RABINOVITCH-BARAKOVSKY
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RABINOVITCH-BARAKOVSKY IS ONE OF TODAY'S LEADING COMPOSERS AND ONE OF THE RARE COMPOSERS OF OUR CENTURY TO EXPRESS THE SPIRITUALITY AND COMPASSION. HE IS ALSO ONE OF THE FIRST COMPOSERS OF MUNIMALISM (FROM 1969), HIS "LA BELLE MUSIC N.3 (1977) IS THE FIRST WORK FOR ORCHESTRA IN THE MINIMALIST FIELD. HE WAS THE FIRST COMPOSER TO CONNECT THE MINIMALIST VISION WITH SPIRITUAL QUEST.
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I arrived somewhat gradually at the idea of a new paradigm in musical practice, which I called the «Terza Pratica». The fact is, schematically the evolution of the European musical language can be divided into two main periods.The «Prima Pratica» is rooted in Christianity, which had the status of a state ideology. Despite the variety of musical styles used by composers in the 12th to 16th centuries whose names we know, the emotional objectivity principle prevailed: The emotional placidness, serenity and quietude were a reflection of the extramusical conceptions of the «music of the spheres», the «harmony of the universe», at the center of which was the Earth. At the time, rationality (the brain’s left hemisphere) reigned supreme in art and music served ideology.
The publication of Copernicus’ ideas in 1543 literally traumatized his contemporaries.The Earth turned out to be a province. That was of course a severe blow. There followed a subjective, personal expressiveness, with a vast spectrum of emotions-affects. Monteverdi defined this new aesthetics as the «Seconda Pratica» (with the supremacy of the brain’s right hemisphere) and, throughout the 17th-20th centuries, a whole musical mythology based on the tonality principle was born (with a major- minor, joy-suffering polarity). With his Symphonie Fantastique, Berlioz took place on Freud’s couch. In Mahler or Rachmaninov there is already such turmoil in the expression of extreme emotions that it becomes slightly «unhealthy». In the ensuing expressionism, one senses only anguish and despair.
In modern history, I believe the crucial turning point took place in 1945 with Hiroshima and Nagasaki. It became sufficiently clear that man had finally yielded to his «death drive» and his vocation as a sorcerer’s apprentice, dooming his own species to relatively short-term extinction. However, a tradition such as Tantrism teaches us that a diagnosis can certainly be made of the grim anomalies of our era, which «awoke energies that it could not control» (according to Pierre Feuga, a well-known specialist of Tantrism), but that it would be more constructive to encourage healing of society or concentrate on one's own inner transmutation and on the quest of the meaning and purpose of existence.
It was from this perspective that more than 30 years ago I started my musical stroll through traditional knowledge (Shamanism, Gnosis, Kabala, Sufism, Buddhism, etc.) to try and locate their inherent unity. I submitted to my inner guide.
Equally important for me were the ideas of Carl Jung, who worked out a synthesis between Buddhist thought (monumental psychology), Hinduism (philosophical spirituality) and the alchemical initiation rites. He believed that the initiatory aspect of his individuation concept would result from the meeting of conscience with subconscious archetypes such as the Persona, the Anima, the Shadow, etc.The purpose of this individuation process would be the concept of the Self, similar to the definition of the Atman (Brahman) in Hinduism. This view of the spiritual journey and the mandalas illustrating in a geometric manner our progress in the labyrinth towards our personality center, as well as the concept of the ascent of cosmic energy, Kundalini, through the 7 Chakras (psychic centers) in our body – this interdisciplinary process in the search for a return to spirit helped me arrive at a new musical paradigm: the Terza Pratica.And the essence of this new paradigm can be summed up with the phrase «Let The Heart Think», instead of «let the Heart express itself» which characterizes the Seconda Pratica. Within the context of the Terza Pratica - which views musical activity as a holistic and spiritual experience - the rituals, metaphisics of sacred numbers, initiation ceremonies in past societies such as purification rites, alchemical experiences and so forth, are being updated and foster the quest for individuation and the Self, in accordance with the terms of Jung’s analytical psychology or Hinduist worldview.
I am very much at home with this tendency of oriental mysticism to see the world with the «eyes of the heart». And yet, emotions are no longer directly expressed; they are explored and analyzed within the context of therapy in which the patient establishes a dialogue with oneself and becomes one’s own psychoanalyst. This creates a type of cognitive and intelligible emotions thanks to the use of arithmosophy (the analyst’s role being played by the numbers).
