For whatever reason-- this often happens as the seasons change-- I slept through the night, all the way to the alarm at 0430: 99% of the time I will wake at some point between midnight and 0200, to say the Office, and this is also when I take the one medication. This morning I took the pill at 0430 and (because I'm not supposed to have anything but water for an hour after and I like my tea when I begin the day) went back to bed 'for an hour', which turned out to be seven f.ing o'clock. Tsk. On mornings like today, when the most sacred routine is upset, I said the invitatorium and Lauds, omitting Matins, have just finished Prime with the martyrology , and will now say Terce and then breakfast, which more or less puts me back on course for the day.
Am listening to Spotify's 'Discover Weekly' playlist, a Monday custom. Sometimes there are in fact pleasant 'discoveries', most of the time they are well-known pieces, if by unfamiliar performers in many cases, once in a while they are dreck, pop music in pretense of being 'classical'. I saw this composer's name, Lepo Sumera (that is the English Wiki; the French is rather more informative even than the Estonian) on the Estonian Radio Klassikaraadio channel pages recently. Evidently, it is from the score for an animated film from 1986, Kevadine kärbes.
Post Tertiam. On their 'Kontserdisaalis' program this morning the Estonian Radio's Klassikaraadio is broadcasting a recording of the 1976 concert which first introducted Arvo Pärt's new work in his 'tintinnabuli' style of composition (if I understand the text, via the translation of the machina, correctly).
On October 27 [1976], it will be 44 years since the concert, which for the first time introduced [Arvo] Pärt's music related to the miraculous word 'tintinnabuli'. In the Estonia Concert Hall in Tallinn, the ensemble Hortus Musicus, the Tallinn Chamber Choir and some soloists performed Arvo Pärt's works in the first half of the concert. The program page read 'Tintinnabuli' for an explanation, and the other half of the evening was Hortus Musicus [performing] Guillaume Dufay's 15th-century five-part Mass L'Homme armé.
A few days before the Tallinn concert, Hortus Musicus presented a similar program [at] the University of Tartu. The composer himself was not present and [this] is therefore not considered to be a premiere. The first article marking Pärt's musical change was published on the basis of [this] concert in Tartu.
The newspaper Edasi [Forward] (November 5, 1976) published a review by the then 77-year-old composer Johannes Bleive. Pärt's new music inspired him and he called the experience a surprise, [although 'strange' was his first reponse (sic? the machina spat out gibberish for this phrase)]. According to Bleive, Pärt "turned to new creative paths, which seems to be a protest against the highly dissonant, overcrowded [sic?] music of our time, where there is no peace, the enjoyment of pure musical instruments [sic?]".
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