Ozawa was best known for his long tenure as music director of the Boston Symphony Orchestra, all twenty-nine years of that tenure–the longest of any of that great orchestra’s many amazing conductors.
In addition to his direct music-making, Ozawa was always deeply invested in teaching young musicians and young conductors. Here is a clip in which he steps in to correct a young conducting student on a matter of technique: “I try to understand you. I don’t do this…[conducts with a vague circular motion of the hand]…that’s like, ‘eighteen minutes, cook the spaghetti.'”
Here is how the Boston Symphony marked his passing:
And here he is, not too many years ago, looking perhaps a bit frail…but still able to bring the goods when Beethoven is on the program.
Thank you for all the music, Seiji Ozawa! You made the world better.
John Williams turns 92 today…and he’s still working.
In his honor, let’s listen to some of his work!
Williams won a Grammy just the other night for this: “Helena’s Theme” from Indiana Jones and the Dial of Destiny. It’s a typically gorgeous theme that manages to evoke Marion’s Theme from all the way back in Raiders of the Lost Ark without echoing it or quoting it.
Here’s something that vexed film music fans for years: the unavailability of the End Credits music that actually was heard in the film of Indiana Jones and the Temple of Doom. The suite that appeared on the album was nice enough, but the film version is longer, quoting several of the movie’s themes as the last scene in the Indian village plays out. And when we finally go to credits and the Raiders March fires up, it actually fades out in the repeat (at the 3:32 mark) so that we can here a brief quote of Short Round’s Theme. Williams’s ability to put seemingly disparate themes together into an actually cohesive whole is always amazing.
Going back even farther, here’s one of Williams’s earliest contributions to film music: his score to the law-school drama The Paper Chase. Yes, it sounds a bit dated, but you can absolutely hear the fingerprints of the Williams-to-come in this cue, the End Credits suite from that movie:
It’s the lot of most film composers to have to turn in really good work for movies that…aren’t. Hook is, for me, one of the few misfires in Steven Spielberg’s output; it fell in that weird late 80s-early 90s era when Spielberg hadn’t really transitioned into the finer drama work that was to come, but you could tell that his heart wasn’t entirely in the magic-and-fantasy flicks he was still doing. But along comes Williams with this amazing score, and this almost perfect tone-poem-in-miniature:
When Williams’s score to 2002’s Star Wars Episode II: Attack of the Clones arrived, a lot of people were a bit befuddled by that score’s mix of darkness and lyrical love music. One person quipped on some message board or someplace, “It sounds like Nixon on a date.” That was pretty funny, but it seemed to highlight the fact that Williams’s score to Oliver Stone’s Nixon has never been particularly beloved. And that interests me, because I have always found it one of his most fascinating scores. He brings just the right blend of paranoid darkness and throwback Americana to Stone’s film (which I consider a masterpiece). Nixon has some of Williams’s most powerful and most overlooked music.
I do have to make an admission: I’m not always a big fan of Williams when he is scoring comedies or really light movies. For whatever reason, I always feel better when there’s a tinge of darkness in Williams’s music. (I can live quite happily without hearing Home Alone again, to be honest.) But in this wonderful march for Spielberg’s early big-budget misfire 1941, you can tell that John Williams has his tongue firmly planted in his cheek. This is absolutely delightful.
I’ve never seen Seven Years in Tibet. I couldn’t even tell you right now what it’s about without Googling it, other than…a guy is in Tibet for seven years. But I love this theme:
Finally–and I’m only ending this here because let’s be honest, I could go on a lot longer about John Williams and how much he’s meant to me and to my creative life throughout my years, but I actually have to eat dinner tonight–here’s a suite of another of what seems to me an underrated score, which is all the more surprising to me because every time I listen to it, I’m dazzled anew by how new this sounds, even for a throwback score. It’s Catch Me If You Can.
