Tag: music

Bach: Toccata and Fugue in D minor

I continue to be moved by its chordal structure of Bach’s Toccata and Fugue.

 

From last.fm, copied verbatim in the Wikipedia: “The Toccata and Fugue in D minor, BWV 565, is a piece of organ music composed by Johann Sebastian Bach sometime between 1703 and 1707. The attribution of the piece to Bach has been challenged since the early 1980s by a number of scholars, and remains a controversial topic.”

This piece of music has been used in dozens of movies (The Tree of Life, Gremlins 2, 7 Faces of Dr. Lao, Fantasia, among others), TV shows, and video games. Check out this list of Bach music, and find the toccata references. The music is usually used to suggest something scary in a way that has become an unfortunate cliche.

I, though, continue to be moved by its chordal structure. Here’s one recording; you can find several others on YouTube. Listen to the segment that starts at 7:20; the chord at 7:45 just wows me. By those last three chords which are as intense as any power chords by a rock guitarist, I’m in tears of awe.

Somehow, it puts me in the right frame of mind for the latter stages of Holy Week.

Sacred Songs by Daryl Hall

There were two obvious candidates for a single from Sacred Songs, the first two songs on the album.

Recorded in 1977, released in 1980

My old blogging buddy Johnny Bacardi was on Facebook, and I could see that he was on Spotify, one of those online music channels. He was listening to a song called ‘North Star’ by Robert Fripp [LISTEN], a founder of my favorite “progressive rock” band, King Crimson. The vocal, though, was, unmistakably, by Daryl Hall of the very successful singing duo Hall & Oates.

This got me to wonder what the relationship was between that song and the Daryl Hall solo album Sacred Songs, produced by Fripp, an LP that I own and love.

Sacred Songs has a complicated history. From Wikipedia, and confirmed in the liner notes of the CD: “Sacred Songs was recorded in a rather short span of three weeks [in 1977]. Most of the songs were initially recorded with Hall singing and playing piano alongside Fripp’s guitar work, followed by overdubs by Hall & Oates’ regular touring band…

“Fripp and Hall gave the album to RCA officials. Though still relatively pop-oriented, Sacred Songs was very different from Hall & Oates, and fearing the album might be unsuccessful and alienate Hall’s mainstream fans, the company shelved the record, and release was postponed indefinitely.” This, of course, ticked them off greatly, and so they “passed tapes… to music journalists and disc jockeys” to pressure the label to release the album, which they finally did, a couple of years later.

Meanwhile, Fripp’s solo debut, Exposure, had a bunch of Hall vocals as well. “However due to pressure from RCA and Hall’s management, this was cut back to just two songs on the final release (‘You Burn Me Up I’m a Cigarette’ and [the aforementioned] ‘North Star’).” These two songs now appear on the CD version of the Sacred Songs album.

“Upon release, Sacred Songs sold fairly well, peaking at #58 on the Billboard Pop Albums chart; however, there was no hit single from the record. It has since come to be regarded as a high point in the careers of both Hall and Fripp.”

There were two obvious candidates for a single, the first two songs on the album, the title track, and Something in 4/4 Time [LISTEN]. When I got out this album, I loved it all over again. Oddly, I’ve recently had it stuck in my mind that some a capella group ought to cover 4/4 Time, complete with that Frippertronics in the bridge.

Listen to 30 seconds of each track of the original album HERE.
***
Watch the 62nd episode of Live from Daryl’s House, in which Daryl and the group Minus the Bear perform NYCNY from the Sacred Songs album.

 

Video review: The Prince of Egypt

I was so very nervous Sunday morning that my stomach was a vat of acid.

The odd thing about being in the production of The Prince of Egypt musical is that I had never seen the Dreamworks animated film on which it was based until the day before we performed the play at church. And I had had a copy of the video for weeks.

The storyline by Philip LaZebnik and Nicholas Meyer I found to be quite compelling. I had to go back and read the source material, which started in the Old Testament book of Exodus, Chapter 2. There isn’t much there between Moses’ birth as a Jew (placed in a basket in a river to avoid being slaughtered, and taken in by Pharoah’s wife) and him all grown up. So the notion of the fraternal relationship between Moses and Rameses, the son of Pharaoh, made sense. When Moses discovered the secret of his birth, he was understandably conflicted.

The visuals of The Prince of Egypt were quite pleasing; an extra segment with the DVD addressed the process. There were some heavy hitters as voice actors: Val Kilmer as Moses (and also God); Ralph Fiennes as Rameses; Michelle Pfeiffer as Tzipporah (Moses’ eventual wife); Sandra Bullock as Miriam (Moses’ sister); Jeff Goldblum as Aaron (Moses’ brother); Danny Glover as Jethro (Moses’ father-in-law); Patrick Stewart as Seti (the elder Pharaoh); Helen Mirren as The Queen; and Steve Martin and Martin Short as Hotep and Huy (sycophants to the Pharaohs). Martin and Short were the comedy relief, but not in an over-the-top manner that some Disney films,

A criticism of the film is that it takes itself too seriously, not enough fun. I think the conflict of the story makes the approach to the topic with reverence. Yet there was plenty of fun stuff early on, particularly a spectacular chariot race. And it IS a story about slavery and oppression and getting away from the same. I rather preferred this Roger Ebert quote: “If de Mille had seen this film, he would have gone back to the drawing board!”
***
I suppose I should mention that the play went much better than I would have thought, after the dress rehearsal the day before. The leads were particularly good.

