We are a commune of inquiring, skeptical, politically centrist, capitalist, anglophile, traditionalist New England Yankee humans, humanoids, and animals with many interests beyond and above politics. Each of us has had a high-school education (or GED), but all had ADD so didn't pay attention very well, especially the dogs. Each one of us does "try my best to be just like I am," and none of us enjoys working for others, including for Maggie, from whom we receive neither a nickel nor a dime. Freedom from nags, cranks, government, do-gooders, control-freaks and idiots is all that we ask for.
The Valentine sweetheart of Maggie's Farm is our dearly loved commenter Marianne Matthews.
Marianne is a classically trained musician, among many other wonderful things, with a sane, quick, and fun-loving mind. I share Marianne's love of folk music, she broadening my appreciations beyond the labor and protest songs I was raised with to older and other countries' folk classics. Marianne has been deeply involved with many of the greats. Marianne sent me a disc of some of her recaptured recordings from the 1950's, which you have to hear to soar. We're working on a way to put at least one up at Maggie's Farm. Meanwhile, you'll have to be content with this 1972 photo of Marianne and all-together now wishing Marianne a Happy Valentine.
FRIENDSHIP
Oh, the comfort -- the inexpressible comfort of feeling safe with a person, Having neither to weigh thoughts, Nor measure words -- but pouring them All right out -- just as they are -- Chaff and grain together -- Certain that a faithful hand will Take and sift them -- Keep what is worth keeping -- And with the breath of kindness Blow the rest away.
Recorded live in the Schauspielhaus on Christmas Day, 1989, this Choral Symphony celebrated the fall of the Berlin Wall.
And it’s some of the last work Bernstein did – he died in November the following year.
An ‘Ode to Freedom’, rather than the usual ‘Ode to Joy’, Bernstein felt authorised ‘by the power of the moment’ to change the word ‘Freude’ to ‘Freiheit’ (which may be closer to Schiller’s original intention). So this is very much the record of an occasion.
In the choral finale, the performance really takes off, with choirs and soloists singing at full stretch. The first cry of ‘Freiheit!’ ('Freedom!') and the choral answer are completely thrilling, and must have galvanised the audience in what was still officially East Berlin.
Here's that 1989 performance of the finale of the 9th:
Some Wiki info below the fold about Beethoven's most famous work -
I was fortunate to attend a private party at which New Orleans' Sonny Landreth played this weekend. A few guys wore their Rock and Bowl bowling shirts: you don't see those too often up here. Mr. Landreth performs at Rock and Bowl regularly.
I guess slide-guitarist Landreth can play anything, but he does like to rock the blues with a Louisiana twist. He's the kind of guy who is in the music, not the audience. Here's a Youtube, with the band he plays with now. He writes songs and sings too, but not on this piece in which he sings through his guitar. Turn your volume to max:
Managed to find my way to the delightful town of Lucca two weeks ago, the home of the beloved Jack Puccini and his illustrious musical ancestors. More than a tunesmith - but what a tunesmith. Here's his family church in which he first performed:
and here's the house he grew up in (second one in from the right corner):
The Jewish-born Roman Catholic convert Czech composer Viktor Ullmann's Der Kaiser Von Atlantiswas his last composition in the Terezin concentration camp outside Prague before he was shipped to Auschwitz in 1944 and gassed on arrival.
One of the remarkable stories of the era is about all of the music in the camps, and Terezin had more than its share of talent. The Nazis and even the SS loved music and thus encouraged camp musicianship. Mrs. BD recently heard a Terezin survivor speak about being in the choir there at age 11. (140,000 passed through Terezin: 20,000 were liberated at the end.)
In this short (50+ min.) modernist opera, the Emperor of Atlantis (a thinly-disguised Hitler-type) declares total war on the world. (As one would expect from a prison camp opera, the "Loudspeaker" has a major role and, instruments being limited, it's like a cabaret band.) Death goes on strike out of resentment at the competition from the Emperor, but love reappears on the battlefield and, in the end, Death is persuaded to resume his merciful task of erasing pain from the world when the emperor himself agrees to die.
Here's a snippet of the opera on YouTube, the Emperor's farewell aria:
A lunchtime tune from from Levon Helm's new record. It has some of the old Band sound. Pure, cheerful, Christian, sentimental Americana. The guy can play anything, but he loves his drums - and he thought he was a lousy singer even before his throat cancer.