Easy Rider Soundtrack

★★★✰

   Cinema works the same way as literature, both are narrative arts and both depict time and social environment. Sometimes movie plays a major role in social life and passes with the dilemmas of the era, sometimes it stays as the voice in universal discourse and can be heard for years. Some films work both ways and these we recognize as master achievements. One of such movies is without any doubts Easy Rider, produced by Peter Fonda, directed by Dennis Hopper. Fonda and Hopper were playing main characters Wyatt and Billy. The third great actor of the movie was Jack Nicholson in the role of the lawyer George Hanson. As voice of the generation, Easy Rider is clear example of the road movie. And like many movies of these times, it was driven by drug poetics and counterculture ideas. In 1969 those were the factors connected with instant success. I was critical towards American tradition; it was anti-Western and anti-frontier demystifying. Heading opposite direction than history of the American nation, from West to East, Wyatt (Captain America) wanders back to the sources.
   What makes this movie unique is a connection of strong cultural discourse and social criticism with aspirations of young Americans. Director of the movie Dennis Hopper said “Easy Rider was never a motorcycle movie”. Exactly the same way as Vanishing Point was never a car chase movie and Last Tango in Paris was not an erotic movie. It’s worth to notice, Easy Rider was not about drugs as well. Hopper in his explanation stated: “A lot of it was about politically what was going on in the country”. But politics is always behind the social issues and freedom has its price. The trip taken by the heroes is just as in every good road movie the trip into deep of self. The chase for American dream occurred to be the road to nowhere or to the series of disappointing close-ups of miserable life in the best case. This movie corresponds with Medium Cool, one another critical picture of American dream done in 1969 by Haskell Wexler. In both cases the footage creators are dealing with music, making it a part of the drama. And music accompanies the pictures, enhancing the story with deeper sense of cultural and social background.

Easy Rider Soundtrack (1969)

   There is no information about music in movie credits. It is significant fact. In 1969 nobody was willing to sign by his name a soundtrack made as collection of best record – this credit was reserved just to composers and musicians who really made music in the movie. So this is a choice made by producer and director. But such a decision also has its means. Despite of this, the soundtrack for Easy Rider was more than just a collection of rock songs. Before such collections become popular in seventies, in late 1960’s it was not very common practice, and different as in forthcoming years these songs were used as the element telling the story. Carefully selected songs and instrumental fragments correspond with main ideas, illustrate emotions, and enhance the impact of some scenes. And most of all, this soundtrack is the part of the message exactly the way rock music was part of life for entire generation. The same was modern jazz in late fifties. The radical change of music in Easy Rider soundtrack shows the way rebellion goes. From naïve Wasn’t Born to Follow by The Byrds and hippie communes on the West, to industrialized East with disturbing instrumental music of Flash, Bam, Pow by The Electric Flag which trance motoric rhythm can be seen as heralding postindustrial rock.

The Electric Flag - Flash, Bam, Pow (1967)

   Whole soundtrack album is ten songs credited to various performers. General line draws from Steppenwolf’s The Pusher and title credits sequence Born to Be Wild and The Weight by The Band (soundtrack album covers this song by Smith), through If you Want to Be a Bird by The Holy Modal Rounders and Don’t Bogart Me by The Fraternity of Man, to Jimi Hendrix Experience’s If the Six Was Nine. There are also The Electric Prunes’ composition Kyrie Eleison Mardi Gras and two ballads It’s Alright Ma and Ballad of Easy Rider sung by Roger McGuinn. All these songs had strong cultural and historic context, but Born to Be Wild by Steppenwolf become the anthem of the post-hippie generation.
   Some songs were not included in soundtrack album. The popul song Let's Turkey Trot by Little Eva is just the part of the bar interior characterizing esthetic and social contrasts. Many musical elements are just parts of background, like songs heard on the streets of New Orleans during Mardi Grass. One fragment which exclusion is hard to accept is musical fragment corresponding the drive through industrial landscape. It is mentioned before Flash, Bam, Pow by The Electric Flag, the music used two years earlier in Peter Fonda’s movie The Trip. In fact this is one of most emphatic moments of the movie thank to context and to the music. Unlike many other movies of this time, Easy Rider was truly and explicitly critical against traditional hierarchical society but also against hippie culture, against drugs and alcohol, against xenophobic stereotypes, against inequity and against hate. And the greatness of this movie is the story of the voyage can be taken as viewer’s personal experience. There are many keys to the truth and music is the best one.

