Walter Bitner

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The Continuum

The Music of the Spheres, from Practica Musice by Franchinus Gaffurius, Florence, 1496 (click images to enlarge)

Music has been a part of human life for as long as we know. It fascinates me that we live in a time when advances in technology and the efforts of musicologists and musicians have made it possible to learn about, study, listen to, and learn to perform music from a vast profusion of times and cultures – far beyond what was possible in the past.

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2018: What Kind of Blog Is This?

Posing with the philosophers at the British Museum, January 22, 2018 ~ from Three Days in London

Off The Podium Reflections, Statistics, and Top Ten Posts

Here is my annual review of Off The Podium, in which I share some thoughts, highlights, and statistics for 2018. Sometimes this blog is a little all over the place, hence the title.

The past year was turbulent, with a lot of activity for me personally as well as in the department of Education and Community Engagement at the Nashville Symphony. Off The Podium continues to provide a great means to share the activities of the department with the world, and to continue to develop my writing on the topics of Music and Education – these features of Off The Podium reach thousands of readers all over the world and have brought me into contact with many musicians and educators I would otherwise have had no opportunity to meet or correspond with.

Thank you everyone for your continued encouragement and support.

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How Great is the Pleasure

or, Love and Music

 

directing the Nashville School of the Arts Chamber Choir, May 13, 2013, Ingram Hall, Blair School of Music, Vanderbilt University, Nashville (click images to enlarge)

 

This lovely eighteenth century canon was a staple of my school choirs’ repertoires throughout my entire teaching career. I came across it in a songbook when I first started teaching at Blue Rock School in the early 1990s, and I believe I taught this to every choir I directed until I left teaching in 2014. I taught it to every age group: elementary, middle school, high school. Over the years, How Great is the Pleasure became a kind of unofficial choir theme song for my vocal ensembles, and although it was not something we often sang in performances (especially with older groups of children), we sang it on a regular basis, often as part of our warm up or to close a rehearsal. I never met a child who did not love to sing this song.

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Diana Poulton

Diana Poulton, c 1929 (click images to enlarge)

The Lute Part XIV

The English lutenist, teacher, and musicologist Diana Poulton, whose long and fruitful life spanned every decade of the twentieth century, is one of the most important figures in the history of the lute.

She was one of the first pioneers in the twentieth century reawakening of interest in the lute. Her contributions include hundreds of radio broadcasts of solo lute music over the BBC beginning in 1926, annual performances at Alfred Dolmetch’s Haslemere Festival between the World Wars, and the founding of The Lute Society with Ian Harwood in 1956.

Her most profound legacies are the pantheon of lutenists who studied with her privately and at the Royal College of Music, and her works of dedication and scholarship devoted to the life and music of the composer with whom she will always be associated, John Dowland.

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Dowland on CD: A Survey of the Solo Lute Recordings: Part II

McFarlane, Ronn, 1991. Lute Music of John Dowland. Dorian DOR-90148.

The Lute Appendix iii b

Continued from
Dowland on CD: A Survey of the Solo Lute Recordings: Part I

 

(Throughout this appendix,
* indicates a recording I have not heard.)

 

Dedicated Recitals on Single Discs

As with the complete editions, three lutenists have recorded entire CDs dedicated to Dowland’s solo lute music:

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Dowland on CD: A Survey of the Solo Lute Recordings: Part I

O’Dette, Paul, 1984/1986. John Dowland: Musicke for the Lute. Auvidis-Astrée E 7715. AAD

The Lute Appendix iii a

In preparation for my (forthcoming) articles on the life and music of John Dowland for this series, I found myself playing, listening to, and reading about his music more often this year than I have in some time. Coming back to Dowland’s music after any length of time is always refreshing. As my intent this time around is an attempt to regard Melancholy John’s œuvre more comprehensively, I eventually found myself methodically listening to all of the recordings of his music I’ve collected over the years, and hence, the idea for this appendix.

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Expanding Educational Horizons Through Technology

Michael Tilson Thomas (Music Director, New World Symphony) with Aalia Hanif, Accelerando student, April 2018 (click photos to enlarge)

New World Symphony & Nashville Symphony Accelerando:
A Unique Partnership

I first met Cassidy Fitzpatrick, Vice President for Musician Advancement at New World Symphony, at the 2016 League of American Orchestras Annual Conference, held that year in Baltimore, Maryland. Cassidy approached me after a session where I had spoken about the Nashville Symphony’s Accelerando program, introduced herself, and we made arrangements to speak soon after.

This is how a number of important projects I’ve been involved with over the last few years have germinated – through an initial “chance” meeting at a conference. That crucial first conversation has led to a robust and thrilling partnership for the Nashville Symphony Accelerando program, now entering its third year.

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On The Dark Side of the Moon Part 3

continued from
On The Dark Side of the Moon
Part 2

 

The Dark Side of the Moon

Side B

Money

The sound effects loop that Roger Waters made in his garden shed from coins jangling, paper ripping, and other cash-related sounds begins the B side of The Dark Side of the Moon, followed almost immediately by Water’s driving bass line – one of the most distinctive and instantly recognizable in the history of rock. Money was Pink Floyd’s most successful single from the album, and like many rock hits, it is based on a twelve-bar blues. The resemblance ends there, however: Money is set in the dark and serious key of B minor, with seven beats to the bar.

Money‘s three verses are a cocky paean to greed, a caricature of capitalist values. Waters lays the irony on thickly: clearly living one’s life in pursuit of money for its own sake or for the luxuries that great wealth can bring may interfere with the attempt to live consciously. Do greed and a distraction with materialism proceed from the irrational part of human nature?

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On The Dark Side of the Moon Part 2

continued from
On The Dark Side of the Moon
Part 1

 

The Dark Side of the Moon

Side A

Speak To Me

The opening track is a brief sound collage, little more than a minute long, which introduces and foreshadows some of the album’s themes in the manner of an overture. The opening heartbeat draws the listener into an intimate relationship with the music from the very beginning. It is nearly half a minute before snippets of sounds hint at what’s to come: clocks ticking (Time), a cash register (Money), the rotor sound effect (On The Run), lunatic laughter, and the first spoken words “I’ve been mad for fucking years, absolutely years” introduce the album’s primary themes as the sounds overlap, increase in volume, and build to a climax that features a woman screaming into

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On The Dark Side of the Moon Part 1

“All you touch and all you see
is all your life will ever be.”

~ Roger Waters, Breathe

 

Forty-five years after its release, Pink Floyd‘s monumental The Dark Side of the Moon remains the most important musical document on the human condition in the history of rock music. It is arguably the most important musical recording ever made to address its subject matter: universal humanist themes that include the finite compass of human experience, the passage of time, death, greed, conflict, insanity, and the irrational.

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