Posts Tagged Grieg
The 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 book blogger, prolific short story writer and Polari prize nominee Anne Goodwin @annecdotist
Soundtrack by Jack Strachey, Faure, Grieg, The Dubliners, Mendelssohn, Karl Jenkins, Leonard Cohen, Terry Jacks, Country Joe McDonald, Jim Reeves, Eddie & The Hot Rods
Sugar and Snails is a mid-life coming-of-age story about a woman who has kept her past identity secret for all her adult life. The contemporary strand is set in Newcastle upon Tyne in 2004 from which my protagonist, Diana, looks back on her childhood in the 1960s and 70s in a North Derbyshire mining town, with a few weeks in Cairo at the age of 15.
Despite giving Diana some aspects of my own biography, I found it challenging in places to evoke the emotional atmosphere of her childhood. I had my memories, and the internet, but music proved a powerful tool in enabling me to delve that bit deeper.
In an early scene, Diana remembers dancing alone, aged about three and perhaps the last time she was at ease in her body. As it’s a long time since I was three, I listened to the music she’d undoubtedly have heard on the radio at home with her mother: the theme tunes from Housewives’ Choice (In Party Mood composed by Jack Strachey) and Listen with Mother (The Berceuse from Faure’s Dolly Suite Op.56). It was also helpful to listen to the music I’ve been told I danced along to as a toddler: In the Hall of the Mountain King from Grieg’s Peer Gynt.
Although Working Man by The Dubliners isn’t about Derbyshire, it helped evoke the culture of the close-knit mining community in which Diana grew up. Ave Maria of Lourdes perfectly brought to mind her Catholic background; albeit slightly disappointingly since there’s so much better Christian choral music I’d have preferred to have in my head.
Diana’s difficulty navigating the physical and psychological changes of adolescence is central to the novel. I thought I remembered mine a little too well but, once again, music brought me closer to that amalgam of confusion, self-pity and nostalgia. Almost anything in a minor key would have served the purpose, but one I kept coming back to was Mendelssohn’s violin Concerto in E minor. At the time of writing my novel, I was also addicted to Karl Jenkins’s The Armed Man (I’ve picked out the gorgeous Benedictus with the poignant cello solo), which not only put me in the right frame of mind, but served as a reminder that, for baby boomers like me and Diana, other people’s wars never seemed so far away. (As the piece also includes the Islamic call to prayer, it served a double purpose in conjuring up her auditory experience of Cairo.)
One of the key relationships in the novel is that between Diana and her father, Leonard. His character and his parenting decisions, such as they are, have been shaped by his own late adolescent experience as a prisoner of war in Nazi Germany. Like the biblical Abraham, brought to mind for me by Leonard Cohen singing The Story of Isaac, he sees his children more as offshoots of himself than as people in their own right.
While the Second World War impacted on her parents’ generation, Diana and her contemporaries watch in horror and fascination as, across the Atlantic, boys only a few years older are conscripted to fight in Vietnam. Country Joe McDonald’s Feel Like I’m Fixing To Die captures that period perfectly but I was surprised, watching the video, how young the hippies look to me now while, at the same time, they connect me to a younger girl to whom they appeared quite grown-up, and both exciting and terrifying in their rebellion. This fed into a scene in which Diana recalls her mother mistaking some long-haired boys for girls.
Aged 15 in 1974, Diana makes a life-changing decision. The early 70s hasn’t produced the best pop music, but no doubt she’d have had the transistor radio tuned to Radio One that summer. Morbidly inclined since early childhood (I suppose she might have been a Goth had she been born later), I had her listening to a song that leached nostalgia from that era, Seasons in The Sun by Terry Jacks.
I began to write Sugar and Snails in 2008, only four years later than when the contemporary strand of the novel is set. So, while music wasn’t necessary to transport me back to 2004, some of my casual listening did have a bearing on my decisions about the plot. The romance storyline, in early drafts dispatched in a rather disastrous one night stand, loomed larger in the final version, partly thanks to my penchant for the kind of sentimental songs Diana’s mother might have listened to, such as I Love You Because sung by Jim Reeves. But, although I was clear Sugar and Snails wouldn’t be a novel in which the woman is saved by the man, I wasn’t sure how far I was going to take her along the road to self-acceptance. You’ll have to read the novel to find out to what extent she’s able to overcome her demons, but I did enjoy listening to Eddie and The Hot Rods sing Do anything you wanna do while I thought it through. Given the long journey to publication, it’s an anthem to motivate any writer to follow her dreams.
Anne Goodwin’s debut novel Sugar and Snails was published in July 2015 by Inspired Quill and longlisted for the 2016 Polari First Book Prize. Her second novel, Underneath, about a man who keeps a woman captive in his cellar, is scheduled for publication in May 2017. Anne is also a book blogger and author of over 60 published short stories. Catch up on her website: annethology or on Twitter @Annecdotist. In honour of its first birthday, Sugar and Snails is available in Kindle format at only £0.99 or equivalent until 31 July 2016.
