last Night When We Were Yong- -An Arlen Concert Song Without Artifice. There is a long held belief that there are popular songs aimed at the mass audience and there are concert songs presented on a concert stage and with some of the usual formality reserved for opera arias or Shubert lieder. There is an implicit assumption that somehow these songs are more " serious" and worthy of a higher aesthetic evaluation than songs sung in a dimly lit nightclub or jazz joint. Nothing could be farther from the truth. All The Things You Are by Jerome Kern and Oscar Hammerstein Jr. is every bit as serious and complex as a Puccini aria and reflects musical skills normally associated with classical compositions.
In 1932. Harold Arlen and lyricist E.Y.Harburg wrote Last Night When Were Young for Lawrence Tibbett, an opera singer. The song was cut from Tibbett's 1935 film" Metropolitan" but was performed as instrumental music along with the film credits.
Alec Wilder, Author of " American Popular Song The Great Innovators" has described it as " A most remarkable and beautiful song, It is one which goes far beyond the boundaries of popular song." For Wilder, " It is a concert song ( and all that entails) without a trace of trying to be.. It hasn't any artiness about it or pretense." The point I am trying to make is that some so-called popular songs can achieve concert song intensity and artistry without the sanctified formalism that often places a distinct barrier between the "artiste" as performer and the audience expected to listen most attentively.
When you listen to Sinatra singing " Last Night When We Were Young" he is every bit as serious as any opera or concert singer because the music and the lyrics demand that degree of artistry. The way he stretches out the word s " Ages Ago , is an example of how an accomplished a singer of popular songs can introduce new notes or phrasing that adds to the written notes in a way no opera or concert singer would dare to do. Just as there are innovators who created the Great American songbook, there are innovative performers who burnish songs with their unique interpretive artistry. Sinatra,Ella Fitzgerald, Dawn Upshaw, Audra McDonald , Tony Bennett, Barbara Cook & Mel Torme are just some of these uniquely gifted performers of the classic American popular songbook.
LINK . http://youtu.be/6rUMiCmYWao
Friday, 17 May 2013
Thursday, 9 May 2013
HELLO YOUNG LOVERS-ANOTHER WALTZ TRIUMPH FROM RICHARD RODGERS
Hello Young Lovers--Another Waltz triumph from Richard Rodgers. In the 1951 Broadway musical, " The King and I" , Rodgers & Hammerstein told the story of Anna and The King Of Siam, an English governess brought to Siam by an autocratic ruler to teach the many children of the many wives of the King.
In this scene, the widowed governess while telling young people in the King's court that she understands the raptures of young love and " Knows how it feels to have wings on your heels and to fly down the street in a trance", she also reveals that she knows all about the emotional upheaval of youthful romance because " I've Had A Love of My Own" sung on an ever rising crescendo at the end of the song.
Other posts have noted Richard Rodgers mastery of the waltz idiom and " Hello Young Lovers" is very much in that sweeping melodic tradition.
This version is a live performance by lovely Rebecca Luker, a leading Broadway singing actress whose performance shines with sincerity and conviction, especially in the closing section ending literally and figuratively on a high note. The verse which introduces the main section of song sets the scene for the touching revelations of Anna and her own happy marriage.
LINK: http://youtu.be/QmAu_EzaRhA
In this scene, the widowed governess while telling young people in the King's court that she understands the raptures of young love and " Knows how it feels to have wings on your heels and to fly down the street in a trance", she also reveals that she knows all about the emotional upheaval of youthful romance because " I've Had A Love of My Own" sung on an ever rising crescendo at the end of the song.
Other posts have noted Richard Rodgers mastery of the waltz idiom and " Hello Young Lovers" is very much in that sweeping melodic tradition.
This version is a live performance by lovely Rebecca Luker, a leading Broadway singing actress whose performance shines with sincerity and conviction, especially in the closing section ending literally and figuratively on a high note. The verse which introduces the main section of song sets the scene for the touching revelations of Anna and her own happy marriage.
LINK: http://youtu.be/QmAu_EzaRhA
Tuesday, 7 May 2013
S" WONDERFUL-THAT'S GERSWHIN AND THAT'S DIANNE REEVES
S'Wonderful -That's Gershwin and That's Diane Reeves: George and Ira Gershwin combined to write this delightful song that uses the letter " S' to introduce a number of adjectives like Wonderful. Marvellous and Exceptional rather than saying " It's Wonderful. It's marvellous etc. Not only does it indicate the playfulness with lyrics that are one hallmark of American songwriting, it works much better with the music George provided. For example if the song had started with " It Is Wonderful", it might have sounded like a German marching band tune, all stiff and unswinging.