At the same time, I have the impression that this musical approach allows us to make the connection between the rational part of the brain and the right temporal lobe (source of spiritual energy) – the link that Dr. Morse talks about in his book Where God Lives.
And Fritjof Capra writes in hisTao of Physics that «physics and metaphysics are both inexorably leading to the same knowledge».
All my compositions are integrated into an overall work called Anthology of Archaic Rituals – In Search of the Center.
Translated by Maria Balkan
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Extraits de l’entretien accordé par A. Rabinovitch-Barakovsky à Elena Dubinets (2010)
C’est un peu progressivement que j’en suis venu à l’idée d’un nouveau paradigme dans la pratique musicale, que j’ai appelée la «Terza Pratica». Le fait est que du point de vue purement schématique, on peut diviser l’évolution du langage musical européen en deux périodes principales. La «Prima Pratica» a ses racines dans le christianisme, qui a reçu le statut d’idéologie d’Etat. Malgré la diversité des styles musicaux des compositeurs des 12ème- 16ème siècles, dont nous connaissons les noms, le principe de l’objectivité émotionnelle était prédominant – la placidité, la sérénité et la quiétude émotionnelles reflétaient les conceptions extramusicales de la «musique des sphères», de l’«harmonie de l’univers» dont le centre a été notre globe terrestre. A cette époque, le facteur rationnel (l’hémisphère gauche du cerveau) régnait en maître dans l’art et la musique était au service de l’idéologie.
La publication des idées de Copernic en 1543 a littéralement traumatisé ses contemporains – la terre était en fait une province. Ce qui, bien sûr, est une rude épreuve. Apparut une expressivité subjective, personnelle, avec un immense spectre d’émotions- affects.
Monteverdi a défini cette nouvelle esthétique comme la «Seconda Pratica» (avec suprématie de l’hémisphère droit) et au cours des 17ème-20ème siècles s’est formée toute une mythologie musicale basée sur le principe de tonalité (avec la polarité majeur-mineur, joie-souffrance).Avec la Symphonie fantastique, Berlioz se plaça sur le divan de Freud. Chez Mahler ou Rachmaninov, il y a déjà une telle turbulence dans l’expression des émotions extrêmes que cela en devient un peu «malsain». Dans l’expressionnisme qui suivit, on ne détecte que détresse et désespoir.
Dans l’histoire moderne, le tournant crucial s’est produit, à mon avis, en 1945 avec Hiroshima et Nagasaki. Il est devenu suffisamment clair que l’homme a finalement cédé à ses «pulsions de mort» et à sa vocation d’apprenti sorcier, en condamnant sa propre espèce à l’extinction à assez brève échéance. Cependant, une tradition comme le Tantrisme nous enseigne qu’on peut évidemment établir un diagnostic des anomalies sinistres de l’époque qui a «réveillé des énergies qu’elle ne peut contrôler» (selon Pierre Feuga, grand spécialiste du Tantrisme), mais qu’il serait plus constructif de favoriser la guérison de la société ou se concentrer sur sa propre transmutation intérieure et sur la quête du sens et de la finalité de l’existence.
C’est dans cette optique qu’il y a plus de 30 ans, j’ai entrepris mes promenades musicales à travers les savoirs traditionnels (le Chamanisme, la Gnose, la Kabbale, le Soufisme, le Bouddhisme, etc.) pour essayer de repérer leur unité fondamentale. Je me suis laissé conseiller par mon guide intérieur.
Tout aussi importante pour moi était la pensée de Carl Jung, qui a élaboré une synthèse entre la réflexion bouddhiste (psychologie monumentale), l’Hindouisme (spiritualité philosophique) et le rituel initiatique alchimique. Il considérait que l’aspect initiatique de son concept d’individuation résulterait de la rencontre de la conscience avec les figures archétypiques de l’inconscient tels que la persona, l’anima, l’ombre, etc. Le but de ce processus d’individuation serait le concept de Soi, analogue à la définition de l’Atman (Brahman) hindouiste. Cette vision du cheminement spirituel et les Mandalas qui illustrent de manière géométrique la progression dans le labyrinthe vers le centre de notre personnalité, ainsi que l’idée de la montée de l’énergie cosmique, Kundalini, à travers les Chakras, les 7 centres psychiques de notre corps – ce procédé interdisciplinaire dans la quête d’un retour à l’esprit m’a aidé à aboutir au nouveau paradigme musical:
la Terza Pratica.