Ugh! I don’t know why this didn’t publish. I could swear I clicked the right thing on here. Anyway, this should have run the day before yesterday. Admittedly, this is one of my “Fallbacks because I’ve been having a busy week” kind of Tone Poem Tuesdays, but the thing should have at least gone live on the site! Here’s the post, as originally written:
Collins no longer performs due to age and health reasons, which is very sad…but there was a time when he was ubiquitous to a staggering degree. From the mid-80s to around 2000 or so, you couldn’t get away from the guy. In fact, I actually OD’d on Phil Collins during my college years, which is a shame but also a blessing in disguise, because in recent years I’ve been lucky enough to gradually rediscover him. In his prime he really was an electrifying musician.
Here are a few Phil favorites. This isn’t even close to all of his music that I love, and I’m limiting myself here to just his solo work. I’ve had a long-form essay in my head about the Genesis album Invisible Touch for a few years now….
https://www.youtube.com/watch?v=CkGg1bzfSys
(This was my first-ever Phil Collins song. I remember listening to it via MTV and thinking, “Wow, who’s this guy?”)
(Of all the great Phil Collins ballads, this one might be my favorite. From the movie White Nights, this duet–featuring a singer named Marilyn Martin who had a brief career in the 80s, this song is everything an 80s power ballad should be.)
By the way, I should admit that the one Phil Collins song that seems to get the most airplay these days, “In the Air Tonight”, has never been one of my favorites. That’s just how it goes. It always amazes me, though, that Collins could do gentle love songs, emotion-dripping power ballads, fast-paced dance bangers, and then he also did this genre of what I call “noir rock”, very dark and almost harsh songs that showed up in the soundtracks of Miami Vice and the noir-tinged episodes of Magnum PI.
Peter Schickele died on January 16 of this year. He was a composer and a comedian who was best known as the self-styled musicologist responsible for “unearthing” the music of “P.D.Q. Bach”, the “21st of J.S. Bach’s 20 children”. Over the years, Schickele crafted an entire life history of his fictional composer, and used “PDQ Bach”‘s work as a springboard to lampoon much of classical music. I have to admit that I have heard very little of Schickele/Bach, but what I have heard has always amused me. It takes a very good musician to do pastiche at this level, after all.
Schickele’s work along these lines was quite prolific, and he leaves behind an impressive catalog of musical works and albums that won several Grammys for Best Comedy Album. Often his work rewards knowledge of classical music, like this work here, which teases throughout with familiarity before going in completely different, frustratingly hilarious directions. Here is the 1712 Overture by Peter Schickele/PDQ Bach.
Edward Van Halen, in his signature pose: shredding while in mid-air.
Born this date: Edward Van Halen, in 1955. This is what I wrote when he died, in 2020–but I’d rather honor him on the day on which he was born.
It took me a while to start loving rock music. I heard a lot of it as a kid (benefits of having an older sister, which I did not appreciate at the time because there are things you need years to figure out, especially when you’re a not-terribly-smart nine-year-old), but for various reasons none of it really captured my attention until the early-to-mid 1980s. Part of it might have been a kind of peer-pressure, as I did tire of being the kid who had no idea what all of my friends were talking about when they started discussing music. Another part of it was the arrival of MTV, which even I, as a geeky kid, thought was pretty cool.
We didn’t have MTV at our house for a while, because it took several years before the cable company ran the lines out our road to where we lived. But I would watch a lot of MTV at a couple friends’ houses, when I did sleepovers and the like. There’s a lot of nostalgic hay to mine in the music videos of those first few years, but I’ll keep it to just one group here, for what are probably obvious reasons.
There was one very strange video I enjoyed in particular. It actually had a filmed introduction; the music didn’t start for a minute or two. Our opening scene has a spectacularly nerdy kid being put on the school bus by his mother. This dude is so nerdy that when his mother flattens his hair with her fingers, it squeaks. She’s giving him the standard spiel about making friends and having a good year and whatnot, but our boy–named “Waldo”–is not having in, replying to her in a voice that can’t possibly be his: “Awww, Mom, you know I’m not like the other guys! I’m nervous and my socks are too loose.” No dice; off to school goes Waldo, after discovering that the bus is loaded with what the 1980s held to be the standard “degenerate” types of kid.
