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MT VOID, 09/13/19 -- Vol. 38, No. 11, Whole Number 2084
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evelynchim...@gmail.com
Sep 15, 2019, 10:39:59 AM9/15/19
to
THE MT VOID
Mt. Holz Science Fiction Society
09/13/19 -- Vol. 38, No. 11, Whole Number 2084
Co-Editor: Mark Leeper, mle...@optonline.net
Co-Editor: Evelyn Leeper, ele...@optonline.net
All material is the opinion of the author and is copyrighted by the
author unless otherwise noted.
All comments sent or posted will be assumed authorized for
inclusion unless otherwise noted.
To subscribe, send mail to mtvoid-s...@yahoogroups.com
To unsubscribe, send mail to mtvoid-un...@yahoogroups.com
The latest issue is at <http://www.leepers.us/mtvoid/latest.htm>.
An index with links to the issues of the MT VOID since 1986 is at
<http://leepers.us/mtvoid/back_issues.htm>.
Topics:
Frankie's Flat Top (comments by Mark R. Leeper)
Kasha (Part 1) (comments by Mark R. Leeper)
Classical Music References (letters of comment
by Kip Williams and Paul Dormer)
This Week's Reading (THE LADY FROM THE BLACK LAGOON)
(book comments by Evelyn C. Leeper)
===================================================================
TOPIC: Frankie's Flat Top (comments by Mark R. Leeper)
If you have been reading my writing for long you probably know I
grew up with the horror images from the classic Universal horror
monsters. I did not get much chance to see the films themselves
until I was ten or so. But call me dense if you like but I never
realized that Universal's Frankenstein monster had a flat head. He
seemed to have an imposing brow line. But I never noticed you
could put down two cups of hot tea on the top of his head and they
would not fall in any direction. I cannot see how this would help
the monster to survive. It does not give better access to the
brain inside. It would give the creature an easier way to do
headstands, but that is about all. [-mrl]
===================================================================
TOPIC: Kasha (Part 1) (comments by Mark R. Leeper)
I have just seen a rare and wondrous sight and I must relay it to
you so that you may share in the wonder. My good wife Evelyn is
very good at any number of things, but admitting that she was wrong
is not one of them. The situation is all the more irritating for
the fact that she so rarely is wrong. And when she is wrong she
will still go to ludicrous lengths to prove she was right so even
then only rarely will she admit to being wrong. To hear Evelyn
admit she was wrong is so rare and pleasing an event that friends
have been known to drive hundreds of miles just to be present at
the event. It is so rare in fact that a star shines over the house
and perfect strangers come knocking at the door to see the event.
Excuse me, there is someone pulling into the driveway.
Okay, I'm back. They'd missed it by over twenty minutes. I told
them all about it. (I wonder who they were?) Anyway, so as I was
saying, I often tell people that I have never met a cuisine I
didn't like. Not quite true. As a kid I was a very finicky eater.
But since I was a teenager I have liked pretty much every new food
I have tried, and certainly any cuisine. And I think Evelyn has
come to depend on this. She tends to buy odd foods she finds in
the grocery. If they are well-made, I generally like them unless
they are something I have disliked since I was a kid. She bought a
can of something called "Kasha and Gravy." Well, my record
remained unblemished. I'd had this Eastern European delicacy as a
seven-year-old and I can tell you that it ranks up there with
lutefisk and gefilte fish. Not that it has that strong a smell or
flavor. No, it is sort of like hominy grits that have gone even
more wrong than hominy grits. Kasha doesn't have a whole lot of
flavor, I guess. It is amazingly tasteless. It is the smell that
is amazing. It does not smell like food. I am not sure what it
does smell like. Pick four cans of various repair materials at a
hardware store, add a fifth can--an open can of kasha--and ask a
blindfolded man to pick which one was food by smelling the cans. I
doubt that the kasha would be picked Find me more than the expected
one-fifth of the time.
More on this next week, if your stomachs can take it. [-mrl]
===================================================================
TOPIC: Classical Music References (letters of comment by Kip
Williams and Paul Dormer)
In response to letters of comment on James Bond and music in the
09/06/19 issue of the MT VOID, Kip Williams writes:
THE WIZARD OF OZ has direct quotations from a number of classical
pieces. Schumann's "The Happy Farmer" can be heard under Kansas
scenes. A Mendelssohn scherzo plays under Toto's heroic run.
