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2023 is coming to a close! With the end of the year around the corner, I want to make a short post reflecting on everything (maybe not literally) that has happened, and looking ahead towards the hopefully wonderful year to come.  I know I’m not the only one thinking that this past year has been quite difficult. It seems that leadership across all sectors, politics, and society has been failing over the last few years, if not much, much longer. The result is the same as it always is, with every day people bearing the brunt of the consequences, suffering, and experiencing terrible loss. All the while, those at fault line their pockets and accept comically oversized golden medallions. Those granted the privilege and responsibility of guiding us towards better times have sadly decided to turn their backs on our best interest in favor of their own. I can’t remember a day that’s gone by without feeling completely disgusted and dejected. Knowing that I’m far better off than most people facing hardship currently just makes the feeling even worse. In the face of all this, I’ve found strength in the response I’ve seen from my colleagues--rallying support for each other, discussing solutions, and working to tear parasites from their strongholds. I’ve seen beautiful art created out of a backdrop of horrible ugliness. In searching for the leadership I’ve been missing for so long from our presidents and CEOs, I’ve found it in my friends and colleagues who fill the gaps left open by incompetence. I see it in the teachers who strive to provide students with a remarkable education despite an often unworkable environment, and in activists who manage to push progress forward despite it being the opposite of what this ugly old machine was built for. For me, this coming year marks a turning point. Although I’ve been trying to do my part for the arts since the start of this blog, 2024 will mark the beginning of a new goal of mine to do everything in my power to help. I believe in the flourishing of an industry which is by and for the artists who make it. It exists right now inside the budding work of these inspiring colleagues of ours. I can’t wait to see it bloom.  Photo by Theodor Sykes on Unsplash If you’re reading this, first of all thank you, the fact that anyone reads these rambles is one of the biggest compliments I could ever receive. Second of all, I know you’re likely already on board with this initiative, in fact you might have already been fighting for a long time. I also want to thank you for that too. I hope you’ll join me in welcoming this new year with the promise of continuing our work. That bloom will be worth it. Thank you again for reading, and as always, happy jamming! See you next year.
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This week’s blog was supposed to be about sharing some of the music from the first album I ever owned. An album that I credit for much of my later developments into music. However, as I started to do the research for the post, I realized that this post was growing into a much larger topic. Grab some tea/coffee and get ready for a geek to talk about some really obscure, but incredible music…
My first album was also the first CD that I owned personally. Not one that my parents owned and I borrowed, but one that I kept in my room and played constantly on my half broken radio/alarm/CD player. Nobody else wanted it, it was mine. I remember listening to the music as I fell asleep and imagined stories to suit the tunes–a habit I ended up stopping when I realized it prevented me from sleeping at all. As a budding cellist, there was nothing cooler than a cello ensemble, and this album is chock-full of that magic.
As I sat down to write this post, I pulled up my iTunes account and listened through the whole thing; a trip down memory lane. It was when I started searching for ways to link it to all of you when the depressing truth revealed itself. If you take a look at the link to the cover art above, you can see the issue that I ran into… This album is virtually nonexistent, left behind by the digital age. As a person now well accustomed to the wonderful internet privilege of having every bit of information and music at my fingertips, it was a jarring revelation to have nothing come up. A quick post about one of my favorite album's quickly turned into an extensive archival mission. Although the quality of many of the recordings I found are nowhere near that of the recordings available on the CD, I hope they can do some justice towards showcasing the beautiful eclectic mix that this CD provided me growing up. The following is a walkthrough of my first album, Portland Cello Project. Danza Del Fuego:
Starting off the album is an all cello arrangement of Manuel de Falla’s, “Danza ritual del fuego” from his ballet, El amor brujo. The performance on the CD is so expressive and deliberate. Snapping pizzicato, ritualistically mechanical bow strokes, and the clack of bows, immerse the listener into an inferno of sound. I can hear my love of over-the-top playing and con legno first emerging from this track. The recording above is not as good as the album, but the grittiness gets closer than most other performances I’ve found.