Witold Małcużyński – Tchaikovsky – Concerto B-flat Minor op. 23

THE 100th ANNIVERSARY OF WITOLD MAŁCUŻYŃSKI'S BIRTH

   One of best pianists in 20th century Poland was Witold Małcużyński (Malcuzynski, Malcuzynsky, Malcuzinsky), pianist whose career was temporarily suspended by 2nd world war, but flourished in 50’s, giving him master position in Poland and internationally recognized authority in romantic pianism. He was famous as interpreter of Fryderyk Chopin’s music and great performer of romantic concertos by Liszt, Brahms, Tchaikovsky and Rachmaninov. He has recording contract with Columbia Records but his recordings were also published by EMI and Angel Records. Before the war he was supported by Ignacy Jan Paderewski. Later as he was recognized worldwide, Małcużyński was able to continue some activities also on diplomatic field. He had contribution in returning to Wawel Castle in Kraków collection of works of art saving from the war in Canada. 

   He was born August 10th 1914 in Koziczyn (now Kazokine near Švenčionys – Lithuania) and since the age of 5 he was learning piano. As 15 years old he was accepted into Warsaw Conservatory where he studied in classes of Jerzy Lefeld and then Józef Turczyński. He graduated with honors in 1936 and the same time became laureate of fifth prize in International Music Competitions in Vienna. Next year he won third prize in Third International Chopin Piano Competition in Warsaw. In 1938 he moved to Paris for invitation to study in Paris with Marguerite Long and Isidor Philipp. In September 1939 after Germany attacked Poland, he joined the army and thank to Ignacy Jan Paderewski was incorporated as a member of artistic corps. After Germans captured Paris, he fleed to Portugal, and in October 1940 he moved to Argentina. Two years later he moved to USA and after the war he back to Europe and settled in Switzerland.  

Witold Małcużyński - Tchaikovsky - Concerto B-flat Minor (1961)

   He was one of these intellectuals who delayed their comeback to Poland for political reasons. As one of most successful Polish artists, after his return to Poland in 1958 Witold Małcużyński was celebrated as a national hero. He was frequently performing and recording artist, unquestioned authority in artistic style, member of jury in Long-Thibaud-Crespin Competition in Paris (1946, 1955, 1960, 1965, 1977), Queen Elisabeth Music Competition in Brussels (1960), Magda Tagliaferro Competition in Paris (1960) and International Chopin Piano Competition in Warsaw (1960, 1965, 1975). He was performing with Paul Kletzky, Serge Koussevitzky, Pierre Monteaux, Fritz Reiner, Artur Rodziński, George Szell and giving recitals of Polish music. In 1961 Witold Małcużyński recorded two great romantic piano concertos – Concerto No. 1 B-flat Minor by Pyotr Tchaikovsky and Concerto No. 3 D-Minor by Sergei Rachmaninov.
   Performance of Tchaikovsky's Concerto B-flat Minor op. 23 with Polish National Philharmonic Orchestra, the orchestra Małcużyński made debut with, were symbolic return to his beginnings. Pianist is main artist of this performance. Orchestra is following him with necessary precision, which is part of great contribution of conductor Witold Rowicki. The sound of orchestra is even but sometimes little too flat, just opposite to the sound of the piano exploding with colors and emotions. Such difference was probably the effect of sound producer decisions. Maybe orchestral sound was suppressed to enhance the effect of the piano. Recording with Polish National Philharmonic Orchestra under direction by Witold Rowicki was great achievement of artists and one of mandatory item in every Polish records collection. This performance was recognized as perfect interpretation and reprinted many times in Poland and other countries. Four stars for great performance.

