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"I'll Remember April" song lyrics...
Today's Song: "Kissing a Fool"By George Michael (Download the George Michael or Michael Bublé version, either is fine!) You are far, Remembering Oscar Peterson . . . Again and Again . . .The more I play this, the more I love it! When sadness falls upon me, I play this and feel better again. Oscar, I will always miss you. Thanks for all the wonderful recordings you left behind. May you be swinging royally in heaven now. For me, you were the best ever at that keyboard. Jazz: "Hidden Jewel" Lyrics (Kurt Elling lyric)there's more to pain than pain And if diamonds take a million years we must learn to overcome the same strain Wanting what's new means one thing: I knew a girl - she refused to come out fighting You couldn't help but think about her as a missing person - someone important had caused her heart to fear She'd mustered all her little courage just to face the day - Looking out to find the person who had taken innocence and blessedness and carried them away -- who'd given all of it away to those who couldn't see her beauty. And Prince Charming never came. And, if he had, she'd have spit into his eye and left him wondering why anyway. Pretty soon she drove us all away - "I'll Remember April" song lyrics...My favorite version of this song is sung by Carmen McRae... if you can find it. Happy Birthday, Karen Carpenter (March 2)She would be 58 today. I am sure her voice would be just as pure as ever. We miss you, Karen. We've only just begun to live, White lace and promises A kiss for luck and we're on our way. And yes, We've just begun. Before the rising sun we fly, So many roads to choose We start out walking and learn to run. And yes, We've just begun. Sharing horizons that are new to us, Watching the signs along the way, Talking it over just the two of us, Working together day to day Together. And when the evening comes we smile, So much of life ahead We'll find a place where there's room to grow, And yes, We've just begun. Ma Xiao Hui, Erhu Artist Extraordinaire
During my years teaching in China, I developed a fascination with this two-stringed instrument, having seen it played on television and, quite frankly, by street musicians (a few of whom played with inspiring virtuosity despite their humble conditions). I was fascinated by its sweet, yet often morose, tonal quality, together with my perception that this was a very demanding instrument to play well. So the opportunity to see a world-class artist playing and demonstrating the instrument in a casual, up-close environment -- a private dining room of the Hunan Dynasty Chinese restaurant on Capitol Hill in Washington -- was like a music lover's dream come true. Ms. Ma's gentle personality, lively sense of humor, and passion for her life's work, and her ability to express it in both Mandarin and English, was an added element of the afternoon's encounter. As she explained it at the beginning of her talk, "I am quite modest about my musical ability, but I am unabashedly very good at speaking Mandarin Chinese." She then went on to explain that the erhu's origins are not Chinese, but from the Middle East, and transported via the Silk Road to Hunan more than a thousand years ago, where it "was improved," as she mockingly boasted. An ancient instrument, extremely popular in China today as a medium for both traditional and contemporary music, the erhu was introduced into central China from the minority tribes in the northern frontier, probably now Mongolia, during the Tang Dynasty (618-907 AD), and became popular during the Sung Dynasty (960-1270 AD). Played with a variety of techniques, it is now extremely popular for both solo and orchestral performances. Ms. Ma showed many of the varied techniques from the most heart-melting lyrical to the exciting, rhythmic Mongolian horseraces, complete with the whinnying and other equestrian sounds that were so stunningly true-to-life. For me, a highlight of the brief concert to which she treated us all was her playing one of her own compositions on the Zhong-Hu, an instrument with a breathy lower register, and which was poignantly given to her by her teacher before his passing -- "possibly the oldest instrument in use in China today." Another highlight was her highly romantic duet with Christopher (??), 16-year old lead cellist from the American Youth Philharmonic , in a lyrical number from the soundtrack of the movie “Crouching Tiger, Hidden Dragon” which Ma Xiao Hui played together with Yo Yo Ma a few years back. (Note to myself -- buy the musical soundtrack CD from the film!) This amazing artist won over her audience not only with her impassioned virtuosity, but with a lovely, accessible personality that is somewhat unexpected among musical talent of such high caliber. In speaking with her following the concert, she not only answered my boring questions with sincere attention, while posing graciously for the inevitable snapshots. but she even went so far as to ask where I was from, making me feel right at home with her. As her instant fan, I look forward to attending one of her upcoming concerts, if there are available tickets. Kudos to organizers Elaine, Evelyn and Burnett for making this event so very special. Just another ordinary miracle?The test of a first-rate intelligence is the ability to hold two opposed ideas in mind at the same time and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise.