Et l’essence de ce nouveau paradigme peut être résumée par l’expression «Laissez Penser le Cœur», à la place du «laissez s’exprimer le cœur» de la Seconda Pratica.
Dans le cadre de la Terza Pratica, qui sous-entend l’activité musicale en tant qu’expérience holistique et spirituelle, les rituels, la métaphysique des nombres sacrés, les cérémonies initiatiques dans les sociétés du passé telles que le rituel de purification, les expériences alchimiques et autres, deviennent réactualisés et motivent la quête de l’individuation et de Soi, en accord avec la psychologie analytique de Jung ou la vision du monde hindouiste.
Cette façon de la mystique orientale de voir le monde avec les «yeux du cœur» m’est très familière. Pourtant, les émotions ne sont plus directement exprimées - elles sont explorées et analysées dans le cadre d’une cure thérapeutique où le patient instaure un dialogue avec soi-même et devient son propre psychanalyste. Cela crée des sortes d’émotions cognitives et intelligibles grâce à l’emploi de l’arithmosophie (le rôle du psychanalyste est joué par les nombres).
En même temps, j’ai l’impression que cette approche musicale permet d’effectuer la connexion entre le côté rationnel du cerveau et le lobe temporal droit – source de l’énergie spirituelle –, le lien dont parle le Dr. Morse dans son livre La Divine Connexion.
Et Fritjof Capra écrit dans le Tao de la Physique: «La physique et la métaphysique débouchent inexorablement toutes deux sur un savoir identique».
Je réunis toutes mes œuvres dans une œuvre globale intitulée Anthologie des rituels archaïques – A la recherche du Centre.
Rabinovitch is one of today's most interesting composers. His musical language is based on a deep philosophy that one can clearly feel, although he is at the same time totally free from speculative character and dryness, the typical shortcomings of many contemporary works
"Exciting and hypnotic. Listened to intently his music has a genuine hypnotic power and an unnerving kind of rhythmic excitement." ///Rabinovitch-Barakovsky is one of the first composers of minimalism (from 1969 and his “La Belle musique n.3” (1977) is the first work for orchestra in the minimalit field). He also started connecting the minimalist vision with spiritual quest///
"Minimalist", "neo-romantic", "neo-tonal", "repetitive": those are the epithets which contemporary critics, impatient to classify the man and his works in the archives of history, like to use to refer to Rabinovitch-Barakovsky's music. "Rabinovitch's music asks – and goes beyond – the most significant musical questions of the end of the 20th century. It makes one feel the weight of history, which has never been as obvious as in this age of headlong rush, and at the same time abolishes it by revealing a reinvented tonal world. It mingles the rhythmic vitality typical of this century with a rediscovered mysticism, beyond progress in art.All those intertwined tendencies are expressed through a taste for beauty, a hedonistic aspiration freely stated…" (B. Duteurtre)
Indeed Rabinovitch-Barakovsky's music draws its vocabulary from the history of philosophy and religions. It is more than an acoustic phenomenon; it unfolds on at least two orthogonalaxes: an "emotional" level and a dimension that is "vertical", metaphysical and intelligible, which links it to the history of philosophies and religions in a mystical unity beyond time and space. Like the architecture of an Alberti or a Palladio, his music is conceived as a form of philosophy, pura cosa mentale. His music refers to an extra-musical content, and the sound language reaches the intangible realities of spirit through a symbolic rapport. This is why Rabinovitch-Barakovsky makes use of numbers and arithmosophy, as so many did before him, from Philippe de Vitry to J.S. Bach. In a way, the composer is a Pythagorean, but his Pythagoreanism is stateless and without denomination. He is interested in it only insofar as it serves his art.
it rationalizes and purifies the soul of its dissonances the same way that limits appease the antagonism of opposites. This is not far from Plato's Timaeus: "Since the revolution of the soul is inharmonious in us from birth, harmony was given to us by the Muses as an ally to put it in order and in agreement with the self" (Plato, Timaeus). Music is also an instrument for knowledge; self-knowledge, principle of individuation.
"In my music the principle of repetition is used to convey those obses
sions, and the number plays the role of analysis by structuring this repetitive motion. This method is therapeutic in a way, and can turn out to be an instrument of self-knowledge." (A. Rabinovitch-Barakovsky, Courants d’air, Liège, October 1996).
