Posts Tagged friendship

The Undercover Soundtrack – Andrea Darby

redpianoupdate-3The Undercover Soundtrack is a series where I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is journalist and debut novelist Andrea Darby @andreadarby27

Soundtrack by Ennio Morricone, Debussy, Chopin, Tori Amos, Kate Bush, the Beatles, Charles Ives

Music is both my ‘on’ and ‘off’ switch.

Listening to it can stimulate and clarify thoughts, ideas, moods and memories, but, as a pianist, with the right music, physically playing is like a cerebral, and emotional reset button. It can clear my head, force me into the moment in a way that nothing else does. When my brain gets too busy, words and ideas muddled or puzzling, or if I feel frazzled or frustrated, sitting at the keyboard can erase everything, give me a refreshed mind and fresh page.

the-undercover-soundtrack-andrea-darby-1The idea for The Husband Who Refused to Die came to me in musical packaging. It was while I was sitting in a hotel conservatory overlooking Lake Windermere, reading a magazine article about a young couple who’d signed up to be frozen – or cryonically preserved – after death, believing there was a chance that they could come back to life; one day when science has moved on.

I can’t recall whether it was playing in the background while I read the feature, or whether I heard it just before or after, but Chi Mai by Italian composer Ennio Morricone attached itself to my excited thoughts about having finally found a potential premise for my debut novel – and wouldn’t let go.

Written in 1971, Chi Mai became a popular ‘theme’ tune, featuring in the films Maddalena (1971) and Le Professionnel (1981) and reaching number 2 in the UK charts after being used for the TV series The Life and Times of David Lloyd George.

Haunting, hopeful

I heard the minimalist melody often in my head whilst contemplating my book idea and the challenge of using it in a contemporary, realistic context, and subsequently played it when I imagined Dan, the deceased husband in my story, his body ‘suspended’ in a tank in a sterile, sanitized cryonics facility. The fragmented string theme, haunting yet hopeful, became his tune. In my inner ear, the main motif is infinite, repeating over and over, on a loop. I never hear the ending.

Chi Mai, meaning ‘whoever’, became the mood, and the metaphor, for Dan’s holding on, and later for his widow Carrie’s struggle to let go, not just of her husband, but also of past events and her insecurities.

Dan’s love of pop group The Beatles, which he shared with another character, his friend and Carrie’s colleague Mark, also steered me back to an old cassette I used to play in my early teenage years, and to Fool on the Hill. I’d never paid all that much attention to the lyrics, it’s always been about the bittersweet melody for me, but I thought of Dan and the words edged forwards. He could be the fool – many believe so, even Carrie, and their daughter Eleanor, on occasion – but perhaps he’s the wise one, seeing something that others can’t, or won’t.

Find their space

While writing the first draft, I was learning to play Chopin’s Nocturne, Opus 9 no1 in B flat minor, which had been on my piano wish list for many years. In some respects, it became a mirror for the writing process. Much of it wasn’t overly difficult to grasp, due to many years of practice and experience. But there were a few phrases that challenged my technique and stretched my span, and several bars containing cross rhythms – 22 versus 12, for example – that I found particularly tricky and frustrated me greatly. After spending far too much time fighting with these difficult note groupings, both in terms of dexterity and mathematics, I finally took on board the advice of my teacher, a concert pianist, and, at times, I’m getting closer: ‘Just relax and let them find their own way into the space – don’t overthink them.’

Of course, the really accomplished pianists do just that. And without the sweat. For me, the great polish American pianist Artur Rubinstein’s version of this gave me the most pleasure. Everything seemingly effortless. Simply beautiful.

Duet

I also revisited Cactus Practice, a track inspired by this nocturne from American singer-songwriter Tori Amos’s 2011 concept album Night of Hunters. Chopin’s melody is shared between Amos and her daughter in the form of an enchanting duet.

The theme of loss is central to The Husband Who Refused to Die. Carrie is left to cope with a grief that she can’t comprehend, and a lack of closure:

No body, no coffin, no earth, no ashes, no stone carved with the permanence of an epitaph. No drawing of curtains. No laying to rest.’

She’s lost her husband, yet he doesn’t see death as a full stop. He believes he can be revived. For him, it’s an ellipsis; a pause. I listened to many songs about loss, but Kate Bush’s A Coral Room seemed to capture Carrie’s struggle:

Sorrow had created huge holes in me, deep craters that I worked so hard to fill. Yet one comment, or bad experience, even a thought or memory, could open them right back up.’

