{"id":2103,"date":"2010-10-22T14:10:19","date_gmt":"2010-10-22T13:10:19","guid":{"rendered":"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=2103"},"modified":"2010-10-22T14:10:19","modified_gmt":"2010-10-22T13:10:19","slug":"jazz-into-classical-goes-anew-officium-novum","status":"publish","type":"post","link":"https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/22\/jazz-into-classical-goes-anew-officium-novum\/","title":{"rendered":"Jazz into Classical goes anew: Officium Novum"},"content":{"rendered":"<p><a href=\"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=2035\"><img loading=\"lazy\" class=\"alignright size-thumbnail wp-image-2106\" style=\"margin-left: 5px;margin-right: 5px;border: white 5px solid\" title=\"officium_novum\" src=\"http:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/10\/officium_novum-150x150.jpg\" alt=\"Album image\" width=\"150\" height=\"150\" srcset=\"https:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/10\/officium_novum-150x150.jpg 150w, https:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/10\/officium_novum-300x300.jpg 300w, https:\/\/blogs.kent.ac.uk\/music-matters\/files\/2010\/10\/officium_novum.jpg 500w\" sizes=\"(max-width: 150px) 100vw, 150px\" \/>Pursuing the line of thought <\/a>about the relationship between jazz and classical music: recently released on the great ECM label is <em>Officium Novum<\/em>, the follow-up to the world-wide phenomenon that was 1993\u2019s <em>Officium, <\/em>featuring a collaboration between saxophonist Jan Garbarek and the Hilliard Ensemble,<\/p>\n<p>I\u2019ve <a href=\"http:\/\/blogs.kent.ac.uk\/music-matters\/?p=2035\" target=\"_self\">written before <\/a>about the incorporation of improvisation into classical music; here, it\u2019s taken back even earlier in musical history.<\/p>\n<p>The first album presented music by Perotin, de Morales and Dufay, Gregorian chant and anonymous Hungarian and Czech composers from the fourteenth and fifteenth centuries.<\/p>\n<div class=\"kent-video-wrapper\"><span class='embed-youtube' style='text-align:center; display: block;'><iframe class='youtube-player' type='text\/html' width='474' height='297' src='https:\/\/www.youtube.com\/embed\/allUF4NdIG0?version=3&#038;rel=1&#038;fs=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;wmode=transparent' frameborder='0' allowfullscreen='true'><\/iframe><\/span><\/div>\n<p>Garbarek paints lyrical arabesques around the Hilliard\u2019s singing, decorating and embellishing their archaic repertoire with very modern improvised lines.<\/p>\n<p>There\u2019s something deeply contemplative about the result; Garbarek\u2019s meditative ruminations on the unvoiced lyrical potential of the music sung by the Hilliard seems to open up a door onto a different plane, to which the singing aspires but cannot reach. Garbarek\u2019s improvised melodies ought to sound anachronistic against the medieval repertoire: and yet they don\u2019t. Somehow, the synergy works to make the sax lines sound ancient, and, at the same time, to make the ancient songs sound modern.<\/p>\n<div class=\"kent-video-wrapper\"><span class='embed-youtube' style='text-align:center; display: block;'><iframe class='youtube-player' type='text\/html' width='474' height='297' src='https:\/\/www.youtube.com\/embed\/0_dmQ7-_b-c?version=3&#038;rel=1&#038;fs=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;wmode=transparent' frameborder='0' allowfullscreen='true'><\/iframe><\/span><\/div>\n<p><em>Officium Novum<\/em> widens the musical geography to include Armenian music, Arvo Part and compositions by Garbarek himself.<\/p>\n<p>Detractors have lamented the intrusion of a saxophonist and improvised lines onto the music and the Hilliard, and point to the ensemble\u2019s disc of Perotin (called, simply, <em>Perotin<\/em>), as a purists\u2019 dream (and it is a fantastic disc). But, as the sales figures for <em>Officium<\/em> proved, and as they no doubt will for the new album, there is a niche for this type of \u2018cross-over\u2019 music. The link between ancient and modern continues to beguile modern listeners, divide critics, and foment debate: all to the good.<\/p>\n<ul class=\"kent-social-links\"><li><a href='http:\/\/www.facebook.com\/sharer.php?u=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/22\/jazz-into-classical-goes-anew-officium-novum\/&amp;t=Jazz into Classical goes anew: Officium Novum' target='_blank'><i class='ksocial-facebook' title='Share via Facebook'><\/i><\/a><\/li><li><a href='http:\/\/twitter.com\/home?status=Jazz into Classical goes anew: Officium Novum%20https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/22\/jazz-into-classical-goes-anew-officium-novum\/' target='_blank'><i class='ksocial-twitter' title='Share via Twitter'><\/i><\/a><\/li><li><a href='https:\/\/plus.google.com\/share?url=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/22\/jazz-into-classical-goes-anew-officium-novum\/' target='_blank'><i class='ksocial-google-plus' title='Share via Google Plus'><\/i><\/a><\/li><li><a href='http:\/\/linkedin.com\/shareArticle?mini=true&amp;url=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/22\/jazz-into-classical-goes-anew-officium-novum\/&amp;title=Jazz into Classical goes anew: Officium Novum' target='_blank'><i class='ksocial-linkedin' title='Share via Linked In'><\/i><\/a><\/li><li><a href='mailto:content=https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/22\/jazz-into-classical-goes-anew-officium-novum\/&amp;title=Jazz into Classical goes anew: Officium Novum' target='_blank'><i class='ksocial-email' title='Share via Email'><\/i><\/a><\/li><\/ul>","protected":false},"excerpt":{"rendered":"<p>Pursuing the line of thought about the relationship between jazz and classical music: recently released on the great ECM label is Officium Novum, the follow-up to the world-wide phenomenon that was 1993\u2019s Officium, featuring a collaboration between saxophonist Jan Garbarek and the Hilliard Ensemble, I\u2019ve written before about the incorporation of improvisation into classical music; &hellip; <a href=\"https:\/\/blogs.kent.ac.uk\/music-matters\/2010\/10\/22\/jazz-into-classical-goes-anew-officium-novum\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Jazz into Classical goes anew: Officium Novum<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":620,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[936,909],"tags":[1393,1392],"_links":{"self":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/2103"}],"collection":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/users\/620"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/comments?post=2103"}],"version-history":[{"count":5,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/2103\/revisions"}],"predecessor-version":[{"id":2157,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/posts\/2103\/revisions\/2157"}],"wp:attachment":[{"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/media?parent=2103"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/categories?post=2103"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.kent.ac.uk\/music-matters\/wp-json\/wp\/v2\/tags?post=2103"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}