Kodaly's "Viennese Musical Clock" from Hary Janos is quoted pretty
straight.
And yeah, the music in THE RIGHT STUFF was bitten by a radioactive
Tchaikovsky violin concerto. First couple of times watching were
disorienting, because the music would simply quote Tchaikovsky for
a measure or three, then suddenly remember it had promised its
mother not to plagiarize and veer off into another direction (and
thinking it had fooled anybody). [-kw]
Mark responds:
"The Happy Farmer" is a direct steal. I never knew that. [-mrl]
Paul Dormer writes:
[In reply to Mark] Same here.
The composer Antony Hopkins (not to be confused with the actor
Anthony Hopkins) had a radio series called 'Talking about Music' in
the seventies. In one episode he pointed out that a theme in
Schumann's 'Piano Quintet' sounds like 'Who Wants to be a
Millionaire'. He also suggested a mock thesis on the influence of
British nursery rhymes on Russian piano concertos. The slow
movement of Rachmaninov's 4th is obviously based on
'Three Blind Mice' and the first movement of Shostakovich's 2nd
sounds like 'What Shall We Do with the Drunken Sailor?'
There's a bit in Sir Peter Maxwell Davies's piano concerto that
always reminds me of 'There's No Business Like Show Business', but
that could always be deliberate. When Max (as he was universally
known) was touring the US a few years ago, there was a mix-up over
his hotel booking in Las Vegas. A British journalist trying to
track him down for an interview finally found him listed under the
name Mavis. So he wrote a piece called 'Mavis in Las Vegas'.
[-pd]
Evelyn adds:
Am I the only person who hears the first few bars of the "On,
Wisconsin!" fight song in the main theme of THE BATTLE OF THE
BULGE? [-ecl]
Mark responds:
No. [-mrl]
===================================================================
TOPIC: This Week's Reading (book comments by Evelyn C. Leeper)
Last week I omitted the name of the author of ASTOUNDING: JOHN
W. CAMPBELL, ISAAC ASIMOV, L. RON HUBBARD, AND THE GOLDEN AGE OF
SCIENCE FICTION; it was written by Alec Nevala-Lee.
THE LADY FROM THE BLACK LAGOON: HOLLYWOOD MONSTERS AND THE LOST
LEGACY OF MILICENT PATRICK by Mallory O'Meara (ISBN 978-1-4328-
6679-2 [Large Print edition]) is supposedly about Milicent Parick,
the designer of the suit and make-up for the Creature from the
Black Lagoon. In fact, the book has four threads running through
it: Milicent Parick, O'Meara's search for information about
Milicent Patrick, O'Meara's experiences in Hollywood as a producer
(two films), and O'Meara's campaign to improve the position of
women in Hollywood, both in terms of opportunities and in terms of
treatment. The last is commendable, the third of interest only in
illuminating the last, the second of interest as an adjunct to the
first, and the first--what most people read the book for--almost
gets lost in the mix. Patrick seems to have worked as a model and
an actress, both before and after her short stint in the Universal
make-up department. (There are several different accounts of why
she left. O'Meara claims it was due to Bud Westmore's anger at
O'Meara getting credit for the Creature and a place on the
publicity tour; Westmore insisted that he be given sole credit for
all work done in his department.)
Of the thirteen chapters, only two are about Patrick's monster
design work on the four Universal films she worked on (IT CAME FROM
OUTER SPACE, ABBOTT AND COSTELLO MEET DR. JEKYLL AND MR. HYDE, THE
CREATURE FROM THE BLACK LAGOON, and THIS ISLAND EARTH.) My
recommendation? Borrow this from the library and skim for the
parts actually about Patrick. [-ecl]
===================================================================
Mark Leeper
mle...@optonline.net
Every dog must have his day.
