Gilbert & Sullivan & an embarassing admission

During an online conversation with Lydia this morning I was chiding for her unfamiliarity with Gilbert & Sullivan’s “Three Little Maids from School Are We”. Just to get everyone on the same page, here it is:

But then I got to thinking about my familiarity with Gilbert & Sullivan, which leads me to an embarrassing admission: most of my familiarity with the music of Gilbert & Sullivan comes from two sources: the movie Chariots of Fire, and the “Cape Feare” episode of The Simpsons.

In Chariots of Fire, as I recall, one of the main characters is interested in an actress who is playing one of the three little maids in The Mikado. There’s also a scene when the olympic team is traveling on the ship and they’re singing Gilbert & Sullivan songs around the piano. (The scene always sticks in my mind because the audio is just off - the piano chord sounds a split-second before the actor’s hand hits the keys.)

In The Simpsons, the villain Sideshow Bob tracks down the Simpson family (who were living on a houseboat in a witness relocation program), ties up the parents, and is just about to kill Bart. Bart stalls Sideshow Bob by challenging him to sing the entire score of The Pirates of Penzance H.M.S. Pinafore (thanks for the correction, Jamie!). Bob can’t resist the challenge and so sings and sings and sings while the boat floats down the river, into town, and to the authorities.

I really should take some time to become more familiar with these guys.

Time for some piano music

I switched over from my usual podcasts and indie rock this morning to give some iPod love to a genre I’ve ignored far too much as of late: classical piano. To be more specific: Bach and Chopin. What a fantastic way to start the morning.

Now, I’ve spent innumerable hours over the past 20+ years with my backside on a piano bench and my fingers hacking away at some composer or another. And ever since I was a kid, let’s face it, I did a lot of hacking. Sure, I had assigned pieces that I was supposed to practice every day. But more often than not what I’d do is just play through those pieces once or twice, then put them down and move on to something far too hard for me, say, a Rachmaninoff piano concerto or a Chopin Ballade or something by Debussy. The weeks when I actually did practice my lesson, my teacher was always blown away by my progress. I wonder at times how well I would’ve progressed if I’d practice like he expected.

When you have small children, though, the amount of time available for you to practice the piano goes down quite a bit. First, they take up your time directly. Second, they go to sleep early and playing the piano would wake them up. So I haven’t done a lot of practicing in the past few years. Occasionally I’d pull out a book and hack through a little bit of Rachmaninoff, but that has been about it. If I get a chance to sit down at a piano somewhere else, I usually just improvise for a while, though it has been frightening just how much I remember of Beethoven Sonatas and Bach Fugues that I learned back in high school.

The other night I sat down at the piano after dinner and actually practiced a new piece. Rachmaninoff’s Polichinelle Op. 3 No. 4, if you really care. (You can hear Rachmaninoff himself perform it on YouTube.) It’s difficult enough that I can’t just sight read through it at full speed, but not so difficult that I get disheartened trying to practice. I am hoping that I can actually put a little time into it, commit it to memory, and eventually have something new to play on occasion, rather than just murdering a section from Chopin’s Ballade #1 like I usually do.

How I do love my piano music.

Random question for the morning

Is it egotistical to drink coffee from a mug that says “I (heart) my Music Minister” when, up until last week or so, I was the music minister?

Another adventure in new music

So I’m rather a new-music junkie. Granted, it’s gotta be in a genre I’m interested in, but hook me up with a new artist and I’ll go whole hog. This week, on the recommendation of Daniel, I’ve been exploring the music of composer Philip Glass. I didn’t know much about Philip Glass before this week; if you’d asked me I would have remembered that he was very into minimalism and possibly 12-tone music, but that’s about it. I would’ve guessed that he’s not my cup of tea whatsoever. But, having been promised that his newer works were more accessible, I decided to give it a shot.

My first stop: Glass’s personal website. It has a nice overview of his stuff and also… an audio player! The player gives a pretty nice sampling of his stuff. It includes cuts from his music for the movie The Hours, which is beautiful stuff. It also has a sampling of his Etudes for Piano which I found to be very nice. Then there’s some weird stuff - for instance, the soundtrack for a very weird independent art film called Koyaanisqatsi. Definitely enough good stuff to get me interested, though.