I find Bush’s ballad breathtakingly beautiful, bravely personal and deeply moving. There’s a sense of reluctance to peel away the layers of grief, a fear of directly confronting the pain of losing a loved one.

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I’m not sure I understand all the imagery, but I thought of Carrie in the ‘little brown jug’, an object that holds painful memories, but also prompts the jaunty old drinking song, and the lyrics of laughter: ‘ho ho ho, hee hee hee’.

Humour is Carrie’s mask, something she relies on to help her through her struggle, both with losing Dan and coping with the repercussions of his wish as she tries to move on.

When I was grappling with the rewrites of my manuscript, playing Debussy’s Clair de Lune, no 3 of his Suite Bergamasque, on the piano was my escape; a refuge. I played it most days. Not just because I love Debussy’s music and consider this piece sublime. The joy of being immersed in the exquisite melodies and, harmonies, lost in the layers of sound, along with the technical demands of the music, consumes me mentally and physically. I can’t think about anything else except producing and listening to the notes; the numerous tone colours and nuances. It’s the closest I get to mindfulness, a space that allows feelings in, but rarely thoughts.

andrea-bookIt appears there’s no such sanctuary for Carrie in the narrative. She’s a difficult character, full of contradictions, and I didn’t find her in music until the 2nd movement of American composer Charles Ives’s Symphony no 3 came on the radio during the final edits. It’s a piece I’d not heard before. The allegro, entitled Children’s Day, opens with a melody that appears to be lyrical, and a touch playful. But there are interruptions in the lines, unexpected, angular notes, bars and phrase endings, and complex harmonies and rhythms beneath. It’s as if the jaunty mood is constantly under threat, battling to dominate. There’s a sense of relief, towards the end, as things slow down and begin to settle. It becomes more melodic, maybe romantic, the texture simplified; finishing with a final, peaceful chord.

But then, in the silence, I hear Chi Mai. Again. And again.

Andrea has worked as a journalist for more than 20 years, both as a writer and sub-editor on newspapers and magazines. Articles she’s written have been published in many regional and national UK titles, including Prima, Best, Take a Break, Prima Baby, Woman, Dogs Today and Cotswold Life. The Husband Who Refused to Die is her debut novel, with an original and topical cryonics premise that casts an unusual light on a story about love, loss, family and friendship. When not writing, Andrea teaches piano from her home in Gloucestershire. Find her on Twitter @andreadarby27

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The Undercover Soundtrack – Paul Connolly

for logo‘The power of music and friendship’

Once a week I host a writer who uses music as part of their creative environment – perhaps to connect with a character, populate a mysterious place, or hold a moment still to explore its depths. This week my guest is a capella singer and debut author Paul Connolly @ACappellaPaul

Soundtrack by The Beatles, Van Morrison, The Beach Boys, Thomas Tallis, John Barry

 The Fifth Voice is about the power of music and friendship, and the incredible influence both can have on our lives. The four main characters are struggling in various ways with what life has thrown at them (an illness, a betrayal, a bereavement, a mid-life crisis), but when they sing together none of that matters. Together they embark on a journey of self-discovery and self-healing, as they go in search of the mysterious and elusive Fifth Voice.

PaulC-TFV-promo photoIt’s all about the music

My very first memory is hearing Help! by The Beatles playing in an amusement arcade when I was just five. Listening to the song as an adult, I remember what it was like to feel happy and carefree as a child on holiday, being transported by music for the very first time. Coincidentally, John Lennon said he wrote the song at a time when he’d completely lost himself and was harking back to when he was much younger and everything in life was much simpler.

Aside from the obvious connection (four singers), The Beatles inspired The Fifth Voice by providing two of the protagonists, Vince and Danny, with the material for their opening dialogue, arguing about their favourite albums around a pub table. They don’t see eye-to-eye when it comes to The Beatles, Vince referring to the Sergeant Pepper album as ‘a pile of over-contrived, trippy nonsense’. Danny hits back by informing his friend that ‘when Sergeant Pepper was released, Kenneth Tynan in The Times said it was a decisive moment in the history of Western civilization’. And so the tone is set for the emerging friendship between the two.

Oh, and there’s dance too

One of my own favourite albums is Astral Weeks by Van Morrison, which features the song Ballerina. It’s a haunting evocation of a love unrequited, or perhaps broken in some way. Listening to it, I get a sense of fragility, of a man who is yearning for this perfect vision of a woman to be his. The fact that I was once married to a ballet dancer means that those feelings have the ring of truth, and both the song and my personal experience compelled me to include a character in the book who was once a ballet dancer.

