Nineteen years ago today, Harry Potter and the Philosopher’s (Sorcerer’s) Stone was published – and talk about a fast path to fame. In barely ten years, the series went from small potatoes to worldwide obsession; J. K. Rowling went from nobody (it was her first book!) to a household name. And, as with every hit new book, a movie adaptation is inevitable.

When the first film was made in 2001, the book series was only half-way through. The filmmakers had enough foresight to know that this series would only get bigger and bigger; so they didn’t cut corners when it came to music – no less than the legendary John Williams would score the movie! While perhaps not his move amazing composition, it still carries his tell-tale marks: a memorable, melodic main theme (heard at the beginning of this video); repetitive song forms; contrasting orchestration to help define sections; an assortment of harmonic and orchestration “tricks” that you can hear in any of his blockbuster films (for example, at 0:39, the impression of “flying” given by buzzing strings can also be found in E.T., or at 1:36, it is remarkable similar to the X-Wing “fanfare” music in Star Wars).

Hats off to Harry Potter and to John Williams!

… and the livin’ is easy.

Yes, you know this song. It’s part of the American landscape now, having been recorded over 25,000 times. It is, of course, by George Gershwin, from his opera Porgy and Bess. The 1935 performance featured an all African-American cast, and received poor reception due to the color of the cast as well as the racial themes of the work. Since then, the opera (especially “Summertime”) has exploded in popularity and is one of the most-performed operas today.

Gershwin himself called this a “folk opera”; it lies in that funny “crossover” place between a Broadway Musical and an Opera. The song form of “Summertime” is quite simple – the phrases would be analyzed as A,A’,A,B – like a folk song or a Broadway number. Most people know it as a jazz standard or a popular song, where the vocals tend to be in a much lower tessitura, giving it a sensual, sultry sound. This makes the music sound like a sexy love song that could be sung to your lover over a cigarette and a martini on a sweaty summer night. However, the original idea of the composer, though, was a sweet lullaby that a high, floaty soprano sings to her baby.

I originally had written a different post for today, but Saturday night’s tragic event forced me to publish it earlier than expected.

A year ago today, nine people in Charleston were killed in an act of hatred and terrorism. Sadly, we Americans hear this story a couple of times a year. It’s all too familiar; we humans are very capable of some very disturbing behavior. If you want to read about that, you can find it by searching any media site. Instead, I want to counter this frighteningly common, disturbing behavior, with the fact that humans are also capable of creating things of beauty – things that uplift our species and help us to look forward, even though there are some of us who behave like animals.

Composer Parker Kitterman was deeply moved by the 2015 Charleston tragedy, both because of the senselessness of the crime, and because of his deep south roots. His response to the massacre was to write a Requiem in nine movements – one for each of the victims of the attack. As the Charleston shooting was intended to incite a racial war, Kitterman responded by writing a work that seamlessly blends the sounds of European Art Music with that of African-American Gospel. The end result is a brand-new work (less than a year old) that will hopefully carry the banner of love and help bring healing to a sick world.

Kitterman’s Requiem was premiered on November 1st, 2015, on the Feast of All Saints’, when the Christian Church remembers those who have died in the last year. I am very proud to be participating in the second performance of this work, this evening.

This recording, from the Nov. 1 premiere, is the Introit, which gives just a little taste of the work. This performance is for choir and organ alone; tonight’s performance will use piano, drums, and bass as well.