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Stand Up

Stand Up

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We were more than two-thirds of the way through the program last night when the orchestra struck up the familiar prelude. It was the Hallelujah Chorus of Handel’s Messiah; time to stand up.

The tradition of standing during this song began, so it’s said, when King George II was so moved that he rose to his feet during the London premiere, and the rest of the audience followed suit. 

Last night’s hall was almost filled and the conductor encouraged us to sing along, too, a challenge only a few of us were brave enough to accept. Still, it was impressive to see hundreds of people on their feet as the chorus belted out the familiar words: 

“King of Kings, forever and ever. And Lord of Lords, hallelujah, hallelujah. And he shall reign for ever and ever. … Hallelujah, hallelujah, hallelujah!”

Every Verse

Every Verse

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“Second verse, same as the first,” goes a line from an old Herman’s Hermits song. 

Two verses used to be the limit for the processional and recessional hymns at my church. But there’s a new music director in town, an organist no less, and he plays all four verses of every entering and leaving song.

Is it my imagination, or is there a certain restlessness as we plunge into verse four of the entrance hymn, a narrowly avoided temptation to glance at the watch? 

As for the recessional, people are voting with their feet. This morning, about half the congregation left before the last notes of “The Church’s One Foundation” sounded and the postlude began, organ chords thundering down from on high. 

This is how we’re supposed to leave the sanctuary, I thought, as I made my way to the holy water font and out the door — caught up in a marvelous swell of sound. 

(This organ is from San Bartolome Church, Seville, Spain, not my church. I wish!)

Walking Bass

Walking Bass

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When I need ballast and rhythm, when I require that steady beat, there is usually one composer I turn to — J.S. Bach. I cue up the Brandenburg Concerto No. 2 because it has the peppy piccolo trumpet I once heard can pop the blood vessels of its players, so high are its notes, so forcefully must one blow to make them sound. 

But also because, like its confreres, No. 2 has a steady walking bass line, the solid quarter notes perfect for pacing one’s self, for staying in line, for moving along. 

Although now associated with rock or jazz, the walking bass line has long-ago origins. Some theorists consider Bach its early master. And while this is important for musicians to know, it’s equally essential for walkers. We need a beat that will pulse all the way down into our metatarsal bones. 

Although the trumpet notes of Bach’s Brandenburg No. 2 dance around on high, underneath them is the dependable meter of the walking bass. It’s a winning combination: the flourishes of the former, the steadiness of the latter. Together, they keep me going.

(Can’t imagine walking very far with this bass!)

For the Birds

For the Birds

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It’s a fact of life that if your dear old doggie has passed away, some of the attention he used to enjoy will be passed along to the pets who remain. And so, during our recent Savannah getaway, the parakeets had timed radio music to brighten their day and accompany their chirps. 

Here are these tiny creatures, the two of them together weighing less than a first-class letter, with Beethoven, Vivaldi, Rimsky-Korsakov, Chopin, Rachmaninoff and scores of other composers blaring from the stereo. The house was filled with sound, whether they wanted it or not. 

Luckily for them, the radio shut down a little before 7 p.m. each evening, which means they were spared the news of the day. 

(Toby during a contemplative moment)

A World Without …

A World Without …

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I was driving down the road, a crowded highway that required my (almost) undivided attention, when Beethoven’s Fifth Symphony came on the radio.

This is the warhorse of all warhorses, the world’s most famous symphony, whose opening notes — dot, dot, dot, daaaaasssshhhh — became associated with victory in World War II, the short, short, short, long of the letter V in Morse code corresponding with Churchill’s two-finger V for victory sign.

It’s not my favorite Beethoven piece. I couldn’t even begin to imagine what that would be: The second movement of the Seventh Symphony, which first came to life for me in the basement of the University of Kentucky’s performing arts building?  One of Beethoven’s piano sonatas, which I have tortured for decades with my amateur playing? Or maybe the magisterial Ninth Symphony?  That’s a logical candidate.

But no. It was his work in toto I considered as I drove, pondering what the world would be like without Beethoven, which is unimaginable. How many other artists have similarly enriched our lives? We all have our lists, whether they contain de Kooning or Flaubert, Springsteen or Brahms. There is an endless supply of artist names to list, of course. I just randomly chose these, except for Brahms, of course. 

