AN ENTERTAINING THOUGHT: PROFILE MICHAEL WALSH
20 January 2012
MICHAEL WALSH is a marketing journalist well known for ghost-writing poorly written English. He says it is a fascinating career in which he meets the most interesting people. His main interest lies in the vibrant world of entertainment. As a publicity agent he loves talented artistes and event organisers. He feels they suffer badly from the recession.
Q. Everyone is feeling the pinch. Is there a solution for artistes?
A. Yes; they are extremely talented but their business and marketing skills leave much to be desired.
Q. Many have agents surely; don’t they do that for them?
A. Yes but it isn’t always done well; few of them have a media or marketing background.
Q. In what way are event organisers and artistes vulnerable?
A. Their main weakness is their unwillingness to invest in self promotion. As I explained to a soprano; household name rivals didn’t get to the top because they sing better; they got there because they put more into promoting themselves. No business will thrive unless they get the marketing right.
Q. What are their main weaknesses?
A. Their inability to see cause and effect. I have to explain that their pay is related to the bums their talent puts on seats. Venue managers are not job creation specialists for unemployed entertainers.
Q. You mention their shortcomings on investing. You mean by advertising?
A. Not at all; the venues do that for them but event organisers and entertainers need to help out too.
Q. How do they do that?
A. Let me explain. As an act of charity I provided various artistes and event organisers with press release copy. They were delighted: my publicity typically sold enough seats to bring in an extra €2,000. My good nature abused I suggested I be paid a fraction of that amount for my efforts. It was refused. They now play to empty seats. This attitude is commonplace. They don’t work for free but expect others to.
Q. Can’t they provide their own press releases?
A. Yes, like I can play the guitar! Editors tell me they reject most press releases because they are badly or inappropriately written; photos are poor quality, without captions; missing detail. One tells me she has no time to correct copy. She has a point.
Q. So everyone loses.
A. Of course; the event organisers and artistes, the readers, the news media and of course the under-used publicity agent. That is me.
Perhaps you know entertainment organisers or artistes who many benefit from a more cost effective way of putting bottoms on seats. Kindly recommend me. Michael Walsh is a Costa-based publicity agent who writes and broadcasts throughout Europe and the Unites States. He can be contacted at quite_write@yahoo.co.uk or call 662 067 490
Posted at 20:09 Comments (0)
The Strange Story of Stephen Collins Foster
16 November 2011
The more mature generation will be familiar with such whimsical ballads as I Dream of Jeanie with the Light Brown Hair, Oh Susanna and The Old Folks at Home. They were American favourites long before Irving Berlin’s White Christmas and George Gershwin’s Rhapsody in Blue came to symbolise the essence of the United States. Indeed the originator of these songs had by then earned an international reputation. His repertoire of ballads were bringing lumps to the throat and tears to eyes from Alaska to Durban, New Zealand to Buenos Aires, and of course throughout the United States. They still do.
One hundred years and forty years since they were penned Beautiful Dreamer, My Old Kentucky Home, Camptown Races and Old Black Joe, still evoke nostalgia; sales still hold up yet few have an inkling of the tragedy that marked the life of the man who created these much loved melodies.
Born into a comfortable and loving family existence the short life of Stephen Collins Foster (1826 - 1864) was a riches to rags story. This increases the poignancy of his death at the age of just 37 for when Foster died, during a bitterly cold New York winter; he was sick, homeless and penniless; probably an alcoholic; a figure of fun. In his pocket when he died were just 38 cents and the words ‘dear friends and gentle hearts’ scribbled on a scrap of paper. Yet by this time he had composed over 175 songs.
The Two of Hearts
Perhaps the best account of the composer’s final days can be found in ‘Personal Recollections of the Last Days of Foster’. It was written by 21-year old Mrs Parkhurst Duer who worked for a large publishing house on Broadway. She was intrigued by the songs that had warmed the hearts of America and it was her dearest wish to one day meet the songwriter.
She later recounted: “I heard he was living in New York but had never known anything about his life; yet his songs had created in me a feeling of reverence for the man and I longed to see him. One day I was speaking with the clerks when the door opened, and a poorly dressed, very dejected man came in and leaned against the counter near the door. I noticed he looked ill and weak. No one spoke to him. A clerk laughed and said: “Steve looks down and out.”
Who is that Man?
Everyone laughed and the poor man saw them all laughing at him. It seemed to me my heart stood still, intuition perhaps and I asked, “Who is that man?”
“Stephen Foster.” the clerk replied. “He is only a vagabond. Don’t go near him.”
“Yes, I will go near him, that man needs a friend,” was my reply.
