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Material The music has been arranged in 'antiphonal' sections, Christian alternating with Hindu. This gives the effect of a dialogue between the two faiths which permeates the entire programme - perhaps a unique and historic dialogue.The Music of The Church This traces the life of Christ from the Annunciation through to His Ressurection and Ascension and even beyond, as His promise of the Holy Spirit is fulfilled at Pentecost. The Source, however, is implicit throughout the whole evening, as God encapsulates the programme as "The Beginning and The Ending." The composers range from those of the Baroque period (with the seldom heard songs from Bach's 'Schemelli Gesangbuch'), touching the early Romantic yet devotional 'Sanctus' of Schubert and the later more exuberant romanticism of the English Church composers - Charles Wood, Herbert Brewer and Elgar, to the rhythmic modernity of William Mathias. Perhaps the only example which cannot claim a regular place in worship is the Handelian "Let the bright seraphim," yet who could restrain the fervour of these celestial beings at the Ascension of the Lord's Anointed? The Music of the Hindu The Hindu contribution contains the Keertan and the Bhajan. The former is for the solo singer and is the more evocative. In these the devotion of the individual can often convey the impression that there is a considerable 'flowering' of the very soul of the singer - a quality which manifests in the personal variations appearing in the Keertan. The Bajan which is strophic in style and a type of folk melody nevertheless can raise the spirits of the performers and listeners alike by its rhythmic vitality - an example of ritual sonation performed by the group rather than the individual. Many of the texts are from the Vedas (Divine Scriptures) and relate to the characteristics of various Avatars who incarnate to establish righteousness. Unlike Western music, that of India concentrates far more on melody and rhythm than on the harmonic structure. This imparts a freedom of execution to the singer that may be matched only by the art of progressive jazz musicians of the 20th century. One main reason why the stringency of harmonic rules is absent is the complexity of a species of music which possesses not the semitone as its smallest unit, but the quarter tone. Again one may see in this feature of the music a certain similarity to the subtle inflections of the blues singer which frequently depart from familiar diatonicism. All music to the Hindu is 'God-centred', whether it be the music of the Temple, Classical Raga or folk songs suited to an agrarian festival. Each is closely woven on the loom of cosmic manifestation where Divinity is free-ranging in Its eternal, incomprehensible purpose, uniquely blessing each shuttle-pass. The opening prayer to Lord Ganesha is traditional, setting the seal of positivity over all proceedings. The singer asks that the words and translation of this and the closing prayer be given as an illustration. |
Mooshika vaghana
Modhaka hastha
Shymara karna
Vilambita sustra
Vamana rupa
Maheswara putra
Vighna vinayaka
Padam namaste
| ("To the One Who rides upon a mouse holding a sweet in hand, with ears like a fan - small in stature, beloved Son of Lord Shiva, the Remover of all obstacles, I bow to Thee in deep devotion.") |
Closing Prayer
Asatho maa
sathgamaya;
Thamaso maa Jyotir gamaya;
Mrit yor maa Amrithm gamaya;
Hari OM shanthi, shanthi, shanthi Hi.
| ("From falsehood lead us to Truth; from darkness lead us to Light; from death lead us to Liberation; Peace, Peace, Peace." |