Remembering My Grandfather: Hollywood Lament

Happy Memorial Day, everyone!

My grandfather, Robert Charles Grotius (1924-2003), was a tremendous man.  A WWII Veteran with a Master's Degree in education, an historian, political commentator, devoted father, committed Catholic, lifelong teacher and learner, he absorbed information like a sponge absorbs water.  He'd impersonate the great actors - and sometimes actresses - of the Golden Age of Hollywood, softshoe around the house, and then open a big book of evolutionary biology of political history while drinking a Natural Light or Milwaukee's Best.

Just after he died, my mom told me that she'd been thinking of a song that he used to love, "Hollywood and the Stars," by Elmer Bernstein.  It was used as the opening theme for a 1963 NBC documentary series and was frequently played on the Oscars.  Since I was coordinating the music for his funeral, I wrote an original piece entitled "Hollywood Lament" in his memory.  The piece includes a quotation of Bernstein's piece in a few places and ends with a quotation from the famous "I'll Be Seeing You," a song my grandfather and grandmother (a former USO performer) used to sing together.

Here's the piece, performed by members of the Boston College University Wind Ensemble and featuring pianist Adam Birnbaum.  I'm guest conducting.  The song itself begins at 4:20, after an introduction from Sebastian Boniauto, the composition mentor I mention in my "Ave Maria" post, and me.

Miss you, Papa!  

Here's "Hollywood Lament."

The Vocal Ranges of the Greatest Singers (and Rachelle Ferrell): My Take!

On Monday, Ryan Kristobak of HuffPost covered Concert Hotels' chart, "The Vocal Ranges of the World's Greatest Singers."  This list is pretty neat (and pretty long, so scroll all the way down!).

Those of you familiar with their music probably won't be too surprised to find Axl Rose and Mariah Carey at the top of the list.  Axl's scream and Mariah's "whistle register" are legendary.

In his commentary on the chart, Kristobak rightly notes, "...it is important to remember that it represents the recorded vocal range of each of these artists, not necessarily their actual range," but he doesn't explain this statement. What he means is that - as any Karaoke Idol knows - there are parts of people's vocal ranges that are reachable but not sustainable (and reasons not to sing "Don't Stop Believin'").

In these extremes, singers can "hit the notes," but they can't sustain long passages. Even if they could, it'd sound something like this:

So, although she's not the only one who had it (cue Minnie Riperton), Mariah's signature whistle register makes her the literal envy of other singers, as Kelly Rowland indicates here:

Kristobak also (again rightly) notes that while range is important, there's a lot more to being a "great singer" than having a wide range. "Tone, creativity in melody composition, lyrics and dynamic abilities," as well as "a great band or composition" also make a singer a great singer.

While that's definitely true, it comes as no surprise that pop-country's T-Swift and country's L-Bryan are the last two on the list. The heavily studio-shopped music they release work(s)well with a small range; but voices like Steven Tyler, XTina, my namesake Paul McCartney, Freddie Mercury, Tina Turner, Bono, Beyoncé, Steve Winwood, and so on don't gel with the heavy effects of 2000's pop. That's what makes them great.

As for the other traits Kristobak mentions, you can't - in my opinion - beat (my #1 pick in bold):

1. The tone of Elton John, Freddie Mercury, Bono, Beyoncé, Adele, and Annie Lennox (something about Britain is going on here). 
2. The melodic creativity of Prince, Xtina, Thom Yorke, Freddie Mercury, Bono, Lana Del Rey, and Dolly Parton. 
3. The lyrics of Steven Tyler/Aerosmith, David Bowie, Paul McCartney/John Lennon/The Beatles, Thom Yorke/Radiohead, Freddie Mercury/Queen, Bono/U2, Bruce Springsteen, Mick Jagger/The Rolling Stones, and NOT Katy Perry (see this post for my explanation).
4. The dynamic abilities of Mariah Carey, Xtina, Freddie Mercury, Bono, and Annie Lennox. 

Yeah, I know I put Bono on all four lists.  So sue me! I think he belongs there. Do you?

And while I'm asking questions, what do you think of my picks? Have I picked the Greatest of the Greats in each category, or is there something I've missed? What do you think? Check it out, comment, and share!

And speaking of range - last but certainly not least - check out these performances of "Bye, Bye, Blackbird" and "I Can Explain" by experimental jazz singer Rachelle Ferrell.  She's got it all, and more.