I was terribly shocked. Forcing back the tears, I waited for that lump in the throat which prevents speech, to clear away. I walked over to him, put out my hand, and asked, “Is this Mr Foster?”
He took my hand and replied: “Yes, the wreck of Stephen Collins Foster.”
Oh no.” I answered, “Not a wreck, but whatever you call yourself I feel it an honour to take by the hand the author of The Old Folks at Home. I am glad to know you.”
As I spoke, the tears came to his eyes and he said, “Pardon my tears, young lady, you have spoken the first kind words I have heard in a long time. God bless you.”
What had brought such a talented and prolific song-writer to such poverty, even as his compositions were being sung and wildly applauded in vaudeville and saloons, family get-togethers; published by the theatre world and making a fortune for others? Like many other talented craftsmen Stephen was hopeless at managing his affairs and rarely laid claim to his compositions, which were shamelessly plagiarised. If he was paid at all such gestures were given as though in charity; a few paltry dollars thrown like scraps to a stray. The avaricious world of show business leeched Stephen’s intellectual copyright.
A Hobo of Culture and Refinement
The young lady publisher told of how she got to know him better and found him to be a man of culture and refinement. He told her that he wrote his music on wrapping paper picked up in a grocery store, and he had written many of his songs while sitting on a box or a barrel.
Mrs Parkhurst Duer knew he did not have a home and asked if he had a room.
Not as such. He slept in a cellar owned by an elderly couple who had offered him the living quarters without taking payment. He said he was comfortable so I supposed he had a bed she surmised.
The publisher’s assistant arranged for the destitute songwriter to receive one good meal a day, and medicine, and took care of other comforts, one of which was a room in a Bowery hostel. Sadly by then it was all too late and Stephen Foster Collins died in the most miserable of circumstances.
His brother Henry described the accident that led to his death shortly afterwards in a New York theater-district hospital. Confined to bed for days by a persistent fever, Stephen had tried to call for assistance. In doing so he collapsed and falling against the wash basin next to his bed, he shattered and gouged his head. It took three hours to get him to the hospital. It was an era before transfusions and antibiotics; the internationally adored but penniless songwriter succumbed after just three days. In his worn leather wallet there was a scrap of paper that simply said "dear friends and gentle hearts". Estranged from his family he remained devoted to his wife whose name was Jane and for her he had written:
I Dream of Jeanie with the Light Brown Hair
I long for Jeanie with the day-dawn smile,
Radiant in gladness, warm with winning guile;
I hear her melodies, like joys gone be,
Sighing round my heart o’er the fond hopes that die:
Sighing like the night wind and sobbing like the rain,
Waiting for the lost ones that come not again:
Oh! I dream of Jeanie with the light brown hair,
Floating, like a vapour, on the soft summer air. ©
Posted at 16:40 Comments (0)
Did You Miss Something Today?
15 November 2011
Because of the winter cold outside a man chose a Washington DC metro station to play his violin. In the 45 minutes following he played about six Bach pieces during which time thousands passed him by with scarcely a glance. A few did pause. A middle aged man slowed his pace and stopped for a moment before hurrying on. A few minutes later a women tossed a dollar into his violin case but hardly paused as she too continued on her way. Another man hesitated for a little while, just to listen to him. Then looking at his watch he too went about more pressing business.
The one who paid the most attention was a little boy of perhaps three years of age. His mother managed to drag him away but the youngster’s head kept turning back. This action was repeated by several other children whose parents also hurried them on.
During the 45-minutes the itinerant violinist played only six people paused to listen whilst another twenty gave him money before hurrying on their way. The fiddler collected a total of $32.
When he had finished playing there was silence. No one noticed, no one applauded, no one recognised the solitary musician playing in the station‘s confines. That musician was none other than Joshua Bell, one of the world’s finest musicians. With considerable panache he has played some of the most intricate pieces ever composed. His violin is estimated to be worth $3.5 million.
Two days earlier Joshua Bell had played to a packed Boston theatre at which the average seat price was $100. What was the real story?
The prestigious Washington Post was carrying out a social experiment about perception, taste, and the priorities people have. The outline was a commonplace environment at an inappropriate hour. They wanted to know, do we perceive beauty? Do we stop to appreciate it? Are we capable of identifying and appreciating true talent when in an unexpected context?
What was the conclusion drawn from this enlightening experience? If we don’t have a moment to stop and listen to one of the world’s most talented musicians playing some of the most beautiful music ever written by man, how many other things of great beauty are we missing each day?
Posted at 18:00 Comments (1)
The Importance of Selling Yourself
01 November 2011
Are you an artiste, celebrity or socialite; are you someone in the public eye or needs to be? If so you need the equivalent of today’s business card; the personal profile website. Think of it as an online full colour illustrated brochure of you and what you do.
