Soubasse
New member
A perrenial subject which I suspect most of us would ponder on a regular or semi-regular basis, but today it just really took me by surprise which is why I thought I'd share it here.
I was doing the most mundane of tasks - marking exam papers - and because my office desk is so cramped (admittedly by my own doing) I take the bundles of papers, mark sheets, etc and spread out over two or three desks in the classroom. Having a good quality hi-fi system in the room is a boon as I'll tend to put on some CDs. Usually it's something that fits into my "zone out" mentality such Tallis, Part, Tavener, even Klaus Schulze, Tangerine Dream or Sigur Ros.
Today, I happened to grab a compilation disc of primarily string works. It's actually still one of my favourtie discs - a free one that came with an old edition of Q magazine and was billed as a "modern guide to contemporary classics."
After the noteworthy fare of Tavener Protecting Veil, Barber Adagio (of course) Glass Facades and Reich Eight Lines, we reach that most superlative of string pieces Vaughan-Williams Fantasia on a Theme of Thomas Tallis.
Now, by this stage, I was knee-deep in these wretched papers, mumbling to myself ("oh, knock it off, how on earth can you mistake a perfect fourth for a minor third?!" "No, an Interrupted cadence is V-VI NOT IV-I you twit!" and so on ...) 9-10 minutes into the VW and there is that magnificent crescendo, and there in that instant (in the manner of my Jehan Alain quote) it COMPLETELY transformed me. I was removed from this oh so boring, mind-numbing task, and transported to a moment 9 years ago when I previously heard the piece in its entirety (from start to finish). This was when my wife and I were approaching Lincoln Cathedral and it was at this same point in the music that this magnificent structure practically rose up from the ground and stood in all its glory before us.
I dropped my pen, leaned back in my chair, closed my eyes and even started crying. I hadn't really been properly listening to it - it just ... took me! It was such a surprise! I'm at a loss to figure out why, things are not so bad in my life right now, so it's not like I'm overly depressed or anything (well, apart from having to teach!). I'm also curious as to why this particular moment in Lincoln came so overwhelmingly to me since I've listened to the Fantasia plenty of times since and not necessarily been reminded of that moment.
All in all, in immediate retrospect, it's made me glad that I can still do this, that music can still work on me that way and that it can happen with a piece I know very well (and could damn near transcribe from memory) but still never tire of it. At the risk of offending poets, writers, painters, sculptors, dancers, etc, I can still find music the most noble and imaginative of the arts .... but that's just me.
So, take it or leave it, but if anyone else has any similar accounts, I for one would like to hear them.
Thanks for your time.
Matt
(PS: Mods, feel free to move this to what you may consider a more appropriate forum but I thought I'd start it here since it fits into "classical" music)
I was doing the most mundane of tasks - marking exam papers - and because my office desk is so cramped (admittedly by my own doing) I take the bundles of papers, mark sheets, etc and spread out over two or three desks in the classroom. Having a good quality hi-fi system in the room is a boon as I'll tend to put on some CDs. Usually it's something that fits into my "zone out" mentality such Tallis, Part, Tavener, even Klaus Schulze, Tangerine Dream or Sigur Ros.
Today, I happened to grab a compilation disc of primarily string works. It's actually still one of my favourtie discs - a free one that came with an old edition of Q magazine and was billed as a "modern guide to contemporary classics."
After the noteworthy fare of Tavener Protecting Veil, Barber Adagio (of course) Glass Facades and Reich Eight Lines, we reach that most superlative of string pieces Vaughan-Williams Fantasia on a Theme of Thomas Tallis.
Now, by this stage, I was knee-deep in these wretched papers, mumbling to myself ("oh, knock it off, how on earth can you mistake a perfect fourth for a minor third?!" "No, an Interrupted cadence is V-VI NOT IV-I you twit!" and so on ...) 9-10 minutes into the VW and there is that magnificent crescendo, and there in that instant (in the manner of my Jehan Alain quote) it COMPLETELY transformed me. I was removed from this oh so boring, mind-numbing task, and transported to a moment 9 years ago when I previously heard the piece in its entirety (from start to finish). This was when my wife and I were approaching Lincoln Cathedral and it was at this same point in the music that this magnificent structure practically rose up from the ground and stood in all its glory before us.
I dropped my pen, leaned back in my chair, closed my eyes and even started crying. I hadn't really been properly listening to it - it just ... took me! It was such a surprise! I'm at a loss to figure out why, things are not so bad in my life right now, so it's not like I'm overly depressed or anything (well, apart from having to teach!). I'm also curious as to why this particular moment in Lincoln came so overwhelmingly to me since I've listened to the Fantasia plenty of times since and not necessarily been reminded of that moment.
All in all, in immediate retrospect, it's made me glad that I can still do this, that music can still work on me that way and that it can happen with a piece I know very well (and could damn near transcribe from memory) but still never tire of it. At the risk of offending poets, writers, painters, sculptors, dancers, etc, I can still find music the most noble and imaginative of the arts .... but that's just me.
So, take it or leave it, but if anyone else has any similar accounts, I for one would like to hear them.
Thanks for your time.
Matt
(PS: Mods, feel free to move this to what you may consider a more appropriate forum but I thought I'd start it here since it fits into "classical" music)