By speeding it up and adding a new drum track, Poldoore skews the track way more towards funk – and hip-hip – and away from soul.  I love the very 60’s era chord progression and lead guitar riffs (vaguely Buffalo Springfield-esque), the tempo, the rhythm track layered on top, the horns, the way it builds – everything.  It’s flawless.  Check out more of his stuff on his Soundcloud website.  Groove on, Tune-Up fans.

Modernism Monday: “Coyote,” Bobby McFerrin and Yo-Yo Ma

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I have a cold.  I can’t believe this.  I never get sick, and I’m starting the week with a cold.  Obnoxious to the max.  For some reason, this album always makes me feel better when I’m sick and is just generally great for all times, so I recommend buying the entire thing pronto.  Can you imagine a cooler duo than Bobby McFerrin and Yo-Yo Ma?  Exactly.  You can’t.  It’s not possible.  Now excuse me while I blow my nose for the 700th time.

Sacred Sunday: “Miserere Nostri,” Thomas Tallis

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Thomas Tallis, you magnificent bastard.  This piece is actually a canon, called a “six in two.”  This means it uses six voices to produce a double canon.  This means that the top two voices are playing off each other while the bottom voices are doing their own thing.  You can track in the score how the second soprano follows the first soprano’s lead.  It’s one of my favorite Tallis pieces – which is saying something, since I carry a serious torch for the guy.  I love how it slowly builds to the two-minute mark, plus the interplay of the soprano lines between 2:46 and 2:56.  But the most ingenious part of the piece is how it ends on a question, by which I mean the chord doesn’t resolve back to the tonic (or starting chord of the piece); it ends on the fifth.  Miserere nostri – Have mercy on us, Lord.  It’s a request.  That the piece ends without resolution leaves space for that request to be answered.  It just brings tears to my eyes every time.