Music arranged by CLINT EDWARDS (based on themes of Astor Piazzolla)
Performed by Xiayin Wang (piano) and the Amity Players: Bela Horvath (violin), Tom Palny (viola), and Raphael Dube (cello).
Pianist Xiayin Wang and the Amity Players recently included three tangos I arranged for them in a performance in Carnegie Hall, on the Weill Hall stage. The performance took place in January 9th, 2009 and coincided with the release of their new CD “Brahms’ Piano Quartets.” This was the second performance of the tangos in Weill Hall.
Here is a live recording of “Verano Porteno” from the performance on January 9th.
A little history…
In the fall of 2006 Xiayin approached me about arranging three of Astor Piazzolla’s tangos into a suite to perform with a piano quartet. Various arrangements of these tangos existed but none seemed to fit the needs of the group, especially given that they would share the bill with much larger 19th century romantic chamber works by Brahms and Faure. I wrote with the dual goal of expanding the simple ABA structures of the original tangos and adding weight to the material by showcasing the virtuosic capabilities of each player and the ensemble as a whole.
From the program notes by Paul Griffiths:
“Verano Porteno” (Port District Summer) dates from the Argentine composer’s first years back in Buenos Aires after his stay in New York in 1958-60. Composed for a play, it was an immediate hit, and helped Piazzolla counter the disparagement and outrage that had been voiced in his direction by tango conservatives in Argentina. It’s middle section sits nicely on strings in this version.
Later, Piazzolla added three more pieces to make a Buenos Aires “Four Seasons.”
This month’s post features a new demo song from my musical “Becoming Tennessee.” Laila Brown sings “Storyville” to Tom “Tennessee” Williams and Hannon, recalling her glorious past as a brothel madame and how she earned her place in New Orleans society. The sounds of Jelly Roll Morton-inspired piano playing return her to her youth and a much different time when prostitution was legal and prominent in an apportioned section of the city known as “Storyville.”
“Storyville”
Way back then I was a pretty little thing
In Storyville.
The men would come just to have a little fling
In Storyville.
It was all very legal,
And elegant, classy, and regal.
‘cuz I was queen and men felt like my king
in Storyville.
Bought it cheap after the 1909 flood
In Storyville.
My skin as smooth as Mississippi mud
In Storyville.
Had the face, had the booty,
But biz’niz takes more than just beauty.
It takes a dose of acid in your blood
In dear ol’ Storyville.
Sure it was tawdry and dancin’ in the street,
A great way to make a dollah.
I was a goddess. Men worshipped at my feet.
My own little private Valhalla.
(She grabs Tom and envelopes him in a dance. Hannon cuts in and shows Tom how it’s done.)
If you were smart you could stay out of harm.
It wasn’t all champagne and crystal.
I always carried my good luck charm –
A pretty little pearl handled pistol.
These sleazy joints will never be as nice
As Storyville.
Progress came, but that progress had a price –
You guessed it.
Storyville.
Hundreds of hookers and hordes of the hottest musicians,
Put out of work by the whim of a few politicians.
End of an era because of their damn inhibitions.
How I miss my den of sin and vice,
My Storyville.
Clint Edwards with Xiayin Wang at Carnegie Hall, 2006.
I am happy to announce an upcoming performance of my piece “Three Tangos based on themes of Piazzolla” in Carnegie Hall’s Weill Hall on January 9th. Pianist Xiayin Wang and the Amity Players will be playing the tangos along with two of Brahms’ best chamber works, the piano quartets in C minor and G minor. The concert will coincide with the release of their new CD “Brahms Piano Quartets.”
My good friend, soprano Lauren Welliehausen, came to New York recently for the first time since her wedding and subsequent move to Germany. A few years ago, Lauren sang the premiere of my “Requiem Prayers” with me at Carnegie Hall and this month’s post features another setting of one of those Requiem texts, the “Agnus Dei.” We recorded this new text setting during her recent trip. Lauren sang all three parts.
“Agnus Dei”
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
which means:
Lamb of God, who takes away the sins of the world, have mercy upon us.
Lamb of God, who takes away the sins of the world, have mercy upon us.
Lamb of God, who takes away the sins of the world, grant us peace
Music composed, orchestrated, and recorded by CLINT EDWARDS
Lyrics by MICHAEL AMAN
From “Becoming Tennessee”
Performed by (in order of appearance): Jessica Carter, Steven Ray Watkins, Lauren Bradley, Adam Mastrelli, and Harris Doran.