(Brahms portrait by Hadi Karimi)

Jollity

Jollity

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Last night under the stars, a glimpse of the planets:  At Wolf Trap Center for the Performing Arts, the National Symphony Orchestra performed Gustav Holst’s “The Planets,” accompanied by NASA photographs, with my favorite movement, “Jupiter: the Bringer of Jollity,” scoring the most applause. 

Jollity is defined as “the quality of being cheerful.” Can a planet be cheerful? Perhaps if it’s named after the king of the gods. Or if it’s a gas giant more than twice as massive as all the other planets combined. 

One reason not to be jolly: what looks in photos to be a big red eye. It’s not the result of excessive interplanetary partying, but a centuries-old storm bigger than Earth.

And speaking of Earth, the only planet Holst omitted from his piece, today at 7:15 a.m. EST is the one moment of the year when most of its people are bathed in sunlight — an incredible 99 percent of us. A reason for jollity, to be sure. 

(Photo: Courtesy NASA)

This Time With Music

This Time With Music

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This should have been yesterday’s post. But yesterday I hadn’t yet watched a televised recording of what I witnessed in person the evening before, albeit from a distance.

It’s been our habit lately to watch the 4th of July fireworks on D.C.’s mall — the same ones that appear in living rooms across the land — from a ridge in Arlington, across the Potomac. While this provides a hassle-free and far-off glimpse at the gorgeous display, it doesn’t supply a soundtrack. 

I got that yesterday, when I took in the replay of what I watched live Tuesday night. This time there were no toddlers jumping on and off my lap, but there was Renee Fleming singing “My Country ‘Tis of Thee” and the National Symphony playing “1812 Overture.” 

It was fireworks with music. It was what I’d been missing.

Endangered Radio

Endangered Radio

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“How long till Tucumcari?” 

“Why is it so hot back here?”

And … “Can you turn up the radio?”

These aren’t my children’s comments about long-distance travel; they’re my own. Or at least what can I remember of the cross-country travel my brothers and sister and I took as kids. 

We were stuffed into the backseat and nether regions of the old “woody” station wagon and driven more than two thousand miles, from Lexington, Kentucky to Hollywood, California, and other western destinations. The view out our windows was priceless: forests and grasslands, mountain and prairie, red rocks and cactus; the whole continent unfolding before us. And the soundtrack of our travels? AM Radio.

That’s going to change soon, according to a report in the Washington Post. Some automakers are already omitting AM Radio from their electric vehicles’ dashboards. And Ford is eliminating AM radio entirely.

There have been protests from station owners, first responders, listeners and politicians of all stripes (it’s a rare bipartisan issue), saying that the move may spell the end of AM radio entirely. 

I don’t listen to much AM radio — until I’m on a long-distance car trip. And then I tune into these staticky stations to catch the weather, oldies and talk. AM stations give you a taste of the places you’re driving through.  I’m sorry to hear that, like so much that is local and authentic, they’re endangered, too.

My Man

My Man

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A late post, but I can hardly let the day pass without acknowledging that it’s the 190th birthday of the composer Johannes Brahms, who I once described (cringe) as “my man” (see profile).

That may be flippant, but I have always loved Brahms’ symphonies, concertos, chamber music and other works. I even try to play some of his piano pieces when I’m feeling confident. 

What caught my eye this evening was this rather studly likeness of Brahms, based on a 3-D render, created by artist Hadi Karimi, who uses 3D modeling programs to recreate artists of the past using photos (if there are any), portraits and death and life masks. 

In the text that accompanied his Brahms creation, Karimi said this project was relatively easy because by the mid-nineteenth century photography was popular enough that there were several taken of Brahms. For this rendition, Karimi pictures the composer in his 30s. Quite a departure from the bearded fellow we usually see. 

(Top photo: Hadi Karimi. Bottom photo: Wikipedia)

Follow the Yellow-Flower Road

Follow the Yellow-Flower Road

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This is what happens when I walk. I can be thinking some perfectly sane and responsible thoughts and then a scene like this will trigger the ear worm. For the rest of the walk, I hear the high-pitched voices: “Follow the yellow brick road. Follow the yellow brick road.”

Only I substitute “flower” for brick.

Because, really, isn’t that what you think when you see these bright buttercups, so plentiful this year? Maybe not. But if it’s folly, it’s a folly that flows from a flower, so all is forgiven.

I did follow the yellow-flower road, and it gave me a good workout.