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1 Corinthians in Handel’s Messiah

Behold, I tell you a mystery

1 Corinthians 15-55 One of the few things I have added to my list of things to do is attending a weekly Bible study at my church. The group was in the midst of reading the Koran in the first part of the sessions; interesting stuff.

The second half was reading the Bible, specifically, when I started, 1 Corinthians. This is the book that contains that reading of Chapter 13 that is used so often at weddings, though the King James Version ends with “And now abideth faith, hope, charity, these three; but the greatest of these is charity.” But the Revised Standard Version and most later translations conclude with “So faith, hope, love abide, these three; but the greatest of these is love.”

Chapter 15 is quite familiar as well. “The center of Part III [of Handel’s Messiah] is a sequence of six movements based on a passage from Paul’s First Epistle to the Corinthians on the resurrection of the dead, a passage that Brahms also chose for Ein deutsches Requiem.”

As I happen to be the reader in Bible study,

it was VERY difficult NOT to break into song!

46 Since by man came death (Chorus) 1 Corinthians 15:21–22
For since by man came death, by man came also the resurrection of the dead.
For as in Adam all die, even so in Christ shall all be made alive.

47 Behold, I tell you a mystery (Acc. B) 1 Corinthians 15:51–52 Resurrection of the dead
48 The trumpet shall sound and the dead shall be rais’d (Air B) 15:52–53
Behold, I shew you a mystery; We shall not all sleep, but we shall all be changed,
In a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
For this corruptible must put on incorruption, and this mortal must put on immortality.

49 Then shall be brought to pass (Rec. A) 1 Corinthians 15:54 Victory over death
50 O death, where is thy sting? (Duet A) 15:55–56
51 But thanks be to God (Chorus) 15:57
So when this corruptible shall have put on incorruption, and this mortal shall have put on immortality, then shall be brought to pass the saying that is written, Death is swallowed up in victory.
O death, where is thy sting? O grave, where is thy victory?
The sting of death is sin; and the strength of sin is the law.
But thanks be to God, which giveth us the victory through our Lord Jesus Christ.

Here’s the entire Part III of Handel Messiah, including 45. I know that my Redeemer liveth (Air S) from Job 19:25–26; 52. If God be for us, who can be against us (Air S) from Romans 8:31,33–34; and 53. Worthy is the Lamb that was slain/Amen (Chorus) from Revelation 5:12–13.

LISTEN to:
Various artists
The Bach Choir & Orchestra of the Netherlands, Pieter Jan Leusink

Musical review: SpongeBob SquarePants

The dance will remind old-timers of Tommy Tune

The first show in the 2019-2020 Proctors Theatre package in Schenectady, NY was SpongeBob SquarePants. I could have traded in the ticket for another show not in the subscription series, but I decided to see it.

In case you’re unfamiliar, SpongeBob SquarePants is an American animated comedy television series. It was created by Stephen Hillenburg, a marine science educator, and animator, who died in November 2018. “The series chronicles the adventures and endeavors of the title character and his aquatic friends in the fictional underwater city of Bikini Bottom.”

I went alone on a Thursday afternoon, in part because that is the cheapest time to go. Did I mention I was retired? The house was maybe 2/3s full. I suspect some of my fellow retirees opted out.

Before writing this, I explained the highlights to my wife. “Oh, I heard a guy on the radio who pointed out the same things that you liked.” Being the lazy blogger I am, I quickly found Bob Goepfert’s review for The Troy Record that she heard on WAMC.

“I actually enjoyed the cleverly staged mountain climbing sequence.” This is actually quite extraordinary visually, with our title hero hanging upside down on a ladder more than once. And the look, in general, is a lot of fun.

“There’s a sensational tap number that lasts for about 8 minutes that is breathtaking. Performed by the tall and lanky Cody Coolie (who plays Squidward) the dance will remind old-timers of Tommy Tune… ‘I’m Not a Loser,’ by They Might Be Giants was made meaningful by the already mentioned tap number.

“[T]he musical uses the tale of friendship and heroic actions to teach some fine values – like believing in yourself, being a loyal friend, trusting in individuality and encouraging diversity.” It also addressed fearmongering among politicians, cult followings, and panic.

Avoidance

I enjoyed it far more than Goepfert did, and he’s explained why: “Over the years, no matter how much they begged or cajoled, I avoided watching a single episode of the Nickelodeon television cartoon series with my grandchildren. I refused to go with them to any of SpongeBob films, and they knew better than to ask me to take them to the musical when it played on Broadway. Seeing the show on Wednesday evening at Proctors proved I was right.”

I had wondered right after seeing the show whether someone who was not familiar with the cartoon could make the transition to the stage version. With a now teenaged daughter, I’ve seen more than my share of episodes.

