caveinspiredmusic.com

CONTEMPORARY ART MUSIC

ORCHESTRAL

Introduction

There’s some very outstanding music here and also some mediocre, not so great things. Right at the top of the list of masterpieces is Keith Jarrett’s, “In the Cave, In the Light,“ a remarkably inventive, beautifully orchestrated piece that reaches spiritual levels rarely attained in cave-inspired music.

One important work included in this section was released after 2005, but it has been presented here nevertheless because they were first composed and premiered in public well before the turn of the century. The Lascaux Symphony, written in 1982-93 and premiered in 1986 in Manchester, England.

_____________________________________ CT-OR1 Hungary 1972

ALTAMIRA * Contemporary – Orchestral – Choral

Comp: Zsolt DURKÓ Rts: (BIEM)

Perf: A MAGYAR RÁDIÓ ÉS TELEVÍZIÓ KAMARAKÓRUSA / SZIMFONIKUS ZENEKARA (Chamber Choir & Symphony Orchestra of the Hungarian Radio & Television)

Conds: Ferenc SAPSZON & György LEHEL

Prod: János Mátyás Prod. Co: (LP) Hungaroton Records (CD) Hungaroton Classic Ltd. Rec. Date: 1972 Liner Notes: (LP) János Kárpáti (in Hungarian, German, & Russian) (CD) Rita Gerencsér (in English & Hungarian) (English trans.: Lorna Dunbar) Time: 8:44 1. LP: ZSOLT DURKÓ – FIRE MUSIC, ICONOGRAPHY, & ALTAMIRA Hungaroton SLPX 11607 (stereo) 12" 33rpm (Sd 2 – Bd 2)

2. Reissue on CD: ZSOLT DURKÓ, etc. (1995) Hungaroton Classic HCD 31654 (Tk 1) Notes: Inspired by a visit to the celebrated Paleolithic art cave near Santillana del Mar, Cantabria, Spain. The liner notes of the LP and the CD were written by two different people, but they essentially say the same things only with slight differences in wording. However, the LP states that the work was first performed in May 1969 on Magyar Rádióban (Hungarian Radio) with György Lehel conducting and the CD says that the “concert-hall premiere took place at the 1970 ISCM Festival in Basle with Ernest Gour conducting.” The title refers to the prehistoric wall paintings of the famous Altamira Cave.

However, “the composition is not a program piece, nor the musical expression of a visual experience; in its structure the score refers to the colours, proportions and form of the prehistoric buffalo-painting [sic – bison-painting], constructed out of dots and lines. The instrumentation is designed to serve this purpose: to the many sub-divisions of the string sections he joins, sometimes in solid blocks, like patches, sometimes sketchily, like lines, the jangling music of the other instruments and sections – the woodwind, the two pianos, the harp, the celeste and the vibraphone, and the 12-member chamber choir that acts virtually as an instrumental section, merely vocalizing, with no text.” (Gerencsér 1996) Regarding this part of the instrumentation, the original German liner notes tell us – “Die übrigen Instrumente, bzw. Gruppen von Instrumenten schließen sich in geschloßenen Blöcken, oder linear an: der Bläserchor ist auf einige Instrumente reduziert, im Schlagwerkapparat spielt die hellklingende Celesta eine wichtige Rolle und ebenso tritt das Vibraphon und die Harfe in der Vordergrund.” [The other instruments or groups of instruments join in solid blocks, or linearly: the woodwind section is reduced to a few instruments and in the percussion section the bright-sounding celesta plays an important role, as does the vibraphone and harp playing in the foreground.] “Structurally, Altamira is one large block, framed by an opening motif that returns in the form of a variation on itself. In its rhythmic patterns it is one of the most subtle of all the composer’s works.” (Gerencsér 1996)

Replica Paintings of Bisons in the Neocueva de Altamira

When I went to Hungary in July 1996 for the symposium, “Caves in the Arts,” this work was performed in the Concert Hall of the Baradla Barlang (Cave) at Aggtelek by the Weiner Leó Symphonic Orchestra conducted by Gergely Kesselyák. On my way to the symposium I had bought the sheet music for this piece in Budapest. During the concert I was fully occupied getting photos so I gave the sheet music to Erika Fleck, a music teacher who had just given a paper at the conference on cave music from the prehistoric times to the present, and she was delighted to be able to follow the score as the orchestra played in that magnificent cave chamber. For other works inspired by this cave see three compositions by Mario Gómez Calderón here under Contemporary Art Music – Electronic – Sonido en la penumbra, plus his two IBIO songs about the Altamira Cave under Rock Music – Progressive – Cuevas de Altamira. There is also Steely Dan’s rock band piece, Caves of Altamira, which was covered by two other groups (see under Rock Music – New Wave – Caves of Altamira and Soul – Caves of Altamira). Ref: Altamira Cave, Data, Wikipedia Anon. 1678, General Catalogue 77-78, Hungaroton-Qualiton-Pepita, Kultúra, Budapest, p.108 Cueva de Altamira, Official Site (in Spanish), museodealtamira.mcu.es Zsolt Durko, Altamira, etc. CD, CDUnverse (◄AUDIO SAMPLE) Zsolt Durko, Altamira, etc. CD, prestoclassical.co.uk (◄AUDIO SAMPLE) Zsolt Durko, Fire Music, Iconography Nos. 1 & 2, Altamira LP, Discogs

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CT-OR2 France 2003

L’ANNEAU DE SALOMON – III – L’ÎLE DU NON-RETOUR –

LES GARDIENS DE LA CAVERNE DE DIAMANT Contemporary – Orchestral

Comp: Jean-Louis FLORENTZ

Perf: ORCHESTRE NATIONAL DES PAYS DE LA LOIRE

Cond: Hubert SOUDANT Prod: Ivan Pastor Prod. Co: Éditions Forlane & L’Orchestre des Pays de la Loire Rec. Loc: Cité des Congrès de Nantes Rec. Date: Oct. 2002 Liner Notes: Jean-Louis Florentz (English Trans.) Jeremy Drake Time: 3:06 CD: L’INFANT DES ILES – L’ANNEAU DE SALOMON J-L. FLORENTZ - Photo by Oliver Rolier Forlane 16832 (Tk 8)

