Category Archives: Audio
I’m going to try an’ get my soul free
Back to the garden
But you know life is for learning
Back to the garden
Above our nation
back to the garden
One of Britain’s most influential composers and a favourite of the royal court, Sir Arnold Bax had another life as a would-be Irish nationalist poet, writes Petroc Trelawny
Sir Arnold Bax wanted to die in Glencolumcille, Co Donegal. “I fancy that my last vision in this life will be the still brooding, dove-grey mystery of the Atlantic at twilight,” he said. He was seduced by the remote settlement, the savagery of the sea in winter, the rugged cliffs that stretch away from the houses, the live music he heard in Paddy John McNelis’s pub.
Trad players were gathering outside another pub when I visited the Co Donegal village last month, recording a BBC radio documentary. Bax’s beloved beach was filled with sunburnt families, many of them day-trippers from Derry and Belfast whose journeys had been much simpler than his tortuous route via the Donegal Light Railway. The heat was breaking records, the sea absolutely flat, but it was not hard to imagine the potential fury of the waves, crashing hundreds of feet up the face of Glen Head. The natural beauty, and the sympathetic welcome Bax received from the villagers ensured that he returned year after year, later writing: “I came to know the people as I never knew any other community.”
Read the complete article
Read “A Dublin Ballad: 1916” by Dermot O’Byrne
Listen to “Tintagel”, by Arnold Bax (1883-1953)
By Jan Zwicky
Sound that makes night fall around it
Like the glow from a reading lamp.
Rain on the roof, straight down.
The name of your name
Spoken without another’s.
Rubato is a hand
You thought indifferent
Laid, briefest of moments,
On your sleeve.
It walks away, then,
That sound, without looking back.
Lights up a Lucky. Says
We hadn’t the ghost of a chance, says never
Let me go.
Listen to the complete Bill Evans album, “Alone”
Please note that we have tentatively scheduled musically inspired “Ekphrastic” poetry for June 28, 2018.
On October 26th, 2017 from 5:00 PM – 6:30 PM, at the Coach House, Green College, UBC, 6201 Cecil Green Park Road, Vancouver, Jan Zwicky and her husband, Canadian poet Robert Bringhurst, will present THE SHAPE OF THE WORLD: POETRY AND ECOLOGY. See the EVENTS PAGE for details.
Listen to the beautiful voice of the Pakistan-born Scottish poet Imtiaz Dharker read Elizabeth Bishop, Louise MacNeice and Arun Kolatkar.
For more information on Imtiaz Dharker, visit her website:
A reminder that we will be reading and discussing Elizabeth Bishop’s poetry on September 28. See the SCHEDULE PAGE for the list of featured poems.
Please note that for the September 28th session only, we will be meeting in the mezzanine meeting room.
What is it you feel I asked Kurt when you listen to
Ravel’s String Quartet in F-major, his face was so lit up
and I wondered, “the music is unlike the world I live
or think in, it’s from somewhere else, unfamiliar and unknown,
not because it is relevant to the familiar and comfortable,
but because it brings me to that place that I didn’t/couldn’t
imagine existed. And sometimes that unfamiliar place is closer
to my world than I realize, and sometimes it’s endlessly distant,”
that’s what he wrote in an email when I asked him
to remind me what he’d said earlier, off the cuff, “I don’t
recall exactly what I said,” he began, a sentence written
in iambic pentameter, and then the rest, later he spoke of two
of his brothers who died as children, leukemia and fire,
his face, soft, I’m listening to Ravel now, its irrelevancy.
Listen to Ravel’s String Quartet in F-major played by the Alban Berg Quartet.
Maurice Ravel completed his String quartet in F major in early April 1903 at the age of 28. Dedicated to his friend and teacher Gabriel Fauré, the work was introduced in Paris by the Heymann Quartet on March 5, 1904. The quartet follows a strict four movement classical structure: Moderato très doux begins as a sonata form allegro, the following Assez vif-Très rythmé functions as the quartet’s scherzo, while Très lent acts as a contrasting foil. The last movement, Vif et agité, reintroduces themes from the earlier passages and ends with a striking finale.
FROM DOLLY PARTON TO DOESTOEVSKY
By Sarah Creech
As Johnny Cash once said, “Of love and hate and death and dying, mama, apple pie, and the whole thing. It covers a lot of territory, country music does.” Like a great short story, a country song evokes complex lives in a condensed amount of space. Songwriters create tension between sorrowful lyrics and sweet melodies, and no other genre employs humor quite as well. So much of the fiction writer’s craft is present in this form, yet out of all the musical genres, country music songwriting attracts the least amount of scholarship.
Country music struggles to divorce itself from the hillbilly image conjured in the early 20th century when the Carter Family first began recording. Stereotypes about the genre have created a barrier around it as a topic worthy of serious inquiry. While I was researching my second novel The Whole Way Home, I gained a new appreciation for this music too often associated with ignorance and discovered many similarities between its classic songs and my favorite works of literature.
An LRB Podcast with Seamus Perry and Mark Ford
Seamus Perry and Mark Ford discuss the work of Philip Larkin, drawing on articles from the archive of the London Review of Books, by Alan Bennett, Barbara Everett, John Bayley and others.