Let us imagine someone is interested in you; who you are, what you do and perhaps what you can offer to them. Simply click and send them a link to your website; put your web address on stationery, business cards.
It is an online brochure. There will be one or two of your favourite photographs, portrait and performing, and a little about you. Your name and what you do: In my case ‘Michael Walsh International Journalist, Author and Ghost-Writer.
Follow this with a 100 – 150 description of yourself. I would write: ‘A professional journalist and writer, my work has appeared in media throughout the world. The author of eight books I ghost-writer for many authors. A columnist for the Euro Weekly News, which enjoys a readership of 500,000 each week, I write articles and comment on the human condition; contemporary life and I profile artistes and celebrities.
For twenty years a business mentor for the Guild of Master Craftsmen, the United Kingdom’s largest quality assurance body. There are few as well qualified to identify and highlight the most important things about you and the service you provide.’
These are my 96 words. Perhaps glowing testimonials from people who think you are wonderful. What you offer and will add: ‘Contact me for further details, fees and services I offer’.
Do not worry if you are not good at that sort of thing or if your English is not good; I do this for you. All you need do is fill out the small questionnaire and leave me to do the rest. Ask for one.
When I have profiled you I return it to you for checking. Satisfied, I then hand it to my website creator and within seven days you have your online ‘brochure’ website for much less than the cost of conventional brochures, which need to be physically handed out. I add flair; I use word cosmetics to bring out the best in you so you become the most important person in the world to your fans and clients. You will read your own website and say: ‘woo-hoooo; is that me?’
The total fee for your professionally written profile is just €150. It includes a FREE one-page website with appropriate domain name (ellenballet.com) and email address. The future annual fee is just €50 for website administration. Should you require a more sophisticated web presence the fees are equally reasonable. Contact me now at quite_write@yahoo.co.uk
Posted at 12:49 Comments (0)
Something Funny Happened at the Theatre
26 October 2011
Great music wouldn’t be quite as great without the colourful characters that over the centuries created great music for us to listen to. Colourful they were and what I find as interesting or enchanting as their music are their life stories and their quips. I have my own favourites and I thought I would share them with you.
‘Ah music! What a beautiful art! But what a wretched profession!’
Aaron Copland was browsing in a bookshop when he saw a customer holding a copy of his book: What to Listen for in Music and also a Shakespeare play. ‘Shall I sign it for you,’ he asked. ‘Which one’, she replied.
Philip Hale was no admirer of Johannes Brahms. He wrote to the New York Herald: ‘someone should request manager Ellis to have a special door built in Symphony Hall with a sign over it in red letters: ‘Emergency Exit in Case of Brahms.’
Composer Daniel Auber (1782 – 1871) refused to attend his own operas and hated listening to new composers. When the work of an aspiring composer was placed before him, he remarked: ‘This boy will go far, when he has less experience.’
If you thought that scathing: A young man sat before Rossini and enthusiastically played through his first composition. As he finished it, the gifted Italian composer raised his hand: ‘That will do, I prefer the second piece.’
A young composer approached Johannes Brahms and asked if he might play for the maestro a funeral march he had composed in honour of Beethoven. Permission granted the young man played his composition. When finished he asked the great man’s opinion: ‘I tell you, said Brahms with disarming candour. ‘I’d be much happier if you were dead and Beethoven had written the march.’
Listening to great music can have a remarkable effect on the listener; especially when experienced in the concert hall. When Hector Berlioz first heard Beethoven’s 7th Symphony he left the theatre. He said afterwards; he was in such a daze he couldn’t find his head to put his hat on.
Not everyone likes Richard Wagner’s musical dramas but those who do can be counted as ecstatic enthusiasts. After a promenade concert which concluded with the third act of his Gotterdammerung, the young audience cheered for half an hour after its end. Then, the performers went to their homes and the theatre’s lights were switched off. The audience carried on cheering in the dark.
The definition of a true musician: when he hears a lady singing in the bathroom, he puts his ear to the keyhole.
Posted at 18:11 Comments (0)
What a Way to Conduct Themselves
09 October 2011
It is difficult to imagine how orchestral music and opera earned a reputation for being elitist and stuffy. Those who made quality music their calling added much to our lives but their behaviour was often less than inspirational. At least they have a sense of humour and their wit is often aimed at colleagues. The percussion sections of an orchestra are often referred to as the kitchen department and by the more profane known as the bang gang.
