Had an interesting session the other day on the Beatles. We watched video footage of the day and discussed the Beatles touring career. Their last performance was in 1966 - i.e. the end of their third USA tour. Things had got out of hand - for a range of reasons - but exacerbated by John Lennon's infamous quote which led to death threats, tussles with the Klu Klux Clan and disillusionment among the Beatles "Christianity will go" "It will vanish and shrink. I needn't argue about that; I'm right and I will be proved right. We're more popular than Jesus now; I don't know which will go first-rock 'n' roll or Christianity. Jesus was all right but his disciples were thick and ordinary. It's them twisting it that ruins it for me." The story was written by a Friend of the Beatles, Maureen Cleaves. Her interview in the video we watched suggested she had no idea what would happen. In the UK, it attracted little attention but when it was run in the USA on the cover of Datebook the story was seized upon. A hate campaign began in the States with worries that there might be assassination attempts on John Lennon. I have spent years dealing with the media through my previous job. I know how difficult it is to draft press releases in a way that prevents people making mischief. Sometimes you need to draft in a way that gives wriggle room - sometimes you need to be completely accurate. There is a lot of thought that goes into presentational strategies nowadays, whether you are the Government, large companies, or bands. Media management is an essential skill. I guess in those days though, they were at the cutting edge of music - with no instruction manila or previous experience to draw on - either within the band - or the management. No one had toured on that scale before, Venues grew exponentially, but security and sound technology weren't up to the task. Neither was the media management in my view. The Beatles were young and inexperienced. John Lennon no doubt made the comment to a friend who was a journalist interviewing him about life as a Beatle. Did he have any idea what would happen? No I don't think so. That is evidenced by the stress he felt at the reaction (head in hands crying) and fast backtracking he attempted to do. In an interview, he did to attempt to apologise he said: "I suppose if I had said television was more popular than Jesus, I would have gotten away with it, but I just happened to be talking to a friend and I used the word 'Beatles' as a remote thing, not as what I think -- as Beatles, as those other Beatles like other people see us. I just said "they" are having more influence on kids and things than anything else, including Jesus. But I said it in that way which is the wrong way... "Originally I pointed out that fact in reference to England, that we meant more to kids than Jesus did, or religion at that time. I wasn't knocking it or putting it down. I was just saying it as a fact and it's true more for England than here. I'm not saying that we're better or greater, or comparing us with Jesus Christ as a person or God as a thing or whatever it is. I just said what I said and it was wrong. Or it was taken wrong. And now it's all this... "I wasn't saying whatever they're saying I was saying. I'm sorry I said it really. I never meant it to be a lousy anti-religious thing. I apologize if that will make you happy. I still don't know quite what I've done. I've tried to tell you what I did do but if you want me to apologize, if that will make you happy, then OK, I'm sorry." Not very convincing really. I think he was simply operating within his understanding of his own culture and environment where his irony was understood. But if you are on the world stage (as politician, or band member) you can't afford to make unguarded statements and expect these to play in other countries as they do here. I believe he was inexperienced and rather naive. Nothing wrong with that at his age at the time. And no doubt he was playing to the youth in this country. But as part of their strategy (or perhaps their only strategy) was world touring and particularly touring in the states) they should have been thinking about the cultures that exist there too. Boring? Maybe - but there are probably better ways of playing to youth culture and keeping up an irreverent image - if that is what they wanted to do - other than choosing a topic that would spli America and make them the target of the hate campaign that followed. Nevertheless they did spark a more outspoken style among the young, which continued and changed the face of youth culture. He, and others, provided the impetus for the young to speak out and ask questions. As it was, their records were banned by loads of radio stations right across America and in many areas their records were burned in protest. The Vatican denounced them and not surprisingly there were then bans in lots of countries closely associated with the Vatican e.g. Italy, Mexico etc. The Ku Klux Klan campaigned against them in the south. It was pretty serious stuff. The original comment was made much of, and no doubt ran and ran, well beyond what might have been a proportionate response. These things do. The reaction seemed hysterical and very unattractive for a nation where free speech has always been a strongly held value. Its interesting that on the same magazine cover, Paul McCartney also made a pretty controversial statement of the USA "It's a lousy country where anyone black is a dirty n*****!" Of course, it would be harder for Americans to openly criticise the Beatles for that comment because to do so would be openly racist. But perhaps that is part of the real reason why the Ku Klax Klan were involved in briefing against them. With time, things usually work out for the best because you make them. As one path closes another one opens up. In 1978, John Lennon wrote "I always remember to thank Jesus for the end of my touring days; if I hadn't said that the Beatles were 'bigger than Jesus' and upset the very Christian Ku Klux Klan, well, Lord, I might still be up there with all the other performing fleas! God bless America. Thank you, Jesus." Controversial or what? Was he still hurt by it all? If you want to read more about this see About.com Oldies music which is fascinating on the subject and the source of these quotes and photos. Do comment with your thoughts.
