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Grossmont Symphony: I am Woman (3 of 3)

Gorecki's Symphony No. 3: Symphony of Sorrowful Songs is a feminine composition.

It is necessary to go over the "sacred masculine" and "sacred feminine" characteristics in order to reach a deeper understanding of this music.

Sacred Masculine /Sacred Feminine

History /Eternity

Linear Time /Cycles of Time

Dogma /Ritual

Rationality /Imagination-Mystery

Waking Reality /Altered States

Science /Art

When The Grossmont Symphony began to play the opening bars, I heard a simple theme that repeated itself for several minutes. I was tempted to consider the music repetitive or "minimalistic" but those are types of music that I don't like. I like Gorecki's 3rd Symphony so what was going on?

Gorecki was functioning beyond minimalism. The repetition was creating an atmosphere of eternity, cyclical time, ritual, and even an altered state. The repetition was calmly dominating the audience.

The initial theme went through it's cycle/ritual and ended. The next cycle began and soprano Anna Belaya began to sing the Polish text.

I found the color of Anna's voice to be ideally suited to this music. Her dark, rich tone kept the text in the appropriate context. A light, bright voice would have been distracting and out of character.

As the music unfolded, I found myself almost breathing with the cyclical themes--breathing itself is a repetitive cycle we experience for our entire lives. Each time a cycle changed, it felt like a momentous event.

The solo text of the symphony is poignant but Gorecki's approach to the composition is what sets it aside from other settings of sorrowful text.

I should make it clear that neither the feminine or the masculine is superior to the other. We want to find balance between these two archetypes.

The masculine has been dominant during the course of our recorded history. Some would say there is evidence of a balance existing in the prehistoric Egyptian and Hindu traditions. However, our experience has certainly been centered on the masculine.

If we look at the categories, how much of our history and societies associate with the feminine? Not much.

These characteristics are not determined by gender. Do Hillary Clinton or Michele Bachmann use feminine principles to lead? No. As different as these two might be ideologically, their approach is still masculine dominant.

Gorecki Symphony No. 3: Symphony of Sorrowful Songs is one human being's effort to help us find balance.

The video clip below has some disturbing images. I have selected it because I think the images clarify how an out of balance world can become a nightmare.

http://www.youtube.com/watch?v=plMd6K4_ENY

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Gorecki's Symphony No. 3: Symphony of Sorrowful Songs is a feminine composition.

It is necessary to go over the "sacred masculine" and "sacred feminine" characteristics in order to reach a deeper understanding of this music.

Sacred Masculine /Sacred Feminine

History /Eternity

Linear Time /Cycles of Time

Dogma /Ritual

Rationality /Imagination-Mystery

Waking Reality /Altered States

Science /Art

When The Grossmont Symphony began to play the opening bars, I heard a simple theme that repeated itself for several minutes. I was tempted to consider the music repetitive or "minimalistic" but those are types of music that I don't like. I like Gorecki's 3rd Symphony so what was going on?

Gorecki was functioning beyond minimalism. The repetition was creating an atmosphere of eternity, cyclical time, ritual, and even an altered state. The repetition was calmly dominating the audience.

The initial theme went through it's cycle/ritual and ended. The next cycle began and soprano Anna Belaya began to sing the Polish text.

I found the color of Anna's voice to be ideally suited to this music. Her dark, rich tone kept the text in the appropriate context. A light, bright voice would have been distracting and out of character.

As the music unfolded, I found myself almost breathing with the cyclical themes--breathing itself is a repetitive cycle we experience for our entire lives. Each time a cycle changed, it felt like a momentous event.

The solo text of the symphony is poignant but Gorecki's approach to the composition is what sets it aside from other settings of sorrowful text.

I should make it clear that neither the feminine or the masculine is superior to the other. We want to find balance between these two archetypes.

The masculine has been dominant during the course of our recorded history. Some would say there is evidence of a balance existing in the prehistoric Egyptian and Hindu traditions. However, our experience has certainly been centered on the masculine.

If we look at the categories, how much of our history and societies associate with the feminine? Not much.

These characteristics are not determined by gender. Do Hillary Clinton or Michele Bachmann use feminine principles to lead? No. As different as these two might be ideologically, their approach is still masculine dominant.

Gorecki Symphony No. 3: Symphony of Sorrowful Songs is one human being's effort to help us find balance.

The video clip below has some disturbing images. I have selected it because I think the images clarify how an out of balance world can become a nightmare.

http://www.youtube.com/watch?v=plMd6K4_ENY

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Comments
3

There's a heartbeat in this music, a beautiful rhythmic heartbeat. Amazing how composed something so sad and yet so hopeful all at once.

Oct. 26, 2011

This movement reminds me very much of the Concierto de Aranjuez in which Joaquin Rodrigo writes about his unborn child. There's a pulsing that represents the baby's heart beat. The pulsing ends, the music becomes dark and a little stormy, the baby is dead, its parents are crushed. The upward moving strains at the end represent the baby's soul rising to heaven.

Here's a link to Angel Romero playing it in concert with orchestra. I actually prefer the guitar-only version. But this is still awfully beautiful.

http://www.youtube.com/watch?v=ksuI1PGSBF8&feature=related

Oct. 26, 2011

Thank you for sharing that piece of music J_de_la_Mesa. It is a beautiful piece.

Oct. 29, 2011

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