I would like to thank Richard, Judy and Alexander for having me play my unaccompanied cello solos 6-8 Friday December first. Once again, this was a fun event to kick off the 2006 Holiday season. In addition to the large variety of Christmas music such as White Christmas, O Holy Night, and Frosty The Snowman and one Chanukah song, Hava Nagila, I played several old standards, such as What A Wonderful World, and a couple of Beatles melodies. Also, I played my own arrangements on a few themes such as Batman, Star Trek, Henry Mancini's The Pink Panther. See entry from last year for more about Old Town Hobby and my playlist. This year, I used my microphone and amplifier so people could hear me in the hall outside the store.
The above entry, from 2006, mostly holds true for 2007 also, except I started at about 5:30 pm. This year, I added a lot more double-stops and fiddle-style to a lot of the simpler songs. Next year, I will include new work-ups of some classic hard-rock ballads such as Ina Gotta Davita, Baby, Dream On, Whiter Shade of Pale, etc. by special request. If you haven't been to a First Friday in Shelton yet, don't miss it! It's always on the First Friday night in December.
Sunday, December 03, 2006
Wednesday, November 01, 2006
Jack Grahm Memorial/Celebration of Life, Colonial House, Shelton 10/28/06
I would like to thank Denise and the rest of Coach Grahm's family and friends, as well as the wonderful staff of the Colonial House for their work in creating this meaningful event. Although I never knew Jack, I learned a lot about his incredible life last Saturday, and please let me here express my condolances to all who were fortunate enough to have known this great man as a coach, father and counsellor. I was given many compliments on my unaccompanied cello solos, which fit this occasion so well largely because Denise knew what to ask for. The large gathering began arriving between 1:00 and 1:30 in the afternoon, when I began playing. A well-planned, hosted lineup of speakers starting just after 2:00 went for a couple of hours, after which I played background music behind many lively conversations lasting until a bit after 5 pm, when people began to disperse.
Among Denise's requests were Turn, Turn, Turn, Amazing Grace, Norwegian Wood, Somewhere Over the Rainbow, What A Wonderful World, In My Life and upbeat music from the 1940s, as well as songs by The Beatles and anything by Woody Guthrie. Several of the pieces were in my repertoire already, and I was able to write arrangements for myself to play for the rest of the requests. Please note that many songs first written in the '20s and '30s were very popular during the war years in the '40s.
My final program included Bach's Allamande; Erroll Garner's Misty (1954); As Time Goes By (Herman Hupfeld 1931, featured in Casablanca, 1942); I've Got A Crush On You (George Gershwin, 1930); Chattanooga Choo-Choo (Harry Warren, 1941); I've Got The World On A String (Harold Arlen 1932); It Had To Be You (Isham Jones, 1924); Route 66 (Bobby Troup 1946); Georgia On My Mind (Hoagy Carmichael 1930); Blue Suede Shoes (Carl Lee Perkins 1955); Isn't It Romantic? (Lorenz Hart & Richard Rodgers 1932); Tennessee Waltz (Redd Stewart & Pee Wee King, 1948); This Land Is Your Land (Woody Guthrie 1956); Turn! Turn! Turn! (Pete Seeeger); Ain't Misbehavin' (Thomas "Fats" Waller, Harry Brooks, Andy Razaf 1929); Try A Little Tenderness (Harry Woods, Jimmy Campbell, Reg. Connelly 1932); Let It Be (John Lennon & Paul McCartney, 1970); Norwegian Wood (John Lennon & Paul McCartney 1965); Night And Day (Cole Porter, 1932); Over The Rainbow (Harold Arlen 1938); Moon River (from "Breakfast at Tiffany's") (Johhny Mercer, Henry Mancini 1961); Moonlight Bay (Percy Wenrich 1912); Amazing Grace (Traditional); From Me To You (John Lennon & Paul McCartney 1963); Only You (and you alone) (Buck Ram & Ande Rand 1954); Someone To Watch Over Me (George & Ira Gershwin 1926); Danny Boy (Traditional); Don't Get Around Much Anymore (Bob Russell & Duke Ellington 1942); Blue Skies (Irving Berlin 1927); In My Life (John Lennon & Paul McCartney 1966); I Will (John Lennon & Paul McCartney 1968); Fly Me To The Moon (In Other Words) (Bart Howard 1954); Star Dust (Hoagy Carmichael 1928); Puttin' On The Ritz (Irving Berlin 1928); I've Got You Under My Skin (Cole Porter 1936); I Don't Want To Set The World On Fire (Sung by The Ink Spots in 1941: Benny Benjamin, Eddie Seiler, Sol Marcus, Eddie Durham); Till There Was You (Meredith Willson 1950); Stand By Me (Ben E King, Mike Stoller & Jerry Leiber 1961); And I Love Her (Beatles) Mona Lisa (Jay Livingston & Ray Evans); Unforgettable (Irving Gordon 1951); My Blue Heaven (George Whiting & Walter Donaldson); A Taste Of Honey (Ric Marlow & Bobby Scott); All My Loving (Beatles); Spinning Wheel (Blood, Sweat & Tears 1967: David Clayton-Thomas); What A Wonderful World (George David Weiss & Bob Thiele 1967); Take The 'A' Train (Billy Strayhorn 1941); Volare (Nel Blue, Dipinto Di Blu) (Domenico Modugno 1958); I Love Paris (Cole Porter); Spanish Eyes (Bert Kaempfert 1965); Courante (Bach); Sarabande (Bach); It Might As Well Be Spring (Richard Rodgers 1945); Mairzy Doats (Sung by Bing Crosby, written by Milton Drake, Al Hoffman & Jerry Livingston 1943); A Whiter Shade of Pale (Keith Reid & Gary Brooker 1967); Forgotten Heart (Dave Pierik 2005).
I would also like to thank Denise and whoever else was responsible for the wonderful food at this event, it was terrific!