Notes: A four-part symphonic dance for large orchestra with a book based in part on The Bible account of Solomon, tales from the Thousand and One Nights, and the Nuits du Ramazan by Gérard de Nerval. In Part III we are taken to the Island of No Return and there in a hill of yellow amber rocks is “hidden a magnificent cave, its ceiling and walls made of diamond. Thunderstruck at this sight, Ben-Oni [the hero] is rooted to the spot.” Then, for the piece entitled, “The Guardians of the Diamond Cave“…coming from the depths of the cave, an army advances towards him: other genies, Guardians of the Diamond Cave, try to disorient him completely. He picks up his ‘enchanted’ flute and charms them. Overcome by Ben-Oni’s incantation, the Guardians conduct him inside the Grotto. Here they are in an immense hall: in the centre, a table of pure gold on which can be seen, chained to each other, the jars of Solomon.” (Liner notes) Later Ben-Oni is shown the ring, which he brandishes before

the Guardians of the Cave to make them disappear. He speaks words of conjuration and the jars become transparent and change into liquid diamond. This piece is only the second movement in the third part of a work that consists of 12 sections, so it should be heard in its intended place and only within the context of the whole work, which runs for over 28 minutes. But here it is considered by itself: the full orchestra plays an ensemble of middle-eastern-sounding short themes that taper off and then return to swell up with rousing horns and percussions only to taper off again. Ref: Florentz, L’enfant des îles – L’anneau de Salamon CD, Amazon.de (◄AUDIO SAMPLE) Florentz, L’enfant des îles – L’anneau de Salamon CD, yandex.ru Hubert Soudant, Bio, arien-artists Jean-Louis Florentz, Bio (in French), Wikipedia Le Naour, Michel 2012, Hubert Soudant et L’Orchestre National des Pays de La Loire, concertclassic

_____________________________________ CT-OR3 Switzerland 1975

CHANT DE RÉCLÈRE * Contemporary – Choral – Orchestral

Comp: Klaus CORNELL

Perf: DAS SCHWEIZER JUGEND SINFONIE ORCHESTER Martin Simon Weber (cello) ,Corine Görner (violin)

Martin Sulzberger (piano)

Cond: Klaus CORNELL Prod. Co: Schweitzer Jugend-Sinfonie-Orchester; Zurich Time: (?) LP: DAS SCHWEIZER JUGEND-SINFONIE-ORCHESTER "LIVE" (No label) HC 917 (stereo) 12" 33rpm (Sd 2 – Bd 1)

Notes: Entirely inspired by the show cave, Grotte de Réclère, in the Jura Mountains of western Switzerland. Cornell composed this, "Song of Réclère," in 1973, following his other major work, Oratorio Spelaeologico (see below CT-OR13). It was written especially for this orchestra and for the cellist, Martin Simon Weber, and premiered in Vienna in the summer of 1973. The liner notes tell us – "Das Erlebnis dieser Höhlen, der Kontrast von bukolischer Landschaft und bizarrer Unterwelt, die Abwärtsspirale des Pfades ins Abenteuer der Tiefe haben das Werk inspiriert." [The occurrence of this cave, the contrasts between the rustic landscape and the bizarre underworld, and the

downward spiral of the paths in the adventure of the depths have all inspired this work.] The entire work consists of clusters of notes and chords played alternately by the cello, violins, piano, and visa versa. We hear a mournful cello, both bowed and plucked, piano tinkles and ripples, stuttering and vibrant violins, occasional knocking sounds, some woodwind notes, high-pitched squeals, this, that, and the other thing. Finally, a rumbling ensemble builds and ends abruptly. Then the mournful cello returns and the piece finishes more or less the way it began. The old Postcard illustration here was published by Enard & Boéchat. Klaus Cornell composed an extended version of this work in 1995, called “Réclère – Metapher für Klavier und Orchester,” which was recorded by Richard Bosworth on piano with the Slowaaks Sinfonietta Orchestra (see below CT-OR14). Ref: Grotte de Réclère, Info, juratourisme.ch Klaus Cornell, Portrait & Catalogue of His Works, mueller-schade Klaus Cornell, Das Schweizer Jungend-Sinfonie-Orchester “Live” LP, Discogs Schweizer Jugend Sinfonie Orchester, History, efnyo

_____________________________________________________ CT-OR4 United Kingdom 1965

DON QUIXOTE –

THE CAVE OF MONTESINOS * Contemporary – Orchestral

Comp: Roberto GERHARD

Perf: BBC SYMPHONY ORCHESTRA

Cond: Antal DORATI Prod. Co: (A1 & A2) EMI Records Ltd.; Hayes, Middlesex (A3) Decca Record Co. Ltd.; London Liner Notes: (A1, A2, & B) Colin Mason (8-page booklet for A1 & A2) Joaquim Homs & (A3) David Drew Time: (?) A. British Releases: 1. LP: SYMPHONY No.1 & DANCES FROM DON QUIXOTE

Odeon ALP 2063 (mono) 2. LP: SYMPHONY No.1 & DANCES FROM DON QUIXOTE

His Master's Voice ALP 2063 (mono) R. GERHARD, ca.1940s His Master's Voice ASD 613 (stereo) 3. Reissue on LP: DANCES FROM DON QUIXOTE & FIRST SYMPHONY (1974)

Argo ZRG 752 (mono) (Gatefold cover) Argo ZRG 3989 (stereo) (Gatefold cover)

B. American LP: SYMPHONY No.1 & DANCES FROM THE BALLET "DON QUIXOTE" (1965) Seraphim S-60071 C. Spanish LP: SIMFONIA NUM. 1 & DANCES DE DON QUIXOT (1966) Edigsa AHMC 10/72 (Entitled: LA COVA DE MONTESINOS) D. Australian LP: SYMPHONY No.1 & DANCES DON QUIXOTE (1966) World Record Club S-6170 12” 33rpm (Sd 2 – Bd 5) Spec: (Nos. A1, A2, A3, B, & C) 12” 33rpm (Sd 1 – Bd 4) Notes: In Cervantes' tale, Don Quixote de la Mancha is lowered into the cave on a 100-fathom (600-foot) rope by Sancho Panza and his guide. He stops his descent to rest in a recess about 75 feet down where he falls asleep and dreams that he continues descending and finds below a crystal palace and the white-bearded guardian, Montesinos, after whom the cave is

named. He is shown the body of the dead Knight Durandarte whose heart, Montesinos, in keeping with a promise, had cut out, after the knight's death in battle, to give to his lady Belerma. Then he sees Lady Belerma, carrying Durandarte's heart, in procession with her damsels. All are under a spell cast by Merlin, the enchanter. Later, Montesinos points out three peasant lasses in the meadows in the cave, one of whom is the Don's ideal love, the peerless Dulcinea.

Regarding this scene in the ballet, Drew tell us that – "A front cloth [drop] depicts Don Quixote's dream of the Cave of Montesinos. The Lady Belerma enters together with her retinue and processes sorrowfully around the sarcophagus of her lover, the Knight Durandarte. When Don Quixote is introduced by Montesinos as a celebrated breaker of spells, the effigy of Durandarte points an accusing finger at him. The Don has barely recovered from the shock when his dream becomes a nightmare: Dulcinea appears in the sluttish form of Aldonza. Horrorstruck, he awakes: his faith in himself and his knightly mission are beginning to crumble." (Liner notes) An interesting literary study of this key episode in Don Quixote was written in French by Grégory Jaspart (see references below). The original hour-long ballet, composed in 1940-41, was first produced in a somewhat shorter version at the Royal Opera House, Covent Garden, in 1950. The suite presented on this disc was prepared by Gerhard from the original ballet score in 1957 and first performed at a Promenade Concert in 1958 by the BBC Symphony Orchestra under Basil Cameron. Done in an openly Spanish idiom, the music reflects the