The past several weeks have been filled with lots of rehearsals and recording sessions putting together the demo CD of my musical “Becoming Tennessee.” This post features one of the new tracks, “Fat Tuesday Caterwaul,” scored for a New Orleans band and a bunch of friends, both new and old, singing their hearts out. Thank you so much to everyone who graciously gave their time and talents to help Michael and I record all of the songs. It would not have been possible without you!
“Fat Tuesday Caterwaul” is a song from the second act of “Becoming Tennessee.” It brings together Tom “Tennessee” Williams with his friend Nick, the paratrooper, as they join a New Orleans Crewe decorating their float for the big Mardi Gras parade on Tuesday. It is still morning, but the partying has started early and will continue all week long.
“The Fat Tuesday Caterwaul”
Mardi Gras in the French Quarter
Various Chorus:
For most of the year no one plays.
We’re happy to sit in the haze.
Three hundred and sixty-four days
Of piddlin, fiddlin, twiddlin thumbs.
Though scads of distractions might knock,
We don’t dare to open the lock.
We’re counting the tics on the clock
Until Fat Tuesday comes.
Then we run amuck,
As hell breaks loose.
We could resist,
But what’s the use?
So heed the call
Of the alcohol.
It’s the Fat Tuesday,
The Fat Tuesday Caterwaul.
You never could tell from our grins
That we have such shame for our sins.
That’s why when Ash Wednesday begins
We’re lented, contented, repented, contrite.
So let the dementia ensue,
And bid all your morals adieu.
Then write God a big I.O.U.
For twelve o’clock that night.
Then the city rocks,
And buildings sway.
And churches look
The other way.
When ev’ry wall
Seems it just might fall.
That’s the Fat Tuesday, Fat Tuesday,
The Fat Tuesday Caterwaul.
(Tom is passing. He is carrying his typewriter case. Nick sees Tom and recognizes him.)
Nick:
Hey, Walt Whitman!
(Tom panics and starts to leave.)
Where you going? Come back here. You’re not upset about that money, are you? I’ll pay you back. I promise. I’ve been having fun. You see this? This is art! They’re getting it ready for the parade on Tuesday. You should stick with me and we’ll do it up big, but we’ll need to get a head start to keep up with these locals. How much money you got?
Tom:
I don’t have any.
Nick:
What’s in the case? That your typewriter?
Tom:
I’m selling it.
Nick:
That’s the spirit! Let’s live it up. I owe you a lot. Let me make it up to you. What do you say?
Tom:
I don’t know.
Nick:
On Wednesday I’m going back to the base,
Smile on my face,
Maybe a trace
Of gin on my breath,
Feeling like death
Warmed over…
But between now and then I’m rolling in clover.
Four days of restraint to endure.
My goal is to end in the sew’r.
I hear that the city turns pure
Insanity, vanity, man, it e-rupts.
Tom:
The life that a libertine has,
We’ll blame it on bourbon and jazz,
Cuz we are as innocent as
A couple of pups.
Nick:
I had heard the south
was all uptight.
I must admit
I seen the light!
Halleluiah!
So listen y’all
To my southern drawl.
It’s my first Fat Tuesday Caterwaul.
We’ll jump up on one of them floats
While pouring some hooch down our throats.
It’s time to start sewing some oats.
Begin to dive into a sin to confess.
Tom:
We all wear our vices with pride.
I can’t keep desires inside.
It’s useless, believe me, I’ve tried
Without much success.
Tom and Nick:
It’s all about celebration, intoxication,
The preparation to tempt temptation.
Put moderation in moderation.
Tom:
Robbing Peter
Nick:
Then robbing Paul!
Both:
The Fat Tuesday Caterwaul.
(Tom picks up his typewriter case.)
Nick:
Atta boy. I remember where you live. I’ll meet you there Monday night. Go get ‘em.
Tom:
See you later, Nick.
(Tom leaves. We see him with the Auctioneer exchanging the typewriter for cash.)
Chorus:
Put restraint away
And join the romp
Come take a swim
Here in the swamp.
Come one, come all
To our drunken brawl.
It’s the Fat Tuesday, Fat Tuesday,
The Fat Tuesday Caterwaul.
So run or crawl
Without guilt or gall
It’s the Fat Tuesday…
Fat Tuesday Caterwaul.
Fat Tuesday!