Galina Vishnevskaya and Mstislav Rostropovich perform Rachmaninoff and Glinka

   Song is definitely a cultural phenomenon. It unites poetry, music and performance in one clear economic form. It is more than just a communiqué, it is an exposure comprising human processes: emotional and intellectual, private and social, natural and cultural. Song is present since ancient times, throughout history, to the present day. There were special moments, when song in various forms became particularly important, like late mediaeval canson or early baroque accompanied monody. Song is especially significant as a medium of rebellion and protest. Artistic song was also probably most characteristic musical form of romantic era. In 19th century European culture poetry was probably more popular than ever before, and musical elaboration of poems took prominent place in many social events. No wonder almost every composer was trying his potential in songs, song cycles, small forms for voice or even instrumental miniatures constructed as songs.
   Russian composers were especially creative in this field which was the result of great romance tradition giving song special place in repertoire and in collective memory. Russian culture until XVIII century was developing in isolation. In consequence of religious and cultural differences, Russian music was almost impenetrable from West European positions. The first Russian composer who became internationally recognized was Mikhail Glinka (1804-1857). He become famous for his operatic works, especially A Life for the Tzar (1936 original title Ivan Susanin) Ruslan and Lyudmila (1942) after poem by Alexander Pushkin. He was also author of chamber and orchestral compositions, with most popular symphonic piece Kamarinskaya (1848) and two Spanish Overtures (1845 and 1851). He composed also numerous artistic songs to romantic poems by Alexander Pushkin, Nestor von Kukolnik, Friedrich von Schiller and Adam Mickiewicz.

Galina Vishnevskaya – Songs by Rachmaninov and Glinka (1976)

   Romantic era was the time of great rise of culture in imperial Russia. During the one century Russian composers gained rated positions and become leading power in late romantic period. One of late romantic composers was Sergei Rachmaninoff, composer and pianist famous mainly for his four piano concertos and Rhapsody on a Theme of Paganini. He is remembered as brilliant pianist and his works are often present in virtuoso piano recitals, especially Preludes. His works comprise three operas, three symphonies, two string quartets, and series of choral works, many of them liturgical. And maybe the biggest amount of his works are compositions for voice with piano with famous Vocalise Op. 34 No. 14 (1912). He was composing songs to great Russian poetry, to lyrics of Ivan Bunin, Alexander Pushkin, Yakov Polonsky and Fyodor Tyutchev.
   Both composers, Glinka and Rachmaninoff are great masters of artistic song, and this part of their work was the subject of frequent renditions. One of the best is Deutsche Grammophon album with the recital of songs written by two romantic composers. Chronologic order was reversed and five Rachmaninoff songs were placed in side A of the record: Ночь печальна (Night is Mournful) Op. 26 No. 12, Не пой красавица (Beauty, Don’t Sing Anymore) Op. 4 No. 4, Музыка (Music) Op. 34 No. 8, Весенная вода (Spring Waters) Op. 14 No. 11 and Вокализ (Vocalise) Op. 34 No. 14. B side comprises 8 songs by Glinka: Сомнение (Doubt), Я помню чудное мгновение (I Remember the Wonderful Moment), Как сладко с тобой мне быть (How Sweet is to Be with You), К ней (To Her), Только узнал я тебя (I Just Found You), Венецианская Ночь (Night in Venice), Жаворонок (The Lark) and Баркарола (Barcarolle). This album of songs by Mikhail Glinka and Sergei Rachmaninoff was recorded in 1976. It is beautiful presentation of two Russian artists, singer Galina Vishnevskaya and famous cellist and conductor Mstislav Rostropovich who was also perfect pianist and sophisticated accompanist. Four stars for poetic and musical features of repertoire and for the quality of performance.

