• Remembering Pianist Eric Parkin

    Remembering Pianist Eric Parkin

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    So sorry to learn of the death of Eric Parkin, one of Chandos Records’ stable of pianists. As such, Parkin recorded much English music. In particular, I have him to thank for introducing me to Billy Mayerl, sometimes described as the English Gershwin. What fun, joyous music his is!

    Parkin also did much to champion the works of Sir Arnold Bax, John Ireland, and E.J. Moeran, alongside those of many others in even greater need of championing.

    I can’t believe he was 96 years-old at the time of his death. I guess many of the recordings I’ve been listening to all these years were made 30-35 years ago. His performances have given me countless hours of pleasure.

    R.I.P., Eric Parkin, and thank you for making my world a brighter place!

    Perhaps appropriate for the Halloween season, Eric Parkin performs Billy Mayerl’s transcription of Guy Desslyn’s “The Pompous Gremlin”:

    Personally, I prefer Mayerl’s “Bats in the Belfry,” but I can’t find Parkin’s recording online.

    Parkin performed John Ireland’s Piano Concerto on several of his numerous appearances at the BBC Proms. The second movement is especially beautiful. Or at least I find it so. And the last movement is suitably jaunty.

    Interestingly, the third movement seems to recall Ravel’s Concerto in G, written at approximately the same time, though Ravel’s concerto didn’t appear until after Ireland’s had already been published. Ireland did meet Ravel once in Paris. Could he have seen the score?

    The work was dedicated to Helen Perkin (one letter off from Parkin!), a pianist Ireland happened to be sweet on. Unfortunately, the attraction was not reciprocated. But no one can fault Ireland for not trying. The slow movement of his concerto contains an allusion to Perkin’s own “Phantasy String Quartet,” though she described it as “more a reminiscence than an exact quotation.”

    Earlier, Ireland had been in attendance as Perkin played Prokofiev’s Third Piano Concerto. So in that case, yes, he was definitely “borrowing.” You can hear the influence especially at the very end of his piece.

    But all of this is getting very far away from Eric Parkin. I hope you will enjoy his recording of Ireland’s concerto.


  • WWFM Fall Fundraiser Ends Soon Donate Now

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    Only two days left in WWFM’s fall fundraiser. Are you able to toss us a few bones? Donate online at wwfm.org, or call us at 1-888-232-1212.

    Your concern is like calcium, especially during these lean times. Thank you for your support of classical music on WWFM – The Classical Network!

    https://wwwfm.secureallegiance.com/wwfm/WebModule/Donate.aspx?P=DEFAULT&PAGETYPE=PLG&CHECK=vOU2bz5JCWmgCDbf53nm9ezWDeZ%2BeA1M&fbclid=IwAR3V8vQohfwZBU7FZTCKEEeABO1GjUv_lpEkMxrZB2AiJBPPhH6X8XbER4A


  • Young Frankenstein A Hilarious Halloween Event

    Young Frankenstein A Hilarious Halloween Event

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    It’s one of those rare films that, if anyone quotes just about any line, everyone knows exactly where it’s from. And yet, although it’s one of the great movie comedies, beneath the schtick and excruciating wordplay, the torment and isolation of Mary Shelley’s “monster” endures. The laughter is leavened with sentiment, so that there’s still a beating heart at the center of “Young Frankenstein” (1974).

    Roy Bjellquist and I will be joined by our special guests, Michael Rizzo and Marybeth Ritkouski of SciFi Distilled, as we wrap up our month-long celebration of Halloween with an exhaustive discussion of this Gene Wilder-Mel Brooks creation and its pitch-perfect cast: Wilder, Peter Boyle, Teri Garr, Marty Feldman, Cloris Leachman, Kenneth Mars, Madeline Kahn, and Gene Hackman as the Hermit, in a comic highlight lifted almost directly from “The Bride of Frankenstein.”

    Brooks’ impulse toward freewheeling parody is tempered by genuine affection for the great Universal Studio horror classics, extending even to the use of authentic lab equipment from the 1930s originals. And there is nothing but respect in John Morris’ soulful, evocative score.

    Following our conversation, as an added bonus, there will also be a virtual costume contest, for anyone interested in joining us on Zoom. Personally, my make-up test yesterday was a failure, so I’m on to Plan B.

    Share some laughs and leave your comments, on the next Roy’s Tie-Dye Sci-Fi Corner. We’ll be in stitches for “Young Frankenstein.” Our costumed discourse will begin, live-streamed on Facebook, this Friday evening at 7:00 EDT!

    https://www.facebook.com/roystiedyescificorner/


    “And now, ladies and gentlemen, from what was only an inarticulate mass of lifeless tissue, I give you a cultured… sophisticated… man about town.”


  • Bach’s Toccata Cinematic Anthem of Psychopathy

    Bach’s Toccata Cinematic Anthem of Psychopathy

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    If we’re to go by “Dr. Jekyll and Mr. Hyde” (1931), “The Black Cat” (1934), “The Raven” (1935), “Sunset Boulevard” (1950), “20,000 Leagues Under the Sea” (1954), “The Great Race” (1965), “Rollerball” (1975), and “The Phantom of the Opera” (1962, and not infrequently 1925), Johann Sebastian Bach’s Toccata and Fugue in D minor is the depraved anthem of cinematic psychopathy, degeneracy, and dystopia.

    “The Silence of the Lambs” (1991) opts for something a bit more elegant. Here is an academic essay on Hannibal Lecter’s fondness for the “Goldberg Variations.”

    https://www.tandfonline.com/doi/full/10.1080/02690403.2012.669929


    Dr. Jekyll and Mr. Hyde

    Sunset Boulevard

    20,000 Leagues

    The Phantom of the Opera

    The Great Race

    Rollerball

    The Silence of the Lambs


  • Elsa Lanchester Bride of Frankenstein Birthday

    Elsa Lanchester Bride of Frankenstein Birthday

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    2 responses

    Happy birthday, Elsa Lanchester!

    Just watched this classic flick again the other night. One of the greatest sequels ever made, the “Godfather Part II” of Frankenstein films.

    How I love the creation sequence from Franz Waxman’s brilliant score:


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