I wish that many of the conversations I have had ended up as my blog posts. But when I try to translate these conversations they tend to fall flat. As Merleau-Ponty observes good conversation creates a shared space between the participants, such that things spoken that make profound sense in that space may only make ordinary sense if not well translated to another space. Still, sometimes statements or realizations will transcend the space of shared conversation and carry similar weightiness in different situations. Such is the case, I claim, for the conclusion to a recent conversation provided my my fellow blogger Joel Peters:
“The easiest way to stay on the straight and narrow is to never ask what the straight or narrow is.”
An observation particularly to be heeded, perhaps, during an election campaign (which we are in the midst of in Canada) when easily offered straight and narrow ideologies are rampant.
Here is another live recording from my Adam’s Fall concert.
Meditation one: Christ our Lord Came to the River Jordan
Mediation two: The River Jordan
Meditation three: The Voice of the Lord, Psalm 19
The voice of the LORD is over the waters; the God of glory thunders, the LORD,
over mighty waters.
The voice of the LORD flashes forth flames of fire.
The voice of the LORD is powerful; the voice of the LORD is full of majesty.
Casavant Organ at All Saints Church, Winnipeg. Recording from the concert, Adam’s Fall which featured the Canadian premiere of Huw Morgan’s piece for organ and electronics called “Adam’s Fall”
Organ — Casavant, Opus 2508, 1959
Recently I put together an event that centered around Huw Morgan’s work for organ and electronics called “Adam’s Fall.” Here is my performance of the work on August 26, 2014 in Winnipeg Manitoba.
“Huw Morgan’s Adam’s Fall, meanwhile, was originally commissioned by Michael Bonaventure and was first performed at the Kunst-Station Sankt Peter in Köln in 2010. Morgan has described the piece as “a fixed electronics track comprising of five repetitions of a set of six chords (taken from the closing cadence of Bach’s harmonization of the chorale Durch Adam’s Fall) [which] is played while the organist improvises from a pitch-set derived from those chords. Each recorded statement is fractionally flattened and sharpened in alternation in a converging pattern, creating a dialogue between the absolute pitch of the organ and the variable pitch of the electronics.”
Put simply, the fixed electronics track is never in tune with the organ. It always misses its mark and often does so significantly. In this way, Adam’s Fall becomes an analogy for humanity, which continually seems to bend out of tune. And yet, the continuing attempts to repair this brokenness allows the light of redemption to break through the cracks.” – Joel Peters
https://www.youtube.com/watch?v=uHRZOV8-9tY (Canadian Premiere)