composer's national origins even though, as a refugee living in England since 1938, most of his works attempt to liberate Spanish music from the popular national idiom. (Mason 1965 – Liner notes) This dance is a charming little piece beginning with a prancing piano melody, taken up by the bass strings and then the woodwinds, with nice touches of humor so inherent in this cave adventure of Don Quixote. At the end clashing brass and kettledrum signal the nightmare. “The use of the cave by Cervantes signals something very important. In this case, the cave symbolizes a mystical realm in the unconscious mind of Don Quixote where he can come in contact with the souls

of his fallen brethren and chivalric heroes from the age regrettably now past.” (Abraham 1992) The Cueva de Montesinos is located southeast of Ruidera, near the Ruidera Lakes (resurgences & travertine falls) in the Campo de Montiel region of Albacete. A large passage slopes steeply down to cave pools. (See ancient map of cave) Ref: Abraham, James T. 1992, Symbolism in the Cave of Montesimos, Transactions of the Wisconsin Academy of Sciences, Arts, & Letters, v. 80, 1992, p. 51-56, wisc.edu Ballbé, J.; Domínguez, I.; & Iglesias, C. 1996, Tras los pasos de Don Quijote, Octaedro S.L., Barcelona, p. 27 de Cervantes, Miguel (Part 1) 1605 & (Part 2) 1615, Don Quixote, Translated by Samuel Putnam, 1949, Viking Press, NY, Reprinted in The Portable Cervantes, Penguin, 1976, p. 498-515 De Cervantes, Miquel (1999), Obras Completas, Editorial Castalia, Madrid Hughes, Gethin 1977, Cave of Montesimos: Don Qiuxote’s Interpretation and Dulcinea’s Disenchantmenty, Bulletin of Hispanic Studies, v. 54, Issue 2, 1977, p. 107-113, tandfonline Jaspart, Grégory n.d., L’Artifice littéraire de songe dans le Quichotte: L’épisode de la cueva de Montesinos (DQ II, 22-24) (in French), donquijotedelamancha Mills, Martin 1989, Caves in Music, Shepton Mallet Caving Club Journal, Series 8, n. 6, p. 272-273 Roberto Gerhard, Bio (in English), Wikipedia & (in French), Wikipedia Roberto Gerhard, Symphony No. 1 & Dances from Don Quixote LP, Discogs

________________________________ CT-OR5 France 1992

DON QUIXOTE –

THE CAVE OF MONTESINOS * Contemporary – Orchestral

Comp: Roberto GERHARD

Perf: ORQUESTA SINFÓNICA DE TENERIFE

Cond: Victor Pablo PÉREZ Prod. Co: Auvidis France – Fundacion Caja de Madrid Rec. Loc: Paraninfo de l'Universidad de Laguna, Tenerife Rec. Date: August – September 1991 Liner Notes: David Drew Time: 3:45 Photo by Rafa Martin

1. CD: DON QUIXOTE, PEDRELLIANA, & ALBADA, INTERLUDI I DANSA Auvidis Valois V 4660 (Tk 4) 2. Reissue on CD: ROBERTO GERHARD 4 (Same selections) (1996) Auvidis Montaigne MO 782104 (Tk 4) Notes: Almost 30 years later a second treatment of Gerhard’s work, this time by a Spanish orchestra. Ref: Victor Pablo, Biografia (in Spanish), Official Website, victorpabloperez Victor Pablo Pérez, Don Quixote/ Pedrelliana, etc. CD, Discogs Victor Pablo Pérez, Don Quixote/ Pedrelliana, etc. CD, Worldcat

________________________________ CT-OR6 United Kingdom 2005

DON QUIXOTE –

THE CAVE OF MONTESINOS * Contemporary – Orchestral

Comp: Roberto GERHARD

Perf: ULSTER ORCHESTRA Eduardo FERNÁNDEZ (classical guitar)

Cond: Josep CABALLÉ-DOMENECH Prod. Co: BBC Music Magazine Time: 3:59 CD: CONCIERTO DE ARANJUEZ/ DANCES FROM DON QUIXOTE/ etc. BBC Music Magazine BBC MM255 (Tk 7) Notes: A third recorded performance this time orchestra with Spanish classical guitar.

The Ulster Orchestra is a symphony orchestra based in Belfast, the only full-time professional orchestra in Northern Ireland. Eduardo Fernández is an Uruguayan classical guitarist. Ref: Eduardo Fernández, Rodrigo – Concierto de Aranjuez & Gerhard – Dances from Don Quixote CD, Allmusic Eduardo Fernández, Rodrigo – Concierto de Aranjuez & Gerhard – Dances from Don Quixote CD, Discogs

_____________________________________________________ CT-OR7 France 1987

ÉVOCATIONS –

LES DIEUX DANS L'OMBRE DES CAVERNES Contemporary – Orchestral Comp: Albert ROUSSEL

Perf: ORCHESTRE DU CAPITOLE DE TOULOUSE & ORFEÓN DONOSTIARRA

Nathalie Stutzmann (contralto) Nicolaï Gedda (tenor) José Van Dam (baritone)

Cond: Michel PLASSON Prod. Co: EMI Pathé Marconi s.a. Rec. Loc: Halle aux Grains, Toulouse Rec. Date: June 18-19 & Oct. 17-18, 1986 Time: 13:14 1. LP: ÉVOCATIONS & RÉSURRECTION EMI (La Voix de Son Maitre) 2705431 12" 33rpm (Sd 1 – Bd 1 – Part 1) (Gatefold cover) 2. Reissue on CD: ÉVOCATIONS & RÉSURRECTION (1987) Angel 7478872 (Tk 1) 3. Reissue on CD: ÉVOCATIONS & RÉSURRECTION (1995) EMI Classics 5 65564 (Tk 1) Notes: The three-part composition entitled, "Evocations" was inspired by recollections of a voyage to India in 1909 with his wife. The first part "The Gods in the Shadows of the Caves" was inspired by the Caves of Ellora, the second, "La Ville Rose" (The Pink City) by Jaipur, and the third, Aux bords du Fleuve sacré" (On the Banks of the Sacred River) by Benares and the Ganges River. Roussel wrote, "Si je n'ai pas précisé l'identité de ces lieux dans les titres, c'est dans le dessein de n'imposer aucune limitation à l'expression de cette musique." [I didn't specify the identity of these places in the titles because I didn't want to impose any limitation on the expression of this music.] "La première partie évoque le santuaires souterrains, pleins d'une ombre mystérieuse, où l'oeil finit par découvrir, taillées dans le rocher, les images redoutables des dieux, sous mille aspects divers de férocité

meurtrière, de joie frénétique, d'amour serein ou passionné. Symboles de la Nature elle-même avec qui se confond la Divinité. Le début, lent et calme, n'est qu'une sorte de paysage extérieur, interrompu à deux reprises par des fragments des thèmes qui apparaîtront plus tard. Un assombrissement très marqué conduit dans l'intérieur même des cavernes, tandis que s'expose, aux cuivres, sur un dessin obstiné des contrabasses, une sorte de choral ou intervient peu à peu tout l'orchestre. Trois thèmes principaux se développent ensuite, correspondant aux différentes expressions des dieux sculptés dans la montagne, expressions de violence meurtrière et aveugle, de joie, d'amour. Le choral du début reparaît ensuite, et après un fortissimo de tout l'orchestre, l'oeuvre aboutit à une conclusion calme, suivie du paysage du début." (Anon. 1947)