Fat Tuesday in New Orlean
Upcoming performances:
Reginald Bennett Jr. will be performing my song “Farewell” twice in November:
On November 8th, in NYC, at St. John’s in the Village. 8:00 PM
On November 15th, in Beacon, NY, at the Howland Center. 8:00 PM
I will be playing at “One If By Land, Two If By Sea” on Saturday, November 8th, and Tuesday, November 25th.
Music composed, orchestrated, and recorded by CLINT EDWARDS
Lyrics by MICHAEL AMAN
From “Becoming Tennessee”
Performed by Reginald Bennett Jr., Karen Mack, and Steven Ray Watkins
This month’s demo song is “Take What You Want” from my musical “Becoming Tennessee.” Getting my Mac G-5 to swing like a New Orleans jazz band took a lot of coaxing since she plays Brahms much more easily than Louis Armstrong, but I think the challenge was worth all the effort. I dug up all the swooping clarinets, sliding trombones, and stinging trumpets I could find! Also, big thanks to all of the singers who helped me make this recording.
This song takes place about 25 minutes into the first act. The Auctioneer is convincing the young Tom (Tennessee) Williams that all he needs to find his voice as a writer is lying right before him in the gloriously decadent city of New Orleans. If you can’t get what you want, then take it. He is joined by all the inhabitants of the city in his attempt to persuade.
“Take What You Want”
Auctioneer:
You’re at a crossroads, boy.
Time to make some choices.
Listen to the voices in your head.
You can take the path that’s secure.
You can make the choice that is pure,
Or forsake it all for the lure
Of a shiny trinket, or a distant tune, or someone else’s bed.
To partake might not be wise,
But that’s what I’d advise.
Why deny the urge?
Feed the need to splurge.
Seize the keys.
Submerge yourself in all of life’s glories.
Create your own stories.
Hunger and thirst are all you require
In this generous town.
You can have anything you desire If it ain’t nailed down.
Take what you want.
There ain’t no rules.
Cuz those who don’t
Are all just fools.
The city gives
Her precious jewels.
You should grab your share
While they’re all still there.
Take what you want.
Take what you want.
And leave the rest.
Life is a game,
It’s not a test.
We all are damned.
We all are blessed.
Hide inside a shell
And this life is hell.
Take what you want.
Chorus:
Nawlins, Nawlins.
Nawlins. Nawlins is French for intemperance. Do not be seduced by respectability. Respectability is a cage created by nervous Victorians. The keys to the cage are in your possession. Use them. Don’t think about the consequences. Self-control inhibits creativity.
Take what you want
As is your right.
But best to wear
The cloak of night.
And if you’re caught,
Just be polite.
Pay your dues and then
When you’re free again
Take what you want.
Take what you want
But don’t forget
There might be folks
Who get upset.
But that’s all right,
Cuz you can bet
There are others who
Will do the same to you.
Take what they want.
Take what you want.
Take what you want.
Reginald Bennett Jr., who sang the role of the Auctioneer will be giving two concerts in November where he will also be singing my song “Farewell.” Event details are below:
November 8th in NYC at St. Johns, in the Village. 224 Waverly Place
November 15th in Beacon, New York, at the Howland Center
Contact Reggie directly: Bennett2g@aol.com
Music composed, orchestrated, and recorded by CLINT EDWARDS
Text by LORD BYRON from “Childe Harold’s Pilgrimage”
I’m starting a new project recording and producing new song demos for posting on my website. My goal is to have a new piece posted on the first Monday of each month.
Coincidentally, I’m beginning things with a “farewell”…or so to speak. “Farewell” is a song that I composed for my good friend, soprano, Lauren Bradley. She premiered the song in New York this past January. It’s apropos that I’m presenting this piece now, since Lauren has just moved to Germany to pursue her operatic career. I wish her great success and will miss her. Enjoy the music!
My task is done-my song hath ceased-my theme
Has died into an echo;
The torch shall be extinguished which hath lit
My midnight lamp-and the glow
Which in my Spirit dwelt is fluttering, faint, and low.
Farewell! a word that must be, and hath been-
A sound which makes us linger,-yet-farewell!
Ye! who have traced the Pilgrim to the scene
Which is my last-if in your memories dwell
A thought which once was mine-if on ye swell
A single recollection-not in vain
And in that image shall forever tell-
Farewell! with me alone may rest the pain,
If such there were-with you, the Moral of my Strain.
Farewell!
