Moonlight, Martinis & Memories

The Steady Lover - Music by Winston Chesterfield

2010-09-10T07:25:00.001Z

Moments of Magic Number 7

2010-07-10T17:43:00.006Z

Moon River performed by Frank Sinatra

I find that beautiful music is one of the greatest stirrers of memory. When I was regularly playing hotels in London, the masculine half of a very polite and well-dressed older couple asked me if I knew a song sung by Nat King Cole called 'Too Young.' Being rather a fan of that era of music, I confessed that I did and even had the sheet music handy to make sure I was faithful to the tune. Surprised and somewhat overjoyed, he returned to his wife excitedly in anticipation.

When I came to their request, I looked over halfway through my somewhat exaggerated performance and to my astonishment saw that the couple were holding hands over the table, watery eyed and wobbly of lip; when I concluded the piece, I was quite taken aback and launched into a few more jolly numbers. After a while, the lady of the couple rose to leave and her husband scampered over to the piano brandishing a five pound note. "Not necessary" I said quietly, smiling. "Oh rubbish, buy yourself a drink!" I continued to play as he stood by holding out the note and I concluded the piece and thanked him for the gesture. "You know" he began "that really meant something to me and my wife. When we got married, that was a top tune and you see, we had married very young. I always thought it was being sung about us!"

There is one piece of music that fundamentally altered my perceptions of music appreciation and creation, one piece that enticed me to my first sheet music purchase, one piece I never tire of and one piece which has such warm, long-ago-and-far-away memories that I find it hard not to well up when I hear it. Moon River, the theme from Breakfast at Tiffany's composed by Henry Mancini with lyrics by Johnny Mercer, is known to most people.
I first encountered it during a viewing of the film with my mother, who adores old movies. A mere whippet of a lad at the time, it was very unfashionable to be so visibly affected by music but affected I was - slightly tearful in fact - and I soon made a trip to the sheet music shop in town where I purchased a copy for £2.50. At my next piano lesson, I placed it silently on the piano and waited gravely for my tutor's reaction. I had expected disapproval as she was a Chopin and Mozart sort of musician and 'popular songs', I believed, would be distasteful to her. To my surprise she adopted a girlish smile, turned to me and said quietly; "I remember this one. I'm glad you want to play it."

It is a love song, certainly, but not one which gushes meaningless phrases of admiration or worship; it is about an understanding, a blushing moment of recognition between two people. It sounds less like a person discovering the love of their dreams and more like someone finding love in their best friend; "We're after the same rainbow's end/waitin' 'round the bend/my huckleberry friend..."

There is certainly an intentional reference to the Deep South in both the music and the lyrics - many versions include plucked guitars and harmonicas - but this song has a power beyond Savannah, Georgia. This recording, though not the original, is particularly moving. Sinatra's idiosyncratic voice is showing age but this weariness is peculiarly appropriate for the song. This sequence is the most heartbreaking in the entire recording. Frank's voice and the strings swell for the climax; and a beautiful arrangement by Nelson Riddle comes to the fore - a lilting string melody that comes after ''rainbow's end" leads into a beautiful acoustic guitar which sits perfectly next to Sinatra's last few lines and then wanders up the scale and off into the sunset. Music making par excellence.

Moments of Magic Number 6

2009-12-19T21:50:00.002Z

Piano Concerto No.5 "Emperor" by L.V. Beethoven

Do not be fooled by the inclusion of Napoleon's imperial portrait. The 5th piano concerto had, apparently, nothing to do with the famous French emperor.
It was given the title 'Emperor' not by Beethoven, as he himself loathed the ruling class, but by others because of its particularly grand style. Ironically, 'the Beast' was once an admirer of Napoleon but was so enraged when he crowned himself Emperor that he tore up the piece he had dedicated to him; his third Symphony, the "Eroica." Though evidently a masterful musician and a composer of extraordinary genius, when it came to politics and reality, Beethoven was hopelessly credulous and naive.

In addition, Beethoven had a notoriously thunderous temper, earning him his sobriquet, and was frequently unfair and cruel to household staff, friends and family. He was arrogant, tough and even unfeeling - the very picture of the patricians he held in such disdain.
Though admired, he was not liked. His favour with the court in Vienna was uncertain, his social skills were poorly developed but he had a revolutionary and extraordinary approach to writing music that meant he provided a unique bridge between the old world of Classical music and the new world of Romantic music.