"Repetition in itself begins to create a new rhythm; an entirely different form emerges from the fragmented Whole and this form has potential to create a progressive motion that can establish free new breathing" (Piotr Pospelov, in: Soviet Music, N° 6, 1991).
To search for the universals present in man with the help of archetypes common to all musical cultures so as to found a musical anthropology of the spirit: that is the program that the author accomplishes through composition, pushed by a "visceral necessity". For the purpose of self-knowledge, he goes back to metaphysics and arithmosophy: "For 30 years I have been trying to give the number a chief role in the unfolding of the musical discourse, with all its connotations, be they symbolic, metaphysical or psychological" (The composer on December 9, 1998 for the concert in the Zurich Tonhalle).
Rabinovitch-Barakovsky's process cannot be reduced to orthodox Pythagoreanism; it draws from this tradition insofar as it shows points common to most traditional cultures. The number is sonorous and symbolic:"As for the essential purpose of the treatment of the number in my music, I try to make its symbolic and intelligible aspect spontaneously audible and perceptible to the ear. Music arose from magical and ritual practices; indeed the number can bring to light morbid states as well as obsessive states of the psyche (through a system of organized repetitions), and bring them to consciousness."
The number pervades the tangible just as the soul pervades the body, and it relates back to the intangible realities of the spirit through its symbolic value, per specula. With regard to composition, this rehabilitation of instinct leads to the abolition of the impenetrable barriers between practice and theory, rational calculation and sensitive perception. It is as if form were generating itself through an automotive principle inherent in its own matter, as live bodies do.
One can thus understand the author's fascination for the incantatory aspect of music and the irresistible connection with musical magic. The magical interpretation of art deprives the soul of its causal value. The inspired musician operates with the help of favorable constellations, taps into astral influences, but does not create beauty, of which he is but an instrument, a medium, located in the intermediate space between the soul of the world and the musical score. He "commands" the great world machine by obeying it, and gathers the conditions of natural activity, encouraging or delaying the processes of the universal soul. Like the sorcerer's apprentice, he sets nature in motion even if it means not being able to stop it. Thus, behind the inexorable dynamics of rhythm an apocalyptic message emerges, terse and disturbing: "I recently transcribed Dukas' Sorcerer's Apprentice, which is a piece I am attached to for extra-musical reasons. This is an apocalyptic theme, and it symbolizes for me the march of present industrial society towards the precipice, as in the painting by Brueghel" (Courants d’air, Liège, 1996). "
When Rabinovitch-Barakovsky speaks of his works, his arm makes a semicircle in the air, as if to say that all his compositions draw on the same circular archetype. "It is interesting to note that the classical symphonic form schematically reflects this movement from darkness to final jubilation […]. As for Eastern traditions, they have a specific cyclical vision of the evolution of the world. The cycles of creation and annihilation of all that lives are based on the principle of the eternal return. Their conception of the world is of an involutional nature, and the evolution process is rather directed backwards, marked by the motion towards degeneration and decadence."
To sum up, it can be noted that this type of musical discourse unfolds on two levels of expression: one horizontal, making use of emotional stereotypes easily noticeable for the listener, and the other vertical – the level at which those stereotypes go through a psychoanalytical treatment ("pathology-inspired anatomy," according to Piotr Pospelov) with the help of the symbolism of numbers, which aims at making them intelligible and structuring the communication with the interlocutor. The cyclical motion and the linear evolution thus merge to form a close-knit couple – a synthesis that manifests the general holistic project.
Brenno Boccadoro
Das Tibetanische Gebet (1992) part 1 of 5
based on the mantra "Om Mani Padme Hum"
Chamber Chorus of the Tallinn Academy of Music
and Ensemble "Hortus Musicus"
Alexandre Rabinovitch, conductor
Recorded live on October 16, 1999
at the Estonia Concert Hall, Tallinn
Published by DORON, Score by Ariadne
Bending, like the demiurge of the Timaeus, both ends of the "rectilinear" course characteristic of the classical symphony, Rabinovitch-Barakovsky achieves the cyclical structure of the"sinfonia" Six états intermédiaires(1998), a vast reflection "on the two modes of existence" according to theTibetan Book of the Dead, the Bardo Thödol. The theme is universal and the intention of the composer is not to"musically translate the content of the book in an illustrative way," but to"search for analogies and correspondences in other traditional cultures or in philosophy and psychoanalysis."