As for me, I was so very nervous Sunday morning that my stomach was a vat of acid. I couldn’t remember the lyrics that morning I knew the previous afternoon, or hardly ANY lyrics; a panic attack that I haven’t experienced in years. Finally, I did my part; I muffed one line near the end, but I guess it went OK. More fun was playing God in the next scene.

Book Review: Who I Am, by Pete Townshend

Townshend foresaw a day when music would be delivered digitally long before it happened.

I was a fairly big fan of the band The Who. I never bought any of their singles – I wasn’t much into 45s – and the first album I picked up wasn’t until Tommy (1969), but I purchased every studio album since, the earlier The Who Sell Out, as well as Live at Leeds and a couple compilations.

The lead guitarist of The Who, Pete Townshend, has written an extraordinary book, Who I Am. Part of the great strength of the book is based on Townsend’s fortunate habit of keeping journals.

The first part has amazing detail about his parents and grandparents even before he was born. I’m jealous; I wish I had such information about my recent ancestors. Then he talks about the development of the band. I’ve read a number of rock biographies, some of them quite good. It’s different, though, when one hears the story from the point of view of one of the participants, especially one who writes so well and so thoroughly.

The development of the rock opera Tommy is fully explained. It utilizes, as a jumping-off point, some of the actual abuse Pete experienced while in a grandparent’s care. He added the pinball motif fairly late in the game, in order to get a better review.

Teenage Wasteland

He explores the stresses on the now successful band, after Woodstock, Live at Leeds, and the Who’s Next album. In some ways, the pressure was just as great as when the band struggled to find an identity. The smashed guitars were an artistic expression, not just random mayhem.

Somewhere in this period, particularly after Who drummer Keith Moon died, I was hoping that Pete would stop with the sex and drugs, and stick to the rock and roll. His (now ex-)wife Karen must have been a saint. He could not quit the booze until 1994, though he had tried as early as 1981.

Townshend summarizes, right before his successful abstinence: “Although my marriage was failing, I had a beautiful son as well as two beautiful daughters who were doing well at university, I had fallen in love, and the girl I had found was slowly falling in love with me too. And I was rich. So what was messing me up?

“It would be easy to point to alcohol, but the problem wasn’t the booze; it was the fact that it longer worked as a medicine to fix the dire consequences of my self-obsession, overwork, selfishness, and manic-depression.”

I enjoyed watching his interaction with a variety of musicians, from the evolving relationship with Who singer Roger Daltry to folks such as Joan Baez, Paul McCartney, Bob Dylan, Eric Clapton, Mick Jagger, David Bowie, Stevie Wonder, and Paul Simon.

A great read, which he started way back in 1996, and once Pete got his head on straight, I wanted to read more. The false accusation that he was dealing with child pornography wounded him greatly. He foresaw a day when the music would be delivered digitally long before it happened. An interesting feature, mostly in the latter half of the text, are footnotes to The Who website, probably in part a function of having to reduce the manuscript from 1000 pages to 500.

Highly recommended.

Links

Rolling Stone book review.

Pete Townshend receives 2013 Les Paul Award.

Lefty Brown reviews Quadrophenia.

 

The difference between turning 50 and turning 60

When I turned 50, I could think, “Maybe I still have another half a lifetime left.” After all, the number of centenarians in the United States has been growing. Willard Scott, with whom I share a birthday, BTW, still announces the birthdays of those over 100 on NBC-TV’s TODAY show, as far as I know.

Now that I am 60, though, I have to acknowledge that I’m not going to live another 60 years, even if I move to Azerbaijan and start eating yogurt soup. (And if I’m wrong, which one of you is going to write to correct me?)

I note this, not with melancholy or dismay, but with a certain resolve not to waste my time with X or Y. I’ve already done a fair job in that I’ve largely stopped caring about the negative things people who aren’t friends and family say. It’s not that I won’t complain about them, and in fact, I’m even more likely to do so, probably in this blog; it’s that the anger and frustration don’t consume me, as they once did.

Once upon a time, every March 8 (the day after my birthday), I would play a particular Paul Simon tune. The lyric started:
Yesterday it was my birthday
I hung one more year on the line
I should be depressed
My life’s a mess
But I’m having a good time

I played that song annually for 20 years or more. I should get back to doing that again.

Have a Good Time – Paul Simon

Ramblin' with Roger
Social media & sharing icons powered by UltimatelySocial