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’s guest is Huffington Post blogger and satirical thriller author Naomi Elana Zener @satiricalmama
Soundtrack by Vivaldi, Rolling Stones, Eagles, Chumbawumba, AC/DC, Guns N Roses, Bob Marley, Starship, Rick Astley, Grieg, Sarah Bareilles
Her career is circling the drain. Her almost marital apartment is empty. The fiancé is Decamped Dude, off on a lovers’ jaunt with his best man. And, Joely is alone tracking the remnants of her life as though the shark from Jaws is following her every move ready to engulf what’s left of her in one fell swoop.
Music is to my writing as oxygen is to my breathing. One cannot exist without the other. Certainly, there are moments of silence, but generally when I write anything, including Deathbed Dimes, often the staccato sounds emanating from the dancing keyboard punctuates Vivaldi’s Four Seasons playing on a loop, as I build the world and characters with whom I live inside my head until they find their way onto the page.
Having grown up in a classical music and opera loving household, and being a lawyer by day, writing with the melodic sounds of the piano, violin, wind and other string instruments wafting through the air was symbiotic to my process of creating the law firm world — quite a WASPy one in fact—in which Joely toiled day and night during her grueling 80-hour work weeks. It was when her world fell apart cataclysmically that the soundtrack of her life and mine changed. Gone were the soothing tones.
Joely is a character trying to find a way to happiness, which for her is defined by career success, a romantic marriage, and wonderful friendships. Having been jilted at the altar, looked over for partnership at her law firm, and displaced geographically from her two best friends, Ethan Berg and Coco Hirohito — her surrogate family to replace the one she knows she has to return to in Los Angeles—who are both on the West Coast, Joely is staring eye-to-eye with the nadir of her life. To accompany her downward emotional spiral, my writing was dispatched to the tune of You Can’t Always Get What You Want (Rolling Stones) and carried through on the wings of thematically similar music, most notably The Eagles’ Hotel California. When I write, I tend to listen to certain songs on repeat. I’m an extremely focused person—the antithesis of having ADD—such that when I’m concentrating on or writing something, my laser-like tunnel vision works best listening to the music that evokes the creative spirit from within.
To return my heroine to that from whence she came: Beverly Hills, to live with her Oscar-winning aging screen siren mother, Sylvia, and her D-list philandering director father, Armand, I had to fill my head with fight music. To don her war paint and gear up for battle—more like war since her parents’ selfish desires for their daughter have little to do with what Joely wants for herself—I listened to a cacophony of sounds, including the theme song from Rocky Balboa, Chumbawamba’s I Get Knocked Down (Tubthumping), AC/DC’s Back in Black, and Guns N Roses’ Welcome to the Jungle. Down, but not out, Joely was able to hop drunkedly on her return flight to Los Angeles for the fight of her life.
Joely’s reunion with her respective chosen and birth families, her return to the practice of law on her own terms, and her quest for personal fulfillment was written to a musical mish mash. The emotional roller coaster ride of having her heart pulled in three directions—the fiancé who left her, the married mentor, and her best friend for whose love she’s willfully blind—was written to a myriad of tonalities, ranging from Bob Marley’s Three Little Birds, to Starship’s Nothing’s Gonna Stop Us, and to Rick Astley’s Never Gonna Give You Up — yes, I’m a child of the 80s—but to name a few. The legal warpath was written to the echoed sounds of the battle songs I listened to in order to prepare Joely for her return to Los Angeles. Brief moments of serenity were hallmarked by my return to listening to classical music, with Edvard Grieg’s Morning marking a quintessential awakening for Joely.
In the end, the moment in which Joely and I jointly discovered that we would find a way for her to ‘have it all’—career, love, marriage, success—the song playing on the radio by happenstance was Sarah Bareilles’s Love Song. Both mine and Joely’s heads were proverbially ‘under water’ prior to that moment — I was unsure whether it would be realistic for a woman to have it all, as I was struggling with a similar shared female experience in my own life. When Bareilles’ song blared through my radio, and eventually through that of Joely’s car stereo as she drove along the PCH highway in Los Angeles, it underscored the revelatory moment for when I realised how Joely’s story would end. Or, rather begin again.
Naomi Elana Zener is the author of both Deathbed Dimes and satire fiction, which is posted on her blog Satirical Mama. Her vociferous blogging has been read and appreciated by industry bigwigs such as Giller Prize winner Dr Vincent Lam and New York Times best-selling author and journalist Paula Froelich. Naomi blogs for Huffington Post and her articles have been published by Kveller, Absrd Comedy, and Erica Ehm’s Yummy Mummy Club. She’s currently working on her sophomore novel. You can connect with her on her website or on Twitter @satiricalmama.