--Dave
Among Denise's requests were Turn, Turn, Turn, Amazing Grace, Norwegian Wood, Somewhere Over the Rainbow, What A Wonderful World, In My Life and upbeat music from the 1940s, as well as songs by The Beatles and anything by Woody Guthrie. Several of the pieces were in my repertoire already, and I was able to write arrangements for myself to play for the rest of the requests. Please note that many songs first written in the '20s and '30s were very popular during the war years in the '40s.
My final program included Bach's Allamande; Erroll Garner's Misty (1954); As Time Goes By (Herman Hupfeld 1931, featured in Casablanca, 1942); I've Got A Crush On You (George Gershwin, 1930); Chattanooga Choo-Choo (Harry Warren, 1941); I've Got The World On A String (Harold Arlen 1932); It Had To Be You (Isham Jones, 1924); Route 66 (Bobby Troup 1946); Georgia On My Mind (Hoagy Carmichael 1930); Blue Suede Shoes (Carl Lee Perkins 1955); Isn't It Romantic? (Lorenz Hart & Richard Rodgers 1932); Tennessee Waltz (Redd Stewart & Pee Wee King, 1948); This Land Is Your Land (Woody Guthrie 1956); Turn! Turn! Turn! (Pete Seeeger); Ain't Misbehavin' (Thomas "Fats" Waller, Harry Brooks, Andy Razaf 1929); Try A Little Tenderness (Harry Woods, Jimmy Campbell, Reg. Connelly 1932); Let It Be (John Lennon & Paul McCartney, 1970); Norwegian Wood (John Lennon & Paul McCartney 1965); Night And Day (Cole Porter, 1932); Over The Rainbow (Harold Arlen 1938); Moon River (from "Breakfast at Tiffany's") (Johhny Mercer, Henry Mancini 1961); Moonlight Bay (Percy Wenrich 1912); Amazing Grace (Traditional); From Me To You (John Lennon & Paul McCartney 1963); Only You (and you alone) (Buck Ram & Ande Rand 1954); Someone To Watch Over Me (George & Ira Gershwin 1926); Danny Boy (Traditional); Don't Get Around Much Anymore (Bob Russell & Duke Ellington 1942); Blue Skies (Irving Berlin 1927); In My Life (John Lennon & Paul McCartney 1966); I Will (John Lennon & Paul McCartney 1968); Fly Me To The Moon (In Other Words) (Bart Howard 1954); Star Dust (Hoagy Carmichael 1928); Puttin' On The Ritz (Irving Berlin 1928); I've Got You Under My Skin (Cole Porter 1936); I Don't Want To Set The World On Fire (Sung by The Ink Spots in 1941: Benny Benjamin, Eddie Seiler, Sol Marcus, Eddie Durham); Till There Was You (Meredith Willson 1950); Stand By Me (Ben E King, Mike Stoller & Jerry Leiber 1961); And I Love Her (Beatles) Mona Lisa (Jay Livingston & Ray Evans); Unforgettable (Irving Gordon 1951); My Blue Heaven (George Whiting & Walter Donaldson); A Taste Of Honey (Ric Marlow & Bobby Scott); All My Loving (Beatles); Spinning Wheel (Blood, Sweat & Tears 1967: David Clayton-Thomas); What A Wonderful World (George David Weiss & Bob Thiele 1967); Take The 'A' Train (Billy Strayhorn 1941); Volare (Nel Blue, Dipinto Di Blu) (Domenico Modugno 1958); I Love Paris (Cole Porter); Spanish Eyes (Bert Kaempfert 1965); Courante (Bach); Sarabande (Bach); It Might As Well Be Spring (Richard Rodgers 1945); Mairzy Doats (Sung by Bing Crosby, written by Milton Drake, Al Hoffman & Jerry Livingston 1943); A Whiter Shade of Pale (Keith Reid & Gary Brooker 1967); Forgotten Heart (Dave Pierik 2005).
I would also like to thank Denise and whoever else was responsible for the wonderful food at this event, it was terrific!
--Dave
Monday, October 09, 2006
Dr. Kevin & Becky Frankenberger Anniversary, Travaglione's, Oct. 2 2006
I would like to thank Cheryl Travaglione for having me perform cello solos for the anniversary of Dr. Kevin & Becky Frankenberger (his doctorate is in education administration and he is retired except for some travelling lectures, I believe). Cheryl and her chef opened her restaurant (in Shelton, WA) on a Monday when she would normally have been closed, especially for this event. I played for about an hour, combining classical with standards. The Frankenbergers heaped as many happy compliments on me as possible, it seemed. I could tell they were having a wonderful time, enjoying the food, wine, my music and each other's company. Once again, I feel honored to have become part of such a special and memorable event as this.
Sunday, September 10, 2006
Winetasting, Walter Dacon Winery Shelton
Friday, September 8, 2006 the Rachel Knott Guild held a Children's Hospital Benefit winetasting at Walter Dacon Winery in Shelton. I would like to thank Barbara McDowell for including me as entertainment for this wonderful event. My wife and I really enjoyed the winetasting, the food and the stories we shared with members of this great group of people.
For this event, which was held outdoors from 6:00-8:00 pm, I warmed up with a classical piece, then played a wide selection of music from my jazz standards, classic pop covers and other American and British music, emphasizing the period of 1930-1970. As is usually the case, I needed no amplification for my unaccompanied cello solos, yet everyone could hear me, as well as their pleasant conversations with each other over wine and assorted kabobs. It was one of the rare occasions on which I have left my tuxedo jacket on, as the late summer evening breeze was just right. Although I often forget to take a break, I was glad I remembered this time as the food was simply excellent, as was the wine; though I was careful not to overindulge, so that I could keep my performance sharp. From the genuine, glowing compliments I was given by so many members of the Rachel Knott Guild, everything fit right into place for a wonderful event: people, wine, food and entertainment. I am pleased to have been a part of this benefit for Children's Hospital, and I look forward to hearing from this organization in the future.