This performance features Diane Reeves, a powerful and elegant singer who was influenced by the great Sara Vaughan but who manages to avoid some of Sara Vaughan's mannerisms that often bordered on the baroque. Sara also did a number of all Gershwin concerts with symphony orchestras conducted by Michael Tilson Thomas that showcased the Gershwin songs, masterful arrangements and Sara in full sway.
The Great American Songbook flourished with the landmark performances of its greatest advocates like Bing Crosby, Fred Astaire, Frank Sinatra, Ella Fitzgerald , Tony Bennett ,Rosemary Clooney, Barbara Cook and Mel Torme plus may other too numerous to mention.
But if this great cultural phenomenon is to be continued and enriched, it needs contemporary performances and new approaches.
This is one example: You have a classic Gershwin song, sung by a singer who is the equal of the great pop and jazz divas of yesteryear in an arrangement by a new talent Vince Mendoza. Mendoza pays homage to Nelson Riddle in his introductory swinging flute passage while fashioning a unique style and sound of his own The concert is conducted sympathetically by Simon Ratlle , a British born conductor who demonstrates a natural affinity for the uniquely American music and words of the Gershwins.
The Great American Songbook is in good hands when there are singers and arrangers like the ones showcased in S'Wonderful. Yes- " The Beat Goes On !"
Please listen to Reeves instrumental humming in the middle adding another voice to the orchestra just before there is a switch to a waltz tempo that echoes memories of a Viennese cafe setting.
PS Gershwin's also wrote a song extolling Viennese music called " By Strauss" which was featured in MGM's " An American in Paris.'
LINK: http://youtu.be/fmUE9CzQiD8
This performance features Diane Reeves, a powerful and elegant singer who was influenced by the great Sara Vaughan but who manages to avoid some of Sara Vaughan's mannerisms that often bordered on the baroque. Sara also did a number of all Gershwin concerts with symphony orchestras conducted by Michael Tilson Thomas that showcased the Gershwin songs, masterful arrangements and Sara in full sway.
The Great American Songbook flourished with the landmark performances of its greatest advocates like Bing Crosby, Fred Astaire, Frank Sinatra, Ella Fitzgerald , Tony Bennett ,Rosemary Clooney, Barbara Cook and Mel Torme plus may other too numerous to mention.
But if this great cultural phenomenon is to be continued and enriched, it needs contemporary performances and new approaches.
This is one example: You have a classic Gershwin song, sung by a singer who is the equal of the great pop and jazz divas of yesteryear in an arrangement by a new talent Vince Mendoza. Mendoza pays homage to Nelson Riddle in his introductory swinging flute passage while fashioning a unique style and sound of his own The concert is conducted sympathetically by Simon Ratlle , a British born conductor who demonstrates a natural affinity for the uniquely American music and words of the Gershwins.
The Great American Songbook is in good hands when there are singers and arrangers like the ones showcased in S'Wonderful. Yes- " The Beat Goes On !"
Please listen to Reeves instrumental humming in the middle adding another voice to the orchestra just before there is a switch to a waltz tempo that echoes memories of a Viennese cafe setting.
PS Gershwin's also wrote a song extolling Viennese music called " By Strauss" which was featured in MGM's " An American in Paris.'
LINK: http://youtu.be/fmUE9CzQiD8
Thursday, 2 May 2013
HOW LONG HAS THIS BEEN GOING ON-A GERSHWIN CLASSIC
How Long Has This Been Going On- A Gershwin Classic. We need to remember that when we refer to a Gershwin song, don't forget shy and retiring Ira who wrote most of the lyrics for the more flamboyant brother George. George Gerswhin never hesitated to go right to any piano to play his latest songs and who ever would object. Oscar Levant, the witty pianist and friend of Gershwin was once quoted as saying " "George-If you had to do all over again, would you still fall in love with yourself ? "
We are all familiar withs ome of the more aggressive and assertive Gershwin songs like " Fascinating Rhythm" " i Got Rhythm" " Clap Yo Hands" and " Swanee".
This song is a gentle and reflective song that requires greater sublety since the singer is speculating about the development of a love affair and how it all started. There is a lovely verse that precedes the main refrain which in this version features the adorable Audrey Hepburn in the movie " Funny Face" co starring Fred Astaire.
In addition to Hepburn's delightful performance, the film segment amply demonstrates her graceful movements since she started out as a dancer. Cole Porter's lyric " On Gossamer Wings" beautifully describes the ethereal quality of Audrey Hepburn. It is always a bonus when one can see how a song was designed to show a specific human situation. That is not as easily done in a recording studio where the sound may be perfect but it lacks a specifIc context. We can only enjoy the music and the words and conjure up for ourselves a situation that could mirror the intent of the song.