--Jonathan Swift
Mt. Holz Science Fiction Society
09/13/19 -- Vol. 38, No. 11, Whole Number 2084
Co-Editor: Mark Leeper, mle...@optonline.net
Co-Editor: Evelyn Leeper, ele...@optonline.net
All material is the opinion of the author and is copyrighted by the
author unless otherwise noted.
All comments sent or posted will be assumed authorized for
inclusion unless otherwise noted.
To subscribe, send mail to mtvoid-s...@yahoogroups.com
To unsubscribe, send mail to mtvoid-un...@yahoogroups.com
The latest issue is at <http://www.leepers.us/mtvoid/latest.htm>.
An index with links to the issues of the MT VOID since 1986 is at
<http://leepers.us/mtvoid/back_issues.htm>.
Topics:
Frankie's Flat Top (comments by Mark R. Leeper)
Kasha (Part 1) (comments by Mark R. Leeper)
Classical Music References (letters of comment
by Kip Williams and Paul Dormer)
This Week's Reading (THE LADY FROM THE BLACK LAGOON)
(book comments by Evelyn C. Leeper)
===================================================================
TOPIC: Frankie's Flat Top (comments by Mark R. Leeper)
If you have been reading my writing for long you probably know I
grew up with the horror images from the classic Universal horror
monsters. I did not get much chance to see the films themselves
until I was ten or so. But call me dense if you like but I never
realized that Universal's Frankenstein monster had a flat head. He
seemed to have an imposing brow line. But I never noticed you
could put down two cups of hot tea on the top of his head and they
would not fall in any direction. I cannot see how this would help
the monster to survive. It does not give better access to the
brain inside. It would give the creature an easier way to do
headstands, but that is about all. [-mrl]
===================================================================
TOPIC: Kasha (Part 1) (comments by Mark R. Leeper)
I have just seen a rare and wondrous sight and I must relay it to
you so that you may share in the wonder. My good wife Evelyn is
very good at any number of things, but admitting that she was wrong
is not one of them. The situation is all the more irritating for
the fact that she so rarely is wrong. And when she is wrong she
will still go to ludicrous lengths to prove she was right so even
then only rarely will she admit to being wrong. To hear Evelyn
admit she was wrong is so rare and pleasing an event that friends
have been known to drive hundreds of miles just to be present at
the event. It is so rare in fact that a star shines over the house
and perfect strangers come knocking at the door to see the event.
Excuse me, there is someone pulling into the driveway.
Okay, I'm back. They'd missed it by over twenty minutes. I told
them all about it. (I wonder who they were?) Anyway, so as I was
saying, I often tell people that I have never met a cuisine I
didn't like. Not quite true. As a kid I was a very finicky eater.
But since I was a teenager I have liked pretty much every new food
I have tried, and certainly any cuisine. And I think Evelyn has
come to depend on this. She tends to buy odd foods she finds in
the grocery. If they are well-made, I generally like them unless
they are something I have disliked since I was a kid. She bought a
can of something called "Kasha and Gravy." Well, my record
remained unblemished. I'd had this Eastern European delicacy as a
seven-year-old and I can tell you that it ranks up there with
lutefisk and gefilte fish. Not that it has that strong a smell or
flavor. No, it is sort of like hominy grits that have gone even
more wrong than hominy grits. Kasha doesn't have a whole lot of
flavor, I guess. It is amazingly tasteless. It is the smell that
is amazing. It does not smell like food. I am not sure what it
does smell like. Pick four cans of various repair materials at a
hardware store, add a fifth can--an open can of kasha--and ask a
blindfolded man to pick which one was food by smelling the cans. I
doubt that the kasha would be picked Find me more than the expected
one-fifth of the time.
More on this next week, if your stomachs can take it. [-mrl]
===================================================================
TOPIC: Classical Music References (letters of comment by Kip
Williams and Paul Dormer)
In response to letters of comment on James Bond and music in the
09/06/19 issue of the MT VOID, Kip Williams writes:
THE WIZARD OF OZ has direct quotations from a number of classical
pieces. Schumann's "The Happy Farmer" can be heard under Kansas
scenes. A Mendelssohn scherzo plays under Toto's heroic run.
Kodaly's "Viennese Musical Clock" from Hary Janos is quoted pretty
straight.
