BIG APPLE PORTRAITS, PART 2

Since I'm away, my staff of thousands has come up with a brilliant idea to amuse you and me together: Videos by the composer Bill Osborne, which he made on the fly while he was in New York not long ago. He thinks of them as improvised Big Apple portraits, which he's edited to fit selected musical scores. All told, they add up to something like an essay. The first was posted Friday. Here's the second: "Chrysler Building."

Put on your headphones, click the photo or the title, and enjoy. Give it time to load. The music, by Maurice Ravel, is "Melodies hebraiques: no 2, L'enigme eternelle," performed by Catherine Robbin (mezzo soprano) and André Laplante (piano), with Nora Shulman (flute); Camille Watts (flute); Joaquin Valdepeñas (clarinet); David Bourque (clarinet); Mark Skzainetsky (violin); Mi Hyon Kim (violin); Steven Dann (viola); Thomas Wiebe (cello). It's recorded by the CBC Records/Musica Viva label on the CD "Ravel: Mélodies" (Cat. #: MVCD1128).

If you prefer the videos sequentially more or less as Osborne intended -- the staff does -- instead of backwards (per the usual top-down chronological order of posting), just click here from top to bottom:

Part 1: "Times Square at Night."
Part 2: "Chrysler Building."

Typically, Osborne takes a modest view of his efforts. "The videos themselves won't sustain much interest (especially given all of the video media that swamps our lives)," he messages, "but they might be a useful small addition or footnote to your usual blogging when you get back to it." The staff begs to disagree. It believes his moody improvisations are more than just footnotes. (He also warns: "Many people won't have the modem speed to watch them." Aaarrgghh.) Coincidentally, the Chrysler Building's 75th anniversary is being celebrated this spring, and James Stevenson has an op-art birthday tribute in this morning's New York Times. It begins like so:

 

 

 

 

 

 

 

 

April 23, 2005 10:52 AM |

Categories:

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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This page contains a single entry by CriticalMASS published on April 23, 2005 10:52 AM.

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