He influenced Chopin, among others, with piano concerti such as this in which the instrument comes to the fore; he skips up and down the keyboard with great freedom, a style which was initially shocking to the conservative audiences of Vienna, and, in this particular sequence reveals the measured majesty of his mind. Like his "Pathetique" adagio cantabile, the notes themselves are simple, the rhythm is gentle and calm but the overpowering sophistication of that simplicity is an extraordinarily difficult trick. Beethoven was possessed with these powers, and here it is shown to great effect.

Moments of Magic Number 5

2009-12-18T21:04:00.001Z

Zadok the Priest by G. F. Handel

It is without doubt that George Frideric Handel wrote some of the most energetic, powerful and memorable music in history. Like many composers, he is largely known, sadly, for a handful of compositions rather than his greater body of work. His operas, though rich, emotional and splendid, were largely forgotten until the renewed interest in baroque music in the mid-twentieth century; a considerable investment of time, talent and his own money that bore little fruit in his own life.

He is mostly associated with the Messiah oratorio, the Water Music Suite and the Music for the Royal Fireworks. A closer look at his body of work reveals an impressive diversity and depth;
42 operas; 29 oratorios; more than 120 cantatas, trios and duets; numerous arias; chamber music;a large number of ecumenical pieces; odes and serenatas and 16 organ concerti. He was an outrageously fast worker, writing the entire Messiah in three weeks, a court favourite of George I and a great philanthropist.

Zadok the Priest was one of four anthems commissioned for the coronation of King George II in 1727. It has been played at every coronation since. Considering the lack of 'great' English spectacle-composition talent since Handel (apart from Elgar) this is perhaps unsurprising. However, for such a piece to hold sway in years when baroque music was embarrassingly out of fashion is testament to its power and incomparable beauty. Though the chorus, with the high trumpets, positively drips with majesty and regality, it is the beautiful strings that begin the piece that make it such a fantastic processional. This selection is my favourite sequence of that opening. Initially, the pace and the lightness of the strings indicate an eagerness and an excitement. Then, instead of remaining in the major key, Handel takes us down, albeit briefly, into the minor key from a dominant chord. Though certainly not unlike him, or indeed other baroque music, for a processional that was commissioned to be positive, encouraging and glorious, it is a risk - but one that pays off enormously. It makes the work multi-dimensional, not simply monarchist background music, adding a touch of intrigue, emotion and romance to what might have been, in less worthy hands, a bombastic, self-righteous and dated composition.

Standing the test of time, this selection is a perfect example of what Mozart and Beethoven referred to as Handel's mastery of 'effect.' The former said that "... When he chooses, he strikes like a thunder bolt." The latter that one should, "...go to him to learn how to achieve great effects, by such simple means."

Beethoven was more complimentary of Handel's powers than almost any other composer and declared him "...the master of us all... the greatest composer that ever lived. I would uncover my head and kneel before his tomb."

Moments of Magic Number 4

2009-11-15T18:43:00.004Z

Stella By Starlight (written by Victor Young) - Percy Faith and his Orchestra

Stella By Starlight is one of the most beloved jazz standards of all time. Quirky, bouncy interpretations by the likes of Miles Davis, Stan Getz, Ray Charles and Ella Fitzgerald have ensured that the song is kept on the exclusive playlists in the underground jazz parlors of the world, as well as in the minds of many a jazz enthusiast.
However, this 'song' started life without lyrics. It was, to begin with, merely an instrumental theme in a Ray Milland feature called 'The Uninvited.' The popularity of the 'theme' encouraged an official 'song' release and in 1946 Ned Washington penned the now famous, if slightly peculiar, lyrics for what was intended to be a big band standard.

This 1960s orchestration by the legendary Percy Faith is far closer to the original 'spirit' of the piece than any of the charming interpretations since. It is extraordinarily lush and melodramatic, something which adds to rather than detracting from the quality of the piece. The soaring romance of the strings requires this kind of tear-jerking sensitivity; the light echo at the tail end of this piece is an excellent example.

This sample picks up at the end of the second, vigorous repeat of the refrain and fades out into a beautiful violin and cello duo, with trademark Faith vibrato that brings to mind a tearful scene from a black and white movie romance, with the high echo following taking the melody up from the depths and bass of the repeated refrain to a subtle and celestial ending that slows mournfully.

