Jerusalem
Emahoy Tsegué-Maryam Guèbrou
2023, Mississippi Records (Bandcamp)
When she passed away at age 99 in Jerusalem in March of 2023, the Ethiopian nun Emahoy Tsegué-Maryam Guèbrou (alternatively spelled Tsege-Mariam Gebru) had achieved a degree of international fame for a number of piano recordings she had made in the 1960s and ‘70s after they were collected on a 2006 volume of the long-running Ethiopiques series. Much of the attention paid to her story has focused on the circumstances of her extraordinary life, which reached from the court of the Emperor Haile Selassi, to wartime refugee status after Mussolini’s 1936 invasion of her home, to an administrative denial of an opportunity to study at London’s Royal Academy of Music, to taking her vows at nunnery. There are richer synopses already written than I can manage here of both her life and the technical qualities of her remarkable compositions, which utilize a uniquely Ethiopian musical vocabulary but will likely remind Western listeners of Satie or Beethoven.
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Mississippi Records has undertaken a project to reissue her slim body of work (she is known to have composed around 150 songs, though the number she recorded seems to be more like 50), though their compilations tend to hop around chronologically rather than re-releasing complete records. Jerusalem is the latest of these as of this writing and the first to be released since Emahoy’s death, collecting tracks from a 1972 10”, home recordings made in the 1980s, and a single song that appears to date from 1963 (the liner notes are somewhat unclear on this). Like Emahoy’s other releases, these are all solo piano tracks, instrumental save for that 1963 outlier, the tender “Quand la mer furieuse,” which is the first vocal track in her oeuvre. The highlight to my ear is 1972’s “Jerusalem,” a vivid longer piece the artist says is meant to evoke both the love of Ethiopians for that ancient city, and the tragedies of the wars which have ravaged it. Indeed, there is a pensiveness to the song, a sense of an endless cycle in its refrain that nonetheless cycles off into a different motif each time it recurs—signs of hope, perhaps, that despite the recurrences of history, the city’s soil may produce alternative flowers.
My latest release is available a week early via Bandcamp!
The story behind this song is a bit unusual. It first came to mind while I was on a flight to Europe last year. Just half asleep, floating, with the gentle motion of the plane and the humming of the engines. I tried to capture the feeling of being in that temporary liminal space between destinations. A cozy, restful place where time just slows down and the worries and excitement of tomorrow can wait. I hope listening to it brings you a similar sense of calm.
A rare treat for my mutuals and passers-by. I keep my Piano Suites closely guarded, but this is a nature piece, so i'll relax my rules a little while.
The doves are cooing throughout the neighborhoods in the South (southeastern US), and they make mornings so calm and somehow 'right.'
I wrote this solo piece many years ago, and it's a bit of a challenge to play, but quite fulfilling. It's basically in three parts — the slow first movement depicts the dove calmly foraging on the ground, then the second, heavier movement is the bird in flight to some unknown destination, and the third movement slows down again for the close of its day.
hey, i made a new album! it’s a bunch of solo piano arrangements of songs from the album i put out last year, and a couple bonus arrangements from a few older albums. if you’ve got the time, give it a listen, and maybe check out the rest of my music too!
also, it’s bandcamp friday, and it’s available for sale there! bandcamp waives their fee on bandcamp friday, so all the money goes directly to the artist [oh gosh, that’s me] so if you wanna support it, click this text or whatever