Musicians can be scathing of their colleagues: One was asked what he would have been had he not chosen music as a career. ‘A drummer’ he replied. Culture can change perceptions too. Before any concert the players tune their instruments. It is difficult to imagine a more jarring sound; it is audio-anarchy. An Asian statesman was asked which part of the program he liked best. ‘The beginning,’ he replied: ‘Just before the man with the stick came in.’
Music doesn’t necessarily bring people together. Sir Thomas Beecham was one of England’s great conductors. On finishing his Australian tour he was asked by a reporter when he would be returning. He replied: ‘Does anyone ever return to Australia?’
A quote attributed to Beecham was made to an unfortunate cellist during a rehearsal: ‘Madam, you have between your legs an instrument capable of giving pleasure to thousands and all you can do is scratch it.’
Great divas are under no illusions as to their value. When the great soprano, Maria Callas named her fee for appearing at the Metropolitan Theatre in New York, she was curtly told that even the President of the United States doesn’t get that much. Callas replied: ‘Then let him sing for you.’ Born in the U.S. of Greek parents, living in Italy and fluent in the French and English languages the gorgeous opera singer was asked what language she thought in. She replied, ‘I count in English.’
Johannes Brahms was a petulant wit. A young composer asked if he might play a funeral march in memory of Beethoven. When he had finished the master turned to him: ‘I would be much happier if you were dead and Beethoven had written the march.’
After finishing her set piece Anton Rubenstein was asked by a pupil what she should do now: ‘Get married,’ he replied. Pity the hapless violinist who asked George Bernard Shaw what he should play next: ‘Dominoes,’ was the playwright’s retort.
Mark Hambourg, the noted pianist, was not amused to see a man reading his newspaper during a piano recital. Aware of the maestro’s penetrating glare the man looked up from his newspaper and said: ‘Do go on playing; you do not disturb me in the least.’
Those who think Eastenders and other soaps are going too far with their storylines may be interested to know what George Bizet wrote: ‘As a musician I tell you that if they were to suppress adultery, fanaticism, crime, evil, the supernatural, there would no longer be the means of writing one (opera) note.’
Posted at 12:08 Comments (6)
Classical or Quality Music: Is There a Difference
02 October 2011
There’s no such thing as a classical music expert simply because the subject is far too big. Wonderful people like BBC journalist John Suchet, have devoted much of their lives to studying and writing about just one composer. In his case, Ludwig van Beethoven. I doubt he would say he knows all there is to know about this one master. Now think on; there are thousands of composers who, over several hundred years, have composed tens of thousands of pieces of music. The Strauss family between them; dad and three sons’, composed about 3,000 dances; waltzes, polkas, operas. Who could possibly be arrogant enough to claim expert status?
There is also a commonly held belief that classical music is for the pretentious, an affected and conceited elite. Do try to remember that this is a false image; concerts are an opportunity to dress and behave elegantly but it is all part of the charm. How often I have smiled to see a youngster in jeans chatting amicably with a dinner-suited aficionado, or sat next to a lady in a cocktail dress. Think of such social engagement as a plus, not a minus. It is all part of the overall appeal. If you’re new to it, say so. People in the world of quality music love to engage with newbies for they too get bored with know it alls.
When enjoying concerts at the Royal Liverpool Philharmonic Orchestra, many in the posh bar were there to be seen; they were not there to see the concert. Have you noticed that the really grand boxes at great opera houses are the worst place to be in if the occupants actally wished to see the show? This was a puzzle to me until I visited Riga’s Opera House, where it was explained. ‘The titled set had these boxes designed so they could be seen.’ Okay, I have got it now.
What is classical music? The purists’ notion is that the term classical stretches between 1750 and 1820. Might it not be better then to drop the term ‘classical music’ and opt instead for the term, ‘quality music?’
In my view the term quality music identifies any music that has stood the test of time. It was Elton John, a pop musician who I think summed it up best: ‘I regard all pop music as irrelevant in the sense that people in 200 years won’t be listening to what is being written and played today. I think they will be listening to Beethoven.’
My son’s reply made me question Elton’s view. ‘In 200 years time much of today’s more memorable film scores will be being played.’ I think he has a point. You see what I mean? Let’s not go down that road; quality music is so omnipotent that no one person will ever be able to scratch its surface. Let us think of another take on it. What is the difference between good and bad music? Answer: If you like it then it is good music; if you don’t, then it is bad music.
Leaving music aside spare more than a thought or a handclap for the musicians; not just the composers but the members of the orchestra; there can be as many as 96 of them. That is what I call teamwork. Think too of the individual artistes’; the singers, individual musicians, dancers of goodness knows how many dance forms from tango to ballet, cultural, waltz, polka.