Postcard Photo by Dr. de Beurmann

|The first part evokes the subterranean sanctuaries, full of mysterious shadows, where the eye eventually discovers formidable images of the gods cut out of the rock, showing a thousand different aspects of

murderous ferocity, frantic delight, and calm or passionate love. Symbols of Nature herself, which merge with Divinity. The beginning of the piece, slow and calm, is a sort of exterior landscape, interrupted twice by fragments of themes, which comes in later. A distinct gloominess leads into the interior of the caverns, while the brass expose, over a persistent pattern of the basses, a sort of chorale where little by little the orchestra intervenes. Next, three principal themes are developed, corresponding to the different expressions of the sculptured gods in the mountain, expressions of murderous and blind violence, of joy, and of love. Then the choral from the beginning reappears and, after an orchestral crescendo, the work reaches a serene conclusion, followed by a passage from the beginning.] One anonymous listener, jt52, had this to say – “Trawling through relatively obscure classical music occasionally leads you to a phenomenal piece of music that sits there, lonely, unbeloved, but inspired. Such is the first movement of Albert Roussel's Evocations, ‘The Gods in the Shadows the Cave,’ (sic) a majestic late romantic work with a broad melody in the lower brass or strings accompanied by a fast filigree accompaniment in the higher registers. ‘The Gods’ grabbed me the first time I heard it and still does so on each listen, with its mysterious sense of majesty and its Eastern atmosphere.” (jt52 2012) The composer also did a very nice abridged arrangement for two pianos of this first section of Évocations, which was recorded by two Japanese pianists, Tetsu and Masaki. Well worth a listen. Ref: Anon. 1947, Catalogue de l'oeuvre d'Albert Roussel, Editor, Paris-Bruxelles, p. 43-45 Albert Roussel, Bio (in French), Wikipedia & (in English), Wikipedia Albert Roussel, Évocations – Les dieux dans l’ombre des cavernes, Arranged for 2 pianos, Perf: Tetsu & Masaki,

(6:07), YouTube Albert Roussel, Évocations – Les dieux dans l’ombre des cavernes, Full score for orchestra, IMSLP Albert Roussel, Évocations & Résurrection CD, Amazon.fr Albert Roussel, Évocations & Résurrection CD, rateyoumusic Albert Roussel, Évocations & Résurrection LP, Worldcat Badin, Adolphe 1876, Grottes et cavernes, Lib. Hachette, Paris, p. 35-43 Jt52 2012, Albert Roussel, Évocations & Résurrection CD, Amazon Mills, Martin 1989, Caves in Music, Shepton Mallet Caving Club Journal, Series 8, n. 6, p. 283 Vuillemin, Louis 1924, Albert Roussel et son oeuvre, A. Durand et Fils, Paris, p. 7-8, 53-63

________________________________ CT-OR8 West Germany 1973

IN THE CAVE, IN THE LIGHT Contemporary – Orchestral – Instrumental Comp: Keith JARRETT Rts: Cavelight Music (BMI)

Perf: Keith JARRETT (piano, gong, & percussion)

Orch: SRING SECTION OF THE SUDFUNK SYMPHONY ORCHESTRA, STUTTGART

Cond: Keith JARRETT

Prod: Manfred Eicher & Keith Jarrett Prod. Co: EMC Records GmbH, Munich Rec. Date: Feb. 1973 Liner Notes: Keith Jarrett Time: 12:14 (CD) 12:18 A. West German Releases: 1. LP: IN THE LIGHT (Gatefold cover) ECM Records ECM 1033/ 34 ST (stereo) 2. Reissue on CD: IN THE LIGHT ECM 1033/1034 & 835 011-2 (CD 2-Tk 5) B. American LP: IN THE LIGHT ECM / Polydor 1033/ 34 (CD 2-Tk 5) Spec: (Nos.A1 & B) 2 X 12" 33rpm (Sd 4 -Bd 3) Notes: A remarkably inventive, beautifully orchestrated piece by Keith Jarrett who is considered by many as one of the most talented contemporary composers in modern jazz. In my opinion, this easily ranks with

the "Fingal's Cave Overture" and "Jeïta" as one of the finest examples of instrumental cave music ever composed. Ian Carr rates it as a "gloriously rhapsodic performance." Using specially selected Paiste cymbals and a 38-inch symphony gong together with his piano backed by a string section, Jarrett evokes a magnificent resounding image of darkness and the cave environment – starting with its threatening, overwhelming aspects and its awe-inspiring beauty and ending with the joyful return to light.

Hang Sơn Đoòng (Mountain River Cave) Phong Nha-Ke Bang National Park, Vietnam

In a 1984 interview Jarrett said, "Actually In the Light was a collection of pieces I wrote with no outlet at all. But we all have youthful flows of ideas at a certain stage of our lives, and whatever happens, happens at that period of time. What happened in that period for me was I was not working…" (Lange 1984) His liner notes describing the creative emotions behind the work are especially revealing: "'In the Cave, In the Light' was the hardest to write of them all. I constantly wondered why I was writing what I was writing because the territory I found myself in was sparsely traveled and I could draw no boundary lines. I now see that the dark can be looked at two ways: forbidding or enticing. I chose to be enticed and was finally allowed to turn on a light in there. Now the darkness is not destructive, but Creative." The message is clear and it touches the essentials of caving for without light we can do nothing in a cave. Incidentally, everything Jarrett has composed since 1974 has been copyrighted under the name "Cavelight Music." Levinson writes that "Jarrett tends more toward the western classical tradition than toward jazz and the 'symphonic urges' have been germinating within him in a latent state since the very beginning." He feels that this composition shows a heavy influence from the music of Claude Debussy and Darius Milhaud. "…And if some day Jarrett swears that he knows neither Milhaud nor Debussy, it will simply show that he has rediscovered a path discovered by others before him." Another critic wrote – “The strongest, most moving pieces are the strange, gong-haunted, “In the Cave, In the Light.” (Ginell 2015) The French jazz critic, Chesnel says – "Il s'agit, en effet, de compositions de ce qu'il est courant de nommer musique classique (sic) contemporaine européenne du début de ce siècle…ne me parait pas à la hauteur des intentions exprimées par l'auteur (texte de présentation qui tente d'éclaircir la démarche du compositeur), quoique (couac) on ne puisse rester totalement insensible à un travail d'écriture…dans lequel on devine un certain feeling propre au jazz mais ici retenu ou délivré qu'avec parcimonie (In the Cave, in the Light)." (Chesnel 1974) [This is, in fact, a composition of what is commonly called European classical (sic) contemporary music from the turn of the century…(Music that) seems to me not up to the level of the intentions expressed by the author (see liner notes which try to clarify the author's approach). However (squawk), one cannot remain totally indifferent to a work…in which one finds a certain feeling proper to jazz but restrained here or delivered parsimoniously.] All this is a good example of a one-dimension music critic who likes to hear himself blabber nonsense while getting his music categories bungled up. This music is neither classical nor jazz.

