Quizinalia

Time for another quiz, via Tosy (or was it Cosh?):

What was the first recorded music you bought?

The soundtrack to The Empire Strikes Back. Holy crap, I played that thing into the ground over the next nine years or so. I played it so much that it has taken years of listening to subsequent CD releases to get to the point where I no longer hear the music the way that it was edited together for that album. (The tracks were not in film order, and some bits of score from different scenes were edited together into longer tracks.)

What was the last?

The 4-disc set of the scores to the Karate Kid movies, music by Bill Conti. Wonderful 80s cheese for the most part, but there’s one track in The Karate Kid Part Two (underscoring the tea ceremony between Daniel and Kumiko) that I consider to be among the finest bits of love music in all films.

What was the first “professional” music show you ever went to?

The Buffalo Philharmonic Orchestra, when I was ten or eleven. My sister was taking French horn lessons from a then-member of the orchestra. I don’t recall what was on the program, but Julius Rudel was the conductor, I believe.

What was the last?

I haven’t been to any live music in so long that it’s really very depressing.

What’s your “desert island” album?

Lord, I can’t name one. Truly. The LOTR scores? Geez, I dunno.

What’s your favorite album/song title?

Album title? Maybe Fire in the Kitchen by the Chieftains (amazing album, by the way). Song title? I’ll go with “Seven Spanish Angels”. A song with a title like that can’t help but be gorgeous.

What’s your favorite album art (include an image of it if you can)?

I always loved this cover to the Solti/VPO recording of Das Rheingold:

The version I own has this dull cover:

(OK, that’s for Gotterdammerung, but the art’s the same, just with the right name for the opera.)

Ideal choice for a karaoke song?

Lord, I don’t know.

Song you don’t like that WILL NOT LEAVE YOUR HEAD if you hear it.

“Hey Jude”. I absolutely detest that song. And yet if I hear it, I end up hearing that interminable “Na na na nanana naaaa…” crap in my head for hours.

Which is cooler? — Vinyl? CD? Cassette? 8-track?

CD. I like having a physical object, and I’m not wild about the idea that if your hard drive goes kerblooey, there goes your music.

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Backing…away…slowly….

Every so often, in tooling around the Interweb I encounter something that makes my brain nearly shut off in its attempt to wrap itself around the idea that someone may be arguing a certain position. I just had one such moment, over on rec.music.movies, where in response to my oft-stated position that “Good film music must be good music first, and good music by definition can stand alone” — i.e., that hearing a film score in its cinematic context isn’t completely necessary to assessing the worth of a score — a person stated this:

The idea of music isolated from visual experience is STUPID. Why do you think composers wrote for visual elements…and even music qua music has the visuals of orchestra and conductor. Get real…isolated music tracks on CDs are the absolute worst representation of music….MUSIC IS VISUAL.

This is wrongheaded to such a vast degree that it staggers the imagination. It’s not uncommon to encounter people who believe that one should only judge a filmscore by how it functions in a film (although how one makes this judgment is less than clear; if a piece of music can be moving when coupled with a film but not moving outside of it, I’d argue that it’s the film amplifying the quality of the score, and not the other way around), but I’ve never met anyone who believes that all music has some essential visual component that renders the act of recording a bad one.

My response on thread was as follows:

So, a blind person attending a concert of the New York Philharmonic performing, say, Beethoven’s Seventh Symphony is somehow missing some unimaginably vital part of the performance? For that matter, is a *sighted* person attending that same performance somehow missing something vital from what Beethoven intended, since the hall isn’t lit with candles and the performers aren’t wearing powdered wigs? How
about the many musicians who often close their eyes while performing? What are they doing wrong?

Another rejoinder that just occurred to me: Two people attend a concert of a Mozart piano concerto and a Mahler symphony. One person is blind, but has full hearing. The other is sighted, but has been deaf since birth. Who do we suppose gets more out of that concert? Transpose these same two people to a room with all the lights turned out, and now put Sgt. Peppers Lonely Hearts Club Band on the CD player. Who gets more out of that experience?

What a weird conversation to find myself in.

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Writings Elsewhere — an Index

This is an index to writings of mine that appear online, outside of this blog.

For Green Man Review:

films:

Amadeus

music:

Skott Freedman, Some Company

Talisman, Music of Russian Princesses from the Court of Catherine the Great

Aaron Copland Omnibus

Brigadoon
(Complete Score Rerecording)

Emanuel Ax plays Haydn Piano Sonatas

Mendelssohn, Bruch: Violin Concertos (Midori, violin)

The American Tenors

Julie Powell, Heart of a Woman

Glimmer

A Laura MacKenzie Two-fer

The Lord of the Rings Trilogy: filmscores by Howard Shore

Maggie Sansone, Mystic Dance: A Celtic Celebration

Sigurd Lie: Orchestral Works

Beyond the Sunset: The Romantic Collection, Blackmore’s Night

Winter Carols, Blackmore’s Night

Tchaikovsky, Violin Concerto (Bell, Tilson Thomas, Berlin PO)
Sacred Bridges (The King’s Singers, Sarband)

Fences, The Lonesome Brothers

Where the Mangoes Are, Kate McDonnell

Big Shoes, Dave Rowe

Tidings, Allison Crowe

Secrets,
Allison Crowe

Sigurd Lie: Orchestral Works

Mystic Dance: A Celtic Celebration, Maggie Sansone

House of Flying Daggers, Shigeru Umebayashi
Hero, Tan Dun

books:

Classical Music Intro Books (omnibus)

The Lewis Barnavelt Trilogy, John Bellairs

The Bastard King, Dan Chernenko

The Royal Road to Romance, Richard Halliburton

A Winter Marriage, Kerry Hardie

Latro in the Mist, Gene Wolfe

Take Joy: A Book for Writers, Jane Yolen

The Disappearance of Sherlock Holmes, Larry Millett

Low Red Moon, Caitlin R. Kiernan

Daughter of Hounds, Caitlin R. Kiernan

A Splendor of Letters: The Permanence of Books in an Impermanent World, Nicholas Basbanes

The Last Light of the Sun, Guy Gavriel Kay

Move Under Ground, Nick Mamatas

Trouble in the Forest: A Cold, Dark Night, Tristam Kyth

The NPR Curious Listener’s Guide to Celtic Music, Fiona Ritchie

Travels with Barley:

A Journey Through Beer Culture in America, Ken Wells

Bloodline, Kate Cary
Once Upon Stilettos, Shanna Swendson

The Enclycopedia of Fantastic Victoriana, Jess Nevins

A Chalice of Wind: Balefire, book one, Cate Tiernan

The Caliph’s House: A Year in Casablanca, Tahir Shah

Ensign Flandry, Poul Anderson

Fitzpatrick’s War, Theodore Judson

Horseman: The Hollow, book one, Christopher Gordon and Ford Lytle

The Unseen, books one and two, Richie Tankersley Cusick

Freddy and Fredericka, Mark Helprin

The NPR Curious Listener’s Guide to Celtic Music, Fiona Ritchie

Trouble in the Forest, Trystam Kyth

Evenings with the Orchestra, Hector Berlioz

I also once wrote several pieces for a website on Asian pop-culture called Destroy All Monsters, but that site has since expired. I don’t know if those old pieces will surface on the replacement site, Yellow Menace, when that site relaunches sometime this year. I’ll update if those pieces turn up again.

For now, they were on the film RAN, the animes Voices of a Distant Star and Black Jack: Infection, and the manga Ranma½ (volumes 1 and 2).

UPDATED 4-14-07

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