"This is the theme of this album, Maria Mater Meretrix – a study of the three classical female phenomenologies into which, since time immemorial, the (un-female!) eye and ear have divided up the complex being of ‘Woman’: as Saint, Mother, and Whore."
Thematic albums like this new disc from soprano Anna Prohaska and violinist/conductor Patricia Kopatchinskaja, with the Camerata Bern, have recently become more popular in the classical music sphere. Back in 2016, Patricia Kopatchinskaja released a marvellous album around the theme of "Death and the Maiden"; in my review I called it an "illuminating, moving project." We have another such winner here.
The quote at the top of this review is from a fascinating essay by Christine Lemke-Matwey. She highlights the Virgin Mary - and Mary Magdalene - references in the huge range of music included here: from early works by Hildegard von Bingen, Walther von der Vogelweide and Tomas Luis de la Victoria to 20th century music by Frank Martin, Gyorgy Kurtag and Gustav Holst. Clever arrangements, by Michi Wiancko and Wolfgang Katschner, are included with original chamber and orchestral works. The resulting common sound-world allows one to truly appreciate the common themes in this incredibly diverse music. This album rewards close and careful - and repeat - listens. I feel like I learned more each time I sat down with this music.
I'm reading Adam Gopnik's new book The Real Work: On the Mystery of Meaning, and I feel this passage applies here:
"We find meaning in one thing by enlarging the area of reference, making it not more precise but less, by a horizontal leap relating it to something larger. Meanings expand as our contexts expand. Art only becomes articulate within a history..."
The wonderful cover photo of Prohaska and Kopatchinskaja is by Marco Borggreve. There are two equally fine shots of each of them inside the cover.