LINK: http://youtu.be/5Bko-Sz8HV0
We are all familiar withs ome of the more aggressive and assertive Gershwin songs like " Fascinating Rhythm" " i Got Rhythm" " Clap Yo Hands" and " Swanee".
This song is a gentle and reflective song that requires greater sublety since the singer is speculating about the development of a love affair and how it all started. There is a lovely verse that precedes the main refrain which in this version features the adorable Audrey Hepburn in the movie " Funny Face" co starring Fred Astaire.
In addition to Hepburn's delightful performance, the film segment amply demonstrates her graceful movements since she started out as a dancer. Cole Porter's lyric " On Gossamer Wings" beautifully describes the ethereal quality of Audrey Hepburn. It is always a bonus when one can see how a song was designed to show a specific human situation. That is not as easily done in a recording studio where the sound may be perfect but it lacks a specifIc context. We can only enjoy the music and the words and conjure up for ourselves a situation that could mirror the intent of the song.
LINK: http://youtu.be/5Bko-Sz8HV0
WHY WAS I BORN -JEROME KERN STANDARD
Why Was I Born-Jerome Kern standard. In 1929, Jerome Kern and Oscar Hammerstein Jr. launched the musical " Sweet Adeline" which told the story about an ordinary girl who suddenly became a star on Broadway. The singer poses a number of questions to herself only to end without andadequate answer." Why Was I Born, Why am I living" and concludes with" Why was I born to Love You " Helen Morgan first sprang into prominence in " Showboat" playing Julie Laverne, a showgirl who gradually succumbed to alcohol as did Helen Morgan in real life. In " Sweet Adeline". Helen Morgan introduced " Don't Ever Leave Me" as well as " Why Was I Born", both sings that made her the quintessential torch singer, draped around a grand piano singing songs of love and despair.
Nonetheless, it is a well made song that allows female singers to demonstrate their capacity for expressive " torch" singing especially in night club or cabaret performances where the audience is close enough to witness the angst poured into the sing.
In the 1957 movie " The Helen Morgan Story", Ann Blyth portrayed the role of Helen Morgan in which her alcoholism was clearly displayed. But The singer actually heard on screen was Gogi Grant, a popular sing of the 1950's, most famous for the song " The Wayward Wind.'
Gogi Grant had a much stronger and richer voice than Helen Morgan and she conveys much more emotional strength than Helen Morgan had in her own life.
Despite some of the historical inconsistencies in the movie and the depiction of musical numbers, the song demonstrates a way in which popular songs were performed in the 1950's and Grant does perform in a very dramatic and convincing manner.
LINK: http://youtu.be/ROXCaNSkJWc
Nonetheless, it is a well made song that allows female singers to demonstrate their capacity for expressive " torch" singing especially in night club or cabaret performances where the audience is close enough to witness the angst poured into the sing.
In the 1957 movie " The Helen Morgan Story", Ann Blyth portrayed the role of Helen Morgan in which her alcoholism was clearly displayed. But The singer actually heard on screen was Gogi Grant, a popular sing of the 1950's, most famous for the song " The Wayward Wind.'
Gogi Grant had a much stronger and richer voice than Helen Morgan and she conveys much more emotional strength than Helen Morgan had in her own life.
Despite some of the historical inconsistencies in the movie and the depiction of musical numbers, the song demonstrates a way in which popular songs were performed in the 1950's and Grant does perform in a very dramatic and convincing manner.
LINK: http://youtu.be/ROXCaNSkJWc
Monday, 29 April 2013
IT NEVER ENTERED MY MND- ANOTHER RODGERS & HART CLASSIC
It Never Entered My Mind-Another Rodgers & Hart Classic. Like Jerome Kern, the one composer who Rodgers held in such high esteem, Rodgers should be regarded as the supreme writer of wonderful melodies whether writing with Lorenz Hart or Oscar Hammerstein Jr. There4 is no doubt that his work with Hammerstein yielded much more substantive dramatic results like Oklahoma, Carousel, South Pacific, The King and I and The Sound Of Music, The only Rodgers and Hart musical held in any significant regard was Pal Joey. Nonetheless, songs like It Never Entered My Mind still have a great deal of current interest for both singers and jazz instrumentalists whereas one does not hear singer and instrumentalist covering"Oh What A Beautiful Morning" or "Bali Hi" or "Climb Every Mountain", all Hammerstein related theatrical works.