The simmering energy of the first movement, La Vie (Life), expresses man's reactions when confronted with borderline situations, as per Jaspers. Le Rêve (the Dream) gets its inspiration from Mircea Eliade's reflections on the levitation of the soul when dreaming, perceived as the anamnesis of the mythical moment that triggered the creation of the world. La Transe is constructed around the figure of Tristan: it expresses in a ritual manner the exaltation of the amorous embrace of the mythical sky and earth before their separation, an idea common to so many cosmogonal myths. Le moment de la mort (The Moment of Death)refers to the encounter with "pure light" during the "descent into the underworld" described in the Book of the Dead. By its internal agitation, La Réalité is an attempt to make two specific aspects of Hinduism coexist: the powerful energy flux represented by the companion (Shakti) of the god Shiva and the almost inaudible vibrations of the primal sound (Shabda). The evocation of the Nirwanaprinzip, in the sixth movement, L’Existence, completes the circle.
SIX ETATS INTERMEDIAIRES (SIX INTERMEDIARY STATES, 1998)
sinfonia based on the Tibetan Book of the Dead Bardo Thödol
-First movement, La Vie (Life)-
Recorded live at the Belgrade Festival on October 5, 2002
Belgrade Philharmonic OrchestraAlexandre
Rabinovitch-Barakovsky, conductor
Published by MEGADISC, Score by Ariadne
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SIX ETATS INTERMEDIAIRES
Pliant, comme le démiurge du Timée, les deux bouts du parcours "rectiligne" propre à la symphonie classique, Rabinovitch-Barakovsky obtient la structure cyclique de la "sinfonia" Six états intermédiaires (1998), vaste réflexion "sur les deux modes d’existence" d’après le Livre des morts tibétain, Bardo Thödol. Le sujet est d’une portée universelle et le propos du compositeur n’est pas "de traduire musicalement le contenu du livre de façon illustrative", mais de "rechercher des analogies et des correspondances dans d’autres cultures traditionnelles ou dans la philosophie et la psychanalyse".
L’activité frémissante du premier mouvement, La Vie, exprime les réactions de l’homme confronté aux situations-limites, selon Jaspers. Le Rêve s’inspire des réflexions de Mircea Eliade sur la lévitation de l’âme dans le rêve, comme anamnèse de l’instant mythique présidant à la création du monde. La Transe est construite autour du motif de Tristan: elle exprime de manière rituelle l’exaltation de l’étreinte amoureuse du ciel et de la terre mythiques avant leur séparation – idée qui se retrouve dans tant de mythes cosmogoniques. Le moment de la mortrenvoie à la rencontre avec la "lumière pure" lors de la "descente aux enfers" décrite dans le Livre des morts. Par son agitation interne, La Réalité représente une tentative de faire coexister deux aspects particuliers de l’Hindouisme: le puissant flux énergétique représenté par la compagne (Shakti) du dieu Shiva et les vibrations presque inaudibles du son primordial (Shabda). C’est à l’évocation du Nirwanaprinzip, lors du sixième mouvement, l’Existence,qu’échoit la tâche de fermer la boucle.
The leading sentiment in this cantata, or rather, this long ritual prayer, is the theme of compassion, which is the cornerstone of Buddhist and Christian consciousness. I was interested in trying to musically explore this theme, which I saw from the archetypal angle of universal religious consciousness. Jung was speaking of this fusion of psychic and religious factors when he remarked that "the supreme dominant of the psyche is always of a philosophical and religious nature".
By using the magic formula "Om Mani Padme Hum" ("The Jewel in the Lotus"), I thought I could combine both the psychic-compassionate and the spiritual dimensions. The latter supposes the gradual liberation from the dualistic problematic, with unity of consciousness as the final aim. Such a spiritual approach is similar to the near-death experience, the phenomenon in which the soul recovers its original unity as it separates from the body. Tibet comes to mind again with the "Bardo Thödol", which deals with the same subject.
While composing the cantata, I also thought of the idea of the mystical state "Wajd", which we find in the musical aesthetics of the Sufis. This state of mind can only be reached when music"penetrates the heart and provokes a state of fear and affliction by which the heart gains an esoteric knowledge". Traditional cultures practiced this method of the "logic of sensitiveness" and saw the universe from the perspective of the "eye of the heart". What is of primary importance to me is to try to actualize once more this relationship with the world.