SpongeBob was not in a sponge costume, but rather wore a shirt, tie and shorts. Squidwardhad a pair of slacks and shoes, and another pair of same attached to the back. It’s easier to appreciate that if you can see the cartoon visual in your mind.

That said, the second act was stronger than the first. I first became really involved when Pearl the Whale, the daughter of Mr. Krabs, played by Meami Maszewski, sang Daddy Knows Best in Act 1.

Before the show even began, there were cast members playing some Hawaiian music with a slide dulcimer, fiddle, kazoos, and various sound effects, played by the guy who was also onstage for much of the actual show.

Proctors Theatre was the first stop on the tour for SpongeBob SquarePants, and I suspect the show will only get better. Here’s a favorable review in Nippertown. It’s not Fiddler on the Roof, which is briefly referenced, but it should be entertaining when it comes to a theater near you.

Country Music: Ken Burns, PBS

Can The Circle Be Unbroken?

Country Music.Ken Burns Sixteen hours of the history of country music. I watched it all. Some bits of it I knew about, but I learned a lot, especially the parts before I was born. It starts with the 1920s when the birth of radio and the growth of the phonograph record propelled country/hillbilly music as well as other musical genres.

The beginning of the Grand Ole Opry is outlined. The documentary posits that there were two early giants of country music, the Carter Family and Jimmie Rodgers. Rodgers brought forth the yodel in recorded music, often replicated by others for decades. The second episode, “Hard Times (1933-1945),” touches on Gene Autry and Bob Wills.

Oddly, it was the story about the creation of the music licensing entity BMI that was a big revelation for me. It was “founded by a group of radio industry leaders meeting in September 1939 at the National Association of Broadcasters annual convention in Chicago. The move [was] prompted by ASCAP requesting to double license fees to the radio industry…”

“Hillbilly Shakespeare 1945-1953” certainly described Hank Williams, who dominates Episode 3. Eddy Arnold and Bill Monroe are also included. Episode 4 is called “I Can’t Stop Loving You 1953-1963”, which meant that it had to mention the seemingly unlikely crossover of Ray Charles. Johnny Cash, Patsy Cline, Willie Nelson, and early Elvis are some of the others highlighted.

The parts I remember

“The Sons and Daughters Of America (1964-1968)” is the title of Episode 5. Loretta Lynn, Charlie Pride, Merle Haggard, and Roger Miller are among the stars. The Beatles even get a mention with their Buck Owens cover. This is the period of my first recollections listening to WWVA in Wheeling, WV late at night.

Episode 6, “Will The Circle Be Unbroken (1968-1972),” gets into the period I was collecting music. More than one person I know discovered Kris Kristofferson from this show. Bob Dylan and The Byrds get coverage, as well as The Nitty Gritty Dirt Band.

“Are You Sure Hank Done it This Way? (1973-1983)”, in Episode 7, discusses the ongoing tension between “traditional” country and countrypolitan. Olivia Newton-John beats out Loretta Lynn for the best female artist at the CMA? Highlights include Dolly Parton, George Jones, Tammy Wynette, Hank Williams Jr, Roseanne Cash, Waylon Jennings, and Emmylou Harris.

Finally, Episode 8, “Don’t Get Above Your Raisin’ (1984-1996)”, shows the development of Ricky Scaggs, Reba McEntire, George Strait, Randy Travis, The Judds, Dwight Yoakum, and especially Garth Brooks.

Among the complaints were that Burns, et al. left out any number of artists from Jim Reeves to Linda Ronstadt, while spending too much time on Johnny Cash. I suppose this may have some legitimacy. Sometimes, for licensing, artistic, or other reasons, you work with what you have. On the other hand, Marty Stuart’s knowledge of the genre continues to amaze.

The music

There’s a five-CD set of the music mentioned in Country Music. I thought I’d link to just a handful. I’m ignoring any cuts I already own, such as tracks by JR Cash, Charles, Cline, Kristofferson, Lynn, and Williams.

Can the Circle Be Unbroken – The Carter Family
Blue Yodel No. 8 (Mule Skinner Blues) – Jimmie Rodgers
Fox Chase – DeFord Bailey, the first black at the Grand Ole Opry
Mountain Dew – Grandpa Jones and his Grandchildren; by the time Jones was on the TV show Hee Haw, he didn’t need the makeup anymore

I Want to Be a Cowboy’s Sweetheart – Patsy Montana & The Prairie Ramblers
New San Antonio Rose – Bob Wills and His Texas Playboys
Wabash Cannonball – Roy Acuff
It’s Mighty Dark to Travel – Bill Monroe & his Blue Grass Boys

