New CDs for September 2022
Orchestral, Concertos and Chamber Music
Claude Debussy – Of Motion And Dance: Piano Music of Claude Debussy
Opera, Opera Excerpts, Choral Music and Art Songs
Florence Price – Nearly Lost: Art Songs By Florence Price
Popular Music
Elvis Costello – My Flame Burns Blue – Live with the Metropole Orkest
Hoax Hunters – 2013-2018
Christone “Kingfish” Ingram – 662
PJ Sykes – Fuzz
Folk Music
Iberi Choir – Supra
Leyla McCalla – Breaking the Thermometer
Arachnophonia: David Popper “40 Studies: High School of Cello Playing, opus 73”
Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student manager Brianna (class of 2023) and features a collection of studies for cello by Austrian composer David Popper (1843-1913. Thanks, Brianna!
David Popper
40 Studies: High School of Cello Playing, op. 73
David Popper, composer (1843-1913)
I, like most young cellists, have a love-hate relationship with David Popper. Popper was a prominent composer of Romantic-era cello solo music in the 19th century. He wrote four concertos, although his most played solo piece is probably “Tarantella.” What some may not know is that in addition to these concert solo pieces, he wrote a book of etudes dedicated to strengthening cello technique – 40 Studies: High School of Cello Playing. As the description might give away, the music in this book is not meant for performance in a recital or concert series. These etudes focus on playing in different positions, frequent shifting, bow control, and much more, meaning some of them sound very strange and complicated to listeners. Some musicians consider mastery of these etudes (among other things) a hallmark of a professional cellist.
While playing through such a book may sound like every aspiring young cellist’s dream, many of them are harder to play than they appear on paper. Then, considering the book has 40 separate etudes each averaging about two pages, you can only imagine how much time and dedication mastering each and every one might take. It’s a wonderful resource – if you have the patience to spend countless hours on them.
Since I was first assigned an etude out of this book, I have struggled and fumbled my way through roughly a quarter of the 40 available to me until I ended up with something I was happy with. I can’t say that I got as much joy out of this type of practice as I have on recent solo pieces I have rehearsed, but I also must admit that playing through the etudes strengthened my playing more than I could have imagined. Thumb position used to be a region of the cello I never thought I would be able to wander into confidently, but after playing Etude No. 1 and 5, I feel stronger and enjoy going high on the instrument. If you are a cellist and don’t have a copy of this book in your library, consider picking up a copy from the Music Library!
Arachnophonia: Waitress: The Musical
Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student manager Danny (class of 2023) and features the Broadway musical Waitress. Thanks, Danny!
Waitress: The Musical holds a very strong place in my heart and might have the strongest memories and feelings attached to it than any other album could do in my life. And it all started pretty recently.
My senior year of high school, I gave up playing club soccer for the spring. I had played soccer year-round my whole life and wanted to take a break from club sports. I finished my senior season with the high school team as captain and thought that would be a fitting end to the journey. So, I did track and field in the spring to spruce it up and try and build on my winter times (which I had done for 4 years). Since the practices did not eat up nearly as much time as soccer, I still felt I needed something to do.
And so, through a few of my friends who were involved, I somehow got myself roped into joining a school musical (42nd Street). It was more intimidating than anything I had ever done, given I had never tapped, danced, sang, nor acted in my life. It was so out of my comfort zone and I felt worlds apart from anyone else. Given that I try to immerse and be the best that I can at anything I do, naturally, I tried to get myself adjusted to the world of arts.
I basically went to Playbill and found every contemporary musical that was currently playing on Broadway and listened to every single album. Some albums were played more than just once, as I continually listened to them until the lyrics were etched into my brain. Even if I was not totally invested in Broadway like my friends, I at least wanted to know everything about the culture and what I was getting myself into just as I do with any job or sport.
And through it, I heard Waitress. And I listened to it over and over and over and over and over. It became my second most-listened-to album in 2019 on Spotify and three of the songs were in my top 5. The lyrics and the songs were just ultimately too good and did not sound like a traditional Broadway musical songs. When I was younger, I felt a lot of Broadway was dance-heavy numbers, with raging horns and jazz beats, lights, eccentric acting (I did not like stage acting, I felt it was too jittery or not as deep as a film), and crazy costumes. And yet, Waitress was kind of the complete opposite. It took music from Sara Bareilles, a mainstream artist that was consistently played on the radio and turned it into a story. I was hooked. I obviously realized there were tons of other musicals like this, but it was the first one that really opened my eyes to another side of theatre.
To make a long story short, it became a habit to listen to the music, and I got pretty good at a couple of the songs on piano. The year I started listening, all of a sudden, an announcement was made that the show was closing January 5th, 2020. I was lowkey upset because I wanted to go so bad to the show, but I would never want to drop the pricey amount to go watch it live.
And then, like the grace of God’s warm light, I was bestowed with three tickets to watch the show. It was gifted as a birthday present. Me and two others got to watch the show two weeks before close, a week before Christmas, and made a whole day trip. We took a bus to NYC at noon, walked around the city for a couple hours, ice skated in Central Park, went out to eat at a nice restaurant, saw the tree at Rockefeller Center at night, and then saw the show at night. The show was even better in person and I got to watch it with people I loved.