Return to Forever – Romantic Warrior

   Since jazz and rock were genres of music growing on conflict with official culture, artists were always referring to traditions different than accepted in establishment culture. While American rock ensembles were almost strictly connected to rhythm and blues roots, some were just duplicated rock and roll patterns, but numerous European bands and musicians were looking for inspiration in more specific tradition. Interesting concept was flourished in England, Italy and France. Many musicians playing popular songs, folk rock and progressive rock were experimenting with different folk traditions. It was natural many of them had found folk music sources in mediaeval culture. In fact connections between mediaeval traditions and folk culture were as common as deep. And of course it has different effect in popular and in more ambitious genres of music. Popular and progressive bands like Jethro Tull, Procol Harum, Yes, King Crimson were building clearly European sound and whole artistic means, totally different than Jimmy Hendrix, Chicago, Blood Sweat and Tears or Santana.
   During jazz-rock revolution many jazz musicians playing fusion were looking for possibilities of using different folk patterns. While John McLaughlin and his bands Mahavishnu Orchestra, Shakti were exploring far East traditions, Weather Report was mixing electric jazz sound with South American rhythms and sounds, Return to Forever found mediaeval musical idioms as perfect basis for building their creative music. In fact there was nothing like this before. Already in Hymn of the Seventh Galaxy musicians were building elevated emotions, one could consider them as religious. This attitude set the trend leading to perfect realization in Romantic Warrior album. Chick Corea and Return to Forever become one of most respected artists of seventies and Romantic Warrior was sold in half million copies.

Return to Forever – Romantic Warrior (1976)

   What’s interesting, especially if we notice Romantic Warrior is Return to Forever’s sixth studio album, this album is again an original work. And the first one in band’s discography published by Columbia Records. Interesting fact is this was the first time “featuring Chick Corea” reference has been omitted. It was probably decision of Columbia Records trying to reinforce the position of the band. Maybe after first five records Return to Forever was too explicitly associated with Chick Corea and managers wanted to show it more as an independent group than yet another Corea’s project. This is probable idea considering fact, every member of the quartet has on this album his own composition. But most interesting quality of Romantic Warrior is creative use of some mediaeval ideas. Themes played in unison and modality are clearly taken from mediaeval music. Tempos and virtuosity also can evoke some elements of old dance music.
   Selected sounds of electronic instruments give the effect of mystery, a context in which even acoustic piano or guitar sound differently than usual. Chock Corea is playing whole collection of keyboards instruments, marimba and percussion instruments. Stanley Clarke plays bass, Al DiMeola guitars and Lenny White drums and set of percussion. It is extremely interesting how jazz-rock connected to mediaeval motifs can be universal. Good example are solos in composition by Lenny White Sorcerres. Although guitar solos have clear rock feeling Al DiMeola’s discipline is perfectly jazzying. The same with Chick Corea’s accoustic piano solo which is both classic and jazz and somehow pop music. This shows the greatness of Retrun to Forever. This album demands four and half stars. Why not five? Only because there are few other Corea’s album which deserve full grade.

Christoph Willibald Gluck – Orfeo ed Euridice

THE 300th ANNIVERSARY OF CHRISTOPH WILLIBALD GLUCK'S BIRTH

   When Christoph Willibald Gluck was born, the 2nd of July in 1714, Europe was still in the state of war, but the clash of arms was heard mainly on peripheries of the continent. It was breakthrough year in Great Nothern War of Russian-Polish-Danish coalition against Swedish domination on Baltic Sea region. After long siege Barcelona was taken and Spanish Succession War was about to end. Republic of Venice isolated in newly established European balance has been attacked by Ottoman Empire in what was later called the Small War. The state of permanent variability was enhanced by rapid changes in science and technologies. Old habits and regimes were in permanent collision with new ideas and the progress in science and humanities. The conflicts in first half of 18th century were principally the echoes of global crisis in 17th century and the best solution was to clear oversized systems of the values and to start entirely new ideological standpoint. This situation has strong influence on creating the classical music, art of classicism, philosophy and science of the Enlightment era.

   In 18th century opera was one of well established musical forms, with more than a century of history. The moment opera started in 1600 marked the beginning of new era, but in fact it was not clearly baroque form. Conceptually opera was build entirely on renaissance idea of synthesis of arts, but in first century of its development new form was under strong effect of baroque culture. Many composers of opera and dramma per musica were making numerous concessions to singers’ vanity and audience’s expectations. This led to dramatic weakness and caricaturally changed proportions of various components of opera. Some baroque composers tried to restore the idea of balanced elements from various fields of art, but the one who made the first real reform of opera was Christoph Willibald Gluck. He subordinated music to drama and restored dominant position of dramatic effect obtained by play, music and every other element. Even overture had its dramatic function. He also reinforced the position of the choir, and reduced difference between arias and recitatives. 

