music

Credit the songwriter!   Recently updated !

This entry was posted in Music Writing and tagged music writing on by

The idea for this post started when I tried to find out if the resemblance of the 1979 song “Gloria” to the “Gloria” of Beethoven’s Missa Solemnis was intentional. (It was.) While doing the usual Internet searches, I found it repeatedly referred to as Laura Branigan’s song, even on lyrics sites, although she didn’t write it. Not to take away from her excellent performance, but she wrote neither the music, the original lyrics, nor the English-language version. Wikipedia credits Giancarlo Bigazzi and Umberto Tozzi as the creators of the original song and Jonathan King as the author of the English-language lyrics. Tozzi performed the Italian song before Branigan. Yet somehow Branigan gets all the credit.

(I’m not counting Beethoven as a creator. The song uses only nine notes of his. They give the song its backbone but not its content.)

I cited another example of failure to credit the song writer in a book discussion a couple of months ago.

It’s routine to give performers the credit for songs they didn’t write. The reason is laziness. People hear someone perform a song and assume that person must have written it. If you believe the lyrics sites, Frank Sinatra wrote over a hundred songs, but Wikipedia lists him as the creator or co-creator of only a handful. An exceptional performance makes the difference between a hit and a flop, but the performance wouldn’t exist if no one had written the song. Before recordings became the most common way to hear music, writers got more attention. William Billings, Stephen Foster, George Root, and Irving Berlin were famous names in their time. Today, it’s rare for songwriters to be well known unless they write musicals or perform their own songs.

When you’re writing about a song, especially if the lyrics or the musical content is important, please mention the writer’s or writers’ names.

This post was partially inspired by Debbie Ridpath Ohi’s campaign to get acknowledgement for the illustrators of children’s books. That’s important, too.

Three silent shorts, April 7

This entry was posted in Movies and tagged music silent movies on by

My next silent film show at the Plaistow Library will be on Tuesday, April 7. This time I’ll accompany three short comedies:

  • The Immigrant with Charlie Chaplin
  • Dr. Pyckle and Mr. Pryde with Stan Laurel
  • His Royal Slyness with Harold Lloyd

Chaplin, Laurel, and Lloyd were major comedy stars in their time. I shouldn’t have to say much about Chaplin. Stan Laurel’s career peaked after he joined with Oliver Hardy, but before that he had some excellent films on his own. Harold Lloyd’s “glasses” persona was a middle-class character, best known for his image hanging from a clock tower in Safety Last.

The Immigrant isn’t very controversial, in spite of its title. It has two distinct parts. The first shows Chaplin coming to America on a crowded boat from an unspecified country and helping a young woman whose money has been stolen. In the second part, he goes into the restaurant with a silver dollar he has found and encounters the young lady again. He discovers that the coin has fallen through a hole in his pocket and he has nothing to pay with. All turns out well, though.

I love mad scientists, Dr. Pyckle and Mr. Pryde is a great parody of John Barrymore’s 1920 Dr. Jekyll and Mr. Hyde. In this version, the doctor turns into not a murderous fiend but a silly prankster. The ending is lost, and what we have ends on a cliffhanger as a crowd breaks into the lab to save Pyckle’s assistant from Pryde. I’ll handle it by continuing to play, accompanying the way I think the film would have ended.

Finally, His Royal Slyness has a book salesman, played by Harold Lloyd, impersonate a prince and compete for a princess’s hand. The salesman looks just like the real prince, and you see them together on screen. No trick photography was used. Harold’s brother Gaylord looked a lot like him, and with glasses and makeup, they were nearly impossible to tell apart. Gaylord plays the real prince, who changes his mind about the deal and tries to claim the princess.

It’s a change of pace for me. The three movies together don’t run much over an hour, but they provide some of the best laughs of the period. They’re still fun today, and I aim to make them more fun with my accompaniment. Each one his its own keyboard setup, with a couple of surprises programmed in. If you’re in the area and it sounds interesting, drop by the Plaistow Library on April 7 at 6:00 PM.

This summer, the library will have some special events for the 250th anniversary of the Declaration of Independence. On of them will be D. W. Griffith’s America, an epic presentation of the American Revolution. The date hasn’t been set yet.

“The Hunchback of Notre Dame” at Boskone

This entry was posted in Movies and tagged conventions music silent movies on by

At Boskone 63 in Boston, I stepped in twice as a movie accompanist. The first was a ten-minute film (and I mean film, the 16 millimeter kind) of scenes from the Seattle Worldcon. Then I noticed that on Sunday morning, the 1923 Hunchback of Notre Dame was scheduled, apparently with just whatever music came with the video. I made last-minute arrangements to accompany it. Zero practice, and I hadn’t brought my best keyboard, but I know the movie well.

We’re talking about my accompanying a properly scheduled silent feature film next year.

Comparing four Beethoven recordings

This entry was posted in Music and tagged music on by

I’ve never been very good at noticing differences in performances of classical pieces and picking a favorite. Occasionally one really jumps out, like the Zurich Tonhalle’s recording of Beethoven’s Pastoral Symphony, but usually the differences are subtle. It takes careful listening even to notice that there are differences. As an exercise, I picked out four recordings of a piece I know well and listened to them repeatedly to compare them. There really are differences.

The piece I picked was Beethoven’s Leonore Overture No. 3. The recordings were:
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Douglas Fairbanks in Robin Hood

This entry was posted in Movies and tagged music New Hampshire silent movies on by

That’s the exact title of the 1922 movie — Douglas Fairbanks in Robin Hood — that I’ll be accompanying at the Plaistow (NH) Library on January 13. They called it that because anyone could make a movie called “Robin Hood” to draw off confused moviegoers, but no one else could legally claim superstar Fairbanks was in it.

Many movies have been made about Robin Hood, and there’s no canonical story. Some emphasize his “stealing from the rich and giving to the poor.” Others show him as a partisan of King Richard, fighting against the encroachments of Richard’s brother John. This movie is in the latter category. Robin Hood is the Earl of Huntingdon, fighting the tyranny John exercises while Richard is away for a Crusade. The first part of the movie shows John plotting for power and achieving it, and Huntingdon becomes Robin Hood only after reluctantly deserting his king. His chief enemies are Prince John and Guy of Gisbourne. The Sheriff of Nottingham is basically a walk-on part.
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