Then our music starts, with some wild drums, and then the most blazing electric guitar work I had heard to that point in my life. And that guitar work remains the most blazing guitar work I’ve ever heard. The song, and video, were called “Hot For Teacher”, and the band was a hard rock group called “Van Halen”. That astonishing guitar playing? That was a guy named Eddie Van Halen.
That song, and the others from the album 1984 were my introduction to Van Halen. I would learn not long after that while I’d just discovered these guys, Van Halen had actually been around in a big way since the late 1970s after toiling in obscurity for several years before that, and that 1984 was their sixth studio album. Soon after that album came out, some internal drama happened with the band that led to their lead singer, a charismatic but troublesome guy named David Lee Roth, to leave the group; luckily there was another lead singer available by the name of Sammy Hagar who was between bands at the moment, so he slid right in and the band accommodated him, making new music in new styles to reflect the style of their new lead man, all the while maintaining the focus on the hard-but-fun rock.
And through all of that was the guitar work of Eddie Van Halen.
The music of Van Halen was a big part of my teen years, and I’ve never lost my love of it, though eventually I didn’t buy the albums anymore. 5150, the first Van Halen album with Hagar aboard, was the first rock album that I played almost literally to death, to the point where I knew each and every song on that album backward and forward. I’d quickly get up to speed on all of the Roth-era albums as well, each of which is full of great rock music (well, Diver Down is really kinda meh, isn’t it?), but I am probably one of the only people around who can honestly say that I don’t have a genuine preference between the DLR and Sammy eras…or, as some people phrase it, “Do you prefer Van Halen, of Van Hagar?”
In all honesty, though, if you put a gun to my head and said “Play the first Van Halen song that jumps into your head!” I will probably wind up selecting “Dreams” from 5150 or “Right Now” from For Unlawful Carnal Knowledge before I choose any DLR song. That might not be a “preference”, but there it is.
Of course, Van Halen’s history got even more convoluted later on, when I had kind-of moved on from listening to them on a regular basis. Hagar was out, Roth was back in; Roth was out, and a guy named Gary Cherrone was in (for one album, that most people speak of in the same hushed tones as the Star Wars Holiday Special). Hagar was back! Hagar was gone again! Roth was back! Roth was out! Roth was back again! And so on.
Eventually Eddie Van Halen’s years of hard living started catching up with him, with news and rumors of his various health troubles, winding up in the end with cancer…and that’s what finally took him away from the world, at the age of 65.
What to say about Eddie Van Halen’s guitar playing? Well…yes, he could play fast and he could do astonishing things with the guitar. But what always got me was the tone of his playing. There was often a sense of cheer behind it, of happiness, of warmth. A lot of great rock guitar playing often seems obsessed with speed for the sake of speed, and the electric guitar can sound almost angry and snarling in a lot of guitar solos, especially in 1980s-era “hair band” hard rock. Eddie’s tone was always clean and pure, and there was almost always melody there, even in the midst of his virtuosic displays of pure skill and talent. Eddie Van Halen made music with the guitar, and his solos always blend into the songs and seem a part of the song. Many guitar solos of the era sound like what they are: rhythmic cadenzas stuck in the middle of the song, where the singer stops singing but the bassist and drummer keep on going.
Eddie Van Halen made the guitar sing and laugh, and in a few songs he even made it seem like it was about to cry. The man wasn’t just a guitar god, he was a musician. Eddie Van Halen was to the guitar, for me, as Vladimir Horowitz was to the piano or as Hillary Hahn is to the violin or as Tine Thing Helseth is to the trumpet. In his best work, he isn’t just “shredding”, he’s making music. And that’s what I’m going to remember Eddie Van Halen for: the music.
Thanks for the music, Eddie. It was always good, and quite a lot of it was great.
