I accompany the Gardiner Street Gospel Choir each Sunday evening at the 7.30pm mass in St Francis Xavier’s Church on Gardiner Street. This Sunday was a special service to celebrate the centenary of the birth of Joseph Wresinski, who strongly believed that “extreme poverty is the work of mankind and only mankind can destroy it”. He founded the organisation ATD Fourth World in the 1950s and it continues to bring the voices of the world’s poor to the corridors of power.
Take a moment and read the last letter he wrote before he died in 1988:
We sang Michael Jackson’s song ‘Man in the Mirror’ (written by Siedah Garrett and Glen Ballard) after the mass as a special tribute to Wresinski’s legacy.
Such a great track (sidenote: there are apparently two versions in the new Lego Batman movie). The outro is just fantastic. The choir (The Andraé Crouch choir, The Winans, and Siedah Garrett), the synth bass, the whole thing in a slightly other world at the end. The song’s key change lifts us from G major up to A flat major (listen how the electric piano sound is switched out at that point for a grand piano…Greg Phillinganes really lets loose!). The whole last section rests on a variety of the IV chord – D flat sus 2 – which provides the ‘open’ feeling. The bass that punctuates every six bars rather than eight, as we might expect, and this also destabilises the listener. You just have to relax into it. The singers are so confident, though, as is the bass…it leans us out over the edge of the chord, starting on a B flat, but draws us strongly back in…B flat, F, C, A flat, D flat. So satisfying! I love that the song stays in this place right to the end. Michael’s final urging to ‘make that change’ flies off at the end with infinite possibility.
A New Look at Sight-reading (Part 3) | CelloBello Blog.
This is an excellent essay on sight-reading, well worth a read by all musicians.
Brian Eno gave a lecture at the Red Bull Music Academy recently. I just watched it this morning and now have a small checklist of things to do / listen to, an app to download, and a workflow to get going. I read his excellent, insightful 1995 diary, ‘A Year With Swollen Appendices’ about ten years ago and have always been impressed by him.
Here’s an excellent summary of the lecture by someone who was actually there, Una Mullally.
Wonderful piece on realising one’s potential and making something brilliant…
(via The Guardian)
I’ve been a subscriber to The Irish Times for about six months now (it is delivered imperceptibly every morning, waiting for me on the front step when I come down). One of the very great things about it is the variety and scope of the writers. Reading them week after week, you get a sense of their personality (the norm now of putting the writer’s picture at the top of the article helps, too). I read a lot of international news media on the Internet, too, but it doesn’t compare to leafing through the paper over a cup of coffee, casting one’s eye over the properly full-sized pages, reading the odd thing that jumps out. For example, Michael Dervan is the grandmaster of music criticism in Ireland — towering in stature and in intellect — so I had to read twice the following charmingly Dumbledore-ish sentence in his column today:
In its lowest range [the double bass] is utterly unique, rich and soft-textured in a way that makes you smile and want to rub your tummy.
He describes the new film, A Late Quartet, too (about the complicated relationships between the members of a professional string quartet), which sounds very good. (Philip Seymour Hoffman and Christopher Walken?! — albeit, as it transpires, senza vibrato…)
Emma O’Reilly asked me to play at a songwriter evening she curated the other night in The Mercantile bar. It’s a long while since I played my own stuff, so I jumped at the chance. I took out the guitar earlier that day at home to practice and ended up writing a new song — something I haven’t done in a long, long while!
I’ve been meeting up with a friend of mine, Peter Ryan, to hang out and talk about writing and give each other encouragement with stuff we’re working on. My lack of any new material prompted me to go back over the voice memo recordings of song ideas that I’ve made on my phone. It was two of these that I worked up into the song, which I’ve called ‘Panic’. I *do* have a demo recording of just me and the guitar, but I won’t post it up yet. I didn’t do a brilliant job of playing it the other night at the gig, so I feel like it needs to stay on the drawing board for a bit longer. I’m hoping to maybe work it up into a bigger arrangement, so you can hear it then…!
Buoyed by the experience of playing Emma’s gig, I got in touch with Lisa McLaughlin and got a slot on a forthcoming ‘Saucy Sundays’ gig (the regular showcase that she hosts in The Grand Social). Sunday 13 May — I’ll be on first 🙂
Another date of note (for my diary, anyway) is Friday the 18th of May. I just got word yesterday that that’s when my Grade 8 piano exam is scheduled for. Eek! The pieces are coming along nicely and I’m chipping away at the scales day by day — there are so many! I just read Charles Rosen’s book ‘Piano Notes’, which had some really interesting thoughts about playing Bach. One of the pieces I’m playing for the exam is Bach’s Fugue in B flat from the first book of ‘The Well-Tempered Keyboard’. He wrote a Prelude and a Fugue in each of the twelve major keys…and also each of the twelve minor keys…and then he did that all again. The interesting thing that Rosen points out is that these were never meant to be performed in public (and certainly not on a modern piano, more likely on a harpsichord or a clavichord). Bach would’ve used them as teaching material and so the modern practice of accentuating each appearance of the main theme of the fugue (the ‘subject’) is not how he would’ve expected the pieces to be played. For a start, the keyboard instruments of his day couldn’t do gradations of dynamics in the subtle way a piano can (a piano-forte, to give it its full name, is so called because of its ability to do both soft and loud). Secondly, since it wasn’t for an audience, the people hearing the fugue would’ve been the player or a pupil following the score — both of whom would have no need to have the appearances of the subject spelled out to them, since it was in front of them. Thirdly, the subject is the least interesting bit of the piece if you’re Bach. It’s just the bones to which the artistic flesh of the composer’s counterpoint is attached. All that having been said, if the pieces *are* to be performed for an audience who neither know the score nor have the aesthetic sensibilities of an eighteenth century harpsichord pupil, the pianist would do well to bring alive the music (to ‘publish’ it, as Rosen puts it), and some underlining of the structure of these remarkable pieces is the way to go.
All great food for thought. I’d recommend the book to anyone who plays piano or has an interest in classical piano music — it’s an easy read, with loads of anecdotes and insight into the repertoire and life of a pianist.
This weekend, New Dublin Voices took part in a production of ‘Singin’ In The Rain’ at the National Concert Hall. It was a full week of rehearsals starting with the conductor, John Wilson, putting us through our paces on Monday evening before we went along to the full orchestral rehearsals during the week. It was a wonderful experience—I really enjoyed sitting beside the bass clarinet player, having done a lot of orchestral clarinet playing in university. Being inside the orchestra was great. John Wilson reconstructed the score, the original having been tragically consigned to landfill many years ago. (In an article I read in Classic FM magazine with John, he also sadly notes that a lot of the music libraries of the big studios were destroyed. There was nothing for it but to literally write it all out again. It must’ve been a mammoth task!) The RTÉ Concert Orchestra were augmented with a rhythm section (piano, guitar, bass, drums) and, behind us on stage, a full saxophone section. They had some really lovely moments in the score, providing that close-harmony sound that only saxes can do. Seriously, it was a real treat sitting in the middle of it all and watching the realisation of this sublime music.
Here’s the sequence from the film for ‘Moses Supposes’, which the amazing dancers did pretty much step-for-step at the NCH:
A couple of my friends posted links to this video, too. Jaw-droppingly good. Danny Macaskill is to a trail bike what Gene Kelly is to tap shoes.