Because yesterday’s Mendelssohn reminded me so much of Russian sacred music (and because today is Our Lady’s Day), I find myself moving fairly straight-forwardly to the fifth of Pyotr Ilyich Tchaikovsky’s 9 Sacred Pieces, the gorgeous “It Is Truly Meet.” Достойно есть, яко воистину блажити Тя Богородицу, присноблаженную и пренепорочную и Матерь Бога нашего, Честнейшую херувим и славнейшую без сравнения серафим, без истления Бога Слова рождшую, сущую Богородицу Тя величаем. It is truly meet to bless you, O Theotokos, ever-blessed and most pure, and the... Read more

Here’s another of the 8-part motets from Mendelssohn’s Opus 79 that I highlighted yesterday. This one, #6, is titled “On Good Friday” and (again!) includes the dreaded “Hallelujah” So it’s a bit of an odd selection. Like yesterday. Or at least it seems odd on the face of it. But musically/mood-ly, it’s perfect. Especially the final “Hallelujah,” which sounds a lot more uncertain than you might expect. Also, very Russian, to my ears. Not at all what I’m expecting from Mendelssohn.... Read more

Today’s entry is the fourth of the six 8-part motets from Felix Mendelssohn’s Opus 79. Its title says “At Passiontide,” so it might not be quite right for Early Lent.  But it also says “Hallelujah!” So I’m getting it out of the way early on, before our ears become unaccustomed to the sound of that phrase. The piece itself is quite brief, and not something I would identify as Mendelssohnian. But the yearning is palpable, the “stumbling into the light” moment around the... Read more

In recent days, while reflecting on why music has always seemed to occupy such a large space in my life, I’ve come to realize that I use it in (mostly) two ways. Well, three, actually. Because the first — “first” as in “primary” — way is pretty much straight-up enjoyment, brought on by an appreciation of and a deep love for its beauty. But that’s a very emotional response, and I can’t/don’t analyze it much. I just feel it. In a more intellectual... Read more