Moments of Magic Number 4

Stella By Starlight (written by Victor Young) - Percy Faith and his Orchestra

Stella By Starlight is one of the most beloved jazz standards of all time. Quirky, bouncy interpretations by the likes of Miles Davis, Stan Getz, Ray Charles and Ella Fitzgerald have ensured that the song is kept on the exclusive playlists in the underground jazz parlors of the world, as well as in the minds of many a jazz enthusiast.
However, this 'song' started life without lyrics. It was, to begin with, merely an instrumental theme in a Ray Milland feature called 'The Uninvited.' The popularity of the 'theme' encouraged an official 'song' release and in 1946 Ned Washington penned the now famous, if slightly peculiar, lyrics for what was intended to be a big band standard.

This 1960s orchestration by the legendary Percy Faith is far closer to the original 'spirit' of the piece than any of the charming interpretations since. It is extraordinarily lush and melodramatic, something which adds to rather than detracting from the quality of the piece. The soaring romance of the strings requires this kind of tear-jerking sensitivity; the light echo at the tail end of this piece is an excellent example.

This sample picks up at the end of the second, vigorous repeat of the refrain and fades out into a beautiful violin and cello duo, with trademark Faith vibrato that brings to mind a tearful scene from a black and white movie romance, with the high echo following taking the melody up from the depths and bass of the repeated refrain to a subtle and celestial ending that slows mournfully.

The shame is, music of this calibre of arrangement is largely ignored today. It is considered to be schmaltzy, weepy and indulgently saccharine. I do not share this view. There is magic and wonderful skill in this interpretation; it is gorgeous and indulgent but it is not the lesser for it. It takes those fabulous falling chords and wrings an exquisite and startingly melodic flourish. A perfect ending to a rather perfect tune.

Moments of Magic Number 3

'Larghetto' from Symphony No. 1 by S. Rachmaninov


One of my favourite composers, Sergei Rachmaninov was one of the greatest musicians of the 19th and 20th centuries. A virtuoso pianist with enormous hands, the aristocratic and rather diffident Russian is probably most famous for his Second and Third piano concerti; less vaunted are his symphonic works.
Indeed, this 'moment of magic' is actually from a piece that Rachmaninov effectively disowned due to a disastrous premiere and savage critique, courtesy of Cesar Cui. Apparently, the conductor was drunk and stumbled clumsily through this work, his Symphony No.1, which resulted in Rachmaninov leaving the performance before the close and descending into a deep depression that was to prove to be a creative prelude of titanic importance. He stopped writing for years, but when he finally composed again he produced one of the greatest piano concertos in the history of music: his Piano Concerto No. 2

This sequence is from the 'Larghetto', the slow, beautiful poem sequence of the symphony. I love the elegance and tenderness of this passage. It evokes a hazy, dreamlike recreation of an impossibly idealistic past. Rachmaninov, ever the nostalgic, was often dreaming of a 'finer' time. His era was tainted with civil unrest, revolution and war; shadows which he turned from as he dreamed of the past and perfect summer days on his family's estate. Nothing is more romantic than Rachmaninov. This sequence reveals his mighty talent; some of it is reminiscent of a Borodin nocturne and it certainly has a little dash of Tchaikovsky's ponderous majesty but the feeling generated by this Rachmaninov melody is unique. That there should be such depth of feeling, such strength of imagination, such wonder in the mind of a 24 year old man is incredible. This is classic Russian romance; effortlessly beautiful.

What Can I Do? - Music by Winston Chesterfield

Moments of Magic Number 2

Anyone who knows me intimately knows that I adore a waltz. Composers of old often considered that a good waltz, above all other musical styles, was a work of genius. And although the Viennese waltzes sound dated to today's dancers, they were in vogue far longer than any dance that has been created since. Waltz, though originally a musical pastime of the commonfolk in central and eastern Europe, became popular as a style and social pursuit of the rich and the regal.

The grand ballrooms of Europe have many a musical ghost but the most booming of these ghosts is undoubtedly the waltz; the grand oom-pah-pah is such huge part of the history of social dancing that the chandeliers still tinkle to the mighty strains of Strauss. It is a Strauss selection offered here. Written in 1889 for the Emperor Franz Josef of Austria-Hungary and Kaiser Wilhelm of Germany as a mark of Austro-Hungarian-German friendship, it is now known as the Emperor Waltz. Though on its reception, there might have been plotting in the minds of the dedicatees - men who had the next European campaign on their minds and not the next dance partner - it stands as one of the grandest examples of Strauss's style.

This small sequence is not part of the triumphant oom-pah-pah main dance sequence but is a beautiful and delicate bridge between one waltz sequence and the other. I have always thought that there was something gloriously tragic in the echo of a waltz - a defiance of a bygone age. To me, this sequence captures the slowing whirligig of a culture and a life and an age that remains a fascination and a dream for thousands of people.




Emperor Waltz - J.Strauss

Moments of Magic

As much as I can adore a symphony, I can be seduced by a mere strain. And as much as I can admire a concerto, a tumble of a few notes can put me in a state of the most exquisite ecstasy.

Pieces of music in their entirety say a great deal about the listener but it is often the little moments within those great works, the riff or the hook or the chord change that ensure the attention and importantly, the musical intoxication, of the listener.

I have thought about compiling my favourite sequences from a range of different music for some time and have finally decided to knuckle down and do it. These selections vary in length and style. They are largely from 'classical' pieces although, being that most popular music relies on repetition, it is hardly surprising that I have not found as many unique sequences of magic within the modern pieces.

Opening the series, appropriately, we have Bach. This is one of my favourite pieces of music and without doubt one of the most majestic and celestial compilations of notes in history. The orchestral version of the cantata 'Where Sheep May Safely Graze.'

Although this entire cantata is beautiful, this intricate sequence in which Bach throws us from major key to minor key with an initially puzzling but in-the-end gratifying movement is not only an example of one type of emotion but of many, all in a bizarrely logical (it is Bach) and satisfying order. After the uncertainty and meandering of the middle of this sequence, the long return to the 'home' chord is all the more pleasing.




'Where Sheep May Safely Graze' - J.S. Bach

Italia - Music by Winston Chesterfield

Resuscitation

It's been over a year since I last posted on this blog. To celebrate the paucity of posts I will be posting several compositions of mine that have been yellowing and dusting on the virtual shelves of my hard drive.

I had not forgotten Moonlight, Martinis & Memories. Nor had I neglected my beloved piano, despite other concerns (work, I am afraid) taking precedence.

I have been shamefully negligent in that I have frequently failed to record much of my rambling up and down the keys. However, I plan to make up for this.

This blog is not dead.

W