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Parlando - Where Music and Words Meet

Poetry has been defined as “words that want to break into song.” Musicians who make music seek to “say something”. Parlando will put spoken words (often, but not always, poetry) and music (different kinds, limited only by the abilities of the performing participants) together. The resulting performances will be short, 2 to 10 minutes in length. The podcast will present them un-adorned. How much variety can we find in this combination? Listen to a few episodes and see. Hear the sound and sense convey other people's stories here at Parlando - Where Music and Words Meet At least at first, the two readers will be a pair of Minnesota poets and musicians: Frank Hudson and Dave Moore who have performed as The LYL Band since the late 70s. Influences include: Patti Smith, Jack Kerouac (and many other “beat poets”), Frank Zappa, Carl Sandburg, Walt Whitman, Emily Dickinson, Don Van Vliet (Captain Beefheart), William Blake, Alan Moore, The Fugs (Ed Sanders, Tuli Kupferberg), Leo Kottke, Ken Nordine (Word Jazz), Bob Dylan, Steve Reich, and most of the Velvet Underground (Lou Reed, John Cale, Nico).
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Parlando - Where Music and Words Meet
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Mar 23, 2018

Metaphors, implied or direct, are a form of an equation. If E=mc2 or 2+2=4 then should fog=little cats feet? Well, not exactly. But for some poems the metaphor, the image and “what it means,” is surprisingly equal at each side of the equals sign.

Here’s a poem that Ezra Pound included in the first Imagist anthology in 1914, written by someone we don’t normally think of as an Imagist, or even as a poet: James Joyce. Joyce didn’t consider himself a member of the Imagist movement, but his fellow Modernist Pound considered this work consistent with its principles.

Oddly, the case for Joyce as poet instead of the instigator of the modern literary short story form and the creator of increasingly avant-garde novels has been largely carried forward by folks (like me) who wish to combine words with music. The James Joyce poem I first knew, “Golden Hair” came from Pink Floyd founder Syd Barrett’s lovely setting written in the 1960s and used beautifully a decade or so ago to begin Tom Stoppard’s play “Rock’n’Roll.” Today’s words from Joyce, “I Hear an Army” was set to a complex piano accompaniment by famed 20th Century composer Samuel Barber along with two other Joyce poems as his 1939 “Three Songs” (Op. 10).

As words, “I Hear an Army” is very musical (the consonance of “whirling laughter” is exquisite!), but that element wasn’t rated as highly by mid-20th Century critics who redefined poetry as a literature of complex and hermetic language. Still, its central image shows a bilateralism that I’d like to point out. I think most will see this first as a love song with a strong and strange metaphor of loneliness and separation from one’s beloved as feeling like the invasion of a grotesque and threatening army. Loneliness=as oppressive and overwhelming as an invading army.

But what if we reverse the equation? Is an invading army, this oncoming hoard, this force of arrogance, also like the absence of love, the sundered heart and the steeled will? Invasion, war=separation from love and our beloved—separation for not only the invaded but the invaders.

When an image can sustain this kind of bilateralism, it gains tremendous power. Maybe not mass times the speed of light squared, the force that hung over my youth, cleaving dreams, and whose blinding flame is seeking to haunt us again, but power none-the-less.

Not to dis Barber, a giant, but I think there’s room for a different way to present “I Hear an Army” combined with music. So you’ll hear my original music for this, not Barber’s. Some take the Barber at rapid tempo, horses at full gallop. I don’t have a score to say what guidance Barber gave for that, but there’s a power in slowing dread—after all it’s a cinematic cliché to show an onrushing threat in slow-motion.

My predominant accompaniment for “I Hear an Army” is a vocal chorus using different vocal timbres, including a low part using Himalayan Tuvan throat singing where two pitches are sung simultaneously. Other than the two short rock band interludes, the only “instrument” used is electric bass.

 

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