" It Never Entered My Mind" starts quite simply and soberly with the second section almost a complete restatement of the theme. However, in the bridge or release middle section, the song gathers momentum becomes more positive and rises to a dramatic climax with " And Now I Even Have To Scratch My Back Myself".
Version 1 features the thrilling voice of Leontyne Price, a word renowned opera and concert singer. She is accompanied by Andre Previn who also provided the orchestral arrangement. Note the power and intensity as she hits the high note on" myself, at the end of the bridge.
LINK :
http://youtu.be/XKyHHMoXfGo
Version 2 features Frank Sinatra and Nelson Riddle in a less dramatic and wistful approach but equally effective as the more dramatic version of Miss Price.
Again, this proves the maxim that a well -constructed, popular song can be interpreted in any number of different ways as long as the singer or instrumentalist is true to the songwriter's fundamental intent..
LINK: http://youtu.be/1fleh1LBFGA
" It Never Entered My Mind" starts quite simply and soberly with the second section almost a complete restatement of the theme. However, in the bridge or release middle section, the song gathers momentum becomes more positive and rises to a dramatic climax with " And Now I Even Have To Scratch My Back Myself".
Version 1 features the thrilling voice of Leontyne Price, a word renowned opera and concert singer. She is accompanied by Andre Previn who also provided the orchestral arrangement. Note the power and intensity as she hits the high note on" myself, at the end of the bridge.
LINK :
http://youtu.be/XKyHHMoXfGo
Version 2 features Frank Sinatra and Nelson Riddle in a less dramatic and wistful approach but equally effective as the more dramatic version of Miss Price.
Again, this proves the maxim that a well -constructed, popular song can be interpreted in any number of different ways as long as the singer or instrumentalist is true to the songwriter's fundamental intent..
LINK: http://youtu.be/1fleh1LBFGA
Thursday, 25 April 2013
"SONGBIRD"-THANK YOU FOR YOUR LOVELY SONG
" SONGBIRD" Thank you for your lovely song: There is a double connection to be made with the performance of " Songbird." It is a song, music and lyrics by Loonis McGloohan,that conveys appreciation of an avian recital in much the same way that Hoagy Carmichael and Johnny Mercer provided in " Skylark", the subject of an earlier post on this blog. ( Post titled : " Hoagy and Johnny-2 Country Boys and Skylark) The lyric ends with the words " Thank You For Your Lovely Song." I also wanted to thank Eileen Farrell, who was accompanied on the piano by the composer for her lovely song. Farrell was a major opera and concert singer who was equally adept with distinguished popular music. Not all classically trained singers have the sensitivity and natural style of singing but Dawn Upshaw, Kirie TE Kanawa, Fredrica Von Stade , Barbara Cook and Kathleen Battle come to mind as those capable of meeting the unforced and relaxed vocal demands of the classic popular song. Thomas Hampson has a wonderful voice but he is stillted and stentorian in performance, reflecting what Stephan Sondheim said in in one of the songs in " A Little Night Music" when referring to " A Tenor Belching The Bartered Bride."
Readers of this blog will have become aware of how entranced I am by the arrangement and orchestrations supporting the songs being presented. A case in point is Renee Fleming singing " Over The Rainbow" with full symphonic support by the Beijing Symphony. The harmony is bewitching, the interplay between woodwinds and strings never fails to overwhelm me. ( Note " This can be heard on an earlier post " A Matter of Style-Can an Operatic Style Do Justice to the Classic American Songbook?)
At the same time, I am aware that sometimes a singer, accompanied only by a piano or guitar, can also showcase the beauty of the song and the performance as two artists perform as one. AN example is Andre Previn's sophisticated and imaginative accompaniment of Julie Andrews singing two Kurt Weill Songs.( Post titled " Two By Weill so Stay a While"")
link to "SONGBIRD"
http://youtu.be/7Ry5AfKiXbY
Readers of this blog will have become aware of how entranced I am by the arrangement and orchestrations supporting the songs being presented. A case in point is Renee Fleming singing " Over The Rainbow" with full symphonic support by the Beijing Symphony. The harmony is bewitching, the interplay between woodwinds and strings never fails to overwhelm me. ( Note " This can be heard on an earlier post " A Matter of Style-Can an Operatic Style Do Justice to the Classic American Songbook?)
At the same time, I am aware that sometimes a singer, accompanied only by a piano or guitar, can also showcase the beauty of the song and the performance as two artists perform as one. AN example is Andre Previn's sophisticated and imaginative accompaniment of Julie Andrews singing two Kurt Weill Songs.( Post titled " Two By Weill so Stay a While"")
link to "SONGBIRD"
http://youtu.be/7Ry5AfKiXbY
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