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I've completed a few compositions recently. I'm really pleased with them - they are all different. Here's a short clip of one of them. I've called it "Yengema's Shadows". I used to live in Yengema, Sierra Leone and my memories of that time, including the rainforest storms, inspired this track. I've blogged about my being a voluntary Director of the Scots Music Group previously. We are trying something new. We are running a masterclass in working in a band with the MG Alba Scots Trad Music Awards Instrumentalist of the Year 2011 and members of the Treacherous Orchestra, Box Club and Lori Watson & The Rule of Three. The course has sold out which is great news (Innes Watson and John Somerville.
I've loved playing in the folk band at Stevenson and so I have joined the class too. The first week was spent running through five or six tunes and we will then be looking at arranging them. There are twelve of us and we will be performing the pieces in four weeks or so. Three performances this week - so far. So how did they go? I have had a very intensive three weeks working up the sets but I have learnt a lot from the experience - as always. There is a lot of pressure to get through the music and to ensure we get the dynamics right. It takes lot of practice and preparation but its so enjoyable and worth it. There is a great feeling of teamwork as it all comes together. Its not easy to perform to high standard and each performance brings some new challenges. First, I played in the strings group performing one of Telemann's Concerto (unnamed). I love the fourth movement of this. Its sad when the performance is over to think we are unlikely to perform it again soon. We played without a conductor, guided by Tess our lead violinist. It was a challenge, but the beginnings were good. Next, I performed in the choir. We have been working hard on three pieces. We started with Gloria in Excelsis. Its starts with a forte section which is quite hard without a rehearsal beforehand. But it went well. My daughter was in the audience and got a fright from the volume - so we must have been at the right level! The other two pieces are gentler, Now Sleeps the Crimson Petal, music by Joyce Eilers, and Prairie Waters by Night by John Leavitt. They all went well. Finally I performed in folk band. The tunes were wo strathspeys Morag Haig Thomas, and Weights and measures followed by Myra's jig. The second set was a beautiful song Highland Mary. Beautiful arrangement. The final set was three polkas - Britches full of Stitches, Jessica's Polka and Trip to Dingle. I blogged about these previously. Tricky and fast - some quick third position work but it went well. Audience seemed to enjoy it. Here are a few sound files below. If you are interested in hearing more visit My Music page. Finished up the day with a theory exam - ugh. I then went out to see the wonderful singer songwriter Karine Polwart which I blogged about yesterday. I am doing another performance tonight, Scots Music Group tutors concert which is part of Ceilidh Culture.
I blogged a couple of months ago about the hardanger violin that we have been making (well - that my partner has been making). Its taken several years of research and building but its now finished in the white. Its a nine string fiddle (four top strings and five sympathetic strings) and has a REALLY great sound. I am delighted with it. Its a beautiful thing.
Rosing and varnish is next. Another very busy week. We have worked hard in the choir this week and it sounds great (see my last blog to check out the pieces we are doing). We have paid a lot of attention to detail to get the dynamics and diction right. It does now feel like part of a team that is performing really well together. I am looking forward to the performance next week.
Strings group is also coming together and we will be performing all four movements of Telemann's Concerto. Folk band sounds quite solid too. Playing up to speed with the correct bowings is more challenging than the strings group this time. We have been working on the arrangements particularly getting into and out of the tune. I also went to composition this week. I have finished two compositions recently and received feedback on them. A few things to tidy up but I am pleased with them, particularly the most recent one. Finally, I am still working on theory - analysis and aural training - chord recognition. Fiddle lesson later today. The third performance block has kicked off and is keeping me very busy. I am playing in the folk band. We are doing a couple of Strathspeys, Morag Haig Thomas by Donald Riddle (the Clunes Collection). I have played this tune before although a long time ago. The guitar accompaniment is lovely and lifts it. The second Strathspey is Weights and Measures by Gavin Marwick in D minor. Its an interesting tune with a darker feel. The last tune in the set is Myra's Jig by Ian Lowthian, a wonderful accordion player. I know him from performing at Durham last year. There is also a polka set with some playing in third position in one of the tunes. Finally we are also doing a song, Highland Mary by Robert Burns. Its great and beautifully arranged. There is an instrumental section with a rhythm and very fast reel for the fiddles. Its a lovely accompaniment but a challenge to get up to speed.