The cutting-edge video by Ryan Deboodt using a drone camera to transport you around the ultra-huge Hang Sơn Đoòng (Mountain River Cave), Phong Nha-Ke Bang National Park in Vietnam could well have used Keith Jarrett’s music to accompany its amazing shots. Those shots were taken with a remote-controlled helicopter with four rotors and a GoPro on the bottom. However, the haphazard editing on this video leaves a lot to be desired. Ref: Anon., Playboy, v. 23, n. 7, July 1976, p. 28 Carr, Ian 1992, Keith Jarrett: The Man and His Music, Paladin, London, p. 63-65, 217 Chesnel, Jacques 1974, Chronique des Disques, Jazz Hot, 40e Année, n. 305, Mai 1974, p. 35-36 Chesnel, Jacques 1976, La vraie nature de Keith Jarrett, Jazz Hot, 42e Année, n. 324, Fév. 1976, p. 9 Deboodt, Ryan 2015, Tour One of the World’s Largest Caves on the Back of a Drone, nationalgeographic (◄VIDEO) Ginell, Richard S., Keith Jarret, In the Cave LP, Review, Allmusic (◄AUDIO SAMPLE) Keith Jarret, Bio, Wikipedia Keith Jarret, In the Cave LP & CD, Discogs Keith Jarret, In the Cave CDs, Amazon.fr (◄AUDIO SAMPLE) Keith Jarret, In the Cave in the Light (album), Wikipedia Lange, Art, The Keith Jarrett Interview, down beat, v. 51, n. 6, Jun. 1984, p. 16, 19 Levinson, Jean-Christophe, Rock & Folk, n. 88, Mai 1974, Paris, p.125 Ruppli, Michel, Discographie: Keith Jarrett, Jazz Hot, 44e Année, n. 348, Avril 1978, p. 24

________________________________ CT-OR9 United Kingdom 1978

Orchestral Suite from JOURNEY TO THE CENTRE OF THE EARTH Contemporary – Orchestral

Selections: 1. THE JOURNEY/ 2. RECOLLECTION/ 3. THE BATTLE/ 4. THE FOREST

Comp: Rick WAKEMAN Arr: Richard Hartley

Perf: THE ROYAL PHILHARMONIC ORCHESTRA

Cond: Richard HARTLEY

Prod: Robin Geoffrey Cable & Richard Hartley Prod. Co: A & M Records Ltd. Time: (?) A. British LP: THE ROYAL PHILHARMONIC ORCHESTRA PERFORMS THE BEST KNOWN WORKS

OF RICK WAKEMAN A & M AMLH 68447 (stereo) 12" 33rpm (Sd 2 – Bds 1 to 4) B. Venezuelan LP: THE ROYAL PHILHARMONIC ORCHESTRA PERFORMS THE BEST KNOWN WORKS OF RICK WAKEMAN A & M AMS 5043 (stereo) 12" 33rpm (Sd 2 – Bds 1 to 4) Notes: The original performance of Journey to the Centre of the Earth with rock and symphony orchestras was recorded live on Jan. 18, 1974 with the London Symphony Orchestra at the Royal Festival Hall. This is a much abbreviated version of just the orchestral portions of Wakeman’s work as arranged by Richard Hartley. Ref: The Royal Philharmonic Orchestra Performs the Best Known Works of Rick Wakeman LP, Discogs

________________________________ CT-OR10 United Kingdom 2012

LASCAUX SYMPHONY * Contemporary – Orchestral

Selections: 1. THE WILD – 14:25/ 2. THE CHILDREN – 4:54/ 3. ICE AGE REMEMBERED – 10:24/ 4. MANKIND EMERGENT – 12:04

Comp: Alan BUSH

Perf: ROYAL SCOTTISH NATIONAL ORCHESTRA Cond: Martin YATES

Prod: Michael Ponder Prod. Co: Dutton Epoch Records; Watford, Hertfordshire, England Rec. Loc: Glasgow Royal Concert Hall Rec. Date: May 15-16, 2012 Liner Notes: Oliver Lomax Time: 3:23 CD: DANCE OVERTURE, LASCAUX SYMPHONY, ETC. Alan BUSH Epoch CDLX 7294 (Tks 2 to 5)

Notes: “Written during 1982 and ’83, the Lascaux Symphony received its first performance in Manchester when Sir Edward Downes conducted the BBC Philharmonic Orchestra on 25 March 1986.” (Lomax 2012) A British caver in Somerset, Martin Mills, is a music lover who often listened to the BBC Third Programme/ Radio 3 and who first heard this symphony that way and then listed it among the many cave-inspired instrumental works in his pioneering article “Caves in Music” published in the Shepton Mallet Caving Club Journal in 1986. But it took 26 years for the symphony to be recorded and released on disc. The Dutton Epoch Records have made it their mission to release recordings of long-neglected British music and this disc is a shining example. Despite the firm cutoff date for this discography of 2005 it was considered important to include this recording here given that the

symphony was first performed publicly back in 1986 and certainly deserved to have been recorded much earlier than 2012. “A four-movement work on a big scale, it addresses significant philosophical as well as musical issues – and effectively it provides a final synthesis of many fruitful strands in the composer’s life. Perhaps the first notable feature is that he gives a significant role to an obbligato piano part, which, the composer tells us, represents “man.” … “In this Symphony, Bush takes his theme from the Paleolithic cave paintings at Lascaux in Southwestern France. The subject of closure because of damage caused by too many visitors, Bush was vastly impressed when, in 1982, the cave complex was opened specially for him to view the paintings. His music finds a profound vein of philosophy concerning humanity and its destiny. “In the first movement, The Wild, we effectively have Bush’s ‘Representation of Chaos’ in which a wild dancing movement is interrupted by thoughtful questionings from the piano, and with much use of side-drum. This is a large-scale score, opening with remarkable promise as haunted chords are sustained across a hushed orchestra… “In the gentile scherzo, The Children, the composer envisages a dance, though in this primeval world they sense danger and run away. Although evoking a French monument, the muted slow movement, which the composer called Ice Age Remembered, is perhaps the most distinctively ‘English’ passage in the whole work. This still meditation of string cantilenas and twisted, frosty woodwind lines, evocative of snowy vistas, has the power of film-music manqué, and consequently communicates immediately. “The endlessly unwinding string line is also a feature of the burgeoning opening pages of the finale, Mankind Emergent, Bush presents this in his favorite form of a theme with variations – in this case six variations – and the piano’s role now brings reminiscences of earlier scores such as the Variations, Nocturne and Finale of more than twenty years earlier.” (Lomax 2012 – Liner notes) One British critic had this to say – “The symphony, inspired by the celebrated cave paintings at Lascaux, France, is an especially cherishable discovery… The Lascaux Symphony… [is] a four-movement work on a big scale, it addresses significant philosophical as well as musical issues with bold memorable themes and brilliant orchestral writing.” (Anon. 2015) Ref: Anon. 2015, Alan Dudley Bush, Discography, prestoclassical.co.uk Alan Bush, Bio, Wikipedia Alan Bush, Lascaux Symphony, Dance Overture, etc. CD, Allmusic (◄4 AUDIO SAMPLES) Alan Bush, Lascaux Symphony, Dance Overture, etc. CD, jpc.de (◄4 AUDIO SAMPLES) Alan Bush, Lascaux Symphony – Part 1: The Wild, (14:25), Alan Bush Music Trust, alanbushtrust.org.uk (◄COM- PLETE AUDIO SAMPLE) Alan Bush, Lascaux Symphony – Part 2: The Children, Amazon.fr (◄AUDIO SAMPLE) Mills, Martin 1986, Caves in Music, Shepton Mallet Caving Club Journal , v. 8, n. 1, 1986, p. 23 & 31

