Show Notes
On this Super Blue Moon, we discuss the superstar tune "Blue Moon." We begin our conversation assessing the contested definition of an astronomical "blue moon," finding surprising parallels with the human-centered vision of the moon that the song exhibits. We then delve into the muddy and fraught history of how the song emerged into the public consciousness and marvel at is ability to remain universally appealing, appearing fresh and new with each new performance, arrangement, and recording through the decades. Special thanks to Liz Roman Gallese, who kindly answered our inquiries about particular details. She infers that discrepancies between the settlement amounts her father received can be explained by subtracting the attorney fee. References Sky and Telescope, "Blue Moons - Origins and History" The first music break is The Melachrino Strings, "Blue Moon" Lorenz Hart, Dorothy Hart, and Robert Kimball, "The Complete Lyrics of Lorenz Hart" Liz Roman Gallese, https://bluemoonsong.org/ The Marcels, "Blue Moon" (1961) For a fun "weird" treatment of the song, check out Duke Ellington's version
More from Cosmophonia
How does one with a penchant for cutting-edge electronic music, West-coast jazz, and lunar fantasies find relaxation in 1947? Why, with Les Baxter's Music Out of the Moon: Music Unusual Featuring the Theremin, of course! We take on this landmark album, which set the stage for exotica and lounge music in subsequent decades while ensuring visions of outer space remained an integral component of these fascinating genres. But it's more than that: Baxter's imaginings engage with a vast array of space music tropes, all at prior to the launch of Sputnik! This puts his music at the intersection of old and new trends, which yields some truly captivating results.
From the alien dolphins in "Hitchhiker's Guide to the Galaxy" (so long and thanks for all the fish) to the whale on the cover of the They Might be Giants album "Apollo 18," there are numerous examples of cosmic-dwelling cetaceans in science fiction and other space imaginings. Even more interestingly, these space whales' cosmic nature is often tied to their musical nature. In this episode, we ponder why this may be, and touch on some of our favorite space-whale-music examples. While we leave the details of several whale-themed musical works for other episodes (see references below), we consider instead the affordances and potential pitfalls of hearing whale vocalizations as music.
On Monday, April 8, a total solar eclipse will sweep across much of North America, within view of millions of people. Most excitingly, the path of totality is coming by Bloomington, Indiana, current home of Cosmophonia! Your hosts have been involved in several music-space events in town, including our very own recital, where we have programmed a number of excellent on-topic pieces. The piece we discuss on this episode is the proverbial one that got away - Stuart Saunders Smith's "The Narrow Path" for two vibraphone players and one orchestral bells (or glockenspiel) player. While our conversation occasionally strays off the "narrow path," we keep coming back to why this piece is a compelling reminder of eclipses and space more generally, including issues of alignment and the twinkly sounds of metallophones.
Probably the most well-known piece of space themed classical music is Gustav Holst's The Planets. In this episode, we focus on the last movement of the suite, "Neptune," discussing how the timbre and harmony create its signature icy, watery, mysterious soundscape. The suite was completed in 1918, but while selected movements were performed several times in the following years, it did not receive its full premiere with the "Neptune" movement until 1920. Despite the movement being an unusual choice for a finale, it was and still is extremely effective. We also discuss how the astrological inspiration for the suite led Holst to order the movements in the way that he did.
In this new series, Uncharted Cosmophony, we choose a random, previously unknown to us album that seems to have some spacey elements, listen to it, and then talk about it. This time we chose the 1973 record "Intergalactic Trot" by Stardrive with Robert Mason. The album prominently shows off the capabilities of an early multi-voiced synthesizer, backed by a full band, but unlike ambient "space" music is energetic and driven. Our conversation moves in interesting directions, including how the blending of technology and pastoral musical topics can be used to depict an alien landscape.