And keep singing, folks.  

There's a Karaoke Idol inside each of us, just begging to get out.

For He is Coming: An Advent Anthem

I love Advent.  And today, I'm declaring it ADVENT IN MAY!  And a few years ago, inspired by the spirit of the season, I wrote this choral anthem, entitled "For He Is Coming." The words are drawn from various parts of the Bible, especially the Book of Revelation and the Book of the Prophet Micah.

Wait for the Lord, who is coming

He is the first and last, the living one

Who is, who was, and who is to come

And he shall be peace

Wait for the Lord, who is coming

Wait.

This video is from the St. Mary Choir's 2010 concert in the Basilica of St. Ignatius of Rome, near the Pantheon.  That concert was one of the highlights - if not the highlight - of my time at St. Mary.

Please like, comment, and share if you like what you hear!

You can find more of my compositions over on my YouTube Channel.  

For more of the St. Mary Choir's concert, you can visit their YouTube Channel.

And just for fun, here are some photos from the choir's Rome concert!

Why Did Beyoncé's Sister Solange Knowles Attack Jay-Z in an Elevator? Top 10 Reasons

This morning, I posted the third volume of my three-part Fierce-Off between Beyonce and J-Lo. (Part 1 and Part 2 are here, as well!)

But this.  This is amazing.

I'm not sure what just happened.  But when the time came for Beyoncé, Jay-Z, and Solange Knowles (Beyoncé's sister) to leave the Met Gala - one of the classiest events of the year - Solange decided to get "physical" with Jay-Z, and not in the way that made Olivia Newton John famous (oh, how sweet she was in her Grease days...).

Nope, Solange tries to beat the crap out of Jay-Z.  In an elevator.  Check it out here:

What?

I say, what?!

It boggles the mind.  And Bey just stands there.  

Did she agree with Solange?  Did she think it was funny?

I don't have an explanation, but I thought I'd offer a few thoughts.

Here are my Top 10 Reasons Why Solange Knowles Attacked Jay-Z in an Elevator.

10.  Jay-Z confused Solange with her other sister, Matilda.
9.  After a night at the Met gala, Solange couldn't wait to show off her martial arts skills.
8.  Jay-Z told her Kelly and Michelle have a bigger shot at fame than she does.
7.  Solange was showing Jay-Z her latest dance moves.
6.  One word:  Global Warming.
5.  Jay-Z told Solange she wasn't ready for his jelly.
4.  Jay-Z told Solange the real reason she got invited:  Jay-Z.
3.  Jay-Z interrupted Solange's conversation with Anna Wintour by saying, "Excuse me, Solange, I need my curtains back."
2.  Jay-Z boarded the elevator before Beyoncé.  And nobody boards the elevator before Queen Bey.
1.  He married Beyoncé.

Imagining the Triduum in Song: Triduum 2004

In the spring of 2004, my college voice teacher and liturgical music mentor, Michael Burgo, offered me the chance to compose, arrange, and direct music for Noon Mass on Easter Sunday at St. Ignatius Church, which sits on the corner of Boston College's campus.  Mike is the Director of Music there.

I was thrilled by the opportunity, and I really can't express just how formative an experience this was and just how grateful I am for the opportunity Mike afforded me.

He also makes fantastic kibbi (really, it was the best I've ever had).

As part of the Mass, I composed for the first time a musical reflection on the Triduum, which was played by a small wind ensemble I put together for the celebration (N.B. with limited rehearsal, so there are a couple of performance glitches along the way).

After that year, I continued the practice of composing one such piece every year until 2010, when I came to Fordham and no longer had a market for such works.

These reflections intend to lead the listener through the warmth and light Holy Thursday and the horror and injustice of Good Friday to the glory of Easter Sunday.  In this version, I used Middle Eastern musical motifs for Holy Thursday, a slow, somber chorale, for Good Friday, and a bit of pomp for the Resurrection event of Easter.  Although the performance isn't 100% on-target, and although this is much less mature than the 2007-2010 versions to come, it's enough to convey the message of the piece.

Unfortunately, I don't have recordings of all the pieces, like the ones from 2005 and 2006 that I wrote while working on Pine Ridge Indian reservation in South Dakota.  But the ones I have, I'll post - and I hope you enjoy them all!

Stay tuned for more, and please share/+1 if you like what you hear!