________________________________ CT-OR11 Switzerland ca.1976

ORATORIO SPELAEOLOGICO BERICHT VON DEN BEATUSHÖHLEN * Contemporary – Orchestral Selections: Side One – 1. DER GANG IN DEN BERG [The Passage in the Mountain]/ 2. VON DER ENTSTEHUNG DER HÖHLE [On the Origin of the Cave]/ 3. DIE STIMMEN DER HÖHLE [The Voices of the Cave] Side Two – 4. DIE GESCHICHTE VON BEATUS [The Story of Beatus]/ 5. AUFERSTEHUNG [Resurrection]

Comp: Klaus CORNELL Text: Kurt Weibel

Perf: Basia Retchitzha (soprano) Derrik Olsen (baritone) Kurt Weibel (narrator) Anna-Marie Sommer (flute) Runo Ericksson (trombone) Urs Frauchiger (cello) Willy Bischof (tasteninstrumente) Urs Herdi (percussion) Chor des Berner Gymnasiums Neufeld (choir) Kammerensemble von Radiostudio Bern (chamber orchestra)

Cond: Klaus CORNELL

Prod: Hanus Silvera Prod. Co: Jecklin Pianohaus & Disco-Center; Zurich Liner Notes: Walter Kläy Time: (?) LP: ORATORIO SPELAEOLOGICO – BERICHT VON DEN BEATUSHÖHLEN Jecklin ML-K-148 (stereo) 12" 33rpm (Sides 1 & 2) Notes: A five-part musical work composed in 1972 and entirely inspired by the Swiss show cave, Beatushöhle, at Interlaken, Switzerland. The oratorio as its roots in liturgical music and medieval mystery plays. The subtitle translates as "Report from the Beatus Cave." In the liner notes the author of the texts, Kurt Weibel, comments on the ethical concern –

"Das Höhlenoratorium hat betont meditativen Charakter. Es möchte den Hörer aus dem schnellen Zeitrhythmus, Tagesrhythmus entrücken in einen anderen, weiter gespannten. Wer diesen zu ertragen vermag, wird gewiß etwas wie eine Läuterung erfahren."

[The cave oratorio emphasizes the meditative character. It aims to have the listener escape from the fast-paced rhythm of the times and the circadian rhythms to another wider time-span. Whoever is capable of this, will surely experience something like a purification.] Also in the liner notes Walter Kläy comments – "Nun ist zu beachten, daß nicht ein philosophischer Gedanke Ausgangspunkt dieses höhlenkundlichen Oratoriums ist, sondern ein Höhlenerlebnis des Komponisten und dessen musickalische Umsetzung." [Now one has to observe that the starting point of this speleological oratorio is not a philosophical idea, but rather a cave adventure by the composer and its musical transcription.] And Klay ends by quoting the composer – “Ich habe den Wassern gelauscht, habe vernommen, was sie wirken im Berg. Ich überlasse mich ihrer Macht.” [I have listened to the waters and have heard how they affect the mountain. I give myself into their power.] The Story of Beatus: The legendary tale of the hermit Beatus, who drove off the dragon and withdrew into the cave with his companion Justus, probably in the ninth century. Beatus died at an old age in 112 and at the end of his life he came to the realization, Klaus Cornell composed another cave-inspired work, Chant de Réclère, in 1973 (see above CT-OR3), which he later expanded and entitled, Réclère: Metaphor for Piano and Orchestra (see just below CT-

OR14). Ref: Anon., Auto-Tourist VAB / VTB, 18 July 1976 Anon., Belfry Bulletin, n. 366, Oct. 1978, p.3, Reprinted in British Caver, n. 71 Christmas 1978, p. 3 Anon., Subterra, Equipe Speleo Bruxelles, n. 73, Dec. 1977, p. 22 Beatushöhlen, Home Site (in German, French, & English), beatushoehlen.ch Irwin, D., A Caving Oratorio, Caves & Caving, n. 1, 1978, Bull. of the British Cave Research Ass'n, p. 28 Irwin, D., Caving Oratories, Caves & Caving, n. 6, Nov. 1979, p. 41 Klaus Cornell, Oratorio Spelaeologico LP, Discogs Klaus Cornell, Oratorio Spelaeologico – Bericht von den Beatushöhlen LP, Worldcat Klaus Cornell, Portrait & Catalogue of His Works, mueller-schade Lindenmayr, Franz 2015, Die Beatushöhlen, Info & Visit (in German), lochstein.de Mills, Martin T. 1981, Music of the Depths Or Underground Noises, Grampian Speleological Group Bulletin, v. 3, n. 2, Apr. 1981, p. 35-36 Mills, Martin 1986, Caves in Music, Shepton Mallet Caving Club Journal, Series 8, n. 1, p. 23 St. Beatushöhlen, Info, Showcaves

________________________________ CT-OR12 South Africa 1999

RÉCLÈRE: METAFOOR VOOR PIANO EN ORKEST * Contemporary – Orchestral Comp: Klaus CORNELL

Perf: Richard BOSWORTH (piano)

Perf: SLOWAAKS SINFONIETTA Cond: Anthony ARMORÉ

Prod. Co: Gallo Record Company; Parklands, South Africa Rec. Co: Time: 23:05 or 23:17 CD: RETURNS: PACIFIC NORTHWEST COMPOSERS

FROM EUROPE Gallo CD-950 (Tk 2) Notes: An extended version of Cornell’s earlier work, Chant de Réclère (see above CT-OR3), this piece is entitled, Réclère: Metaphor for Piano and Orchestra. It was performed in Žilina with the Slovak Sinfonietta under the direction of Anthony Armoré. “In particular, Mr. Cornell uses a formal structure akin to baroque form. The movements each have titles illustrating this technique - Fantasia, Ricercar, Aria, Fugato, etc., etc. The harmonic language is expressionistic (much like the Second Viennese School of Schonberg, Berg and Webern) and the orchestration is impressionistic in design (not so far afield from Debussy and Ravel). “There is actually a programmatic aspect about this piano concerto. For those of you who have visited Switzerland, Réclère is an area of underground caverns frequented by tourists from around the world. In

this vein, Klaus Cornell decided to record his musical impressions of what he experienced there. You will even hear the Alpine horn (played by the French horn) at the end of the piece.