All artistes are individuals who work very hard to share their gifts. They too have personalities; friends, family, likes and dislikes. If you are genuinely interested in quality music then do more than clap a performance. Get to know them; they are not a race apart. Enrich your musical experience further by getting to know the artistes better. Adopt a harpist or a percussionist; help to fund their training; watch them practice; take an interest; buy them gifts; remember their birthdays. You will fill your lives not just with good music but with friendship and love.
In my experiences performing artistes are the most wonderful personalities. I can think of no other professional community as personable, empathetic, and endearingly loveable.
Posted at 12:07 Comments (0)
Is Music the Creation of Divinity?
29 September 2011
Is Music the Creation of Divinity?
Michael Walsh
Many great European musicians truly believed that their pens, as they composed, were guided by a divine spirit. Arguably the greatest musician of all time, Ludwig van Beethoven typically refused to take the credit for his music. For those of a mystical frame of mind there is much to ponder on. How do you describe something you cannot see? How did Beethoven create the most beautiful orchestrations of his music whilst unable to hear it?
Beethoven’s death, in common with several other great composers is threaded with mystery. As the Grim Reaper embraced this shabbily dressed irascible genius there broke over the Viennese night the most violent and terrifying electrical storm. The city cowered as thunder and lightning split the heavens. Beethoven, lying semi-conscious on his bed, was heard to murmur, ‘I shall hear in Heaven’. He raised his arm as though to salute the afterlife and departed. As his immortal soul departed the earth the storm immediately began to abate.
His funeral cortege brought this great European city to a halt. Schools and businesses closed; life held its breath and upwards of 30,000 people lined the streets to pay homage. Among the throngs was the great Franz Schubert who was to follow the great master to the grave just 12-months later.
Nearly two-hundred years on and the renowned Irish flautist James Galway is adamant that the edge to his virtuosity is sharpened by God’s guidance. When discussing his ambitions Galway agreed that they were limited: ‘They are merely that I should leave good memories behind me; that people should feel when they recall my name, that in some odd inexplicable way, they have at sometime heard the voice of the Infinite through me.’
LUDWIG VAN BEETHOVEN
Ludwig van Beethoven was just twelve years old when his virtuosity inspired his kindly mentor, Christian Gottlob Neefe, to present the talented child to the Elector of Cologne, Maximilian Franz: ‘He is, I believe, touched with genius.’
‘Quite a word to use of one so young,’ said the Elector: ‘You must not let this go to your head, young man,’ he added looking directly at Ludwig.
Ludwig spoke in a firm, clear voice: ‘Sir. I have a gift that people say comes from God. I believe that to be true.’
‘The Lord and I are on speaking terms, and our bickering most often gets penned onto a piece of parchment.’ – Beethoven.
AMADEUS MOZART
The tremendous storm that consumed Vienna at the time of Beethoven’s spirit readying itself to leave his life-form may be dismissed as coincidence. Yet a similar freak of Nature occurred as Wolfgang Amadeus Mozart’s hearse was being trundled to his final resting place:
‘The hearse, with the few mourners, then proceeded to St Mark’s churchyard, but before the burial place was reached a terrific storm of snow and rain burst overhead, and with one accord the mourners turned back, and left the hearse to proceed alone. And thus the master, of whom it was prophesied that he would cause all others (composers) to be forgotten … was left to be buried by the hands of strangers in a pauper’s grave, without even a stone to mark where he was laid.’ - Francis Jameson Rowbotham.
When a little older he (Beethoven) arrived in Vienna for the first time, he looked forward to meeting yet another great musician; Wolfgang Mozart. Music, he thought, the highest art, coming directly from God. How many men have such a calling? In Bonn one alone. In Vienna one alone. And now I will meet him. At last! - The Last Master. John Suchet.
‘When Mozart was inspired to write Idomeneo or The Magic Flute, he was in touch with God.’ - James Galway, Flautist.
FRANZ SCHUBERT
Of Franz Schubert Beethoven surmised: ‘Truly, the spark of Divine genius resides in this Schubert’. / ‘ .. The composer nearest to God’. - Artur Schnabel
JOSEPH HAYDN
‘It seems as though God gave me a cheerful heart, so I'm sure He'll forgive me if I serve Him cheerfully.’
‘Whenever I think of God I can only conceive of Him as a being infinitely great and infinitely good. This last quality of the divine nature inspires me with such confidence and joy that I could have written even a Miserere in tempo allegro.’
