Podbean Podcast Site Category :   Music   Tags :                          
Feed on
Posts
Comments

Archive for July, 2008

This Old House

Craig Bickhardt’s song “This Old House” deals with leaving home for the last time. In the chorus the house itself speaks, of its regret that it will no longer be able to shelter us, who are leaving. It’s one of the great strengths of Country music that it deals with feelings and emotions that aren’t the standard themes of adolescent love or rebellion.  It’s grown up. It captures perfectly feelings of shared family life, now past, that leaving the house, for the last time, makes more acute.   

 

Listen Now:


icon for podbean  Standard Podcasts: Play Now | Play in Popup | Download | Embeddable Player | Hits (251)

Read Full Post »

Shallo Brown

 

This is a well known sea shanty. Charlotte Greig’s haunting rendition of the song is slower and more intimate than the customary masculine version. In the middle of the song she reverses the perspective to a woman’s and makes it a song of sad, tragic farewell, as the slave lovers are forced to part forever. For a fuller appreciation and the words see here

Listen Now:


icon for podbean  Standard Podcasts: Play Now | Play in Popup | Download | Embeddable Player | Hits (187)

Read Full Post »

Walking on a Wire

Walking on a Wire by Richard and Linda Thompson is one of the most eloquent songs about the terminal breakdown in a relationship - theirs. It’s from their last album together before their marriage broke up at the end of their last tour in 1981. You can hear the tension in Linda’s taut vocal, full of restraint and suppressed resentment, and in Richard’s angry guitar. It’s not comfortable but it is true.

See here for my earlier appreciation.

Listen Now:


icon for podbean  Standard Podcasts: Play Now | Play in Popup | Download | Embeddable Player | Hits (209)

Read Full Post »

Benedictus

In my other Old Fogey Blog, I have started a ‘Times Stands Still” series where I write about music that, for me, make time stand still. My latest post is here. The music is the Praeludium and Benedictus from Beethoven’s ‘Missa Solemnis’.  The violin soloist is Michel Swalbé, in the 1966 recording by Herbert Von Karajan. The soloists are wonderful - Gundula Janovitz, Christa Ludwig, Fritz Wunderlich and Walter Berry.  It’s from my old, worn vinyl LP.  

Listen Now:


icon for podbean  Standard Podcasts: Play Now | Play in Popup | Download | Embeddable Player | Hits (90)

Read Full Post »

Billie Holiday

billieholiday

I offered this song, “Miss Brown to You”, here, as a quintessential Billie Holiday recording of the 30s, when she was fresh and unselfconscious – before she got exploited by men, and before she started to get self conscious about what she was doing, and, God forbid, think of herself as an artist. That moment of death for all art. 

Here she is, twenty years old, not a care in the world, and the best she ever was

Listen Now:


icon for podbean  Standard Podcasts: Play Now | Play in Popup | Download | Embeddable Player | Hits (212)

Read Full Post »

Im Abendrot

jessye norman In my other blog here I wrote a piece about Richard Strauss’s “Four Last Songs”. “Im Abendrot” is the last song in the series, and the last song Richard Strauss wrote before he died. It’s a meditation on death, and sunset with the image of two larks fluttering upwards, like to souls floating up to heaven.  

The benchmark against which all recordings of these songs is measured is Elisabeth Schwarzkopf’s 1966 recording with George Szell. It’s a classic. But there are other good versions – by Lisa della Casa and Gundula Janovitz, to name two. There is one other recording that does not suffer in comparison with Schwarzkopf’s. It is by Jessye Norman, with Kurt Masur.  

In the first song, “Fruhling”, Norman’s voice seems large for the song and not quite gentle enough. But in “September” she draws into herself, in an interpretation of soft introspection. She sings from within the strings, as if from inside herself, retiring so gently at the end like a sigh. In the second “Beim Schlafengehen” there is a quite magical passage where, after the lovely violin interlude, she follows the line of the melody in almost imperceptible gradations, starting pianissimo then drawing her voice out into a crescendo, then retreating into head voice before building up the crescendo.   

Her singing of the final “Im Abendrot” is achingly true to the music and the poetry.  She captures perfectly the sense of sad regret of the first three verses. But when she sings the line ‘So tief im Abendrot” from the last verse the effect is magical. Her voice soars and swells  heavenwards in a moment of pure ecstasy, and superb control. As if she is the angel waiting to welcome him at the gates of heaven. And in the fluttering upwards of the larks to heaven the song ends.  

Here is a fine translation of the song by Ivan Grosz which he posted as a comment on my original post.  

Twilight

We have gone through joy and sorrow

Walking hand in hand

Let’s rest from all the wanderings

Here, on this silent land

The valleys slip beneath us

The air is turning dark

Up into the balmy sky

Dreaming soar two larks

Come close to me and let them twirl

It’s almost time to sleep

Be careful not to lose our way

The solitude is deep

Oh broad and peaceful silence

Set in the evening’s dark red glow

Of wandering we are tired

May death be waiting for us now? 

   

 

Listen Now:


icon for podbean  Standard Podcasts: Play Now | Play in Popup | Download | Embeddable Player | Hits (123)

Read Full Post »

Scott Hamilton recorded this at a concert in Brecon, South Wales in 1994. It proves that jazz wasn’t killed off by John Coltrane, Ornette Coleman and Archie Shepp. He is a throwback to the great jazz sax players of the 1930s - Coleman Hawkins, Lester Young, Herschel Evans, Ben Webster, Chu Berry. It is natural that he should find a home among Old Fogey’s Favourites. A fuller appreciation of this recording is on my other blog here.

Listen Now:


icon for podbean  Standard Podcasts: Play Now | Play in Popup | Download | Embeddable Player | Hits (108)

Read Full Post »

Liszt’s religious choral music isn’t as well known as it ought to be. The first choral piece of his I heard was “Via Crucis” – The Stations of the Cross – a deeply felt and impressive work. 

Here’s a short piece for soprano, choir and orchestra. The soprano soloist is Livia Budai, with the Hungarian R&T Chorus, and the Budapest Symphony Orchestra conducted by Janos Ferencsik. I have transferred it from a 30 year old vinyl LP. It’s sung in Latin. Here’s a freeish translation. 

With the sound of the organ, Cecilia sang to the Lord: “Let my heart be innocent, so that I suffer no humiliation”. It is a most haunting piece.  

 

Listen Now:


icon for podbean  Standard Podcasts: Play Now | Play in Popup | Download | Embeddable Player | Hits (221)

Read Full Post »

« Prev -