I would like to thank Ann and Lloyd Anderson and their employees for all the little details that make the Walter Dacon Winery and its wines among the best in the Northwest, and in the world as well. Walter Dacon's three Syrahs have recently won gold, double-gold, and a 91 Wine Spectator rating, yet the winery has only been operating for only a year or two now. Years from now, wine critics will doubtless revel about how this little winery has maintained such greatness from the very beginning.
For this event, which was held outdoors from 6:00-8:00 pm, I warmed up with a classical piece, then played a wide selection of music from my jazz standards, classic pop covers and other American and British music, emphasizing the period of 1930-1970. As is usually the case, I needed no amplification for my unaccompanied cello solos, yet everyone could hear me, as well as their pleasant conversations with each other over wine and assorted kabobs. It was one of the rare occasions on which I have left my tuxedo jacket on, as the late summer evening breeze was just right. Although I often forget to take a break, I was glad I remembered this time as the food was simply excellent, as was the wine; though I was careful not to overindulge, so that I could keep my performance sharp. From the genuine, glowing compliments I was given by so many members of the Rachel Knott Guild, everything fit right into place for a wonderful event: people, wine, food and entertainment. I am pleased to have been a part of this benefit for Children's Hospital, and I look forward to hearing from this organization in the future.
I would like to thank Ann and Lloyd Anderson and their employees for all the little details that make the Walter Dacon Winery and its wines among the best in the Northwest, and in the world as well. Walter Dacon's three Syrahs have recently won gold, double-gold, and a 91 Wine Spectator rating, yet the winery has only been operating for only a year or two now. Years from now, wine critics will doubtless revel about how this little winery has maintained such greatness from the very beginning.
Monday, September 04, 2006
Two Weddings in Oregon
I'm hearing good things from familiy and friends about my cello solo wedding performances in Oregon these past couple of weekends. Thank you for the compliments, everybody. --Dave
Congratulations, Tim and Lori! You are a beautiful couple and your collective happiness is infectious. The two of you just seem to lift the spirits of everyone around you. It was my pleasure to play for your wedding (August 26, 2006 in Sandy, Oregon), not just because you're family, but because it was fun. For this wedding, I really emphasized my Bach and Beatles, with a "Wapato" variant of "Buffalo Gals" thrown in by request, along with standard wedding service pieces. The reception was a blast, too, and that place looks better than it has in a lot of years.
Adam and Joy, your wedding was just beautiful! The setting was gorgeous, with that shade-giving white gazebo and Mt. Hood in the background. I was glad to be a part of it (September 2, 2006 just East of Sandy). After playing a mixture of songs as the guests were seated, I played Straus' Emperor Waltz, followed by Pachelbel's Canon in D per request for the processional, with the rest being pretty standard. The reception was beautiful too; I especially enjoyed having time on the water in that paddleboat with my daughter. I truly wish you both all the best. I was happy to be part of it.
Congratulations, Tim and Lori! You are a beautiful couple and your collective happiness is infectious. The two of you just seem to lift the spirits of everyone around you. It was my pleasure to play for your wedding (August 26, 2006 in Sandy, Oregon), not just because you're family, but because it was fun. For this wedding, I really emphasized my Bach and Beatles, with a "Wapato" variant of "Buffalo Gals" thrown in by request, along with standard wedding service pieces. The reception was a blast, too, and that place looks better than it has in a lot of years.
Adam and Joy, your wedding was just beautiful! The setting was gorgeous, with that shade-giving white gazebo and Mt. Hood in the background. I was glad to be a part of it (September 2, 2006 just East of Sandy). After playing a mixture of songs as the guests were seated, I played Straus' Emperor Waltz, followed by Pachelbel's Canon in D per request for the processional, with the rest being pretty standard. The reception was beautiful too; I especially enjoyed having time on the water in that paddleboat with my daughter. I truly wish you both all the best. I was happy to be part of it.
Tuesday, August 01, 2006
2006 Mason County Fair, July 28, 29 & 30
For my second year playing this event, I had much more material than would fit into 6 total hours of stage time in 5 sets. So I made a point of not repeating any song, except for my own composition, "Onion Rings Incidental Music," which I wrote specifically for the Fair, and performed Saturday and Sunday.
I would include my songlists here, but it is just too long now. I played unaccompanied cello solos encompassing over 500 years of music, including classical,
jazz standards, pop covers and swing tunes from every decade, as well as half a dozen original compositions of my own. I have been doing a lot of arranging lately also. I had a great time, turnout was good, and I really do like that Concession Stage at the Fair.
I would like to thank Debby Baker, Fairgrounds Director, for hiring me to perform. Also, thank you to Mark for your outstanding work doing the sound. To everyone who came to hear me play, thank you for coming and also for giving me such positive feedback and encouragement; it is because of all the listeners, for all the music lovers in my life, that I play cello in the first place. Thank you all.
I would include my songlists here, but it is just too long now. I played unaccompanied cello solos encompassing over 500 years of music, including classical,
jazz standards, pop covers and swing tunes from every decade, as well as half a dozen original compositions of my own. I have been doing a lot of arranging lately also. I had a great time, turnout was good, and I really do like that Concession Stage at the Fair.
I would like to thank Debby Baker, Fairgrounds Director, for hiring me to perform. Also, thank you to Mark for your outstanding work doing the sound. To everyone who came to hear me play, thank you for coming and also for giving me such positive feedback and encouragement; it is because of all the listeners, for all the music lovers in my life, that I play cello in the first place. Thank you all.
Sunday, May 07, 2006
Open House at Alpine Way Sunday, May 7
I would like to thank Beth Johnston, manager and Ron Wilkes, activities director for hiring me to play cello solos for residents and their visiting families today during lunch at Alpine Way Retirement Apartments. I played from 11:37 to 1:05, what I call a "fat hour," in the Special Care Unit.
The large audience was very appreciative of the melodies I played, most of which I have selected and arranged for myself, as sheet music available for the cello is pretty limited.