The shame is, music of this calibre of arrangement is largely ignored today. It is considered to be schmaltzy, weepy and indulgently saccharine. I do not share this view. There is magic and wonderful skill in this interpretation; it is gorgeous and indulgent but it is not the lesser for it. It takes those fabulous falling chords and wrings an exquisite and startingly melodic flourish. A perfect ending to a rather perfect tune.

Moments of Magic Number 3

2009-11-11T23:00:00.004Z

'Larghetto' from Symphony No. 1 by S. Rachmaninov

One of my favourite composers, Sergei Rachmaninov was one of the greatest musicians of the 19th and 20th centuries. A virtuoso pianist with enormous hands, the aristocratic and rather diffident Russian is probably most famous for his Second and Third piano concerti; less vaunted are his symphonic works.
Indeed, this 'moment of magic' is actually from a piece that Rachmaninov effectively disowned due to a disastrous premiere and savage critique, courtesy of Cesar Cui. Apparently, the conductor was drunk and stumbled clumsily through this work, his Symphony No.1, which resulted in Rachmaninov leaving the performance before the close and descending into a deep depression that was to prove to be a creative prelude of titanic importance. He stopped writing for years, but when he finally composed again he produced one of the greatest piano concertos in the history of music: his Piano Concerto No. 2

This sequence is from the 'Larghetto', the slow, beautiful poem sequence of the symphony. I love the elegance and tenderness of this passage. It evokes a hazy, dreamlike recreation of an impossibly idealistic past. Rachmaninov, ever the nostalgic, was often dreaming of a 'finer' time. His era was tainted with civil unrest, revolution and war; shadows which he turned from as he dreamed of the past and perfect summer days on his family's estate. Nothing is more romantic than Rachmaninov. This sequence reveals his mighty talent; some of it is reminiscent of a Borodin nocturne and it certainly has a little dash of Tchaikovsky's ponderous majesty but the feeling generated by this Rachmaninov melody is unique. That there should be such depth of feeling, such strength of imagination, such wonder in the mind of a 24 year old man is incredible. This is classic Russian romance; effortlessly beautiful.

What Can I Do? - Music by Winston Chesterfield

2009-11-09T19:08:00.002Z

Moments of Magic Number 2

2009-10-26T18:39:00.004Z

Anyone who knows me intimately knows that I adore a waltz. Composers of old often considered that a good waltz, above all other musical styles, was a work of genius. And although the Viennese waltzes sound dated to today's dancers, they were in vogue far longer than any dance that has been created since. Waltz, though originally a musical pastime of the commonfolk in central and eastern Europe, became popular as a style and social pursuit of the rich and the regal.

The grand ballrooms of Europe have many a musical ghost but the most booming of these ghosts is undoubtedly the waltz; the grand oom-pah-pah is such huge part of the history of social dancing that the chandeliers still tinkle to the mighty strains of Strauss. It is a Strauss selection offered here. Written in 1889 for the Emperor Franz Josef of Austria-Hungary and Kaiser Wilhelm of Germany as a mark of Austro-Hungarian-German friendship, it is now known as the Emperor Waltz. Though on its reception, there might have been plotting in the minds of the dedicatees - men who had the next European campaign on their minds and not the next dance partner - it stands as one of the grandest examples of Strauss's style.

This small sequence is not part of the triumphant oom-pah-pah main dance sequence but is a beautiful and delicate bridge between one waltz sequence and the other. I have always thought that there was something gloriously tragic in the echo of a waltz - a defiance of a bygone age. To me, this sequence captures the slowing whirligig of a culture and a life and an age that remains a fascination and a dream for thousands of people.

Emperor Waltz - J.Strauss

Moments of Magic

2009-10-26T18:00:00.004Z

As much as I can adore a symphony, I can be seduced by a mere strain. And as much as I can admire a concerto, a tumble of a few notes can put me in a state of the most exquisite ecstasy.

Pieces of music in their entirety say a great deal about the listener but it is often the little moments within those great works, the riff or the hook or the chord change that ensure the attention and importantly, the musical intoxication, of the listener.

I have thought about compiling my favourite sequences from a range of different music for some time and have finally decided to knuckle down and do it. These selections vary in length and style. They are largely from 'classical' pieces although, being that most popular music relies on repetition, it is hardly surprising that I have not found as many unique sequences of magic within the modern pieces.

Opening the series, appropriately, we have Bach. This is one of my favourite pieces of music and without doubt one of the most majestic and celestial compilations of notes in history. The orchestral version of the cantata 'Where Sheep May Safely Graze.'