Alexandre Rabinovitch August 3, 1994
For the first performance at the Festival St. Gallen in Austria, 1994
Das Tibetanische Gebet (1992), based on the mantra "Om Mani Padme Hum"
Chamber Chorus of the Tallinn Academy of Musicand Ensemble "Hortus Musicus"
Rabinovitch-Barakovsky, conductor
Recorded live on October 16, 1999 at the Estonia Concert Hall, Tallinn
Published by DORON, Score by Ariadne
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Das tibetanische Gebet (1991-92)
Gleichsam als "Eckpfeiler" des buddhistischen oder auch christlichen Bewusstseins bringt das Thema des Mitleids das tragende Gefühl dieser Komposition - oder besser gesagt - dieses langen rituellen Gebets zum Ausdruck. Dieses Thema, das ich unter seinem archetypischenAspekt des universellen religiösen Gewissens sah, musikalisch zu erforschen, schien mir äusserst interessant. Über eben diese Verschmelzung seelisch-geistiger und religiöser Faktoren sprach Jung, als er anmerkte, dass das im höchsten Masse vorherrschende und tragende Element der Psyche immer philosophisch-religiöser Natur ist.
Indem ich die magische Formel "Om mani padme hum" (das Juwel im Lotus) einsetzte, dachte ich, die beiden Dimensionen, nämlich die des seelischen Mitgefühls und die geistige verbinden zu können. Letztere bringt stufenweise Befreiung von der dualistischen Problematik mit sich und vervollkommnet sich sublim in der Einheit des Bewusstseins und des Gewissens. Diese geistige Annäherung ist der sogenannten "Near Death Experience" verwandt, das Phänomen der Wiederherstellung der ursprünglichen Einheit der Seele im Augenblick ihrer Trennung von ihrer irdischen, körperlichen Hülle. Und neuerlich werden mit dem "Bardo Thödol" (das tibetanische Buch der Toten), welches genau dieses Thema behandelt, Gedanken an Tibet wachgerufen.
Während der Komposition des Werkes hab ich an die Überlieferung des mystischen Zustands"Wajd" gedacht, welcher der musikalischen Ästhetik der Soufis eigen ist. Dieses Gefühl, dieser Zustand kann nur erreicht werden, wenn "die Musik gleichsam das Herz durchdringt und ein Gefühl von Furcht und Betrübnis hervorruft, was zu esoterischer Erkenntnis führt." Die traditionellen Kulturen praktizieren diese Methode der "Logik des Fühlbaren" und sahen das Universum unter dem Blickwinkel des "Auge des Herzens." Zu versuchen, eben diesen Bezug zu reaktualisieren, ist für mich von überragender Bedeutung.
Alexandre Rabinovitch 03.08.1994
Für die erste Aufführung am Festivalvon St. Gallen in Österreich, 1994 (Übersetzung: Adelheid Temnewo-Mori)
The main inspiration behind the quartet with celesta Trois Invocations (1996)"might have come from three key themes in certain Eastern spiritual traditions:
Suffering (1st movement),
Desire (2nd movement),
Release (3rd movement).
This state of reflective emotion or emotional reflection could be similar to the state reached by intense prayer and could be interpreted as anatomical analysis of the motions of the soul that come with thinking about life, death and the Absolute. Such a – finally therapeutic – attitude is akin to the archaic techniques of ecstasy (In Tantrism or Sufism), to the ancient purification rituals (in Orphism, Shamanism, denominational practices)…"
"Trois Invocations" is an integral part of my global work called
"Anthology of Archaic Rituals – In Search of The Center".
A. Rabinovitch-Barakovsky, 1997
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TROIS INVOCATIONS (1996)
Die grundlegende Inspiration des Quartetts mit Célesta Trois Invocations (1996, Drei Anrufungen) könnte von drei charakteristischen Schlüsselnotationen bestimmter spiritueller orientalischer Traditionen stammen:
Leiden (I. Satz),
Begierde (II. Satz),
Erlösung (III. Satz).