Moonlight Bay, Percy Wenrich 1912
Someone To Watch Over Me, George & Ira Gershwin, 1926
Begin the Beguine, Cole Porter, 1935
Night and Day, Cole Porter, 1932
Only You (and you alone), Buck Ram and Ande Rand, 1954
When You're Smiling, Mark Fisher, Joe Goodwin & Larry Shay, 1928
The Girl from Ipanema, Antonio Carlos Jobim & Vincius de Moraes, 1963
Ain't Misbehavin', Thomas "Fats" Waller, Harry Brooks & Andy Razaf, 1929
It Don't Mean A Thing (if it ain't got that swing), Duke Ellington & Irving Mills, 1932
What the World Need Now is Love, Hal David & Burt Bacharach, 1965
Spanish Eyes, Bert Kaempfert, 1965
I Love Paris, Cole Porter, 1934
Take the "A" Train, Billy Strayhorn, 1941
Volare (Nel Blue, Dipinto Di Blu), Domenico Modugno, 1958
Just One of Those Things, Cole Porter, 1935
The Way We Were, Alan & Marilyn Bergman, Marvin Hamlisch, 1973
By the Light of the SIlvery Moon, Ed Madden & Gus Edwards, 1909
Whatever Will Be, Will Be (Que Sera, Sera), Jay Livingston & Ray Evans, 1955
Don't Get Around Much Anymore, Bob Russell & Duke Ellington, 1942
Mairzy Doats (once sung by Bing Crosby), Milton Drake, Al Hoffman & Jerry Livingston, 1943
It Might As Well Be Spring, Hammerstein & Rodgers, 1945
Don't Be Cruel (to a heart that's true), Otis Blackwell & Elvis Presley, 1956
I've Got the World on a String, Harold Arlen, 1932
Blue Skies, Irving Berlin, 1927
Chattanooga Choo-Choo, Harry Warren, 1941
I've Got A Crush On You, George Gershwin, 1930
As Time Goes By, Herman Hupfeld, 1931
It Had To Be You, Gus Kahn & Isham Jones, 1924
A Taste of Honey, Ric Marlow & Bobby Scott
My Blue Heaven, George Whiting & Walter Donaldson
Puttin' On The Ritz, Irving Berlin, 1928
Georgia On My Mind, Hoagy Carmichael, 1930
What A Wonderful World, George David Weiss & Bob Thiele, 1967
Tennessee Waltz, Redd Stewart & Pee Wee King, 1948
Isn't It Romantic?, Lornz Hart & Richard Rodgers, 1932
I Don't Want To Set The World On Fire, the Ink Spots, 1941
Love Is Here To Stay, George & Ira Gershwin, 1938
Star Dust, Hoagy Carmichael, 1928
Too-ra-loo-ra-loo-ral--That's An Irish Lullaby, J.R. Shannon, 1913
Five Foot Two, Eyes of Blue (Has Anybody Seen My Girl?) Sam M. Lewis, Joe Young & Ray Henderson, 1925
Jeanie With the Light Brown Hair, Stephen Foster
Beautiful Dreamer, Stephen Foster
Fly Me To The Moon (in other words), Bart Howard, 1954
Unforgettable, Irving Gordon, 1951
Mona Lisa, Jay Livingston & Ray Evans
Stand By Me, Ben E. King, Mike Stoller & Jerry Leiber, 1961
Till there Was You, Meredith Willson, 1950
Blue Moon, Lorenz Hart & Richard Rogers, 1934
Moon River, Johnny Mercer & Henry Mancini, 1961
The large audience was very appreciative of the melodies I played, most of which I have selected and arranged for myself, as sheet music available for the cello is pretty limited.
Moonlight Bay, Percy Wenrich 1912
Someone To Watch Over Me, George & Ira Gershwin, 1926
Begin the Beguine, Cole Porter, 1935
Night and Day, Cole Porter, 1932
Only You (and you alone), Buck Ram and Ande Rand, 1954
When You're Smiling, Mark Fisher, Joe Goodwin & Larry Shay, 1928
The Girl from Ipanema, Antonio Carlos Jobim & Vincius de Moraes, 1963
Ain't Misbehavin', Thomas "Fats" Waller, Harry Brooks & Andy Razaf, 1929
It Don't Mean A Thing (if it ain't got that swing), Duke Ellington & Irving Mills, 1932
What the World Need Now is Love, Hal David & Burt Bacharach, 1965
Spanish Eyes, Bert Kaempfert, 1965
I Love Paris, Cole Porter, 1934
Take the "A" Train, Billy Strayhorn, 1941
Volare (Nel Blue, Dipinto Di Blu), Domenico Modugno, 1958
Just One of Those Things, Cole Porter, 1935
The Way We Were, Alan & Marilyn Bergman, Marvin Hamlisch, 1973
By the Light of the SIlvery Moon, Ed Madden & Gus Edwards, 1909
Whatever Will Be, Will Be (Que Sera, Sera), Jay Livingston & Ray Evans, 1955
Don't Get Around Much Anymore, Bob Russell & Duke Ellington, 1942
Mairzy Doats (once sung by Bing Crosby), Milton Drake, Al Hoffman & Jerry Livingston, 1943
It Might As Well Be Spring, Hammerstein & Rodgers, 1945
Don't Be Cruel (to a heart that's true), Otis Blackwell & Elvis Presley, 1956
I've Got the World on a String, Harold Arlen, 1932
Blue Skies, Irving Berlin, 1927
Chattanooga Choo-Choo, Harry Warren, 1941
I've Got A Crush On You, George Gershwin, 1930
As Time Goes By, Herman Hupfeld, 1931
It Had To Be You, Gus Kahn & Isham Jones, 1924
A Taste of Honey, Ric Marlow & Bobby Scott
My Blue Heaven, George Whiting & Walter Donaldson
Puttin' On The Ritz, Irving Berlin, 1928
Georgia On My Mind, Hoagy Carmichael, 1930
What A Wonderful World, George David Weiss & Bob Thiele, 1967
Tennessee Waltz, Redd Stewart & Pee Wee King, 1948
Isn't It Romantic?, Lornz Hart & Richard Rodgers, 1932
I Don't Want To Set The World On Fire, the Ink Spots, 1941
Love Is Here To Stay, George & Ira Gershwin, 1938
Star Dust, Hoagy Carmichael, 1928
Too-ra-loo-ra-loo-ral--That's An Irish Lullaby, J.R. Shannon, 1913
Five Foot Two, Eyes of Blue (Has Anybody Seen My Girl?) Sam M. Lewis, Joe Young & Ray Henderson, 1925
Jeanie With the Light Brown Hair, Stephen Foster
Beautiful Dreamer, Stephen Foster
Fly Me To The Moon (in other words), Bart Howard, 1954
Unforgettable, Irving Gordon, 1951
Mona Lisa, Jay Livingston & Ray Evans
Stand By Me, Ben E. King, Mike Stoller & Jerry Leiber, 1961
Till there Was You, Meredith Willson, 1950
Blue Moon, Lorenz Hart & Richard Rogers, 1934
Moon River, Johnny Mercer & Henry Mancini, 1961
Wednesday, May 03, 2006
Pioneer Primary, May 3, 2006
On the invitation of Pat Peters, I agreed yesterday to fill in for entertainment that could not make it to Pioneer Primary today (see my entry from last year's Pioneer performance also). I played for about 25 minutes, then answered questions. What a great, polite, appreciative bunch of kids! Thank you all for having me out there.