New Mule Skinner Blues – Maddox Brothers and Rose
Foggy Mountain Breakdown – Lester Flatt & Earl Scruggs, who I first knew from The Beverly Hillbillies
It Wasn’t God Who Made Honky Tonk Angels – Kitty Wells
Crazy Arms – Ray Price

The Long Black Veil – Lefty Frizzell; I have The Band and Mick Jagger versions of this
El Paso – Marty Robbins
Stand by Your Man – Tammy Wynette, later covered by Lyle Lovett
Are You Sure Hank Done It This Way – Waylon Jennings

Boulder to Birmingham – Emmylou Harris
Pancho and Lefty – Merle Haggard and Willie Nelson
He Stopped Loving Her Today – George Jones
Don’t Get Above Your Raisin’ – Ricky Skaggs

Somebody Should Leave – Reba McEntire
Why Not Me – The Judds
Streets of Bakersfield – Dwight Yoakam with Buck Owens
Where’ve You Been – Kathy Mattea
Go Rest High on That Mountain – Vince Gill
I Still Miss Someone – Rosanne Cash

Fauré: Cantique de Jean Racine

Verbe égal au Très-Haut

Gabriel Faure 1864 — Gabriel Fauré, 1864

I love the Cantique de Jean Racine by Gabriel Fauré, Op. 11. In French, of course. The problem singing it that it’s so beautiful that I have to fight back breaking into tears.

“The text, ‘Verbe égal au Très-Haut’ (‘Word, one with the Highest’), is a French paraphrase by Jean Racine of a Latin hymn… The nineteen-year-old composer set the text in 1864–65 for a composition competition at the École Niedermeyer de Paris, and it won him the first prize.

“The work was first performed the following year on 4 August 1866 in a version with an accompaniment of strings and organ.”

In my church, the members may ask the choir if it would sing at a funeral. This was the case in mid-September. The member’s father had died, in his 90s. Although the now-deceased had an ambivalence about religion and God, he specifically requested that his service be held in his son’s church.

The music staff had offered five suggestions of appropriate pieces in the choral repertoire. Jean Racine was one. Another one, which was also selected, was the final movement, In Paradisum, from Fauré’s Requiem in D minor, Op. 48, composed between 1887 and 1890. Jean Racine is similar in style to the Requiem, and “the two works are often performed together.” I’ve sung the entire Fauré Requiem at least twice.

BRAHMS

I wonder if one of the other pieces recommended, but not chosen, for the service came from a piece from Ein Deutsches Requiem by Brahms. The Fauré Requiem resembles it in structure, “although Fauré set Latin liturgical texts to music, whereas Brahms chose German Bible quotations.”

The fourth Brahms movement, How lovely is thy dwelling place, in English, is a funeral standard. One of my friends from my former church I know has specifically requested it for his service. If invited, I would surely sing it, hopefully, years from now.

LISTEN

Fauré: Cantique de Jean Racine
Fauré: In Paradisum from the Requiem
Brahms: How lovely is thy dwelling place from the German Requiem

Les Green was a “rare folk singer”

I figured Ed Link and Les Green met at one of Link’s business locations by the airport or maybe elsewhere, or through Link’s involvement with his charitable foundation

Les Green is rare folk singer I will always remember a visit c. 1985 I made to Charlotte, NC, where my late dad Les Green lived since 1974. I was SHOCKED to discover that he talked about me to his colleagues about how smart I was, how I would look up things I didn’t know. He talked about me? He LIKED my intellectual curiosity? I had always thought that it had annoyed him.

It was an intellectual curiosity that led me to this photo. You may recall this post from February, featuring a photo of my late mother, my sister Marcia and me standing in the driveway of 5 Gaines Street, Binghamton, NY. It was almost certainly taken by my dad.

I posted the photo on one Facebook group, trying to identify the building in the background. It is a red brick factory that never had particularly identifiable signage that my sisters and I could recall. I since learned that early in the 20th century, it was the home of Star Electric. In 1918 it became Barnes-Smith Co. cigar manufacturers. After being the Bonnie Silk Mill in the 1920s and ’30s, it was one of the first plants of Link Aviation.

WHAT? My father often spoke of his admiration of and affection for Ed Link, who was “a pioneer in aviation, underwater archaeology, and submersibles. He is best known for inventing the flight simulator, commercialized in 1929.”

I figured they met at one of his locations by the airport or maybe elsewhere, or through Link’s involvement with the charitable foundation he and his wife started. Could they have met on the street where I lived?

In the comments, a woman named Kathi, who had attended the same church I did, posted “this awesome pic that was in the Binghamton Press of your dad, me, and my cousin Butch.” My father cropped this specific photo and used it in fliers promoting his singing gigs in the area for a number of years.

My curiosity about the factory across the street led to the source of the graphic for the Les Green one-man PR machine. Dad would have been 93 tomorrow.