Ultimately, after that moment, I knew that album had other sentimental value that could never be replaced. However, a couple of months afterward, I had not actually listened to the album again. Things happened that almost ruined the musical for me and the memories I had attached to it, but I put a positive twist on it and tried to forget some of the negatives.
Arachnophonia: Elton John “Goodbye Yellow Brick Road”
Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student manager Christian (class of 2023) and features Elton John’s classic 1973 album Goodbye Yellow Brick Road. Thanks, Christian!
Elton John is one of the most successful and influential musicians of all time, known for his expressive outfits and electrifying performances. In 1973, John released Goodbye Yellow Brick Road, a 17-song album that would go on to sell over 30 million copies worldwide. The album, with lyrics written by Bernie Taupin and produced by Gus Dudgeon, is known as one of John’s best works. Some of the best songs on the album include “Goodbye Yellow Brick Road,” “Candle in the Wind,” and “Bennie and the Jets”.
Ever since I had to analyze Goodbye Yellow Brick Road for a school project, the title track is one of my favorite songs. On the surface, “Goodbye Yellow Brick Road” contains rich vocal harmonies, dreamy piano chords, and a crisp drum beat to create a contemplative atmosphere for John to reflect on his life of fame. As a child, I remember my parents singing along to “Bennie and the Jets” on the radio, another personal favorite song of mine from the album. The song has an instantly recognizable introduction and a spectacular piano solo that displays John’s genius piano and composition skills.
Though John struggled with addiction at the height of his fame, he managed to quit his substance abuse and create his own charity, the Elton John AIDS Foundation. Despite his personal struggles, Elton John is one of the most successful musicians of all time, selling over 300 million records and producing many timeless hits that will live on long after his career is over.
Arachnophonia: Main Hoon Na
Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student assistant Kiran (class of 2024) and features the 2004 Bollywood film Main Hoon Na. Thanks, Kiran!
“Main Hoon Na – The Importance of Support During College”
Growing up, I didn’t understand much about my culture. It wasn’t until I was in middle school that I really started to appreciate my ethnic background. Bollywood movies changed my entire perspective on a hidden part of my identity that I had neglected to explore. I began to immerse myself in India’s film industry, enamored by the music, dancing, and storylines. Main Hoon Na (I am there) quickly became one of my favorite movies and a staple pick for family movie night.
Main Hoon Na explores the journey that a young soldier (Ram) takes to find his half-brother after the death of their father in the midst of a peace treaty between India and Pakistan. Indian terrorists threaten to destroy this peace and are after Sanjana, the Indian General’s daughter, who happens to attend the same college as Ram’s half-brother. Ram goes undercover as a student and must protect Sanjana without compromising his position for his half-brother. What follows is a charming and action-packed adventure that will test them all.
College, especially after COVID-19, has proven to be a mental challenge for both students and professors. We continue to see deaths of college athletes by suicide and a rise in demand for mental health resources. We often forget that it’s ok to reach out for help, and that we don’t have to go through college alone. Main Hoon Na is a reminder that we can lean on our support systems, no matter what. Although fictitious, every Bollywood movie has real-world lessons or morals to learn from. Ram’s dedication to his family and his friends when they need it the most carries over into our daily lives – we can both give and receive support.
You can check out Main Hoon Na and other Bollywood movies at Parsons Music Library. If you or someone you know is seeking mental health resources, click on this link to learn more about CAPS (Counseling and Psychological Services) at the University of Richmond.
Arachnophonia: Edward Elgar’s “Enigma Variations”
Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record for the item(s) in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student assistant Eli (class of 2024) and features Elgar’s Enigma Variations. Thanks, Eli!
Sir Edward Elgar 1857-1934
Edward Elgar, a classical English composer who gained prominence around the turn of the 20th century, is perhaps best known for his Pomp and Circumstance Marches, a key part of any graduation ceremony today.
Yet his most intriguing work is undoubtedly Variations on an Original Theme, better known as the Enigma Variations. These fourteen variations are each dedicated to important people in Elgar’s life, including his wife and his students. Each variation shares similar phrases, but the attitude and voices vary widely. Significant moments in Elgar’s relationship with these people are written into the variations, as well as their key personality traits.
The “Nimrod” variation, dedicated to his mentor Augustus J. Jaeger, is widely considered one of Elgar’s finest works and is frequently reproduced. Most notably, it was played at Princess Diana’s funeral and at the opening ceremony of the 2012 London Olympics.
The “enigma” within these variations has yet to be solved, but is believed to be a secret melody hidden across the variations. I highly encourage listening to these variations as it is one of my favorite orchestral works. You can read more about the Enigma Variations by checking out Julian Rushton’s book Elgar, ‘Enigma’ Variations or you can listen to both Pomp and Circumstance and the Enigma Variations on CD.