“By the way, there is a promenade theme which uses diminished scales. It takes you from cave to cave and forms a suspenseful transition to the different sections of this subterranean network. Of course, we have Mussorgsky to thank for the original idea which is seen in his Pictures at an Exhibition.” (Anon. 2007) Gallo Record Company is Africa's largest domestic record company. This is an impressive piece of contemporary art music with lots of exciting and passionate passages. The final section is particularly nice with the French horns followed by a flourishing piano that ends with ripping chords echoing the flowing water. The three-part YouTube video recording of the work is performed by, Richard Bosworth, the same pianist as the CD recording. If you start with the first part the other two parts will flow through nicely with only a 10-second break between. Beware the camera work is very amateur with lots of unnecessary, jerky zooms and hesitant pans that finish by being quite annoying. Klaus Cornell composed another cave-inspired work, Oratorio Spelaeologico – Bericht von den Beatushöhlen, in 1973 (see just above CT-OR14). Ref: Anon. 2007, Bosworth Plays Cornell – Reclere, Part 1 of 3, (10:23), YouTube; Part 2 of 3, (2:14), YouTube

& Part” of 3, (9:12), YouTube (◄AUDIO SAMPLES) Klaus Cornell, Portrait & Catalogue of His Works, mueller-schade Returns: Pacific Northwest Composers from Europe CD, Amazon.fr (◄AUDIO SAMPLE) Returns: Pacific Northwest Composers from Europe CD, muziekweb.nl Richard Bosworth, Bio, richardbosworth

________________________________ CT-OR13 United Kingdom 1999

RETURN TO THE CENTRE OF THE EARTH Contemporary – Orchestral – Instrumental & Vocal – Spoken Word – Cave Pic Cover Selections: 2. THE RETURN OVERTURE (Vocal) – 2:39/ 8. THE DANCE OF A THOUSAND LIGHTS (Instrumental) – 5:41/ 14. THE KILL (Instrumental & vocal parts) – 5:23/ 22. THE END OF THE RETURN (vocal) – 5:23

Comp: Rick WAKEMAN Rts: PXM Publ./EMI Music Publ. Scr: Rick Wakeman (Inspired by Jules Verne's novel) Nar: Patrick STEWART

Perf. (Orch): THE LONDON SYMPHONY ORCHESTRA & ENGLISH CHAMBER CHOIR Prod: Rick Wakeman Prod. Co: EMI Records Ltd.; London

Cond. (Orch): David SNELL

Cond. (Choir): Guy PROTHEROE Rec. Date: Mar.-Dec. 1998 Liner Notes: (28-page booklet) Rick Wakeman Times: (See above) A. British Releases:

1. CD: RETURN TO THE CENTRE OF THE EARTH EMI Classics CDC5 56763-2 (Tks 2, 8, 14, & 22) 2. LP: RETURN TO THE CENTRE OF THE EARTH (1999) EMI Classics CDC5 56763-2

2X12” 33rpm (Disc 1 – Sd 1 – Bd 2 & Sd 2 – Bd 2) (Disc 2 – Sd 1 – Bd 2 & Sd 2 – Bd 6)

B. American CD: RETURN TO THE CENTRE OF THE EARTH EMI Classics 7243 5 56763 2 0 (Tks 2, 8, 14, & 22) C. European CD: RETURN TO THE CENTRE OF THE EARTH EMI Classics 7243 5 56763 8 2 (Tks 2, 8, 14, & 22) D. Russian CD: RETURN TO THE CENTRE OF THE EARTH (1999) EMI Classics 50999 2357002 3 (Tks 2, 8, 14, & 22) E. Japanese CD: RETURN TO THE CENTRE OF THE EARTH (1999) EMI Classics TOCP-65164 (Tks 2, 8, 14, & 22) Notes: This work is a sequel to Rick Wakeman’s "Journey to the Centre of the Earth," inspired by Jules Verne. Rick is shown here next to the stream in the First Chamber of the show cave portion of Wookey Hole, Somerset. This is a crossover album. The two instrumental sections of this long opus (Tracks 8 & 14) cited above should be classified as contemporary art music whereas most of the original work is popular progressive rock. The overture song and the finale (Tracks 2 & 22), performed by full choral and orchestra, can both be considered cave-inspired songs as both tell of the "center of the earth." See also under Spoken Word – Adult Fiction – Journey to the Center and Not Cave Music – Rock – G to Z. Ref: Anon. 2014, Regreso al centro de la tierra (in Spanish), Musical Boxed, wordpress Return to the Centre of the Earth CD, Amazon.co.uk (◄AUDIO SAMPLES) Return to the Centre of the Earth CD, Discogs & 2XLPs, Discogs Return to the Centre of the Earth CD, Wikipedia Rick Wakeman, Bio, Wikipedia Wookey Hole Caves, Data, Wikipedia

_____________________________________________________ CT-OR14 United Soviet Socialist Republic 1978

STALAKTITAI (STALACTITES) (SYMPHONY N° 2) * Contemporary – Orchestral – Instrumental

Comp: Feliksas Romualdas BAJORAS

Perf: LITHUANIAN CHAMBER ORCHESTRA Cond: Saulius SONDECKIS

Prod. Co: Мелодия Liner Notes: Time: (?) F. BAJORAS

LP: MUSIC FOR CHAMBER ORCHESTRA Мелодия C10-09717-18

12” 33rpm (Side 1) Notes: This contemporary chamber music for string orchestra was composed in 1970. Actually the title, “Stalaktitai (Stalactites),” is quite misleading. None of the sections in this symphony are related to “stalactites” and only the longest one is in any way related to caves. All the other sections relate to places and towns in the Slovak and Czech Republic. See the next entry for more information about this one cave-related movement, “Macocha.” The name “chamber orchestra” is a contradiction in terms. Chamber music is defined as “a form of classical music that is composed for a small group of instruments—traditionally a group that could fit in a palace chamber or a large room. Most broadly, it includes any art music that is performed by a small number of performers.” (Anon. 2016) The Lithuanian Chamber Orchestra is a large string orchestra. This symphony occupies the whole first side of the LP; there are no bands separating the nine different movements (sections), so it is not possible to isolate the cave-related movement, “Macocha.”