In the Classical Strings Group we are doing baroque music, Telemann's (unnamed) Concerto I, II and III: Cantabile and IV. Its really interesting. I enjoy classical playing a lot now. The violin parts are very achievable with a bit of practice. Its great to hear all the parts together. I am also singing in the main choir. We are performing three beautiful pieces Prairie Waters by Night by John Leavitt (my favourite), Gloria in Excelsis by Mozart and Now sleeps the Crimson Petal by Joyce Eilers. The pace is stepping up. I have transferred the learning parts onto my iPod and I listen to them wherever I go. We are singing Gloria in Excelsis in latin. I have sung in latin before - a long time ago. I remember it all though and so I find it easy to pronounce it. Its all great. Music theory also continues as does the practice for my recital. I am learning this country song at the moment. Its quite easy to play on the guitar and relatively easy to sing - apart from the southern US accent - which is difficult for a Scot. I went to see the Scottish Chamber Orchestra (SCO) perform Lark Ascending by Ralph Vaughn Williams (1872 - 1958) on Tuesday. This was the last of the SCO's excellent Cl@six series. The performance was in St Cuthbert's church which is a beautiful venue and great acoustics. It was a full house. I love Ralph Vaughn Williams. Playing Fantasia on Greensleeves brought him to my attention again recently. There is a Vaughn Williams Society, which was formed in 1994 to promote his work. Many of his pieces (and he was very productive) were not well known - particularly his operas. The Society describes him as follows: "Ralph Vaughan Williams is arguably the greatest composer Britain has seen since the days of Henry Purcell. In a long and extensive career, he composed music notable for its power, nobility and expressiveness, representing, perhaps, the essence of ‘Englishness’. " At the turn of the century he was among the very first to travel into the countryside to collect folk-songs and carols from singers, notating them for future generations to enjoy. It was performed by Alexander Janiczek. Knowing how difficult the violin is to play - I am amazed at the skill and ability to play at this level. The piece took six years to write as it is played now. It was inspired by a poem written by George Meredith which was apparently not very good. Whatever - it certainly led to Vaughn Williams writing a brilliant piece of music. I thought it was stunning. They also played Mendelssohn Overture, Son & Stranger and Schubert's Symphony No 5. They were performed fine but were overshadowed by Lark Ascending in my view. Here is brief clip of Nicola Benedetti playing as shown on the Andre Marr show. If you are having a stressful day I can recommend watching it - beautiful. Lady Madelina Sinclair I performed a Strathspey today - Lady Madelina Sinclair - in a masterclass. Lady Madelina was the daughter of the Duke of Gordon and the tune was written by William Marshall (although there is some controversy about this) around late 1700s/early 1800s. He worked for the Duke, eventually rising to become his factor, and he was also a fine fiddler and composer. Lady Madelina, was apparently not at all beautiful. Nevertheless, she made up for this by being agreeable and intelligent. She did marry, but this was said to be only down to the skill of her mother, who managed to arrange to marry her off. She looks fine to me though but perhaps that is with a bit of artistic license. Strathspeys have very particular bowings. Its a jagged rhythm switching from short - long, to long - short with snaps, loops and arrow bows (which involves a down, up, up, up). The piece also has contrasting sections, with a strong dotted rythmn which switches into very smmoth triplets on single bows - crossing strings. It could be made easier by breaking the bowing up into separate bows but its definitely better to bow these in one bow if at all possible.
It went well on the whole and I learned a lot from the feedback about how to improve it further. The feedback technique today was three positives before talking about where you could improve. This was encouraging and motivating while constructive in giving us the areas to focus on. Its how I had been trained to give feedback to staff. There were also a few colleagues who performed very interesting pieces. I enjoyed it - a good day - if a challenge. |
Fiona Harrison
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