I played the following songs:
Across the Universe (The Beatles, circa 1968)
In My Life (The Beatles)
Good Day Sunshine (The Beatles)
I Will (The Beatles)
Penny Lane (The Beatles)
Ob-La-Di, Ob-La-Da (The Beatles)
Do You Believe In Magic (John Sebastian, 1965)
You'll Be In My Heart (From Walt Disney's "Tarzan," 1999) (Phil Collins)
Colors Of The Wind (From Walt Disney's "Pocahontas," 1995) (Alan Menken)
Concerto in F (W.A. Mozart)
Suite No. 1 for Cello (J.S. Bach, 1685-1750)
Here are a few typical answers I gave to the many questions asked today.
"Yes, the cello is like a big violin you sit down and play; it's in the same family."
"This is the third cello I have owned. It was handmade in the early 1920's in New York by Czech immigrants."
"I started playing cello when I was about your age, in fourth grade. I turned 40 this year, so I've been playing for 30 years."
"No, I've never cut my hand on the strings."
"Now, I can learn most pieces in a week or so. But it used to take longer. The better you can read music, the quicker you can learn songs, so study your music theory and work especially hard on your counting, no matter what instrument you play."
Thanks again.
I played the following songs:
Across the Universe (The Beatles, circa 1968)
In My Life (The Beatles)
Good Day Sunshine (The Beatles)
I Will (The Beatles)
Penny Lane (The Beatles)
Ob-La-Di, Ob-La-Da (The Beatles)
Do You Believe In Magic (John Sebastian, 1965)
You'll Be In My Heart (From Walt Disney's "Tarzan," 1999) (Phil Collins)
Colors Of The Wind (From Walt Disney's "Pocahontas," 1995) (Alan Menken)
Concerto in F (W.A. Mozart)
Suite No. 1 for Cello (J.S. Bach, 1685-1750)
Here are a few typical answers I gave to the many questions asked today.
"Yes, the cello is like a big violin you sit down and play; it's in the same family."
"This is the third cello I have owned. It was handmade in the early 1920's in New York by Czech immigrants."
"I started playing cello when I was about your age, in fourth grade. I turned 40 this year, so I've been playing for 30 years."
"No, I've never cut my hand on the strings."
"Now, I can learn most pieces in a week or so. But it used to take longer. The better you can read music, the quicker you can learn songs, so study your music theory and work especially hard on your counting, no matter what instrument you play."
Thanks again.
Sunday, April 30, 2006
Vickie & John Poulos wedding, St. Nicholas Greek Orthodox Church
Saturday, April 29th I played from about 2:40 to 5:30 or so at the beautiful St. Nicholas Greek Orthodox Church in Tacoma (though I did not play during the actual service itself, which began a bit after 4:00 and took about an hour). Other than movies and television, this was my first experience seeing a Greek Orthodox wedding, and it really was wonderful; seeped in meaningful traditions, including the wedding crowns. Every piece of art in this church, every word sung or spoken during a service has meaning. I sat near the Cantor, and played as people came in and were seated; and of course the processional and recessional, and as people departed.
I would like to thank Vickie (Stacey) and John Poulos for hiring me, and also Father John Kuehnle for his guidance. I would also like to thank Vickie and John for their beautiful card, which reads, "Thank you for all your effort. You've been so open and co-operative... you've made our wedding day special." To match the mood and traditional setting, my program of unaccompanied cello solos included the following pieces for this wedding:
Sarabanda by Jean Marie Leclair (1697-1764) is a slow, syncopated baroque-sounding melody with triplets and trills that is simple, yet sophisticated.
Air by Henry Purcell (1659-1695) has these same qualities, but is a bit more up-tempo and has a certain distant familiarity.
Christoph Willibald Gluck (1714-1787) composed his Andante cantabile with a great deal of expressive movement and interest; the version I play is pretty short, and I am on the lookout for more of his work.
The Sarabanda by Giuseppe Tartini (1692-1770) shares many qualities with the Sarabanda by Leclair; expressive, meaningful and haunting.
The Rondeau by Giovanni Battista Buononcini (1670-1747) is bright and fun, with a quick, catchy staccato theme; a toe-tapping quick-waltz with wonderful articulation.
Jean Baptiste Lully (1632-1687) wrote his Gavotte und Musette with a wonderful change of keys (and moods) in the middle section, recapitulating to the bright original theme to finish.
I wrote a cello solo arrangement for myself from the violin part of Luigi Boccherini's (1743-1805) Minuet from String Quartet, a well-known melody often featured in television and movies when string quartets are depicted, and one I remember fondly from my Mt. Hood Pops quartet days.