The Мелодия (Melodiya) record label was the major state-owned label in the Soviet Union. Ref: Anon. 2016, Chamber Music, Wikipedia Feliksas Bajoras, Bio (in German), Wikipedia Feliksas Bajoras, Kūriniai Kameriniam Orkestrui LP, Discogs Lithuanian Chamber Orchestra, Bio, filharmonija.lt Saulius Sondeckis, Bio, Wikipedia

________________________________ CT-OR15 Europe 2007

STALAKTITAI (STALACTITES) (SYMPHONY N° 2) * Contemporary – Orchestral – Instrumental

Selections: 1. Tatra Mountains – 1:20/ 2. Castles – 1:39/ 3. Our Guide – 0:54/ 4. MACOCHA – 5:01/ 5. Lidice – 1:36/ 6. Vysehrad – 2:46/ 7. Jewish Cemetery – 1:52/ 8. Prague – 2:09/ 9. Departure (Russian Tanks) – 1:37

Comp: Feliksas BAJORAS

Perf: ST. CHRISTOPHER CHAMBER ORCHESTRA Cond: Donatas KATKUS

Prod: Laura Jurgelionyte Prod. Co: Naxos International Ltd. Rec. Loc: Studio Aurea, Vilnius , Lithuania Rec. Date: Nov. 15-17, 2004 Time: (See above)

CD: MUSIC FOR CHAMBER ORCHESTRA Naxos 8.570408

12” 33rpm (Side 1) Notes: This version of the symphony is included because it was recorded in 2004, but not released until 2007. None of the sections in this symphony are related to “stalactites.” The longest section, “Macocha,” is the only part in any way related to caves. The first section, “Tatra Mountains,” refers to that chain astride the border between Poland and the Slovak Republic and, of course, there are plenty of caves in those mountains. 4. MACOCHA – The one-minute sample had strident strings bowing hard chords, then sinister passages. The Macocha Abyss is a major pit cave, 138 meters deep, in the Moravian karst of the Czech Republic. The siphon at the bottom of the abyss connecting with the nearby Punkva River Cave was explored in the 1920s and later tourist tunnels were blasted to connect the relict cave portions of the Punkca Cave with the bottom of the abyss and from there another tunnel to reach the upstream portion of the Punkva Underground River. The only part of this cave system with significant stalactites are the relict cave passages of the Punkva Cave; one of these, called The Needle, can be seen on the left side of the Home page of this Website. The name “chamber orchestra” is a contradiction in terms. Chamber music is defined as “a form of classical music that is composed for a small group of instruments—traditionally a group that could fit in a palace chamber or a large room. Most broadly, it includes any art music that is performed by a small number of performers.” (Anon. 2016) The St.Christopher Chamber Orchestra is a large string orchestra. Ref: Anon. 2016, Chamber Music, Wikipedia Feliksas Bajoras, Bio (in German), Wikipedia Feliksas Bajoras, Music for Strings CD, ArkivMusic, arkivmusic (◄AUDIO SAMPLES) Feliksas Bajoras, Music for Strings CD, Discogs Feliksas Bajoras, Music for Strings CD, (each 1:02), musicperformers.lt (◄AUDIO SAMPLES) Duckeck, Jochen 2015, Propast Macocha, Show Caves of the World, showcaves Duckeck, Jochen 2015, Punkva River Cave, Show Caves of the World, showcaves Macocha Gorge, Info (in English), Wikipedia & (in German), Wikipedia Tatra Mountains, Poland & Slovak Republic, Wikipedia

_____________________________________________________ CT-OR16 France 1995

LA VALSE DES EXCENTRIQUES * Contemporary – Orchestral – Waltz Comp: Myriam LECACHER Rts: (SACEM)

Perf: ORCHESTRE DE CREATION DU LANGUEDOC

Music Dir: Eric Boursy, Myriam Lecacheur, & Patrick Villanti

Prod: Pierre Lauvergnat

Prod. Co: Association Kaliphonie; Peret, France Rec. Co: Studio La Buissonne; Pernes-les-Fontaines Rec. Date: April 1995 Liner Notes: Didier Blancho et al. Time: 6:54 CD: KALIPHONIE Kaliphonie KAL 01 (Tk 7) Notes: A happy, humorous waltz for full orchestra entirely inspired by the fabulous helectite and aragonite formations in the Grotte de Clamouse, in the Herault department of France. This show cave ranks among the very finest in France. Eric Boursey is a member of a music association called Kaliphonie together with Myriam Villanti and Patrick

Villanti. This is a rare private CD release that was kindly donated by Charlie Vertonghen, guide at the Grotte de Clamouse. Ref: Eric Boursy & Patrick Villanti, Short Biographies, Google Grotte de Clamouse, Official Site, Clamouse Grotte de la Clamouse, Info (in French), Wikipedia Vertonghen, Charlie 2000, Donation of CD, Montpeyroux

________________________________ CT-OR17 Belgium 2003

VOLEURS DE LUMIÈRE –

THÈME DES TÉNÈBRES Contemporary – Orchestral Comp: André WAIGNEIN Rts: (SABAM) A. WAIGNEIN

Perf: (ORCHESTRE D’HARMONIE) Music Dir: Gian-Pietro Benedetti Prod. Co: (Unknown) Rec. Co: Planet Sound Rec. Loc: Centre Culturel des Roches; Rochefort Rec. Date: 19-20 July 2003 Liner Notes: (?) Time: 2:03 CD: VOLEURS DE LUMIÈRE (Unknown Label & Catalog No.) (Tk 10) Notes: This was a fantasy spectacle in Walloon with music by André Waignein and chorale lyrics by Bruno Marée. The story line – “Dans une civilisation future, un scientifique avide de pouvoir essaye de maitriser la lumière pour s’en approprier l’énergie et, une fois en possession de celle-ci, devenir le maître du monde. A l’aide d’une machine de sa conception il arrive à capturer l’énergie solaire, Un sinistre vieillard, habitant des ténèbres, lui dérobe son trésor et l’emporte dans la grotte. La terre se retrouve plongée dans l’obscurité… L’absence de soleil

modifie le climat et un froid glacial s’installe… Le monde des ténèbres quant à lui regorge d’une lumière et d’une chaleur dont il ne sait que faire…“ [In a future civilization, a scientist, eager for power, tries to control light to appropriate its energy and, once in possession of it, become the master of the world. With the aid of a machine of his own design he succeeds in capturing solar energy. A sinister old man, dwelling in darkness, steals his treasure and takes it into the cave. The earth finds itself plunged into darkness ... The lack of sun modifies the climate and an icy cold settles in ... The world of darkness is full of light and heat which it can’t deal with.] There are several short sections of this work, which cover action that takes place within the cave, but the only one with a suitable cave title is “Thème des ténèbres.” This music begins with a brass fanfare clarioning a robust theme that the woodwinds answer. The brass carry it further until there is an abrupt shift to a low timid woodwind passage that blends into a feeble orchestral passage that just peters out. The vigorous brass passages would have fit well with the crisis in the world of cave darkness that could not deal with the intensity of the sun’s light. It is unclear which orchestra is performing here; the liner notes list four different “Orchestre d’harmonie”: “La Phalange Musicale” de Jemelle; l’Harmonie d’Eprave; La “Lyre Luxembourgeoise” de Barvaux; and l’Union Musicale de Bastogne. This musical fantasy was presented 7 times in August 2003 and again in August 2004, outdoors in front of the exit of the show cave, Grotte de Han by Les Jeux de Famenne – La Face B. Ref: André Waignein, Biography (in French), andrewaignein André Waignein, Catalogue, Musique vocale, andrewaignein Dejardin, Robert 2012, Donation of this CD (Dejardin, Robert) 2015, Le patrimoine immatériel des Grottes à l’Han-cienne, Collections, n. 79, Déc 2015, p. 9 Les Jeux de Famenne, Événements, wallonie-en-ligne

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