GIACOMO PUCCINI
FB ‘God touched me with his finger and said 'write for the theatre, mind you - only for the theatre'... and I've been faithful to this supreme command.’ Giacomo Puccini
GEORGE FRIDERIC HANDEL
‘A Lady being very musical, was invited by him (Handel) to a private Rehearsal of the Messiah, and being struck with the Exceeding dignity of expression in the Choruses, and other parts of ye oratorio so inimitably set to the sacred works, after the musick was over she asked him how it was possible for him, who understood the English Language but imperfectly, to enter so fully into the sublime spirit of the Words. His answer is I think a lesson to all composers, at least of Sacred Musick;
‘Madam, I thank God I have a little religion.’
On composing Messiah, Handel is said to have remarked (1741):’I did think I did see all Heaven before me and the great God Himself.’ On another occasion, Handel whilst writing the Messiah, when speaking to a servant at the hotel in which he was staying: ‘Once he had finished the hallelujah chorus he spoke to the servant, ‘The lord spoke to me and hath said ‘twas not I who wrote this but on accord of Him.’
RICHARD WAGNER
‘I am being used as the instrument for something higher than my own warrants. I am in the hands of the Immortal Genius I serve for the span of my life and his intention that I complete only what I can achieve.’
‘An atheistic upbringing is fatal. No atheist has ever created anything of great and lasting value.’ - Richard Wagner in conversation with Engelbert Humperdnck in 1880: quoted in Arthur M. Abell, ‘Talks with Great Composers’ (1955)
CHARLES FRANCOIS GOUNOD
B. ‘How do you think of those lovely melodies?’ asked a female admirer of Charles Gounod: The master replied: ‘God, madame, sends me down some of his angels and they whisper sweet melodies in my ear.’ - Charles Francois Gounod (1973).
JOHANNES BRAHMS
‘I know several young composers who are atheists. I have read their scores, and I assure you, Joseph, that they are doomed to speedy oblivion, because they are utterly lacking in inspiration. Their works are purely cerebral. No atheist has ever been or ever will be a great composer.’ - Johannes Brahms in conversation with the violinist Joseph Joachim (1831 – 1907). Quoted in Arthur M. Abell: Talks with Great Composers. (1955).
DINU LIPATTI
Half an hour before he died he (Dinu Lipatti) was listening to records of Beethoven’s F minor Quartet. To his wife he said: ‘You see, it is not enough to be a great composer. To write music like that you must be a chosen instrument of God.’
Walter Legge, the impresario was later to remark of Dinu Lipatti: ‘By the same light we may say it is not enough to be a great pianist: To play as Lipatti played you must be a chosen instrument of God. God lent the world His chosen instrument whom we called Dini Lipatti for too brief a space.’
MICHAELANGELI
The renowned Italian Classical Pianist: ‘I'm nothing but a priest of god's music.’
ANTONIN DVORAK
‘Life was a much uncomplicated thing to him. Instead of turmoil or neuroticism or dark brooding, we encounter a simple and sincere piety, such as only the deeply religious man is capable of.’ - A writer’s observation of the Czech composer.
ANTON BRUCKNER
That Bruckner felt inspired by God is to state the obvious. In addition to the vocal religious works, he dedicated his 9th Symphony ‘To our Beloved God’ (although it's said that he modestly appended 'if He'll accept it').
Anton Bruckner did make it clear that he also considered his view of the Day of Judgement as part of his perspective. Another of his quotes: ‘When God calls me to Him and asks me: 'Where is the talent which I have given you?' Then shall I hold out the rolled-up manuscript of my Te Deum and I know He will be a compassionate judge.’
‘They want me to write differently. Certainly I could, but I must not. God has chosen me from thousands and given me, of all people, this talent. It is to Him that I must give account. How then would I stand there before Almighty God, if I followed the others and not Him?’ – Anton Bruckner.
JAMES GALWAY
James Galway is an internationally acclaimed flautist. He says: ‘Nothing pleases me more today than when somebody says to me: ‘You know, Jimmy. You can hear God in your playing.’ It delights me to think that in some small way I am a link between God and whoever is listening.’
‘What I had to do instead, I decided, was to make sure I represented the composer properly to the world. Or to go and bit deeper, the composer’s inspiration, which obviously came from God.’
AMALIA RODRIGUEZ, Iconic Portuguese Fado Singer.
‘Even if he doesn’t exist, I believe in Him.’
JOHN WILLIAMS (GUITARIST)
The greatest classical Spanish guitarist of all time, Andres Segovia had said of Williams: ‘A Prince of the Guitar has arrived in the musical world. God has laid a finger on his brow, and it will not be long before his name becomes a byword in England and abroad, thus contributing to the spiritual domain of his race.’
HERBERT VON KARAJAN
When asked where did his talent come from? Herbert von Karajan, the formidable Austrian-German musician and conductor was equally forthright: ‘I was given special tools, special talents. I never had any doubts that my talents came from the Creator. My duty to Him is to exploit them to the fullest. My ambition is to make music as perfectly as possible and reach as many people as possible.’