Although this entire cantata is beautiful, this intricate sequence in which Bach throws us from major key to minor key with an initially puzzling but in-the-end gratifying movement is not only an example of one type of emotion but of many, all in a bizarrely logical (it is Bach) and satisfying order. After the uncertainty and meandering of the middle of this sequence, the long return to the 'home' chord is all the more pleasing.

'Where Sheep May Safely Graze' - J.S. Bach

Italia - Music by Winston Chesterfield

2009-08-26T19:43:00.002Z

Resuscitation

2009-08-17T08:45:00.002Z

It's been over a year since I last posted on this blog. To celebrate the paucity of posts I will be posting several compositions of mine that have been yellowing and dusting on the virtual shelves of my hard drive.

I had not forgotten Moonlight, Martinis & Memories. Nor had I neglected my beloved piano, despite other concerns (work, I am afraid) taking precedence.

I have been shamefully negligent in that I have frequently failed to record much of my rambling up and down the keys. However, I plan to make up for this.

This blog is not dead.

W

Variations - Music by Winston Chesterfield

2008-06-29T22:31:00.002Z

Variations and improvisations with the collection of photos I took in lovely Mallorca.

The Lights of the West End - Music by Winston Chesterfield

2008-05-09T09:36:00.002Z

The Hymn - Music by Winston Chesterfield

2008-04-14T00:29:00.003Z

A dedication to the heroism of the Armed Forces.

Untitled by Winston Chesterfield

2008-01-08T18:22:00.000Z

Naughty Girl - Music by Winston Chesterfield

2007-11-18T16:47:00.000Z

St Petersburg - Music by Winston Chesterfield

2007-11-14T00:07:00.000Z

The Old Pier - Music by Winston Chesterfield

2007-11-13T21:50:00.000Z

Will I, Won't I - Music by Winston Chesterfield

2007-11-04T23:27:00.000Z

Valley Adagio - Music by Winston Chesterfield

2007-11-02T20:17:00.000Z

Waltz Me Away - Music by Winston Chesterfield

2007-11-02T18:42:00.000Z

Successful Night

2007-11-02T00:04:00.000Z

I played a two hour set (if you can even call it a set) at the 85th birthday party of a Mrs McNeill-Moss on Hallowe'en. Two hours of Twenties, Thirties and Forties music to please the old folks - and myself of course, who am I attempting to kid!

Ivor Novello tunes, in particular, went down tearfully well.

Knees were up at The Cavalry & Guards Club on Piccadilly.

On my way to Piccadilly...spooking NO one. Apparently, I am not scary.

Brrrrrrrrrrrring

2007-11-01T23:51:00.000Z

I heard something this morning. It wasn't in my head, it was real. The doorbell. Although that doesn't sound relevant for a music blog, I can tell you it was music to my ears. For what it was was the TV aerial installation chap with his kit, his tools and his charming oafishness. Television is once again a part of my life!

More music videos to come folks.

Stay tuned.

Wee Small Hours - Played by you know who

2007-10-12T19:06:00.000Z

My new piano

2007-09-11T19:48:00.000Z

Readers! I am fortunate. I have a Bosendorfer 5'8 burr walnut grand piano, a completely refurbished 1913 model. It arrived on the 3rd of September and it stands as a centre-piece of the ground floor room.

Music - Gone Are The Days by Winston Chesterfield

Capri & Victoria - Unbeatable combination

2007-08-23T17:02:00.000Z

A video with some of the clips and images from the holiday Victoria and I shared on Capri. We had a wonderful time, one which we shall never forget. The music is a clip of me singing 'Isle of Capri' followed by a variety of my own interpretations of the piece. I have always loved the song but have felt that it has been slightly misrepresented in most jocund recordings of it. This version is slightly rhapsodic, if a little melancholic!

The Melancholy Sailor - Music by Winston Chesterfield

2007-08-05T10:14:00.000Z

This dark harpsichord number was written on a moonlit night. Honestly, it was.

Love Thee I Do - Music by Winston Chesterfield

2007-08-05T10:07:00.000Z

Murder In The Palm House by Winston Chesterfield

2007-08-04T20:19:00.000Z

Ridiculous title. However it, and the bizarre faux-vintage movie/novel image, can be explained. The thoughts rushing through my mind as I was writing/playing this were of murder, intrigue, dashing racing drivers, an alcoholic countess and a simplistic 1980s interpretation of 1930s costume. Appropriately, the electronic instrument I used (long favoured by Vangelis) sounds truly 1987. If one were to film an Eighties nostalgia piece, I suppose it would be suitable. I am pictured beneath a palm at the Palm House at Kew Gardens.