My next stop: the local library. I currently have checked out to me nearly every Philip Glass CD that’s in their system. While it’s not an extensive collection, it’s enough to get a sampling. There’s the recording of his String Quartets - fairly nice. Then there’s Einstein on the Beach, which is a whopping four (four!) CDs of “opera”, though it’s not like any opera you’ve ever heard or thought of. It’s either brilliant or totally bizarre… maybe a bit of both. Following that I’ve been listening to his Symphony #4, Heroes. It, too, is pretty good. I still have Dance Nos. 1 - 5 and music in twelve parts to sample, though I doubt I’m going to find them as enjoyable; I know from some online reading that twelve parts is his serious work in the twelve-tone motif, which is too far down the esoteric path for me.

I still want to get my hands on Symphony #1, which Daniel highly recommended; the little samples on Amazonmp3.com sound good. Other than that, I feel like I’ve at least given Glass a good shot this week.

My conclusions: The soundtrack from The Hours is a keeper and will get regular play time. The piano etudes probably will as well. Symphonies 1 and 4 are probably worth having and will get played semi-regularly. The older, more esoteric stuff is somewhat interesting, but probably not something that I’d listen to much. But hey, it’s a new musical discovery, and one that found me some good new music, at that. Thanks, Daniel!

Happy Birthday to me... a little early/late

Yeah, so my birthday isn’t until Friday, but finalized plans yesterday to be able to not just attend the Andrew Peterson concert here in Cedar Rapids on Saturday, but also to be the runner for the day, which basically means just hanging out there at the church as they set up and then driving AP and company around anyplace they need to go. I was runner a couple years ago when AP and gang came for the Behold the Lamb of God tour, and it was a blast.

I was afraid it wasn’t going to work out, mainly because I have been unable to find a replacement worship leader, so I still have to setup and then lead music for the 5:30 service at Imago. In stepped Becky, who awesomely volunteered to be the runner for me for a couple hours while I do the church service, then I can make it back just in time for the concert. Too much fun.

Andrew Peterson will be touring with Andy Gullahorn, Jill Phillips, Ben Shive, and maybe some others, and will be doing music from his upcoming album Resurrection Letters, Vol. 2. I’m listening to a few songs from it right now on a Michael Card podcast and there’s some amazing new stuff. Saturday is going to be fun.

An equation of insanity

So back in my Caedmon’s concert post, Daniel commented that he found the length of that road trip to see a concert “insane”. Being the nerd that I am, I decided an “equation of insanity” would be appropriate. (Geof’s equation of motivation was an additional piece of inspiration.)

So, without further ado, the equation:

I = (d+t)/qL

Where

I = relative insanity of the trip d = distance traveled to the concert t = time that trip took q = quality of the artist you are going to see L = length of the concert.

Of course the tricky thing here is that the q value will vary between persons, so just because you think my trip is insane doesn’t mean that I will agree with you. Also, by including not only the distance of the trip but also its’ duration, trips like Geof’s planned flight to Philly aren’t as insane as if he were to, say, drive to Philly.

There’s also the issue of theoretical insanity versus actual insanity. For instance, my trip to see Andy O’s The Morning release show theoretically should be much more insane because of the distance to Nashville, but in actuality the concert was so awesome that the real insanity level was much lower.

Note to Becky, my Mom, etc: Yes, this really just means that I am a huge nerd. Not exactly a revelation. :-)

Putting on the miles

The lengths I will go to hear a concert? Well, this weekend the length was 300 miles, each way. Lincoln, Nebraska ends up being, with short stops, about a five-hour drive. Well worth it to see Caedmon’s Call in concert again. First I should extend thanks to my mom for coming down to watch the girls for a couple of days. They had lots and lots of fun with Grandma, and it was sure a blessing for Becky and I to be able to get away.

Three hundred miles to Lincoln on Friday morning was broken up with P. F. Chang’s for lunch in Des Moines. It ended up being a good thing we ate a big lunch, because we never did get supper eaten, unless you count the McDonalds cheeseburgers we picked up from the drive thru around 11 pm while on our way to see Andy Osenga’s post-show set. After checking into our motel (very decent for the price), we headed down to the church where they were playing to hang out, take pictures, and watch the sound check. Everything was running late enough that once sound check was over it was almost time for the doors to open… so we ended up just staying there the whole night. Between Derek Webb, Caedmon’s, and Andy Osenga, the concert went a full three hours. Lots of fun. I’ve written up a full review with pictures over on caedmonscall.net.

After the Caedmon’s show, we trekked over a couple miles to Grace Chapel (a little PCA church in a neat old church building) where Andy Osenga did another half-dozen solo songs. It was fully midnight by the time that was over, and then we were headed back to the other side of Lincoln to our hotel. What a day.

