Today is my birthday and, since I don’t feel up to two hours at the seniors’ gym at McMaster University, I shall listen instead to favorite recordings and try to conquer a steadily growing list of things I must – must! – do. Beside my player, to begin, I have a pile of CDs I tend to rely on as old friends who give me pleasure, profundity and emotional support when I need it.
My oldest stand-by is The Golden Age of English Lute Music with lutenist Julian Bream, a recording I have listened to for maybe 60 years. I remember asking lutenist Bream post-concert at Wigmore Hall when it would be available on CD and fairly soon – well, ok, a year after – I bought a copy at HMV. Bream had told me that the quality of sound was a production issue, but I find the sound is fine on this treasured recording.
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Another essential recording is Gayatri Mantra, with Hein Braat from the Netherlands chanting in a deep and resonant voice. This recording inevitably brings a peaceful calm to my agitated self and I got my copy by ordering from Hein Braat’s site, although it’s also available online.
Hein Braat CD Gayatri Mantra / Maha Mrityunjaya Mantra
One of the most beautiful and well-known mantras is the Gayatri Mantra. An invocation to liberate the soul from ignorance and darkness and – like the sunlight – gain clarity in our insights. Insights to walk that path that will enlighten our hearts and lead us to an ever higher state of spirituality. This mantra is called the essence of the ancient holy ones.
The second mantra on this CD is the Maha Mrityunjaya Mantra. And what a mantra that is! This mantra is said to juvenate, maintain good health, improve well-being and prosperity and to take care of a long life in peace, love, prosperity and satisfaction. That seems quite a lot, but just listen to it, (with your heart, not just your ears) and yes, it’s all that. It is the mantra of the lord Shiva. It arouses the Shiva force within you and puts an end to fear of death and liberates you from the circle of life and death. Impressive as can be.
The continuous recitation of this mantra (patiently and with dedication) could lead to nothing less than enlightenment. This mantra evokes peace and reflection. Listen or sing along with Hein’s impressive voice
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During my first year at university, centuries ago, I began to borrow LPs from their Mills library and one regular take-home was Gregorian Chants with Monks of L’Abbaye Saint Pierres de Solesmes. As with Braat’s CD, this recording sets up an atmosphere of subtle serenity that embraces one’s spirit. I also tend to hold my breath with both recordings.
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Violinist Yehudi Menuhin long ago hosted a TVO series on music that briefly featured a most gripping and strangely seductive Abed Azrié performing the Epic of Gilgamesh. I eventually found a CD in Paris on the ETHNIC label and once asked a feminist artist I knew to listen to it with me. But after only a few minutes of “Ancient Mesopotamia’s most famous work which dates back to 2500 B.C.,” she said that hearing it disturbed her too much.
Abed Azrie: Epic of Gilgamesh in performance
Abed Azrie: Epic of Gilgamesh
French-Syrian composer and singer Abed Azrie has brought new life to the Sumerian Epic of Gilgamesh with his unique music and voice. Here, The text is sung in Arabic instead of extinct Akkadian, The language that the tablets of the epic of Gilgamesh were written in.
Also listen: Song “The Epic Of Gilgamesh” In Sumerian language on Sumerian lute
Ancient Mesopotamia’s most famous work dates back to 2500 B.C. and tells the story of a tragic friendship and a quest for immortality.
The Epic of Gilgamesh, the oldest great work of world literature, did not originate in a specific environment, at a certain age or within a single nation, but arose from the Sumerian mythology and has spread over Babylon and Assyria, and has found its way to the Middle East within more than a millennium.
Epic of Gilgamesh summary
It is primarily the story of a friendship between Gilgamesh and Enkidu that arises first from a rivalry, strengthens in danger, deepens in common heroic deeds, and finally dissolves painfully in death of Enkidu. It is also the topic of exorbitance of the heroic figures (Gilgamesh and Enkidu) who, hasting from victory to victory, do not know how to control themselves, and thus offend the gods.
This sacrilegious arrogance results in punishment and death: in the heart of the survivor (Gilgamesh), the fear of death turns into an unbearable anguish of the human being, who is suddenly aware of the uncertainty of life. His desperate search for the secret of immortality is in vain: all attempts to find immortality throw him even deeper into despair until the day on which he is returning from a long odyssey, eventually finding peace and wisdom.
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One time in London we were so lucky to see the National Theatre’s spirited and imaginative production of The Mysteries: The Nativity, The Passion, Doomsday – with music performed by Home Service, featuring Linda Thompson. I don’t subscribe to any religion, but I do love British traditional music and found myself learning two of the songs on the CD of musical selections from the production. In fact, I find myself quite moved by Shepherds Arise and Wondrous Love, and sing along, even when our cats protest by exiting my office.
Much more music to write about, but not now since my long list of things I must do calls…