Power (Featuring Nick Jaina):
This track not only spurred me to create one of the first arrangements I would ever create, but also introduced me to one of my favorite artists, Nick Jaina. I hope to do a post featuring him at some point, so stay tuned. The recording I’ve linked above is the exact recording from the album, which is more than I can offer for most of the other tracks on this list. The cryptic lyrics, haunting voice, and lush, driving cello made me fall in love with this tune.
Robin Hood Changes His Oil:
Next on the docket is a track that is not only a blast to listen to but also to play! The echoing delay effect of staggering the parts was such a huge inspiration for me when I first listened to it. It was a technique I borrowed when I got the opportunity to write my own cello work, I cavalieri. I credit Gideon Freudmann (the composer of this beautiful work) with inspiring me to make my earliest attempts at cello ensemble music.
There are a bunch of recordings of this track available on YouTube since Portland Cello Project makes a bunch of the music available for purchase on their website (I’ll include more info about them below). Sadly, none of these recordings are the one from the album. However, it is interesting to see how different the interpretations of this one song are, including one where the ensemble starts shuffling their feet back and forth under their instruments… Gold (Featuring Weinland):
An interesting trend with this album that you might be picking up, is the sheer number of collaborations it features. I adore how all over the place it is, with a little bit of music for everyone. Personally, being the ever odder listener, I found something in every tune to enjoy.
“Gold”, features some of the most epic and soaring cello solos I had ever heard at the time. I remember whipping out my cello many times to play along, so satisfying! The light and folk-like sound of the voice also started to bring my attention towards a later love of folk music and bluegrass; yet another aspect of my musical identity that I credit to this album. Divertissements for Performing Bears (Featuring 3 Leg Torso):
After much searching, I was ready to give up on this one. However, my brother was able to locate a different recording of the piece. Although not as good as the recording on the album, this is definitely the piece. To give you a rough description, imagine a wild amalgamation of mixed meter, clapping, accordion, violin, and cello. The listener is transported into a bustling tavern filled to the brim with drinking customers cheering on a trio of bears absolutely shredding. Does that help? Probably not, but the imagery always puts a smile on my face.
For Misty (Featuring Heather Broderick):
After the energy and liveliness of the last track comes a solemn and simple tune which never fails to bring a tear to my eye. The repeating progression to me portrays a process of grieving, finding beauty in the loss through the memories left by someone who has passed on. The recording linked above struggles to do it justice, just because of the sheer amount of audience noise in the background. However, I will say that to hear a restless crowd brought into silence and awe can speak volumes to the power of the work.
Livin’ On the Side of the Why? (Featuring Hurtbird):
This might have been one of the most “out there” tracks on the album… An environmentalist rap over cello choir and snare drum—you had to be there, but I promise it was good.
Hands in Pockets (Featuring Laura Gibson):
The folk sound returns with this beautifully intimate song by Laura Gibson. It follows a character letting their love know that they’ll stick with them through the coldest and most uncertain of seasons. A warm and shimmering cello arrangement embraces the tune in a cozy hug as steady pizzicato adds a certain affectionate bumbling to top off an adorable love song.
Toxic (Featuring John Brophy):
Yes, it’s the Toxic that you know… with bass drum and cello choir added. I warned you, this is an eclectic bunch. I wonder if Britney Spears ever thought her music would end up on a cello ensemble album. This is the sole recording I could find. The live performance elements are rather funny to watch, but I find it pales in comparison to the original, especially with the missing electric cello solo. : (
Under Glass (Featuring Musee Mecanique):
"Under Glass" is beautiful, an airy folk sound with glorious countermelodies in the cello. The story follows a regretful lover wishing they could take back something they said.
Stay (Featuring Anna Fritz):
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AuthorSean Penzo is a composer, cellist, and writer currently based in Pittsburgh, PA Archives
November 2024
CategoriesHeader photo by Peter Kleinau on Unsplash
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