Arachnophonia: Guillaume Dufay “Chansons – Forty-Five Settings in Original Notation”
Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student manager Brianna (class of 2023) and features music by the early Renaissance composer Guillaume Dufay (1397-1474). Thanks, Brianna!
Guillaume Dufay
Chansons: Forty-Five Settings in Original Notation
Guillaume Du Fay (left), with Gilles Binchois (right) in a c. 1440 Illuminated manuscript copy of Martin le Franc’s Le champion des dames (source: Wikipedia)
One of the most fascinating aspects of music history to me is the way that musical notation and writing has evolved. A prime example of this is the madrigal. A madrigal is a part-song for several voices most commonly found in the Renaissance period. While this style of music was most popular in Italy and England, there are several noteworthy French composers who wrote madrigals.
One such composer is Guillaume Dufay. The music library is lucky to have a score of a selection of 45 of his pieces, all in original notation. Flipping through the pages shows a style of notation that has since lost popularity, but it is still incredibly interesting to look at.
Learning to transpose such music is a vast field of study that is very active to this day. I find it to be a sort of puzzle, as there are some notes and articulations that were assumed to be inferred by performers in the period it was written, but that are generally explicitly written out in modern music. Finding these hidden clues and listening to your transcription is a rewarding and fun experience. If you get a chance, be sure to check out this music!
Arachnophonia: The Beach Boys “Smile”
Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student assistant Amy (class of 2025) and features The Beach Boys’ unfinished album Smile. Thanks, Amy!
Referred to as the most renowned unreleased album in pop music history, Smile was supposed to be the 12th studio album by the American band the Beach Boys, projected to be released after their album Pet Sounds. However, they did not officially release the album, potentially because of legality issues with Capitol Records and the producer and composer of the album – Brian Wilson’s – rocky emotional state.
The album had fully completed musical tracks, but only a few of the songs have vocal recordings. Potentially because of his fear of ridicule, Brian Wilson refused to finish the album, but when bootleg versions of the album became popular among the Beach Boys’ audience in the 80s, Capitol Records released a portion of the album to the public in the 90s.
Wilson drew inspiration from astrology, numerology, and the occult when composing Smile. He also became fascinated with religion, even adopting meditation and vegetarianism. Wilson wanted this album to be a “teenage symphony to God.” The group named the album Smile because it focused on good thought and happiness.
You can find the Beach Boys Smile album at the Parsons Music Library. The box set includes 40 tracks, many of which are unfinished but include parts of the structure of the original Smile album. The box also includes a small book of notes from Wilson and photos from the recording sessions.
Arachnophonia: “La flor de la canela” by Chabuca Granda
Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student assistant Nicole (class of 2024) and features popular song from Peru called “La flor de la canela”. Thanks, Nicole!
“La flor de la canela” – Chabuca Granda
“La flor de la Canela,” which translates to: “ The Cinnamon flower” in English, is a vals criollo song first recorded by the group Los Morochucos in 1950, and later popularized by the singer and composer Chabuca Granda in the same year. Chabuca is a symbol of música criolla in Peru, a genre that exhibits influences from European, African, and Andean music.
Chabuca Grande singing on a Peruvian TV show circa 1960
I have grown up hearing this popular song on the radio since it has become the unofficial anthem of the citizens of Lima, the capital of Peru. The song also conveys a beautiful meaning. The expression itself, “to be a cinnamon flower” means to be proud and far from reach.
Chabuca was inspired to write the song because of a friend who would always come to her performances, an African Peruvian woman named Victoria Angulo Castillo. During their meetings, Victoria would tell Chabuca about her journey home after the shows, crossing an old wooden bridge: “el Viejo Puente de Palo”. The lyrics tell the story of a young beautiful woman on her journey home. This woman is described as “the cinnamon flower.”
A CD with Chabuca’s greatest hits, including “La flor de la Canela,” is available to check out at the Parsons Music Library!
Arachnophonia: In The Heights
Editor’s note: Arachnophonia (“Arachno” = spider / “-phonia” = sound) is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
All links included in these posts will take you to either the library catalog record(s) for the item(s) in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student manager Eliana (class of 2024) and features the musical In The Heights. Thanks, Eliana!
Before the critically acclaimed film of the same name, In the Heights had a 3-year run on Broadway. In that time, it was nominated for 13 Tony Awards and won 4.
The musical, written by and starring Lin-Manuel Miranda, centers on a group of Dominican American young adults living in Washington Heights, NYC.
The story centers around Usnavi, a young bodega owner with the dream of returning home to the Dominican Republic. It’s summertime, so his neighbor Nina comes back from Stanford University with the unsettling news that she’s feeling out of place and wants to drop out, in turn disappointing her family. To make things even worse, things aren’t going great with Vanessa, the object of Usnavi’s affection. When there’s a city-wide blackout, chaos ensues.
The score features upbeat, energetic songs like “96,000,” “Blackout,” and “In the Heights” and slower, emotional numbers like “Breathe” and “It Won’t Be Long Now,” providing a myriad of entertainment for all types of listeners.
You can check out both the score and original Broadway cast recording here at Parsons Music Library!