The drive back home was rather uneventful, unless you count seeing multiple cars sliding off the road (not already in the ditch, but actually actively sliding into the ditch) as eventful. Made it home in one piece. Took most of Sunday to catch up on rest. In the end we drove about 750 miles for the weekend. Now, I’ve driven further to see concerts, and have seen better concerts, but overall it was great to hear Caedmon’s again, to be able to take Becky along (her first Caedmon’s show!) and to have a weekend out.

Rich Mullins' A Liturgy, a Legacy, and a Ragamuffin Band

If there was ever a “perfect” album to come out of the (largely mediocre) world of CCM, Rich Mullins’ A Liturgy, a Legacy, and a Ragamuffin Band was it. (Are the ‘A’s supposed to be capitalized? It looks funny either way.) This album is fifteen (fifteen!) years old this year, and yet still sounds as fresh and vital as when it was released. If you’re not familiar with the album, let me give you an overview. (If you are familiar with the album, you won’t mind the refresher at all.)

Split into two halves, the first half is the splendid Liturgy. Here In America is the Introit, or entrance. It is followed by the stunning text of (Isaiah) 52:10, the hymn of praise recognizing the beauty of creation called The Color Green, the supplicant’s prayer Hold Me Jesus, the bold restatement of the (Apostle’s) Creed, and Peace, helpfully subtitled A Communion Blessing from St. Joseph’s Square. Each song in itself is excellent, and as a set they reach the level of masterpiece. When, in Peace, Rich starts the first two verses with this juxtaposition

Though we’re strangers, still I love you
I love you more than your mask
And you know you have to trust this to be true
And I know that’s much to ask…
…

And though I love you, still we’re strangers
Prisoners in these lonely hearts
And though our blindness separates us
Still a light shines in the dark…

We understand immediately the tension of the Christian fellowship - bound by the love of Christ, and yet so frustratingly driven apart by our sinful humanity. It’s beautiful stuff from beginning to end.

The second half is the Legacy: a reflection on life. It starts with the upbeat instrumental 78 Eatonwood Green, then moves into the challenge of being like Jesus (Hard), the challenge of living life away from family (I’ll Carry On), a child’s wonder at Christmas (You Gotta Get Up), the challenge and frustration of the world we live in (Mark Heard’s How To Grow Up Big and Strong), and finally the most beautiful picture you’ll ever hear painted of the tension of living in a country you love while simultaneously looking forward to the heavenly home (Land of my Sojurn).

Nobody tells you when you get born here
How much you’re going to love it and how you’ll never belong here
So I’ll call you my country, but I’ll be longing for my home
And I wish that I could take you there with me…

And the Ragamuffin Band? Well, they sound fantastic. From Rich’s clear piano and the cymbals mirroring the ocean’s crashing in Here In America, to the mellow electric guitar and fantastic drum fills in Peace, to the dulcimer driving Land of my Sojurn, the album has an organic acoustic sound that rightfully has become the inspiration for a younger generation of musicians. My first inclination is to say that it is lightning in a bottle, that it’ll never be captured that way again. But then I listen to the guitars of Andrew Peterson and Andy Osenga, the piano of Ben Shive, and the percussion of Todd Bragg and Garrett Buell, and I will instead be thankful that the musical and songwriting heritage of Rich Mullins has indeed carried on.

If for some reason you don’t already own this album, you can buy it at Amazon.

Songs for the Inaugural Service

Imago Christi’s inaugural service is just over a week away - January 5, 2008. As I noted previously, it’s a bit of a challenge to pick the music - something appropriate for the first service of a new church, setting the tone for services to come, and having something accessible for those who are coming who may not be familiar with the songs.

I’ve settled on these four:

Blessed Be The Name of the Lord (Clinton Utterbach)
Praise to the Lord, The Almighty
My All In All (Dennis Jernigan)
Jesus, I Come (with new tune from RUF Hymnal)

I think this keeps things relatively simple, yet incorporates some new and old lyrics of praise of the Father, praise of the Son as the Lamb of God, and a beautiful expression of the Gospel in the final hymn. I pray it will be a blessing to those who attend.

Selecting music for an inaugural service

We’re going to have our first worship team practice for Imago tonight, which means I need to have music selected for our first service. Selecting church music is normally a bit of a challenge, but selecting music to kick off a whole new church? Intimidating. I’ll need to pick a mix of old hymns and some more modern stuff; I’m thinking of some Chris Tomlin and maybe Praise to the Lord, the Almighty. Any ideas? Feel free to leave them in the comments. I’ll post the list when I get it finalized.