Difference between revisions of "The music of Rumi"
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− | + | (aka World Music Sampler 2007) | |
− | + | [[Image:hatemimevlana.jpg|250px|thumb|right|Rumi by [[Haydar Hatemi]]]] | |
− | + | Listen to the reed and the tale it tells, | |
+ | How it sings of separation... | ||
− | |||
− | |||
− | + | '''The music of Rumi is...''' | |
− | + | * music of his poetry (the sound of language itself, in the original Persian) | |
+ | * music as metaphor in his poetry (music, instruments, musicians...) | ||
+ | * music of the performed Rumi text | ||
+ | * a metaphor for the ritual experience of Rumi's poetry, for Rumi as Mevlana, as saint | ||
+ | * a metaphor for the experience of mystical love poetry | ||
+ | * a metaphor for mystical experience generally | ||
+ | * a metaphor for all songs of love, longing, and reunion | ||
+ | * a metaphor for the harmonious machinery of the cosmos, the synchrony of micro/macrocosm, the mutual whirling of human and universe... | ||
− | |||
+ | '''Concert sketch:''' | ||
+ | ''NB: There should not be an MC or any formal didactic voice; let the program flow present itself, with any needed explications relegated to the printed program'' | ||
− | |||
− | |||
− | + | ''PART I'' | |
− | |||
− | + | (stage is set for Indian ensemble (back a bit) and for small ensemble to accompany Geha (front, stage left). Screen is off to one side, or up high. | |
+ | * Blackout.... | ||
− | + | * Geha's dance-recitations: poetry of Rumi, with nay and tar (poems: "Out beyond ideas of right and wrong...", "I was buried and rotting...", "Lightning!...", "Tonight there are no limits...") | |
− | + | * Saleem's recitation of Rumi in Farsi, with accompaniment from Regula and Michael, perhaps with some tar | |
− | + | * Geha's dance-recitations: various poems, with violin, nay, tar, accompaniments. | |
+ | |||
+ | * Whirling dervishes projected onto screen (run throughout, but sound down) while Indian group settles in, transition to | ||
+ | |||
+ | * Indian ensemble performance, followed by | ||
+ | |||
+ | * Whirling dervishes projected while stage is reset for Kreisha (this should just be a matter of moving some of the equipment already on stage for Indian ensemble) | ||
+ | |||
+ | * Kreisha's performance | ||
+ | |||
+ | |||
+ | ---start intermission--- | ||
+ | |||
+ | (video of whirling dervishes runs with sound up) | ||
+ | |||
+ | ---end intermission--- | ||
+ | |||
+ | ''PART II'' | ||
+ | |||
+ | (stage is set for MENAME, Mehdi, and Persian group) | ||
+ | |||
+ | * Blackout...enter Geha's dance-recitations, part II (with violin and tabla) opens second half, followed by | ||
+ | |||
+ | * Middle Eastern and North African ensemble (MENAME) | ||
+ | |||
+ | * Mehdi Samadi (solo) (poetry of Rumi; recites poetry then sings it) | ||
+ | |||
+ | * Persian group (including poetry of Rumi; recited first) | ||
+ | |||
+ | * Video of whirling dervishes, while stage is set up for WAME...WAME group comes out and waits... | ||
+ | |||
+ | * Geha: very short Rumi recitation with nay and tar, themes of ecstasy of the ''dance'', then: | ||
+ | |||
+ | * West African ensemble (WAME). Following their performance, all WAME members come and sit at the front edge of the stage. | ||
+ | |||
+ | * Geha: final Rumi recitations (very short) involving some West African percussion along with her other musicians --- to conclude the program. |
Latest revision as of 18:53, 22 November 2007
(aka World Music Sampler 2007)
Listen to the reed and the tale it tells, How it sings of separation...
The music of Rumi is...
- music of his poetry (the sound of language itself, in the original Persian)
- music as metaphor in his poetry (music, instruments, musicians...)
- music of the performed Rumi text
- a metaphor for the ritual experience of Rumi's poetry, for Rumi as Mevlana, as saint
- a metaphor for the experience of mystical love poetry
- a metaphor for mystical experience generally
- a metaphor for all songs of love, longing, and reunion
- a metaphor for the harmonious machinery of the cosmos, the synchrony of micro/macrocosm, the mutual whirling of human and universe...
Concert sketch:
NB: There should not be an MC or any formal didactic voice; let the program flow present itself, with any needed explications relegated to the printed program
PART I
(stage is set for Indian ensemble (back a bit) and for small ensemble to accompany Geha (front, stage left). Screen is off to one side, or up high.
- Blackout....
- Geha's dance-recitations: poetry of Rumi, with nay and tar (poems: "Out beyond ideas of right and wrong...", "I was buried and rotting...", "Lightning!...", "Tonight there are no limits...")
- Saleem's recitation of Rumi in Farsi, with accompaniment from Regula and Michael, perhaps with some tar
- Geha's dance-recitations: various poems, with violin, nay, tar, accompaniments.
- Whirling dervishes projected onto screen (run throughout, but sound down) while Indian group settles in, transition to
- Indian ensemble performance, followed by
- Whirling dervishes projected while stage is reset for Kreisha (this should just be a matter of moving some of the equipment already on stage for Indian ensemble)
- Kreisha's performance
---start intermission---
(video of whirling dervishes runs with sound up)
---end intermission---
PART II
(stage is set for MENAME, Mehdi, and Persian group)
- Blackout...enter Geha's dance-recitations, part II (with violin and tabla) opens second half, followed by
- Middle Eastern and North African ensemble (MENAME)
- Mehdi Samadi (solo) (poetry of Rumi; recites poetry then sings it)
- Persian group (including poetry of Rumi; recited first)
- Video of whirling dervishes, while stage is set up for WAME...WAME group comes out and waits...
- Geha: very short Rumi recitation with nay and tar, themes of ecstasy of the dance, then:
- West African ensemble (WAME). Following their performance, all WAME members come and sit at the front edge of the stage.
- Geha: final Rumi recitations (very short) involving some West African percussion along with her other musicians --- to conclude the program.