‘You don’t need faith to believe in God, because there are plenty of signs available of His existence. Mozart wrote a symphony as a child. Heredity cannot account for this. There is only one explanation: the Creator chooses people as His instruments to produce some beauty in a world that is all too ugly. ‘
‘We see and hear him now at the height of his powers, superbly able to keep a Bruckner symphony spinning not like a top but rather like some celestial sphere – massive, glowing, and infused with cosmic power.’
- Denis Stevens describing the final von Karajan recording of Bruckner’s 7th Symphony in April 1989. The maestro of maestros passed peacefully on three months later. ©
Posted at 08:53 Comments (0)
A CLASSICAL LIFE (A Musical Soliloquy)
24 September 2011
In a moment of whimsy it occurred to me that music, in its European form, can offer a feast of quality music that reflects life from womb to tomb. This list of suggestions is subjective. But, if it inspires you to explore, understand and appreciate the finest music spanning the most gifted musicians over centuries, then please feel free to you tube or purchase any of the following introductions to the world of classical music. Think of each track as a sublime glass of aphrodisiacal wine; I think you will return again and again. - Michael
A CLASSICAL LIFE (A Musical Soliloquy)
The dawn of my life (Ravel; Daphnis et Chloe) found its sunrise in my meeting you (Puccini; They Call me Mimi) upon which my spirit soared to new heights. (Wagner; Tristan and Isolde, der Liebestod). Those early carefree days (Johann Strauss; The Blue Danube) brought a serene tranquillity to my life. (Beethoven; Moonlight Sonata Adagio)
I cannot reminisce about our first summer together without recalling our lovely walks through river vales and meadows (Beethoven; 6th Symphony. Pastoral). Do you recall how peaceful it was (Debussy; Prelude a l'Apres midi D'un) and remember the unbroken bird song (Delius; On Hearing the First Cuckoo of Spring).
Our lives then were not totally Bohemian. (Smetana; Muy Vlast). We did have our careers to concentrate on (Johann Strauss; Perpetual Mobile) but we could always find time to relax and listen to Mozart's Concerto for Flute, Andantino. I remember the countryside was so incredibly green, the cornfields gloriously yellow (Vaughan Williams; The Lark Ascending).
It must be as beautiful in other countries too. I often wished that you and I could travel (Albeniz; Espana / Respighi; The Pines of Rome), discover new worlds for ourselves and enjoy life to its limits (Offenbach; Gaite Parisiene); or even get a feel for adventure (Borodin; Steppes of Central Asia / Sibelius Finlandia) and visit Moscow (Mussorgsky; Dawn on the Moscow River).
There was no denying the intensity of my feelings for you and our special romance (Chopin; Piano Concerto.1 / Elgar Serenade for Strings) brought such harmony to our lives; almost as the violin complements the piano (Beethoven Piano Concerto, No.2 adagio or Beethoven’s Spring Sonata).
True love never runs smoothly and misunderstandings brought the occasional thunder clouds (Beethoven; 5th Symphony) and the passion of my once losing you (Puccini; Madame Butterfly Love Duet) brought unbearable heartache (Mahler; Fifth Symphony Adagio).
Happily fate intervened and we were soon together again soon which made my heart as light as a mandolin (Vivaldi; Various Concertos).
From there on my life was again filled with excitement and anticipation. (Ravel; Bolero). I felt as though spring had returned (Robert Stolz; Village Swallows in Austria) and life was full of delightful pleasures again (Verdi La Traviata; Let's Drink).
My darling, you brought such contentment to my life (Recuerdos de la Alhambra). I was always so very happy with you. (Chabrier; Espana / Josef Strauss; Off on Holiday).
Yes, I was so much at peace with both myself and the world (Chopin; Raindrop Prelude / Debussy; Perfumes of the Night). Ah, the mellow lateness of each evening (Mozart; Clarinet Concerto / Rodrigo; Concierto de Aranjeuz / Weber; Clarinet and Strings). We would enjoy a glass of wine together while we listened to John Field's piano nocturnes before retiring.
It was while I would lie waiting for sleep to wrap its dreams around me that I remembered those lovely nights that we spent at Santora in Spain (Siene en la Florista/Carulli; Duo in G. Op.34).
So much for the memories and when Christmas was drawing near (Stille Nacht, Heilige Nacht). I could hardly wait for the first snow to fall (The Skaters Waltz). I used to think how wonderful it would be to be in Germany with you for Christmas and New Year's Eve (The Bells of Aachen and Regensburg).