Cadê meu amor tão bonitoThis is such a lovely song lyric in Portuguese, I thought I would share it with my friends. It speaks of the unbounded beauty of love in its passionate beginnings, and the bitter disillusionment, solitude, and sadness when it ends. Cadê meu amor tão bonito Here is a partial (and admittedly poor) translation I tried to do, only to convey the literal meaning of the words... Cadê meu amor tão bonito Where is my love so beautiful Jiayin Shen RecitalAfter seeing pianist Jiayin Shen perform Chopin in one of the Peabody Institute Thursday noon concerts a couple of months ago, I was immediately struck by her talent and apparent enthusiasm for the art form. I soon took the liberty of contacting her in hopes of discovering when I might be able to see her next appearance. She graciously invited me to attend her DMA degree fulfillment recital late Thursday afternoon at Goodwin Hall in the Peabody building. It was a glorious hour, indeed. Ms. Shen tackled two very difficult pieces, and performed them to virtuosic perfection. Alongside her was second pianist Michael Berkovsky -- also a DMA student at Peabody and recent graduate of Julliard -- who handled the orchestral accompaniment with similar aplomb. To my amateur ears, both the Schumann and the Ravel piano concerti were outstanding, each in its own way. I was particularly struck by the vivid contrast Ms. Shen is able to convey between the powerful presto and allegro movements on the one hand and the lyrical adagio passages of each work on the other, a varied dynamic that makes her a complete interpreter to be taken very seriously on these and any other piano works she will tackle in the future. I look forward to following her future performance endeavors and hope I will be somewhere close when there is another opportunity to witness her wondrous playing. This is a talented individual who has a promising career ahead of her, and who deserves to be heard in concert halls everywhere. Here are explanatory notes, written by Ms. Shen, that accompanied her recital requirement in her DMA degree program, about the two works that she performed. Much of what is written serves as what must have been a guide to her interpretive approach as well as a reflection and reminder of the emotional associations that I have when thinking about her exciting, affecting performance:
Robert Schumann: Piano Concerto in A-minor Op. 54 Known for its romantic essence and brilliant character, Schumann's concerto in A minor was much inspired by his wife Clara and is a living testament of their love. Schumann attempted to write a concerto several times before this one but none was ever completed. The premiere of the concerto took place in Leipzig on January 1, 1846 by Clara performing at the piano and conducted by Ferdinand Hiller. Maurice Ravel: Piano Concerto in G-major Ravel composed the piano concerto in G between 1929 and 1931 for pianist Marguerite Long and had originally planned to debut the composition with himself at the piano. The plan had to change due to the composer's decline of health. It was then premiered by Marguerite Long under Ravel's conducting of the Lamoureus Orchestra on January 14, 1932, in Paris. The premiere received enormous success. This concerto is a great example of Ravel's masterful orchestration and outstanding virtuosic writing. The second movement is an exquisitely beautiful movement which sums up the perfect French music essence. It is nostalgic and tranquil but not tragic or as dramatic as many of the romantic piano concerti. In this movement Ravel was deeply inspired by Mozart and interestingly it is modeled on Mozart's Clarinet quintet.
Influence of jazz is another important element in this concerto, particularly the 3rd movement. This is an exciting and virtuosic movement which is full of jazz melodies and rhythms. Geri Allen Live at the Kennedy CenterFriday night, I attended jazz piano great Geri Allen performing along with legends Jimmy Cobb (drums) and Ron Carter (bass) at the Kennedy Center in Washington. The performance coincides with Allen's recently released CD "Timeless Portraits and Dreams," which also featured the gorgeous voice of Carmen Lundy and the Afro Blue Vocal Ensemble of Howard University on two numbers from the latest CD. Here is Geri Allen's website.
Geri Allen is a woman of great reserve and apparent humility, but when it comes time to swing, she can fire up the piano and really get things poppin' with the best of them. I especially liked her own composition, "Unconditional Love," played to Jimmy Cobb's relentless bossa nova beat. Here is a quote from Ms. Allen on the album cover: "Jazz embodies all that is the best in us," says Allen. "Because it is a clear reflection of who we are, jazz can also reflect the wide range of human strengths and frailties. In jazz, we have complete freedom of expression…At its best, we move out of the way and become vessels ready to receive, vulnerable, and open to divine influence."
Ms. Allen, Mr. Cobb, and especially Mr. Carter wowed the highly receptive audience during their 75-minute show in the Terrace Theatre. Ron Carter has recorded with just about everyone of note in modern jazz discography, and just knowing he was part of that great Miles Davis Quintet alone puts him in the all-star stratosphere. He has recorded on more than 2,000 albums, possibly more than any other jazz player ever. Here's his website, where you can listen to much of his great recorded work. Jimmy Cobb also spent much of his early career with Miles Davis and accompanied the likes of John Coltrane, Cannonball Adderly, Dinah Washington, Dizzy Gillespie -- oh dear, the list is endless. Here is Mr. Cobb's fine website.
Great talent, great show, and front row center made me feel like it was all for me... hehe. Bronfman Plays RachmaninovAt the Kennedy Center Concert Hall last Friday night, the National Symphony Orchestra under the guest debut baton of young Ilan Volkov played a richly rewarding evening of fine classical fare. Sandwiched between what for me was a disappointing Jonathan Harvey contemporary piece entitled "...towards a Pure Land," and a solid performance of the always light and wonderful Beethoven's Symphony No. 4 in B-flat major Op. 60, came what for me was the true highlight of the evening -- veteran piano virtuoso Yefim Bronfman played Rachmaninov's seldom heard Piano Concerto No. 4 in G minor, Op. 40.
Bronfman, whose first appearance at the Kennedy Center came 25 years ago in 1981, was an artist I somehow had never had the good fortune of seeing perform. His maturity and confident mastery are really something to behold. While 6th row center in an orchestra seat is far too close for optimal listening, it was well worth being so near this rarely gifted individual -- to see up close his concentration and vigorous dedication to the work at hand. Bronfman walks out looking much like a man on a business trip (sans briefcase, of course), politely accepts the applause his deserved reknown garners everywhere, then calmly sits down and proceeds to attack Rachmaninov's powerful dynamics with the precision and confidence of a brain surgeon. The concerto fortissimos are thrilling to say the least in Bronfman's hands, yet he also plays the rapturous romantic passages with a freshness and delicacy that were just as moving in another part of this observer's emotional catalogue. May Yefim Bronfman entertain with his accomplished virtuosity forever! |
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