Difference between revisions of "The music of Rumi"
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| + | (aka World Music Sampler 2007) | ||
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[[Image:hatemimevlana.jpg|250px|thumb|right|Rumi by [[Haydar Hatemi]]]] | [[Image:hatemimevlana.jpg|250px|thumb|right|Rumi by [[Haydar Hatemi]]]] | ||
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* music as metaphor in his poetry (music, instruments, musicians...) | * music as metaphor in his poetry (music, instruments, musicians...) | ||
* music of the performed Rumi text | * 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:''' | '''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'' | ''PART I'' | ||
| − | Blackout.... | + | (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, | + | * Geha's dance-recitations: various poems, with violin, nay, tar, accompaniments. |
| − | Whirling dervishes projected onto screen (run throughout, but sound down) while | + | * Whirling dervishes projected onto screen (run throughout, but sound down) while Indian group settles in, transition to |
| − | Indian ensemble performance, followed by | + | * 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--- | ---start intermission--- | ||
| − | ( | + | (video of whirling dervishes runs with sound up) |
---end intermission--- | ---end intermission--- | ||
| Line 45: | Line 54: | ||
''PART II'' | ''PART II'' | ||
| − | Geha's dance recitations, part II (with | + | (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: | |
| − | African ensemble | + | * 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)
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.
