There must be some sad bambini sitting it out in the corridor of the Magnificat School, drying themselves off from the last flood and dreaming of 100 Euro metronomes*. The last time I checked, a good metronome cost at the most 20 Euro, unless of course they come gold plated.
If Santa Claus drops from the chimney into the mal-aria Dickensian basement 8000 Euro, these little dreamers can bang away on two timpani, at 4000 Euro each, over and above the 310 Euro mentioned on their webpage as yearly tuition.
But more than that, the Tavasani Piano Competition, January 2008, that has been taking place at the Magnificat Institute for 9 years will not permit all those alleged Jewish bambini who sing and play with Arab bambini (in perfect peace and harmony!) to compete with those same bambini. They must be very sad indeed that a school of the Custody of the Holy Land that prizes itself on peacemaking and dialogue, who broadcasts to the whole world how they “welcome” these Israeli bambini, in effect, is not giving them the right to compete for all those luscious money prizes over and above those the regular Tavasani categories.
Below is straight from the source. Please note the “Holy Land Custody” Prize is not open to Jewish giovani.
“Art. 12 – All Palestinian Competitors, who previously played in any of the 8 categories, can compete in any of the following prizes:
“Qattan Foundation” ($500 – The possibility of giving a concert on the zone); obligatory piece: “3alayki Mini Salam”, a song by B. Zayed (Arr. H. A. Vosgueritchian).
“Zia Pina” (NIS 4000); obligatory piece: J.S. Bach, Prelude and Fugue in Si b Major, BWV 866 from the Well Tempered Clavichord I (first book).
“Holy Land Custody” duet ($ 1000); obligatory piece: “Ughniyat Al-Ghusok” a song by M. Ashqar (arrangement A. Pierucci)”
Public advertisement for the competition has been very faint as the little detail of ONLY the “Rome for Jerusalem” Prize is open to Jews, offered by the “Ufficio per la Pace”. But upon closer inspection, it’s all a bit strange:
“Art. 13 – The Palestinian competitors and the pianists, from all nationalities, not older than 30 years old, may compete for the “Rome for Jerusalem” Prize, kindly offered by the municipality of Rome, “Office for Peace in Jerusalem“.
a) The candidates to such a prize may enroll themselves in the Category A (from 1 year to 14 years old) must play the Two Voices Invention n. 14 in Si b Major, BWV 785 and a freely chosen piece, no longer than 5 minutes:
1st prize for the Palestinian winner is NIS 1500;
2nd prize for Palestinian winner is NIS 500;
1st prize for the international winner is NIS 1500;
2nd prize for the international winner is NIS 500;
b) The competitors of the Category B (from 14 to 30 years old) must play the three voices invention n. 1 in Do Major BWV 787 by J.S. Bach and a freely chosen piece, no longer than 10 minutes.
1st prize for the Palestinian winner is NIS 2500;
2nd prize for Palestinian winner is NIS 500;
1st prize for the international winner is NIS 2500;
2nd prize for the international winner is NIS 500;”
There are TWO categories, one special category and prizes for Palestinian pianists and another one for the REST OF THE WORLD, that of course doesn’t mention the “I” word (Israel), except in the catch-all meaning of “International”!!!
If this is public money from the Municipality of , maybe one should do a bit of scrutinizing if this is NOT preferential treatment given to one group. In other words, are taxpayers supporting, unbeknownst to them, a form of discrimination? The whole idea of competition especially in a peacemaking school is INTERACTION, NOT SEPARATION aided and abetted by the organizers.
In effect, the Municipality of Roma gave the Palestinians the privilege of their own little competition and the guarantee of money prizes no matter how good or bad they might be. But at least they don’t have to share these sums or the stage with a certain hated ethnic group. (Thank you, “Ufficio di Pace” for helping to make peace in the Holy Land!)”
“In attesa della nova sede sacrifichiamo un pezzo di corridoio e ci mettiamo un’aula scolastica…” (“Waiting for our new seat, we are sacrificing a piece of corridor and we are putting a classroom there.”) They only forgot to add the Custody has plenty of room, in particular the beautifully renovated concert hall with two grand pianos and an organ, a few steps away perpendicular to the school.
But incompetence itself has its uses and in the culture of attracting baksheeesh, typically middle eastern, a win-win situation. Any rich beggar knows to keep his accumulated wealth hidden and to appear as needy as possible. This of course preens the ego of the giver as well. “Look at us (stupid, poor, incompetent, etc.). You (clever, rich) can be the ONE to HELP us (assuming there are not tens of thousands or more) by fulfilling our dreams of finally being able to buy a 200 euro metronome or rescuing us from a damp basement where we sing about peace.”
The test of a racket is the frequency of these dreams ever being fulfilled, in other words, NEVER. The idea is to seem to remain in a constant state of need, in the same way a beggar would never actually buy new clothes and continue to beg on the street.
Apparently there is NO END to the ingenuity of dreaming up schemes to spend money in the name of making ‘peace through music’: http://www.ventiventi.it/2008/07/10/concerto-pace
It seems that quality is in inverse proportion to the amount of publicity, in this case, their well-travelled choirs. (But who can really help if their “musical” arrangements are so weird, like putting Arabic tunes in ungrammatical 4 part harmony?) No teachers, however, are better than bad ones. Kids get music everywhere, though the internet, ipods—in actuality schools are quickly becoming dinosaurs. The whole premise of education is changing, no more an indispensible authority figure who transmits the wisdom of past generations. So who needs bad musicians who are so busy making peace through music, they can’t even bother to hear kids wildly out of tune? http://www.custodia.org/magnificat/audio/Audio%20index.html