If I were to compile a soundtrack for My Memories of a Future Life, it would be two distinct halves. There are the signature piano pieces like the Grieg concerto, the rolling standards from classical repertoire that feature in the story. And my own reworking of Samuel Barber’s Dover Beach.
In parallel to that soundtrack is an undercover, deep-level score that probably no reader is aware of – the music I used as I wrote.
Its contributors are many, varied – and some would say obscure. There’s the electronica artist Murcof, whose tiptoeing tension revealed to me the uneasy questions in Carol’s heart. There is the extraordinary composer-vocalist Meredith Monk, whose glacial boldness became the eerie composure of Carol’s next incarnation, Andreq. (Find a video of Meredith Monk here.) And, less obtusely, Handel with Ombra Cara from Radamisto, which gave me the conflicted core of one scene – brooding, thrilling, relieved – and scared.
I could linger far longer on scenes that changed for ever once I found their music, but I need to avoid spoilers and so brevity must be the rule. So here’s a fellow music-fuelled writer, Porter Anderson, to explain how the process works for him.
He used Amidst Neptune by Caleb Burhans to tease out the surprising truths of a scene.
Porter says: ‘I’ve used this piece in a scene where a highly placed public figure is contemplating suicide. The setting is an isolated spot by the sea, very late at night—an end-of-the-road glimmer in all directions. The exotic tension of Burhans’s electric violins and those initial, absorbed cadences tell me a lot. There’s a picturesque loneliness that invades the mind when enough negative focus converges, as in the opening of Samuel Barber’s Medea’s Meditation and Dance of Vengeance. Burhans’s initial concentration on a few phrases is overtaken by a walking bass under a sighing, ironic theme.
‘It shows me that the devastating rock-bottom despair you’d expect in such a bad moment actually has a comforting side, as counter-intuitive as that seems. The disappointments, fears and weaknesses in that thudding hopelessness at the open can become friendly. Burhans gives it to us as a bluesy, street-wise swagger. There’s an attraction, let’s face it, to that nothing-to-lose extreme. Burhans builds his swinging gait, topped by the glissandi of the upper voices, into an almost commercially contemporary theme. An uncomfortably familiar jazz brush on the cymbal, a dutiful, head-down, keep-on-keeping-on gloss to what must be a terrifying moment—because we love our terrifying moments.
Sweet enjoyment in the abyss
By the time he breaks into some rippling piano breaks on the other side of his sax-savvy look into the abyss, my character’s suicide is still fully viable–but not without a confession that there’s a sweet enjoyment, a satisfying sit-down among the woes. And maybe that’s the attraction. Certainly not in all cases, but in my character’s. This could be a clue to the pain at hand. A need to be led through a gratifyingly harrowing litany of qualms to the very edge of this seaside desolation.
‘Currently, the most powerful composers’ voices in my work belong to Pēteris Vasks, Nico Muhly (whose “Two Boys” premiered at the ENO in June), Eleni Karaindrou, Eric Whitacre and Morten Lauridsen (with Muhly, my three choral masters), Gavin Bryars, Missy Mazzoli, and Lisa Bielawa.’
Porter adds: ‘Music is sometimes a debate, other times an argument, almost a discussion, a chance to turn things over and see if I’ve got my own characters’ bearings clear enough. Or have I taken just the first rock-bottom, down-and-out cliché and stopped there?’
All this from a chance pairing of music and muse.
The source of that Burhans performance, the Meredith Monk video and these intriguing concert pics – is the radio station Q2 Music, which thanks to Porter I’ve recently discovered. Q2 is part of the biggest NPR station, WNYC/WXQR based in New York, the home of some of the world’s most exciting contemporary composers. No matter where you are, you can listen to it on the internet, a constant, 24-hour stream of challenging music, available free.
A magnifying glass for the truth
For me, a novel’s undercover soundtrack has to be music I don’t know. The discovery, note by note, is part of the essential dialogue with my characters and my story. Q2 has it all, fresh and untasted, ready to be the magnifying glass for the truth.
As it was Porter who introduced me to this internet treasure, I’ll leave him with the last word: ‘Q2 is a salon. A glistening, hovering salon in cyberspace. You go in, convene the artists you need, leave the door open for the ones you didn’t know you needed—that’s the beauty of the continual stream—and you get your work done.’
Porter Anderson is a journalist and critic whose column on publishing, Writing on the Ether, appears at JaneFriedman.com on Thursdays. He has issued a matching grant to Q2 Music listeners who would like to donate during the service’s October 18-26 pledge drive. You do NOT have to pledge a penny. This is not a pitch, and the services of Q2 Music are offered entirely free of charge. Porter’s much more interested in bringing together new music with new writings. If you do feel interested in contributing to the non-profit work of this unique NPR affiliate, each $1 you donate will be matched with $1 from Porter, up to a total of $5,000, at Q2Music.org And Porter would love to thank you. Drop him a line on Twitter or at Porter@PorterAndersonMedia.com
Update: the lady herself is reading this blog…