We’ve reached the top of our seasonal top 10 covering the pieces you most liked and listened to over the past three months, but before I reveal the top piece, let me cover one other area.
I know from growth in the audience that some of you are new to the Parlando Project. Because of that, every so often I should explain what this project does. We take words, mostly poetry, mostly other peoples’ words, not our own, and combine them with music we write and perform ourselves. Sometimes we sing the words, sometimes we don’t, sometimes we split the difference somehow.
By intent the poetry we use and the music we create for it varies. Most texts are used under public domain rules.* What kind of music do we use? I try to make it a whole lot of different. I’ve never been able to answer the simple-sounding question “What kind of music do you like?” because the idea of liking one kind of music is just not in me. So be aware that you may run into music here that you don’t care for, either because of our limitations as musicians or your own tastes and expectations—and that may happen right after a piece you liked. The same applies to the words we use. There are over 400 examples of what we do here in our archives, so you can move on and look at another one anytime. If you wonder if we’ve presented a poem or author, search here and see.
OK, so who sits atop our Autumn 2019 hit parade? William Shakespeare that’s who. That’s no surprise considering that it’s his Sonnet 73 which begins “That time of year thou mayest in me behold” (but which I’ve always thought of as “Bare Ruined Choirs” for its most famous image)—one of the longest-famed “autumn of one’s years” poems in English.
Let England Shake-Speares. The title page of the first printing.
I wrote at some length about my experience of the poem in my original post here, but I’ll reiterate only one point: even though this poem resonates with many older people and older lovers in particular, it was written by a man in his early 30s. Consider all the exegesis of Shakespeare’s sonnets that seek to tweeze out his sexuality, incidents to fill out his biography, or the identity of the fair youth, the dark lady, or “who really wrote Shakespeare,” and consider that they were written after all by an actor and a famously prolific creator of opposite and varied characters. I too want to invest those sonnets with his experience, to believe that this great artist is letting me see his heart. How much is intentionally or unintentionally “real,” and how much is a good illusion? We may never know, but we have the art none-the-less.
Here’s the player to hear my performance of Shakespeare’s Sonnet 73 “Bare Ruined Choirs.” And a sincere thank you for listening and reading this fall. I hope that some of the pieces we’ve presented have pleased you and illuminated some matter or another.
*This means that the poetry is usually from before 1924. I happen to like (and have grown to like even more via this project) a good deal of early 20th century Modernist poetry, but we’ll jump around to older stuff than that too. While we’ve done many of “Poetry’s Greatest Hits” over the years, I’ll use lesser-known poets and poems when they strike me as interesting.