A word about this last one, the live performance of “Best of Both Worlds”. My paternal grandmother died in 1986, when I was just about to turn 15. It was a deeply sad day; she was the first significant loss of my life. It was a Friday. After making the arrangements that morning, my father drove all the way home from Philadelphia, where Grammy lived, and then I remember my parents going out to hang out with their friends on what was a difficult night. I stayed home, as I typically did. Grammy’s passing didn’t really hit me until my father told me, after he got home, that she had remembered me during her brief hospital stay; apparently someone had said something that had triggered her memory of me. I lost it after that, and I remember being deeply sad for the next several hours, until I idly turned on the teevee and channel-flipped to MTV, which had the Video Music Awards (MTV’s big awards show–do they still have the VMAs anymore?), and not long after I tuned in, MTV went to a segment of none other than Van Halen, in New Haven, CT. (At the time I thought this was live, but it turns out that it was dropped-in filmed footage from a performance two months earlier, but did that matter? Not really.) They were on their big tour for the 5150 album, their first big tour with Sammy Hagar. This performance is the one to which MTV cut. Maybe it seems weird, but watching them do “Best of Both Worlds”–which is one of the best songs on that album–jolted me out of my funk. It was still a sad time, and Grammy’s death was just the start of what was a generally godawful sophomore year of high school for me, but…at least there was Van Halen. Always Van Halen. To this day, I can rely on Van Halen to cheer me up when I’m stuck in the mud.
So, yeah. Thanks again, Eddie. (And Sammy, and Dave, and Michael, and Alex. And heck, you too, Gary.)
Robert Burns, the great poet troubadour of Scotland, was born this date, 1759. For a basic primer on Burns, this article is a good place to start. For some true appreciation, though, skip the basic intro and go right to Sheila O’Malley.
He was prolific. As it stands, there are over 400 Robert Burns known songs in existence. He was a celebrity in his own time. The fame he achieved in his own lifetime, however, is nothing compared to his posthumous fame.
Some of his verses are so engrained in our culture we can’t even imagine anyone wrote them at all. They seem to have just descended upon us, whole, from the heavens, the ether, Olympus. If you’re drunk on New Year’s Eve, gripping a bottle of champagne, and singing “Auld Lang Syne” at the top of your lungs, annoying people on the subway, you are quoting Robbie Burns.
Burns is one of those poets whose work is best sounded aloud, or at least sounded in the mouth, even if one doesn’t make the sounds; one should at least feel them. There are verses of his that seem to make no sense, due to the Scots dialect, but when you sound them out, the meaning becomes absolutely, utterly clear.
For me, the union of Burns’s words and Dougie Maclean’s voice is one of those things of perfection that we get to enjoy once in a while in this world. Here is one of my favorite songs, thanks to Robert Burns and Dougie Maclean!
Today is National Pie Day, which no one seems to really observe anymore seeing as how we’ve adopted March 14, “3.14”, as the quasi-official Pi Day on which we celebrate pie in addtion to pi. But anyway, that being the case, here is Henry Mancini’s “Pie in the Face Polka”, which he wrote to score the enormous pie fight in the movie The Great Race.
Chinese composer Tan Dun always interests me, and yet I always feel like I haven’t heard enough of his music! Here’s a fascinating tone poem, based on a three-note motif. And where does the motif come from? Well:
Imagine if someone was preparing a surprise birthday party for you, and they asked a Grammy Award-winning composer to compose a new piece for you. That’s exactly what happened when Symphonic Poem of 3 Notes was written. The Teatro Real Opera in Madrid invited Tan Dun to write a piece for Placido Domingo while they were planning his 70th birthday celebration. Because of the similar sound of Placido’s name and the music notes la-si-do, Tan Dun decided to use these three notes as the musical theme of this piece. The composer says that these three notes remind him of “the ABC phenomenon—the meaning of things starting, of beginning and the origin of everything.”
The Music For me, the opening percussion reminds me of morning bells inside the temple. Along with the high pitches that are played by all the strings, it draws an image of a breezy morning with birds migrating in the air. The beginning of a new day, or even new life, is well portrayed. Tan Dun uses a variety of sounds and textures to develop the theme la-si-do after it’s played by the brass. The sound of stones and of the woodwinds’ mouthpieces keep interfering while the theme is being evolved into an intensive climax. The most fascinating part of this piece, to me, is the vocal part toward the end. The simple yet powerful shouting functions as an eraser, wiping out all the stresses in life, and brings us back to the hopeful chanting—like beginning, a new beginning of life.