And yeah, the music in THE RIGHT STUFF was bitten by a radioactive
Tchaikovsky violin concerto. First couple of times watching were
disorienting, because the music would simply quote Tchaikovsky for
a measure or three, then suddenly remember it had promised its
mother not to plagiarize and veer off into another direction (and
thinking it had fooled anybody). [-kw]
Mark responds:
"The Happy Farmer" is a direct steal. I never knew that. [-mrl]
Paul Dormer writes:
[In reply to Mark] Same here.
The composer Antony Hopkins (not to be confused with the actor
Anthony Hopkins) had a radio series called 'Talking about Music' in
the seventies. In one episode he pointed out that a theme in
Schumann's 'Piano Quintet' sounds like 'Who Wants to be a
Millionaire'. He also suggested a mock thesis on the influence of
British nursery rhymes on Russian piano concertos. The slow
movement of Rachmaninov's 4th is obviously based on
'Three Blind Mice' and the first movement of Shostakovich's 2nd
sounds like 'What Shall We Do with the Drunken Sailor?'
There's a bit in Sir Peter Maxwell Davies's piano concerto that
always reminds me of 'There's No Business Like Show Business', but
that could always be deliberate. When Max (as he was universally
known) was touring the US a few years ago, there was a mix-up over
his hotel booking in Las Vegas. A British journalist trying to
track him down for an interview finally found him listed under the
name Mavis. So he wrote a piece called 'Mavis in Las Vegas'.
[-pd]
Evelyn adds:
Am I the only person who hears the first few bars of the "On,
Wisconsin!" fight song in the main theme of THE BATTLE OF THE
BULGE? [-ecl]
Mark responds:
No. [-mrl]
===================================================================
TOPIC: This Week's Reading (book comments by Evelyn C. Leeper)
Last week I omitted the name of the author of ASTOUNDING: JOHN
W. CAMPBELL, ISAAC ASIMOV, L. RON HUBBARD, AND THE GOLDEN AGE OF
SCIENCE FICTION; it was written by Alec Nevala-Lee.
THE LADY FROM THE BLACK LAGOON: HOLLYWOOD MONSTERS AND THE LOST
LEGACY OF MILICENT PATRICK by Mallory O'Meara (ISBN 978-1-4328-
6679-2 [Large Print edition]) is supposedly about Milicent Parick,
the designer of the suit and make-up for the Creature from the
Black Lagoon. In fact, the book has four threads running through
it: Milicent Parick, O'Meara's search for information about
Milicent Patrick, O'Meara's experiences in Hollywood as a producer
(two films), and O'Meara's campaign to improve the position of
women in Hollywood, both in terms of opportunities and in terms of
treatment. The last is commendable, the third of interest only in
illuminating the last, the second of interest as an adjunct to the
first, and the first--what most people read the book for--almost
gets lost in the mix. Patrick seems to have worked as a model and
an actress, both before and after her short stint in the Universal
make-up department. (There are several different accounts of why
she left. O'Meara claims it was due to Bud Westmore's anger at
O'Meara getting credit for the Creature and a place on the
publicity tour; Westmore insisted that he be given sole credit for
all work done in his department.)
Of the thirteen chapters, only two are about Patrick's monster
design work on the four Universal films she worked on (IT CAME FROM
OUTER SPACE, ABBOTT AND COSTELLO MEET DR. JEKYLL AND MR. HYDE, THE
CREATURE FROM THE BLACK LAGOON, and THIS ISLAND EARTH.) My
recommendation? Borrow this from the library and skim for the
parts actually about Patrick. [-ecl]
===================================================================
Mark Leeper
mle...@optonline.net
Every dog must have his day.
--Jonathan Swift
Paul Dormer
Sep 15, 2019, 11:35:51 AM9/15/19
to
In article <570ad9ab-3e98-4201...@googlegroups.com>,
just googled it.
However, I do have an interest in the music to The Battle of The Bulge,
or rather, it's composer.
When I was getting into classical music in the late sixties, a composer I
heard occasionally on BBC Radio 3 was someone called Benjamin Frankel.
He wrote 8 symphonies and I heard a number of these and quite liked them.
He died in 1973 and those of you of a superstitious nature should note he
was working on his 9th at the time.