Grace Bumbry, Václav Neumann – Gluck – Orfeo ed Euridice (1966)

   Christoph Willibald Gluck was one of the greatest opera composers ever. Thank to collaboration with librettist Raniero de’Calzabigi he was able to create works showing this form in new light. After about two dozens of traditional operatic works in Italian style, in 1762 he produced first opera of new type Orfeo ed Euridice. After Viennese premiere his reforms were poorly received. Paris was more ready to break with tradition and the work was acclaimed. His next operas Alceste (1767) Paride et Elena (1770), Iphigénie en Aulide (1774), Armide (1777) and Iphigénie en Tauride (1779) became successful realizations of new operatic esthetics. This reform decided opera was able to survive and be well in the era of Enlightenment. Gluck was recognized opera composer but his instrumental music never become popular, although nine symphonies and eight trio sonatas complement the picture of his creative possibilities. He was also composing sacred works even if he did it very rarely. His small portfolio of religious works comprises De profundis clamavi for choir and orchestra and lost Miserere.
   Later works give composer appreciation but 250 years later Orfeo ed Euridice is the most popular opera by Gluck. This work is transitional form between opera in Italian style and new trends. Maybe this is what makes the work so flexible. There are dozens of great performances on vinyl and on digital media. One of old but still very clear is 1966 recording made in Heilandskirche in Leipzig. Published under Eterna label but in cooperation with Electrola, during next years this recording was frequently republished in various countries. Perfectly sung by Grace Bumbry (Orfeo), Anneliese Rothenberger (Euridice) and Ruth-Margaret Pütz (Amore) with Rundfunkchor Leipzig and Gevandhausorchester Leipzig under direction by Václav Neumann, this is great recording. In fact it still sounds fresh, and after almost half of the century this is clear exposure of quality rendition. 

Angels in the Architecture

   As a gesture of justice, let's try to observe 20th century art of sound without excitation, just as one more century in the history of music. But it is not an easy task. No wonder, past century was highly irregular period of rapid changes and modifications. Social issues were significant too, and for sure economic changes had strong impact on functioning of the culture, but still it was technology improvements which had really changed our life. Electronic means of sound during the process of production and reproduction has exchanged music dramatically and at any level of its functioning. In a way this revolution was even bigger than famous improvement in printing technique developed by Johannes Guttenberg. Before the era of electronic revolution many parameters of sound and space were just randomly. Composers were trying to make structures proper for every kind of reproduction, for good and poor performers, for small and big halls and auditoriums. Their aim was to compose music which could be played in every shape, in every possible circumstance with almost the same effect.
   In 20th century electronic means revolve everything upside down. From early mechanical phonographic recordings, than modified by electronic and digital technology, the process was a new quality in musical culture. Earlier theoretical attitude was always focused on structures and means, constructive, harmonic, orchestral, supported by the descriptive reports on performance characteristics. And rapidly musicologists were able to compare different ideas and distant realities. Old school performances with all its faults gave way to perfect performances of generations learned from records. Learning from recordings resulted the experience impossible to acquire in traditional culture. Recorded in studio, or just collected and merge from many recorded fragments compositions were moved to listeners' homes as the sound product of perfect quality. This change has influenced all kinds of music, and cultural practices. 