Margaret, the mother of Neil (another of the quartet) is a smart, sensitive, worldly and compassionate lady of a certain age. She has suffered the loss of her eldest son, which both she and Neil are struggling to come to terms with. She has every right to be bitter, but instead she throws all her energies into looking after her husband and remaining son, helping local charities, and running a ballet class for the senior citizens of her village. In her early years she lived a rarefied and exotic life as a dancer in Paris and was, without doubt, held in as much esteem as the ballerina in Van Morrison’s achingly beautiful song.

Finding their voices

One of the first songs I learned to sing in four-part harmony was a Beach Boys medley featuring the ballad In My Room. It made a big impression on me, as the harmonies are delicate and easy, and yet powerfully moving. I had to make it the first song the quartet in The Fifth Voice sing together, the one that makes them and their assembled company realise that their voices blend beautifully and that they could have a future as a quartet.

The song doesn’t always serve them well, however. When Ken, their eccentric vocal coach and mentor, invites them to explain what the song is about, Vince suggests ‘a bloke in a room’. Frustrated by his lack of imagination, Ken replies

Well, that certainly explains things. From the way you sang just now, I’d guess that the room is painted entirely white. Featureless. And I’d say that the bloke in question is probably wearing a straitjacket, that the walls are padded, and that the door is heavily bolted from the outside.

Perfect harmony

The book is about the search for harmony, not just in the musical sense. Ken inspires the quartet to discover a curious vocal technique called The Fifth Voice, which has the promise to deliver a prize much greater than anything they can imagine.

This idea was inspired in part by listening to harmonies on a grand scale, in the form of Spem In Alium, a 40-part Renaissance motet by Thomas Tallis. Composed in the 16th century for eight choirs of five voices each, this majestic piece is mind-blowing in its complexity and beauty, and no wonder it is widely considered to be the greatest piece of English early music.

TFV final cover-300dpi-mod1The big picture

A piece of orchestral music I return to often is The Beyondness of Things by John Barry. Barry’s late signature sound of richly textured strings and reflective, romantic melodies has a wooing effect, and I find myself drifting away whenever I listen to this piece. But it also delivers a genuine sense of beyondness, of there being more to life than the here and now. And that’s the essence of what The Fifth Voice is about. Listening to Barry helped set the tone for the metaphysical aspects of the story, as when Ken first tells the quartet about The Fifth Voice:

Listen to a top quartet ringing chords, and the room will fill with harmonic overtones. And at a purely physical level, you could say that those harmonic overtones are themselves an independent voice. A fifth voice, so to speak. But that’s only part of the story. Any competent quartet can create a fifth voice, but very few find The Fifth Voice. That’s something that goes beyond the physical. Something that comes from inside each of you. Something you have to search for.

Paul Connolly was born and brought up in Liverpool. After studying biology at Manchester University he worked for many years as a technical author in the computer industry, the foundation of his writing career. Paul sings bass with award-winning a cappella group The Royal Harmonics, which provided the inspiration for his debut novel, The Fifth Voice. He lives in Berkshire, visits Lundy Island as often as possible, supports Everton FC, and has a grown-up daughter. He is currently working on the sequel to The Fifth Voice, and you can connect with him at www.paulconnollyauthor.com and on Twitter @ACappellaPaul. The Fifth Voice is available as a paperback and ebook.

 

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‘The power of music and friendship’ – Paul Connolly

for logoMy guest this week is another writer with music in his very bones. His novel features four friends who keep their troubled lives on an even keel by singing in a quartet, and is inspired by his own experiences singing bass with an an award-winning capella group. In the novel, his characters are in search of a state of harmony called The Fifth Voice, where all the hearts and minds are playing as one entity. He is Paul Connolly and he’ll be here on Wednesday with his Undercover Soundtrack.

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‘Not a thing to learn inside a day’ – Catherine Czerkawska

for logoYou may recognise the name of my guest this week. She was one of my earliest Soundtrackers and she returns this week with a novel of friendship and betrayal: a man looking back on his youth and making sense of a troubled history. It’s set in Glasgow, and traditional Scottish music gave her both geographical setting and emotional landscape: the depth in apparent simplicity, the universal condition of loving and losing. She is novelist and award-winning playwright Catherine Czerkawska; the novel is The Physic Garden and she’ll be here on Wednesday with its Undercover Soundtrack.

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