Alas, his music fell out of favour after his death but I did spot his
name in the credits for British films on the fifties. He wrote the music
for The Man in the White Suit and a version of The Importance of Being
Earnest among others.
Then, in the nineties there was a minor revival. It didn't get as far as
any of his symphonies being programmed in London concert halls, but his
symphonies were all recorded, as was some of his other orchestral music
and some of his film scores.
It would appear that he used the money from his film scores to help
finance writing his less popular concert music. He also got interested
in Schoenberg's serial techniques, and this seems to have started with
his 1sr symphony of 1958. Many British composers of this period got the
serial bug.
Frankel kept on writing film scores, and his score to The Curse of the
Werewolf (1961, with Oliver Reed) is reckoned to be the first British
film score using serial techniques. (I could try and explain serialism,
but I'm not a musician and it gets quite technical.)
Frankel was Jewish - his violin concerto of 1951 is dedicated to the
memory of the six million. The Battle of the Bulge was his final film
score and the producer was insistent that he included in the music the
Panzerlied, written in 1933, which Frankel was reluctant to do. However,
he did so, and the disc of the complete music that was released a while
back has it, complete with foot-stamping male chorus.
So, by the main theme, do you mean the Panzerlied? It appears in the
prelude to the music, so I assume it appears over the opening credits.
(I must admit I prefer the music without the film, and it's a long time
since I watched it.) There might be a slight similarity to On, Wisconsin
- I've just played one after the other - but it doesn't leap out at me.
evelynchim...@gmail.com () wrote:
>
> Am I the only person who hears the first few bars of the "On,
> Wisconsin!" fight song in the main theme of THE BATTLE OF THE
> BULGE? [-ecl]
Now that's interesting. I've never heard of On, Wisconsin, although I've
>
> Am I the only person who hears the first few bars of the "On,
> Wisconsin!" fight song in the main theme of THE BATTLE OF THE
> BULGE? [-ecl]
just googled it.
However, I do have an interest in the music to The Battle of The Bulge,
or rather, it's composer.
When I was getting into classical music in the late sixties, a composer I
heard occasionally on BBC Radio 3 was someone called Benjamin Frankel.
He wrote 8 symphonies and I heard a number of these and quite liked them.
He died in 1973 and those of you of a superstitious nature should note he
was working on his 9th at the time.
Alas, his music fell out of favour after his death but I did spot his
name in the credits for British films on the fifties. He wrote the music
for The Man in the White Suit and a version of The Importance of Being
Earnest among others.
Then, in the nineties there was a minor revival. It didn't get as far as
any of his symphonies being programmed in London concert halls, but his
symphonies were all recorded, as was some of his other orchestral music
and some of his film scores.
It would appear that he used the money from his film scores to help
finance writing his less popular concert music. He also got interested
in Schoenberg's serial techniques, and this seems to have started with
his 1sr symphony of 1958. Many British composers of this period got the
serial bug.
Frankel kept on writing film scores, and his score to The Curse of the
Werewolf (1961, with Oliver Reed) is reckoned to be the first British
film score using serial techniques. (I could try and explain serialism,
but I'm not a musician and it gets quite technical.)
Frankel was Jewish - his violin concerto of 1951 is dedicated to the
memory of the six million. The Battle of the Bulge was his final film
score and the producer was insistent that he included in the music the
Panzerlied, written in 1933, which Frankel was reluctant to do. However,
he did so, and the disc of the complete music that was released a while
back has it, complete with foot-stamping male chorus.
So, by the main theme, do you mean the Panzerlied? It appears in the
prelude to the music, so I assume it appears over the opening credits.
(I must admit I prefer the music without the film, and it's a long time
since I watched it.) There might be a slight similarity to On, Wisconsin
- I've just played one after the other - but it doesn't leap out at me.
