Another piece of music whose theme first appeared to me in a movie theater and went on to become a major staple of "ear food" was Schubert's Fantasie f-moll for two pianos in the film Madame Sousatzka. Shirley MacLaine gave a virtuoso performance of a grand diva immediately recognizable to anyone who's worked in the world of music and dance. Thanks to Maready whose original blog "The High Ponytail" was a great source of out of print rare performances. The mp3 of this performance comes from his flac upload. He continues now with "Avant cue j'oublie".
Sometimes, sitting in the dark of a movie theater, a piece of music you do not know appears in the movie. The power of the notes challenges you to stay focused on the action on the screen and as soon as the film ends you set out to find this musicas quickly as possible. Such was the case for me with the second movement of Schumann's Piano Quintet in E-flat major, Op.44 in Ingmar Bergman's masterpiece, "Fanny and Alexander" (Trailer here). In the opening of Bergman's masterpiece, this theme appears (1 minute and forty nine seconds in the linked clip). At least in part because of the Nordic winter setting of the film, the second movement I will always associate with "Winter Music". The film itself is truly transcendent, and, I believe, Bergman's last feature film. The 4 hour Criterion version is available and well worth the experience. It is magical, haunted, dark, and filled with the wonder and terror of childhood. A complete version of this movement by a masterful group of players, including Martha Argerich and Mischa Maisky can be found here.
I came to Schumann late in my life. Guiomar Novaes' versions of Kinderscene, Papillions and Carnaval for some reason came to life for me when I was working in Seoul in my early forties. I have listened to this recording ever since, and Schumann's music has become a constant in my life.
HAPPY NEW YEAR ! Whether you are drawn to his music or not, Cage was a brilliant thinker whose words , spoken or written, never fail to intrigue and captivate the imagination. Personally I find his early pieces, especially his first String Quartet and short piano works to exhibit a great timeless simplicity and beauty, that predate the integration of Zen thought into Western Art and Lifestyle that started to flourish in the 60's, as well as the Minimalist style of music that was to become so popular in the 70's and 80's. Similarly, I find his later "Number" pieces to reflect these earlier works as a kind of mature and distilled refinement of this original conception of music. At the risk of sounding facetious, you could make the case that Cage is what Bach might have been, had he been a Haiku master …. His prolific compositional body of work certainly seems Bachian. I was boarding a plane in Seoul on my way to Kyoto for the first time in my life, when, reading a copy of the International Tribune, I happened upon the news of Cage's passing. This proved to become a synchronous event for me, as I had no idea that I would spend the next week of my life visiting numerous Zen temples and rock gardens , especially Ryoanji which was such a important touchstone for Cage's art, both musical and visual. Lurtsema was a wonderful radio host on WGBH whose breadth of knowledge on things musical and non musical allowed him to create fascinating "themed" musical/historical programs . His show was a daily staple in New England and his warm pipes made for many a wonderful morning of coffee and listening pleasure. It still brings a smile to my face when I remember him making a unique way of appealing to his listeners during a WGBH fund raising period. Lurtsema's show , Morning Pro Musica, always began with a few minutes of birdsong that gradually faded in his theme music, and finally his own spoken greeting. During this fundraiser he made his point by starting his show with dead air for the normally prescribed time duration of the open. He followed this with the observation that this is what listeners could expect if funds were to dry up. i am sure people rushed to their checkbooks. I had taped the first interview offered here when it occurred and listened to it many, many times. In 1994, shortly after moving to Columbia, MD. from Westerly, RI., my car was broken into and tapes including the interview were stolen. I called WGBH and spoke to some kind soul who, after hearing my plight, offered to send me a copy on cassette. When it arrived, it contained the bonus of another interview with these two men from 1993. It is also offered here. I sent, if memory serves, a check for 50$ to WGBH as a small thanks for the the kindness extend to me . If you decide to download and enjoy these remarkable conversations, perhaps you will find it in your heart to contribute to your own choice of public service.