La Villageoise by Jean Philippe Rameau (1683-1764) is another good fit for a formal setting, with lots of energy and expressive dynamics including stacattos, trills and ending with triple-and double-stops; this piece has a familiar folk song mood to it.
Zwei Tanze (Two Dances) by Johann Adolph Hasse (1699-1783) features a Bourree in D, with a Menuetto in F, with a da capo to the Bourree; this is a nice song that fits in with the mood of the songs listed above.
Air by Georg Friedrich Handel (1685-1759) sounds like it was written to be heard in a place of worship. Perhaps it was.
Suite No. 1 for CELLO by Johann Sebastian Bach (1685-1750) has six movements: Prelude, Allemande, Courante, Sarabande, Menuet I & II, and Gigue. In my opinion, this is some of the greatest music ever written for the cello; Bach was such a genius at composition that his work shines as brightly now as it did when it was first heard centuries ago. Physically, to play this I absolutely have to take off my tux jacket.
Canon in D by Johann Pachelbel is a well-known song, made even more famous by the GE Soft Light TV commercials a few years ago. It is traditional for weddings and other formal events, and works great as a cello solo.
Another wedding standard, J. Clarke's Trumpet Voluntary, does not by any means need to be performed on a trumpet. It is a very uplifting piece of music.
Processional: Richard Wagner's Bridal Chorus from "Lohengrin" is heard at virtually every wedding; in our heads, most of us are silently singing, "Here comes the bride." Interestingly, driving up on the day of Vickie and John's wedding, I heard a live orchestral version of this piece on the radio!
Recessional: F. Mendelssohn's Wedding March. The cello solo arrangement I play uses a lot of double-stops and shows off the wonderful, full range and richness of the instrument. With its swooping lines and sustained vibrato notes, this piece truly is great, both as a song and as an auditory signal of the official joining together of two lives. Every time I play it at a wedding it lifts my heart and brings tears of happiness to my eyes.
As people exit, I play J.S. Bach's Minuet in C, because even though it's a simple song, it sounds great. I find it to be kind of a restful interlude between other pieces. A lot of the time, I follow it up with his Jesu, Joy of Man's Desiring and then another Bach classic, the Musette. Often, I follow that with some lesser-known Bach, the March in G, Sarabande, Arioso, and March in D, Minuet No. 2, the Bourree I and II (from Bach's Third Cello Suite), and Zwei Menuette (Two Minuets).
To break up that big block of Bach, I play some selections from G.F. Handel's Water Music: Air, Bouree, Hornpipe and Finale. This is some really great music and is popular at weddings.
...And yes, the next time I play at a reception, I'll be sure to include Johnny Mercer and Henry Mancini's Moon River (from "Breakfast at Tiffany's") and Come Away With Me (2002) by Norah Jones.
Thank you again for choosing me to play.
--Dave
I would like to thank Vickie (Stacey) and John Poulos for hiring me, and also Father John Kuehnle for his guidance. I would also like to thank Vickie and John for their beautiful card, which reads, "Thank you for all your effort. You've been so open and co-operative... you've made our wedding day special." To match the mood and traditional setting, my program of unaccompanied cello solos included the following pieces for this wedding:
Sarabanda by Jean Marie Leclair (1697-1764) is a slow, syncopated baroque-sounding melody with triplets and trills that is simple, yet sophisticated.
Air by Henry Purcell (1659-1695) has these same qualities, but is a bit more up-tempo and has a certain distant familiarity.
Christoph Willibald Gluck (1714-1787) composed his Andante cantabile with a great deal of expressive movement and interest; the version I play is pretty short, and I am on the lookout for more of his work.
The Sarabanda by Giuseppe Tartini (1692-1770) shares many qualities with the Sarabanda by Leclair; expressive, meaningful and haunting.
The Rondeau by Giovanni Battista Buononcini (1670-1747) is bright and fun, with a quick, catchy staccato theme; a toe-tapping quick-waltz with wonderful articulation.
Jean Baptiste Lully (1632-1687) wrote his Gavotte und Musette with a wonderful change of keys (and moods) in the middle section, recapitulating to the bright original theme to finish.
I wrote a cello solo arrangement for myself from the violin part of Luigi Boccherini's (1743-1805) Minuet from String Quartet, a well-known melody often featured in television and movies when string quartets are depicted, and one I remember fondly from my Mt. Hood Pops quartet days.
La Villageoise by Jean Philippe Rameau (1683-1764) is another good fit for a formal setting, with lots of energy and expressive dynamics including stacattos, trills and ending with triple-and double-stops; this piece has a familiar folk song mood to it.
Zwei Tanze (Two Dances) by Johann Adolph Hasse (1699-1783) features a Bourree in D, with a Menuetto in F, with a da capo to the Bourree; this is a nice song that fits in with the mood of the songs listed above.
Air by Georg Friedrich Handel (1685-1759) sounds like it was written to be heard in a place of worship. Perhaps it was.
Suite No. 1 for CELLO by Johann Sebastian Bach (1685-1750) has six movements: Prelude, Allemande, Courante, Sarabande, Menuet I & II, and Gigue. In my opinion, this is some of the greatest music ever written for the cello; Bach was such a genius at composition that his work shines as brightly now as it did when it was first heard centuries ago. Physically, to play this I absolutely have to take off my tux jacket.
Canon in D by Johann Pachelbel is a well-known song, made even more famous by the GE Soft Light TV commercials a few years ago. It is traditional for weddings and other formal events, and works great as a cello solo.
Another wedding standard, J. Clarke's Trumpet Voluntary, does not by any means need to be performed on a trumpet. It is a very uplifting piece of music.
Processional: Richard Wagner's Bridal Chorus from "Lohengrin" is heard at virtually every wedding; in our heads, most of us are silently singing, "Here comes the bride." Interestingly, driving up on the day of Vickie and John's wedding, I heard a live orchestral version of this piece on the radio!
