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.
Check out the ten songs shortlisted for the Song of the Year 2016. I have to confess I don’t know most of them, but I’m going to have a listen and see what I think. Let me know your thoughts in the comments here or tweet me: http://twitter.com/jaywilsonmusic
Really lovely feedback from the wedding ceremony I played at on Saturday at Celbridge Manor Hotel. The bride had organised everything with me via email, since she lives in Belgium. We’d discussed what songs she wanted and I sent snippets to them via YouTube so they could get an idea of how they’d sound.
The celebrant was Dara Molloy, a Celtic priest who I’d done one wedding with last year. I really like his manner and the meaningful ceremonies that he crafts for couples.
Last year she won the Dublin International Piano Competition, in February she gave a recital at The National Concert Hall, and tonight Nathalia Milstein (“mill-shtyne”) begins a ten-day tour of Ireland with this concert in St Ann’s Church on Dawson Street.
Her wide-ranging programme takes in Bach, Mozart, Bartók, Liszt, Ravel, and the piece commissioned from Gráinne Mulvey for the Dublin International Piano Competition. The insightful programme notes, written by classical journalist and reviewer Pat O’Kelly, supply background and context for the diverse pieces: Bach walking for ten days to hear an inspirational keyboardist, Mozart as a busy 18-year-old musician performing his latest sonatas in Munich, and of course a few hints about the composers’ love lives. It is necessary (and frequently fascinating) to have these human reference points alongside an art form that can so easily become rarified.
Milstein gives a riveting performance of Gráinne Mulvey’s Interference Patterns, drawing on the lyrical style of the Liszt that preceded it, and also the intense energy of The Chase from the Bartók suite. Mulvey’s piece is inspired by the work of 19th century Irish scientist John Tyndall on the behaviour of waves when they meet an obstacle. A most vivid expression of this is achieved towards the end of the piece. It was as if Milstein sent two shockwaves through the piano – a remarkable gesture, the sound almost visibly emanating from the instrument.
(A very effective transition is achieved between the prayerful ending of Liszt’s Sonneto and Interference Patterns. Having consistently stood up to receive applause at the end of each of the pieces in the first half, the pianist remained seated at the end of the Liszt. This meant the audience didn’t applaud, and Milstein could begin the next piece without breaking the atmosphere just created.)
Maurice Ravel’s suite, Le tombeau de Couperin, was written one hundred years ago and remains one of the most delightful pieces of solo piano writing in the canon. Beginning with her head up, her demeanour calm as the delicate machinery of the opening Prélude flutters into life, Milstein’s performance of the six movements is a joy to behold. Ravel’s extraordinary writing for the piano is brought to life in her hands and the luminous shimmer in the last bars of the Prélude is a beautiful moment. Ravel dedicates each of the movements to friends and colleagues killed in World War I. Behind the piano, the ornate rolls of honour that flank the altar in St Ann’s serve as a reminder of its congregation’s own grief at the loss of their sons during that war. The Forlane carries itself with swagger and Milstein gives an assured reading of this courtly dance, gracefully partnering with Ravel’s melancholy harmonies and finely-wrought invention. There is something personal and intimate in Ravel’s writing. It’s there, too, in Bartók’s The Night’s Music, sometimes stellar and sometimes scrabbling, and in the Bach Toccata that opened the concert. Witnessing the artistry and technique of Nathalia Milstein’s playing tonight in the hushed church is a sublime experience.
Johann Sebastian Bach – Toccata in C minor BWV 911
Wolfgang Amadeus Mozart – Piano Sonata No 3 in B flat K 281
Béla Bartók – Out of Doors Sz 81
Franz Liszt – Sonneto del Petrarca No 104 S 161
Gráinne Mulvey – Interference Patterns
Maurice Ravel – Le tombeau de Couperin
Click the photo for more of Frances Marshall’s photos from the night.
FLECKS will share the stage at The Workman’s Club on Thursday with three other acts, Buffalo Sunn, Dreaming of Jupiter, and Maria Kelly. Last week, we played at The Bello Bar alongside David Rooney and The Straw Gods. Here are some photos and video from the night:
I visited this room for the first time only last week — the City Assembly House, just beside the Powerscourt Townhouse on Dublin’s South William Street. It’s a beautiful, surprising, melancholic space and it works as a perfect backdrop here, an extra character in 4 in a Bar’s video for ‘Hide and Seek’.
Spin me round again…
…walls where pleasure moments hung before…
Like their Facebook page to encourage further beautiful things from this group: 4 in a Bar
When people start dancing, a kind of ownership ritual takes over. They’ve marked out their own physical space: it now belongs to them. Likewise, they’ve started to take ownership of the music they’re hearing. They don’t want it to stop. After imitating other people for most of the day, or week, or year—their mothers or fathers or supervisors, their smarter or more beautiful acquaintances—finally they’re playing themselves, in whatever form they want. They can be as free as they want, as elegant or debased as they want.