With the nights closing in the children seemed to be around more often and I loved frightening them with stories about trolls in the forest (Grieg; In The Hall of the Mountain King), the witches sabbath (Mussorgsky; The Night on Bare Mountain) and magic (Dukas; The Sorcerer's Apprentice).
I remember young Peter, always the soldier, marching up and down the room (Charles Gounod; The Soldiers Chorus). He had just been telling us about a Swiss adventure story (Rossini; William Tell Overture).
You may not remember. You had retreated to the back of the lounge (Pavaroti; Torna a Surriento); to dreamily think about our holidays no doubt.
We always had the last dance together (Weber; Invitation to the Dance), and the night I proposed to you as we listened to Mozart's Piano Concerto, No.21 followed by Martucci's Nocturne when driving home?
I am still very much at peace with the world (Beethoven 9th symphony; Adagio) and I am as in love with you as ever (Elgar; Salut d'Amour). Life since has been so wonderful (Schubert; Trout Quintet) and contented (Saint-Saens; The Swan).
But, time has marched on and I find myself thinking more and more of those lovely days when we were younger. (Butterworth; the Banks of Green Willow / Delius; the Walk in the Paradise Garden).
Now, in the sunset of our lives I am more contemplative about the future (Sibelius; The Swan of Tuonela / Richard Strauss; Death and Transfiguration) and wonder how long it will be before I am just as reflective about Faure's Requiem Michael Walsh ©
Posted at 19:11 Comments (0)
Classical Music Rocks - Ask the Bang Gang
23 September 2011
It is futile to compare some music as being more favourable than others but there’s some I really don’t understand. I can’t get my head around rap, heavy metal or head-banging music, but, if it’s popular who am I to criticise it? I do have my fantasies though, one of which is to host a heavy metal musical event at an outside arena.
I can picture it so well; 40,000 expectant heavy metal fans bursting with anticipation. I take centre stage and tell ‘em they’re in for the audio-orgasm of their lives. You can hear a pin drop as the curtain rises to reveal, in its entire glory one of the world’s great orchestras.
The conductor’s baton is raised as fast as jaws drop but without a moment’s hesitation the expectant heavy metal fans get what they crave for: That’s what I call heavy metal.
An orchestra can consist of as many as 95 very noisy musicians. Think on; the percussion section of the orchestra isn’t known as the bang gang for nothing. It is otherwise known as ‘the kitchen department’; this is for good reason. It was difficult fantasying as to what would best blow the wax out of the ears of the horrified spectators. I settled on the fourth movement of Beethoven’s 7th symphony. I admit to being torn and I leave alternatives to your own imagination.
I was never into golf but when I once suggested I might give it a go I was warned off: “Don’t even think about it,” I was told: “It takes over your life.”
Much the same can be said of good music; especially orchestral, opera and ballet. Sure there’s stuff you don’t understand or simply don’t like. The same could be said of literature but does that mean you’re going to give up on reading, or stop listening to pop music, because there’s stories or tracks that don’t appeal to you? Pick an’ mix; you will love it.
What floats my boat, more than the music itself, are the artistes who make up the world of classical music. Believe me; the lives of the great composers would make our toes curl. Eat your heart out Silvio Berlusconi. Here is George Bizet’s take on opera. Bizet, remember, composed the world most popular opera: Carmen.
‘As a musician I tell you that if you were to suppress adultery, fanaticism, crime, evil, the supernatural, there would no longer be the means for writing one note.’
See what a sheltered life you have been leading, you rock chicks? Richard Wagner really rocked. Claude Debussy and Franz Liszt, like many other great musicians, were skirt chasers of considerable merit, as was Giacomo Puccini. The great musicians could be rude, crude and downright offensive. It is difficult to imagine music more sublime than Mozart’s adagios (the slow movements) but what a foul-mouthed cad and irascible rogue he was. Few of the greats were modest and most were scathing about other musicians.
Were they more popular than today's musicians? You could say so. Upon departing this earth many of their funeral corteges brought great cities to a standstill. So did their music; when Offenbach, Emile Waldteufel, Meyerbeer, Rossini and Chopin and others, introduced a new composition, cities went wild and crowds rioted. The music sheets were frantically copied and passed around. Most (nice) homes had a piano at least, often other musical instruments too. People could not only talk music; they could play, sing and dance to it too.
Their lives and their music; the times they lived in, were often far more exciting than ours. It is all part of the drama and the excitement of great music composed and performed by the most gifted musicians to ever stride the earth. It has endured for many hundreds of years.
As Elton John observed: ‘I regard all pop music as irrelevant in the sense that in 200 years people won’t be listening to what is being written and played today. I think they will be listening to Beethoven.’
Posted at 13:48 Comments (0)
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