Recessional: F. Mendelssohn's Wedding March. The cello solo arrangement I play uses a lot of double-stops and shows off the wonderful, full range and richness of the instrument. With its swooping lines and sustained vibrato notes, this piece truly is great, both as a song and as an auditory signal of the official joining together of two lives. Every time I play it at a wedding it lifts my heart and brings tears of happiness to my eyes.
As people exit, I play J.S. Bach's Minuet in C, because even though it's a simple song, it sounds great. I find it to be kind of a restful interlude between other pieces. A lot of the time, I follow it up with his Jesu, Joy of Man's Desiring and then another Bach classic, the Musette. Often, I follow that with some lesser-known Bach, the March in G, Sarabande, Arioso, and March in D, Minuet No. 2, the Bourree I and II (from Bach's Third Cello Suite), and Zwei Menuette (Two Minuets).
To break up that big block of Bach, I play some selections from G.F. Handel's Water Music: Air, Bouree, Hornpipe and Finale. This is some really great music and is popular at weddings.
...And yes, the next time I play at a reception, I'll be sure to include Johnny Mercer and Henry Mancini's Moon River (from "Breakfast at Tiffany's") and Come Away With Me (2002) by Norah Jones.
Thank you again for choosing me to play.
--Dave
Friday, April 21, 2006
Easter at Robin Hood Restaurant, Union WA
I was very happy to be hired to play for the Robin Hood Restaurant and Pub's Easter Brunch again this year, from 11 am to 2 pm. Thank you, Kerry, for being so supportive, and for the perfect veggie omelet. I would also like to thank everyone who gave me compliments on my performance.
For the program, I mixed it up between classical and contemporary, alternating between styles about every ten to twenty minutes. I played a lot of Bach this year, and my beloved Romberg sonata for cello that is so expressive. I had a bit of fun with the contemporary songs, and I included a lot of my own Beatles arrangements. Most of them are pretty short, so I can fit a lot of them into a program. A few of the songs I played were the first of Bach's Six Suites (all six movements), "The Girl from Ipanema" (Jobim), "Ain't Misbehavin'" (Thomas "Fats" Waller), "It Don't Mean A Thing," (Duke Ellington), "What The World Needs Now Is Love" (B. Bacharach & Hal David), "If I Fell," "Ob-La-Di, Ob-La-Da," (Beatles), "La Villageoise" (Rameau), Zwei Menuette" (Bach), "Sarabanda" (Leclair), "O Belle Nuit" (Offenbach), "Penny Lane," "I Will," "In My Life," (Beatles), "Spanish Eyes" (Bert Kaempfert), "I Love Paris" (Cole Porter), "Volare" (Domenico Modugno), "If I Ever Lose My Faith In You," "Fields Of Gold" (Sting), "Que Sera, Sera" (Livingston & Evans), "Always On My Mind" (Thompson, James & Christopher), "Don't Get Around Much Anymore" (Russell & Ellington), "Don't Be Cruel (To A Heart That's True)" (Blackwell & Presley) "Blue" (Bill Mack) "A Taste Of Honey" (Marlow & Scott) "Time In A Bottle" (Jim Croce), "Puttin' On The Ritz" (Irving Berlin), "Save The Best For Last" (Galdston, Lind & Waldman), "Andante" (Tschaikowsky), "Drink To Me Only With Thine Eyes" (Old English Ballad), "Air" (Henry Purcell), "Sarabanda" (Giuseppe Tartini), "Rondeau" (Giovanni Battista Buononcini), "Gavotte und Musette (Jean Baptiste Lully), "Angel" (Darling Violetta), "Don't Know Why" (Jesse Harris), "What A Wonderful World" (Weiss and Thiele), "Wonderful Tonight" (Eric Clapton), "Tennessee Waltz" (Redd Stewart & Pee Wee King), "Blue Suede Shoes" (Carl Lee Perkins), "You're The Inspiration" (Cetera & Foster), "Just The Way You Are" (Billy Joel), "I Don't Want To Set The World On Fire" (the Ink Spots), "Tie A Yellow Ribbon Round The Ole Oak Tree" (Levine & Brown), "Love Is Here to Stay" (George & Ira Gershwin), "Star Dust" (Hoagy Carmichael), "Spinning Wheel" (D. Clayton-Thomas), "Beautiful Dreamer" (Stephen Foster) and "Moon River" (Johnny Mercer & Henry Mancini). And some other stuff.
I went through less than half of my prepared music over three hours, and took one short break to eat at about 12:30. Playing cello is hard work physically, and I tend to work up an appetite. I also tend to forget to take breaks.
I am currently working up my arrangement of "Come Away With Me" (Norah Jones, 2002)
See my entry from last year also.
For the program, I mixed it up between classical and contemporary, alternating between styles about every ten to twenty minutes. I played a lot of Bach this year, and my beloved Romberg sonata for cello that is so expressive. I had a bit of fun with the contemporary songs, and I included a lot of my own Beatles arrangements. Most of them are pretty short, so I can fit a lot of them into a program. A few of the songs I played were the first of Bach's Six Suites (all six movements), "The Girl from Ipanema" (Jobim), "Ain't Misbehavin'" (Thomas "Fats" Waller), "It Don't Mean A Thing," (Duke Ellington), "What The World Needs Now Is Love" (B. Bacharach & Hal David), "If I Fell," "Ob-La-Di, Ob-La-Da," (Beatles), "La Villageoise" (Rameau), Zwei Menuette" (Bach), "Sarabanda" (Leclair), "O Belle Nuit" (Offenbach), "Penny Lane," "I Will," "In My Life," (Beatles), "Spanish Eyes" (Bert Kaempfert), "I Love Paris" (Cole Porter), "Volare" (Domenico Modugno), "If I Ever Lose My Faith In You," "Fields Of Gold" (Sting), "Que Sera, Sera" (Livingston & Evans), "Always On My Mind" (Thompson, James & Christopher), "Don't Get Around Much Anymore" (Russell & Ellington), "Don't Be Cruel (To A Heart That's True)" (Blackwell & Presley) "Blue" (Bill Mack) "A Taste Of Honey" (Marlow & Scott) "Time In A Bottle" (Jim Croce), "Puttin' On The Ritz" (Irving Berlin), "Save The Best For Last" (Galdston, Lind & Waldman), "Andante" (Tschaikowsky), "Drink To Me Only With Thine Eyes" (Old English Ballad), "Air" (Henry Purcell), "Sarabanda" (Giuseppe Tartini), "Rondeau" (Giovanni Battista Buononcini), "Gavotte und Musette (Jean Baptiste Lully), "Angel" (Darling Violetta), "Don't Know Why" (Jesse Harris), "What A Wonderful World" (Weiss and Thiele), "Wonderful Tonight" (Eric Clapton), "Tennessee Waltz" (Redd Stewart & Pee Wee King), "Blue Suede Shoes" (Carl Lee Perkins), "You're The Inspiration" (Cetera & Foster), "Just The Way You Are" (Billy Joel), "I Don't Want To Set The World On Fire" (the Ink Spots), "Tie A Yellow Ribbon Round The Ole Oak Tree" (Levine & Brown), "Love Is Here to Stay" (George & Ira Gershwin), "Star Dust" (Hoagy Carmichael), "Spinning Wheel" (D. Clayton-Thomas), "Beautiful Dreamer" (Stephen Foster) and "Moon River" (Johnny Mercer & Henry Mancini). And some other stuff.