Angels in the Architecture (1987)

   When musicians realize the common place for listening music became home and how related social behavior had changed, they started artistic search for adequate means of expression. In fact earlier changes also generate artistic revolutions, every social, economic, religious change has strong impact on culture, so there’s no surprise changes in 20th century had been changed a lot. In 1980’s, partly as a reaction on disco frenzy, partly to recognize new possibilities of creating artificial sounds and spaces, group of musicians started recording music for contemplative listening, composed more as static sound picture than narrative musical construction. Creators of this new way were recruiting mainly from progressive rock, electronic, alternative and session musicians. This part of music, strongly connected to electronic sound experiments and minimal music ideas has been called ambient music and in early 1990’s it was widely spread as alternative for rock, dance and popular music.
   One of labels specializing in ambient records was Editions E. G. which was continuation of famous in 1970’s E. G. Records. It has started in 1969 from artistic management of David Enthoven and John Gaydon who were managers of such giants as King Crimson, T. Rex, Emerson Lake and Palmer and Roxy Music. In next decade E. G. Records was still the label significant for the whole artistic movement developed from progressive rock. In 1987 label Editions E. G. (then marketed by Virgin) released sampler of ambient productions We have here classics of Harold Budd, Brian Eno, Roger Eno, Michael Brook, experimenters and intellectualists with great Robert Fripp, Bill Bruford, Patrick Moraz, Phil Manzanera and Penguin Cafe Orchestra.
   Thirteen compositions from albums signed by featured artists comprises both meditative and radical compositions and everything here is outside the mainstream. But now, when more than the quarter of the century has passed, former experiments sound nobly and honestly. It’s fascinating how time made them pure and clearly understandable, free of novelty and thus full of meanings. There’s one more chance to look behind the curtain of our memory. And what we can find in past, show us where we really are.

Johann Georg Albrechtsberger – Concertos for Jew’s Harp & Mandora

   Johann Georg Albrechtsberger was one of prominent composers in classical period Viennese school. He was only four years younger than his friend Joseph Haydn. Educated in philosophy and in music, he was skillful composer, using with competence almost all known techniques. Big part of his work is connected to his service as organist of Viennese court (from 1772) and Kapellmeister of St. Stephen Cathedral (from 1792). His numerous compositions for piano, organ, chamber ensembles, orchestral and vocal music was accompanied by theoretical works in subject of harmony and theory of music, treatise on composition and many others. He was also famous as a teacher of at least two generations of composers. His pupils were Johann Nepomuk Hummel, Anton Reicha, Ignaz Mosheles, Franz Xaver Wolfgang Mozart and many more. But his best known student was Ludwig van Beethoven, who came with Haydn’s recommendation and found in Albrechtsberger competent and experienced master of composition.
   Although in perspective of popular history and its simplified facts Albrechtsberger is remembered mainly as Beethoven’s teacher, his theoretical, practical, personal and artistic impact on European culture is really difficult to overestimate. His ideas in theoretical studies and teaching directions were setting trends many years after he gone. Some of his compositions have experimental character even today, even if these pieces are now just a curiosity. Probably most famous are concerti for Jew’s harp (Maultrommel) and string orchestra. Jew’s harp is small instrument used in Europe from 14th century. It was very popular until 20th century and today in different types and names is circulating in world wide culture. Johann Georg Albrechtsberger was only famous composer of western music who wrote concerti for this folk instrument. He composed seven, but only half of them survived. Two were recorded June 29, 1981 in München.

J. G. Albrechtsberger – Concertos for Jew’s Harp & Mandora (1981)

   Survived in Hungarian National Library in Budapest, Concerti for Jew’s harp, Mandora and Orchestra E Major and F Major were composed between 1769 and 1771. Compositions written in early classical gallant style illustrate the moment of establishing classical form. Concerto E Major is constructed in traditional three part form, Concerto F Major is in four movements with Menuett as third movement, connecting this work to some construction ideas of symphonic form. Both concerti feature two small folk instruments: Jew’s harp and mandora, which is name for various instruments. From Albrechtsberger’s textbook on composition we know in 18th century it was small type of lute with 8 pairs of strings tuned according to the key of the composition. Soloists in 1981 recording were Fritz Mayr playing Jew’s harp and Dieter Kirsch playing mandora. Performances were directed by Hans Stadlmair leading Münchener Kammerorchester. The cover features painting by Dirck van Baburen, Youth Playing the Jew’s Harp (1621). This famous Utrecht painter left series of works showing young men playing various musical instruments, which are probably his self portraits.