Keith F. Lynch
Sep 15, 2019, 1:01:18 PM9/15/19
to
Paul Dormer <p...@pauldormer.cix.co.uk> wrote:
> evelynchim...@gmail.com () wrote:
>> Am I the only person who hears the first few bars of the "On,
>> Wisconsin!" fight song in the main theme of THE BATTLE OF THE
>> BULGE? [-ecl]
> evelynchim...@gmail.com () wrote:
>> Am I the only person who hears the first few bars of the "On,
>> Wisconsin!" fight song in the main theme of THE BATTLE OF THE
>> BULGE? [-ecl]
> So, by the main theme, do you mean the Panzerlied?
On Wisconsin and Panzerlied don't sound anything alike to me.
However, Bright College Years (Yale) has the same tune as Die Wacht am
Rhein. The latter is probably best known as the tune that's interrupted
by La Marseillaise in Casablanca.
--
Keith F. Lynch - http://keithlynch.net/
Please see http://keithlynch.net/email.html before emailing me.
Keith F. Lynch
Sep 15, 2019, 1:09:21 PM9/15/19
to
Keith F. Lynch <k...@KeithLynch.net> wrote:
> However, Bright College Years (Yale) has the same tune as Die Wacht am
> Rhein. The latter is probably best known as the tune that's interrupted
> by La Marseillaise in Casablanca.
Also, listen to Stand Columbia and see if the tune doesn't sound kind
> However, Bright College Years (Yale) has the same tune as Die Wacht am
> Rhein. The latter is probably best known as the tune that's interrupted
> by La Marseillaise in Casablanca.
of familiar. :-)
Paul Dormer
Sep 16, 2019, 5:46:56 AM9/16/19
to
In article <qllr80$ck2$2...@reader2.panix.com>, k...@KeithLynch.net (Keith F.
in morning assembly at school back in the sixties. (In those days, a
morning religious service was mandatory in British schools.)
Lynch) wrote:
>
> Also, listen to Stand Columbia and see if the tune doesn't sound
> kind
> of familiar. :-)
We used to sing the hymn Glorious Things of Thee are Spoken to that tune
>
> Also, listen to Stand Columbia and see if the tune doesn't sound
> kind
> of familiar. :-)
in morning assembly at school back in the sixties. (In those days, a
morning religious service was mandatory in British schools.)
Gary McGath
Sep 16, 2019, 8:29:24 AM9/16/19
to
On 9/15/19 1:09 PM, Keith F. Lynch wrote:
> Keith F. Lynch <k...@KeithLynch.net> wrote:
>> However, Bright College Years (Yale) has the same tune as Die Wacht am
>> Rhein. The latter is probably best known as the tune that's interrupted
>> by La Marseillaise in Casablanca.
>
> Also, listen to Stand Columbia and see if the tune doesn't sound kind
> of familiar. :-)
>
Tune by Joseph Haydn. The classics are always the best.
> Keith F. Lynch <k...@KeithLynch.net> wrote:
>> However, Bright College Years (Yale) has the same tune as Die Wacht am
>> Rhein. The latter is probably best known as the tune that's interrupted
>> by La Marseillaise in Casablanca.
>
> Also, listen to Stand Columbia and see if the tune doesn't sound kind
> of familiar. :-)
>
--
Gary McGath http://www.mcgath.com
Dorothy J Heydt
Sep 16, 2019, 9:30:01 AM9/16/19
to
In article <memo.2019091...@pauldormer.cix.co.uk>,
And it's said (we have this from his servant) that when Haydn was
very old and no longer composing, he would sit at the fortepiano
and play Gott Erhalte over and over. It's a nice tune, whatever
its positive and negative connotations.
--
Dorothy J. Heydt
Vallejo, California
djheydt at gmail dot com
www.kithrup.com/~djheydt/
Paul Dormer <p...@pauldormer.cix.co.uk> wrote:
>In article <qllr80$ck2$2...@reader2.panix.com>, k...@KeithLynch.net (Keith F.
>Lynch) wrote:
>
>>
>> Also, listen to Stand Columbia and see if the tune doesn't sound
>> kind
>> of familiar. :-)
I've never encountered that one.
>In article <qllr80$ck2$2...@reader2.panix.com>, k...@KeithLynch.net (Keith F.
>Lynch) wrote:
>
>>
>> Also, listen to Stand Columbia and see if the tune doesn't sound
>> kind
>> of familiar. :-)
>
>We used to sing the hymn Glorious Things of Thee are Spoken to that tune
>in morning assembly at school back in the sixties. (In those days, a
>morning religious service was mandatory in British schools.)