HERBIE AND WAYNE: In line with the previous post, it keeps nagging at me just how special these two artists are and how rare they are in today's world. I wish someone could tell me why there is no biography of Herbie !!! Truly brothers of the souls, they keep exploring and creating a classical music of our time. A music that is without boundaries, that gathers up all that has gone before and moves forward into the unknown. We really should pay great attention and respect to these voices for however much longer they are with us. Like Miles, they will not be heard again once they depart. In Japan artists are granted Living Treasure status... we should recognize as much here. At 5:10 of this clip the two Masters demonstrate all the beauty and strength of their singular art: Meridianne, A Wood Sylph and from Japan in 1990: Footprints Wayne Shorter was presented with the 2009 Distinguished Alumni Achievement Award at NYU Steinhardt's Baccalaureate Ceremony in Honor of the Class of 2009 on Monday, May 11, 2009 at Radio City Music Hall. It is a joy to hear Wayne speak. SHORTER AND ZAWINUL:
Wayne and Joe Zawinul, of course, shared a similar connection. Any doubt that these are classical masters is done away with in this clip . Joe paints a masterful Impressionist portrait that eventually culminates in " A Silent Way" and "Boogie Woogie Waltz". Obviously nearing the end of his life , these two clips of their last duet together is striking in the depth of emotion these two men express towards each other with just a few simple gestures and in the course of their playing. That things like this exist on Youtube, making it possible for us to experience what we otherwise could not, is a wonderful thing. Many thanks to the posters.
In 2004, this quartet launched an incredible tour. They called it "The Forensic Music Tour ". Herbie spoke about how the quartet worked from skeleton arrangements: "We're constantly reclassifying the bones - it's forensic music.". The three elder statesmen seemed to be playing from a very, very deep well that they have developed throughout their long careers. The ghost of Tony Williams emanated from the younger Mr. Blade's drums, who proved himself more than capable of riding any currents these great Lions pursued. Steering the direction at times was his role as well. A most kind and generous person provided me with an elaborate set of private recordings from this tour, all of excellent quality. It is one of the best gifts I have ever received. This is music of the highest order. It often seems to me to be emanating from a place beyond this mortal plain. Not surprisingly, there are deep echoes from the Miles "Classic" Quintet era, as well as a sense of the early "absence of ego" improvisation that the 1st incarnation of Weather Report created. These are Master Painters spinning tone poems into the ether. It is like they are riding bicycles though space. Herbie's playing is a culmination of so much of the greatness he has produce in his 7 decades...always Jazz, but often recalling the great mastery of Debussy . Wayne plays so much from the heart and the mind....reaching down deep to thrust out into the great unknown with never a false step. Holland, as always , a great master who you never notice until you do , and then...there he is effortlessly moving ahead and taking you with him. For me, Miles' classic "Filles de Kilimanjaro" has always been one of my most treasured listening experiences....one I return to every year and still find fresh. I never thought I would find music like it ever again ... and then, along comes 2004 and HSHB and there it was...an extension, a variation, but born of the same stream without a doubt. And so... the Great Mystery . Why has this music never been officially released ? The current Wayne Shorter group, which shares much in common with HSHB, has a great "official" representation...both live and studio. There is a DVD available. But there is so much great music in the set of recordings I have... indeed every concert is drastically different even though the selections are the same.....that is tragic that it is not available for the world.. a world that would benefit greatly from the great inspiration and healing this music provides. The historical and artistic importance of this tour is epic. Imagine if there were a cache of Monet's or Van Goghs discovered and not released to the world. Such is the case here. Respecting the artists' right to have this music remain private until they deem otherwise, I cannot post it here. But here are links to performances on Youtube where you can soak in this music and see these masters at work. Here is a set of links to make it easier to watch all of these: LINKS : Jazz A Vienne Parts 1-7 Visitor From Nowhere
Bellargeau, better know as Ti Roro, Haitian Master drummer, plays his drum and sings simple melodies over complex rhythms. Like a Hendrix of the conga, this master is truly deserving of wider recognition. This is a vinyl transfer from a budget label, almost impossible to find.
RAM NARAYAN:SARANGI, THE VOICE OF A HUNDRED COLORS
A recording I have returned to over and over since it was released in 1968. The timeless "crying" tone of the sarangi is haunting. Why it is not available is beyond me.