I went through less than half of my prepared music over three hours, and took one short break to eat at about 12:30. Playing cello is hard work physically, and I tend to work up an appetite. I also tend to forget to take breaks.
I am currently working up my arrangement of "Come Away With Me" (Norah Jones, 2002)
See my entry from last year also.
Thursday, March 09, 2006
Lincoln Day Dinner at the Pavilion March 25, 2006
I would like to thank Steve Vandenover and the Mason County Republicans for hiring me to play cello solos during this VIP event at the Pavilion in Shelton which I would estimate was attended by 200 to 300 people or more. Among those attending were many of our past, present and future elected officials such as Tim Sheldon, Dino Rossi, Peggy and Wes Johnson, Jayni Kamin and many others. I feel truly honored to have been the person chosen to provide live entertainment for this illustrious $35/plate fundraising dinner and auction.
What an appreciative and polite audience this group was. The positive feedback I am still receiving is just terrific. "Thanks so much, loved your music." wrote one. A representative from Republican Radio addressed the group, mentioning that it was something really special have music like this, and that everyone was really pleased; a big round of applause followed. Another said, "You added just the touch of class we wanted for this event."
In addition to many of the songs listed in previous entries, selected almost entirely from United States composers, I performed my own arrangements of half a dozen or more patriotic pieces, including "The Star-Spangled Banner," "American Patrol," "Over There," and "America the Beautiful." I played from 5 pm to just after 7:30 pm. The only glitch I really had was that my stand light batteries burned out, so it was a bit harder for me to read my music, but it wasn't a major issue for me.
Thank you again, I'm glad you enjoyed my playing.
David V. Pierik
email: cellodad@juno.com
What an appreciative and polite audience this group was. The positive feedback I am still receiving is just terrific. "Thanks so much, loved your music." wrote one. A representative from Republican Radio addressed the group, mentioning that it was something really special have music like this, and that everyone was really pleased; a big round of applause followed. Another said, "You added just the touch of class we wanted for this event."
In addition to many of the songs listed in previous entries, selected almost entirely from United States composers, I performed my own arrangements of half a dozen or more patriotic pieces, including "The Star-Spangled Banner," "American Patrol," "Over There," and "America the Beautiful." I played from 5 pm to just after 7:30 pm. The only glitch I really had was that my stand light batteries burned out, so it was a bit harder for me to read my music, but it wasn't a major issue for me.
Thank you again, I'm glad you enjoyed my playing.
David V. Pierik
email: cellodad@juno.com
Sunday, January 29, 2006
Recent & Coming Performances
New Year's Eve, I played at Taylor Station, just south of where I live in Shelton. Those who were there enjoyed Beatles tunes, a few country songs and other requests, and of course Auld Lang Syne. Thank you again Pat (see earlier entries).
I have been asked by the Mason County Republicans to play for the Lincoln Day dinner, Saturday, February 25th starting at 5:30 p.m. at the Pavilion at Sentry Park in Shelton (See their site for details, I think it's something like www.masoncountyrepublicans.com); dinner is included at $35/plate. Along with favorites from my regular program, such as "Fly Me To The Moon," I have transcribed and added a number of patriotic arrangements for cello solo.
I will also be playing at Alpine Way at lunchtime on Sunday, May 7 starting at 11:45 in the lobby.
Recently, I have been busy composing a number of cello solos, cello-violin duets and quartets, and my goal is to use performance money earned this year to set up and produce a compact disc of my original works, some of which have already premiered at the Mason County Fair and the Hoodsport Friends of the Library. I am considering inviting patrons of the arts to name some of these works in return for sponsoring them. If all goes well, my cd will be available for purchase by the 2006 holiday season.
Email me at cellodad@juno.com for questions.
I have been asked by the Mason County Republicans to play for the Lincoln Day dinner, Saturday, February 25th starting at 5:30 p.m. at the Pavilion at Sentry Park in Shelton (See their site for details, I think it's something like www.masoncountyrepublicans.com); dinner is included at $35/plate. Along with favorites from my regular program, such as "Fly Me To The Moon," I have transcribed and added a number of patriotic arrangements for cello solo.
I will also be playing at Alpine Way at lunchtime on Sunday, May 7 starting at 11:45 in the lobby.
Recently, I have been busy composing a number of cello solos, cello-violin duets and quartets, and my goal is to use performance money earned this year to set up and produce a compact disc of my original works, some of which have already premiered at the Mason County Fair and the Hoodsport Friends of the Library. I am considering inviting patrons of the arts to name some of these works in return for sponsoring them. If all goes well, my cd will be available for purchase by the 2006 holiday season.
Email me at cellodad@juno.com for questions.
Subscribe to:
Posts (Atom)