Dieser Gefühlszustand reflektiert in gewisser Weise den Zustand eines intensiven Gebets und könnte als die anatomische Analyse der Seelenbewegungen, die die Gedanken durch das Leben, den Tod und das Absolute begleiten, interpretiert werden. Solch ein Verhalten, therapeutisch in gewisser Weise, erscheint in den archaischen Techniken der Ekstase (im Tantrismus oder im Sufismus), in antiken Reinigungsritualen (im Orphismus, im Schamanismus, in den konfessionellen Praktiken)...“
" Trois Invocations "bildet Teil meines Gesamtwerks mit der Bezeichnung "Anthologie des rituels archaïques – A la recherche du centre".
A. Rabinovitch-Barakovsky, 1997
TROIS INVOCATIONS (1995) For string quartet and amplified celesta Score published by Ariadne Verlag, Vienna Filarmonica Quartet
A. Rabinovitch-Barakovsky celesta
Recorded live in November 2001
at the Paderewski Hall, Lausanne
Disc published by MEGADISC
Score published by Ariadne Verlag, Vienna
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TROIS INVOCATIONS (1996)
L’inspiration principale du quatuor avec Célesta Trois Invocations (1996) "pourrait provenir de trois notions-clé propres à certaines traditions spirituelles orientales :
Souffrance (1er mouvement),
Désir (IIe mouvement),
Délivrance (IIIe mouvement).
Cet état d’émotion réfléchie ou de réflexion affective serait d'une certaine façon analogue à l’état d’une prière intense et pourrait être interprété en tant qu’analyse anatomique des mouvements d’âme qui accompagnent la pensée sur la vie, la mort et l’Absolu. Une telle attitude, thérapeutique en fin de compte, s’apparente aux techniques archaïques de l’extase (dans le Tantrisme ou le Soufisme), aux anciens rituels de purification (dans l’Orphisme, le Chamanisme, les pratiques confessionnelles)..."
"Trois invocations" is an integral part of my global work called "Anthology of Archaic Rituals – In Search of The Center".
A. Rabinovitch-Barakovsky, 1997
The significance of the "Maithuna" ritual in Hinduism and Tantric Buddhism is ambivalent. On one hand, it can mean the sexual ritual during which the woman is deified by her partner and the sexual act thus takes on a sacred connotation. On the other hand, this deification of the woman can also happen virtually – with the "inner woman", which forms an integral part of the man's psyche as an androgynous entity.
"MAITHUNA" (Oktober 2005)
Sinfonia concertante für Orchester
Das Ritual "Maithuna" besitzt im Hinduismus und im tantrischen Buddhismus eine doppelte Bedeutung. Einerseits kann es sich um ein sexuelles Ritual halten, bei welchem die Frau vom Partner deifiziert wird und der Geschlechtsakt damit eine sakrale Dimension erhält. Andererseits kann die Vergötterung der Frau auch auf virtueller Ebene erfolgen – mit der"inneren Frau", die unauflöslich zur Psyche des Mannes als androgynes Wesen gehört.
Gemäss bestimmten orientalischen Traditionen besitzt die Frau Quellen an Energie und Lebenskraft, die dem Mann fehlen und ohne die er nicht schöpferisch wirken kann. Im Shivaismus wird der Gott Shiva üblicherweise in der Umarmung mit seinem weiblichen Teil, seiner Shakti, dargestellt, dank welcher er zum tatkräftigen, kraftvollen und allmächtigen Wesen wird.
Ausserdem ist festzustellen, dass in vielen kosmogonischen Erzählungen verschiedenster Traditionen von der Vereinigung zwischen mythischem Himmel und Erde die Rede ist. Die rituellen Vereinigungen der Hohepriesterin mit dem Hohepriester oben auf der Ziggurat in Sumer oder der Himmelstempel in China wiederholen eigentlich nur den ersten Gründungsakt des Paares Erde-Himmel – als eine Art Feier der Rückkehr zur ursprünglichen angrogynen Einheit.
Unter der Inspiration der tantrischen Ideen habe ich meine Aufmerksamkeit den wesentlichen Merkmalen des Rituals "Maithuna" gewidmet: Anbetung, Exaltation, Dynamik, Magie, Verzauberung, Staunen – positive emotionale Inhalte – und habe versucht, sie musikalisch umzusetzen une ihre kognitiven und begreiflichen Eigenschaften aufzuzeigen.
"Maithuna" bildet Teil meines Gesamtwerks mit der Bezeichnung "Anthologie des rituels archaïques – A la recherche du centre".
Alexandre Rabinovitch-Barakovsky
9. Dezember 2005
Übersetzung: Adelheid Temnewo