Tosca

2007-07-20T11:48:00.000Z

What a triumph! I had a splendid evening and although I cannot say 'I Went To A Marvellous Party' in the words of Noel Coward due to the fact I have not been to an actual party, I certainly felt like saying it at about 1 o' clock this morning when I returned home. The Royal Opera house in Covent Garden was packed for a beautiful performance of one of Puccini's best operas, Tosca. A good first act, and breathtaking second and third acts ensured a standing ovation for a terrific cast, excellent orchestra and beautiful sets. I attended the performance with Victoria, my cousin Lizzie and her boyfriend, my school friend Lee. We had a box on the left hand side which for the first act caused some discomfort for Lee and myself as there was a distinct bias to stage-right and we were always craning to see what was going on. However, come the second and third acts, that had been forgotten and we fell deep into the tragic story of the beautiful but doomed opera singer, Floria Tosca. The Vissi d'arte aria was exquisite. Cavaradossi's E Lucevan le stelle was very well executed, but his finest point was the Recondita armonia in the first act. I adore Puccini's melodies. They have such passion in them, but they are delivered in a way which does not feel overdone. When you think the cascading notes will fall predictably into a minor key, they then fall into a major key which prompts a little unexpected smile. It is wonderfully subtle. Although heavily conversational, Tosca has that strong musical quality to make one remember, and last night, I was transported back to the streets of Rome, to nights in the Piazza Navona and walking along the Corso. Bliss.

Words You Wrote To Me - Music by Winston Chesterfield

2007-07-12T15:10:00.000Z

Quite a simple song but it came to me as I was messing about on the piano. The title refers to a couple of lines I was singing as I was playing it. I think it's got a 'Phoenix from the ashes' positivity about it...I may put all the lyrics on here soon!

W

Gung-Ho Suite - Music by Winston Chesterfield

2007-07-12T11:19:00.000Z

I was inspired to write this when I returned to my family home in Dorset recently. At about 11.20pm, I went to fiddle around on the piano and this melody came out. I recorded it on my phone so I would not forget the feel of the piece. Then I recorded it on the Yamaha here in London. I hope you like it.

Music - As Long As He Needs Me

2007-07-04T14:46:00.000Z

Music - Can't Help Lovin Dat Man

2007-07-04T13:54:00.000Z

Music - What A Wonderful World

2007-07-04T13:43:00.001Z

Tune it!

2007-04-27T15:10:00.000Z

Unfortunately, the piano I play on (tonight from 5-9 at the Sheraton Belgravia) badly needs tuning. However, the overly cost-conscious hotel (who have decided to charge as much as Claridges Bar and Rivoli Bar at the Ritz for certain drinks *insert choke on martini olive here*) would not hear of it - any expenses involved with the pianist are avoidable according to them. Including a glass of water every two hours.

C'est la vie....

W

2007-04-24T12:34:00.000Z

I played at the Sheraton Belgravia again last night. It was a fairly quiet crowd, and I had to play extremely softly so as not to bother the few hotel guests who were relaxing with drinks and gentle conversation. It was a great pity as I was in the mood for some twenties numbers - Ain't Misbehavin', Black Bottom, Charleston, You're The Cream In My Coffee. I played mainly contemporary versions of classics such as The Night We Called It A Day, 'Round Midnight and The Girl From Ipanema. Later on I pumped out a few Ivor Novello numbers. There is an ethereal quality to his music - haunting and unforgettably romantic. I shall be using his beautiful melodies later on this week. Wednesday and Friday at the Sheraton Belgravia, 17.00-21.00. All are welcome.

The return of the piano man

2007-04-15T16:57:00.000Z

I am wanted. It's a fabulous feeling; once more unto the breach, once more I fill the Sheraton lobby in Belgravia with my music! Tomorrow, Wednesday and Friday I am required to entertain sweating hotel guests, likely to be insultingly casually dressed in socks and sandals and t-shirts with slogans, but I have ceased to care. Just to touch those keys again, to tinkle away a sunset over SW1, and to be paid for it. Such felicity.

W

Hello World

2007-04-10T16:15:00.000Z

Dear World,

I have arrived in Blogworld. I am hoping to be treated kindly.

Regards

WC