The tune was, of course, Gott Erhalte Franz den Kaiser, by Haydn.
>We used to sing the hymn Glorious Things of Thee are Spoken to that tune
>in morning assembly at school back in the sixties. (In those days, a
>morning religious service was mandatory in British schools.)
And it's said (we have this from his servant) that when Haydn was
very old and no longer composing, he would sit at the fortepiano
and play Gott Erhalte over and over. It's a nice tune, whatever
its positive and negative connotations.
--
Dorothy J. Heydt
Vallejo, California
djheydt at gmail dot com
www.kithrup.com/~djheydt/
Kevrob
Sep 16, 2019, 11:53:06 AM9/16/19
to
On Monday, September 16, 2019 at 9:30:01 AM UTC-4, Dorothy J Heydt wrote:
> In article <memo.2019091...@pauldormer.cix.co.uk>,
> Paul Dormer <p...@pauldormer.cix.co.uk> wrote:
> >In article <qllr80$ck2$2...@reader2.panix.com>, k...@KeithLynch.net (Keith F.
> >Lynch) wrote:
> >
> >>
> >> Also, listen to Stand Columbia and see if the tune doesn't sound
> >> kind
> >> of familiar. :-)
>
> I've never encountered that one.
> >
> >We used to sing the hymn Glorious Things of Thee are Spoken to that tune
> >in morning assembly at school back in the sixties. (In those days, a
> >morning religious service was mandatory in British schools.)
>
> The tune was, of course, Gott Erhalte Franz den Kaiser, by Haydn.
> And it's said (we have this from his servant) that when Haydn was
> very old and no longer composing, he would sit at the fortepiano
> and play Gott Erhalte over and over. It's a nice tune, whatever
> its positive and negative connotations.
Columbia was, prior to The Revolution, King's College, and founded
> In article <memo.2019091...@pauldormer.cix.co.uk>,
> Paul Dormer <p...@pauldormer.cix.co.uk> wrote:
> >In article <qllr80$ck2$2...@reader2.panix.com>, k...@KeithLynch.net (Keith F.
> >Lynch) wrote:
> >
> >>
> >> Also, listen to Stand Columbia and see if the tune doesn't sound
> >> kind
> >> of familiar. :-)
>
> I've never encountered that one.
> >
> >We used to sing the hymn Glorious Things of Thee are Spoken to that tune
> >in morning assembly at school back in the sixties. (In those days, a
> >morning religious service was mandatory in British schools.)
>
> The tune was, of course, Gott Erhalte Franz den Kaiser, by Haydn.
> And it's said (we have this from his servant) that when Haydn was
> very old and no longer composing, he would sit at the fortepiano
> and play Gott Erhalte over and over. It's a nice tune, whatever
> its positive and negative connotations.
by Anglicans, so having a song that mirrors a CofE hymn isn't odd.
Kevin R
Keith F. Lynch
Sep 16, 2019, 8:34:04 PM9/16/19
to
Gary McGath <ga...@REMOVEmcgathREMOVE.com> wrote:
> Keith F. Lynch wrote:
>> Keith F. Lynch <k...@KeithLynch.net> wrote:
>>> However, Bright College Years (Yale) has the same tune as Die Wacht am
>>> Rhein. The latter is probably best known as the tune that's interrupted
>>> by La Marseillaise in Casablanca.
>> Also, listen to Stand Columbia and see if the tune doesn't sound kind
>> of familiar. :-)
> Tune by Joseph Haydn. The classics are always the best.
Now listen to Himno de la Agrupacion de Commandos. :-(
> Keith F. Lynch wrote:
>> Keith F. Lynch <k...@KeithLynch.net> wrote:
>>> However, Bright College Years (Yale) has the same tune as Die Wacht am
>>> Rhein. The latter is probably best known as the tune that's interrupted
>>> by La Marseillaise in Casablanca.
>> Also, listen to Stand Columbia and see if the tune doesn't sound kind
>> of familiar. :-)
> Tune by Joseph Haydn. The classics are always the best.
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