As I was preparing to write this blog post featuring Jerome Kern’s The Last Time I Saw Paris, all sorts of Parisian musical pieces came to mind: George Gershwin’s An American in Paris, Vernon Duke’s April in Paris, John Lewis’ (Modern Jazz Quartet) Afternoon in Paris and of course, Cole Porter’s I Love Paris, which I wrote about in my October 20, 2009 post. As a jazz pianist and classical composer, I have wonderful memories of my first exposure to the music that emanated from France during the 20th century.
When I was an undergraduate music student at the Holy Cross College in Worcester, MA , I took a music history course in 20th Century Classical Music taught by pianist Susanna Waldbauer. I couldn’t have asked for a better connection with that musical world. Though I had become much more interested and knowledgeable in the earlier periods of music, it was during this semester that my passion for composing was born.
Since I was actively performing as a jazz pianist and organist on campus and around the city, the exposure to Satie, Debussy, Ravel and Stravinsky had an immediate impact on my writing and playing. Professor Waldbuer’s connection with 20th century music came through her relationship with two composers from her native Hungary. In addition to having studied with Zoltan Kodaly, she and her former husband had premiered Bela Bartok’s Sonata for Two Pianos and Percussion in America.
Although Bartok’s musical language is very different from that of the French, I have watched our Hudson Piano Studio and Natick Piano Studio students benefit from studying the first volume of Bartok’s Mikrokosmos. In addition to my association with this composer, I can see how this book helps beginning piano students to develop their music reading skills, prepared for learning to play the music of J. S. Bach and gain some exposure to musical styles that influence jazz pianists.
As I’ve previously mentioned, Jerome Kern preferred to hear his music played within the context of the Broadway Shows and films for which he had composed the song. I suppose there is an exception to every rule. Even though he was working exclusively in Hollywood by this time, the situation surrounding the writing of The Last Time I Saw Paris was unique for him. In my April 28, 2009 post featuring My Favorite Things I mentioned the fact the lyrics of Oscar Hammerstein II often had an underlying purpose of teaching audiences about social justice. In fact, The Sound of Music (composed several years later) was a commentary on the takeover of Austria by the Third Reich. Perhaps the memory of Paris prior to the German occupation of the city gave Hammerstein’s 1940 lyrics a very subtle way to express the world’s outrage. In the meantime, between the lyricist’s way with words and the political situation, Jerome Kern broke his own rules. He not only wrote the music for a pre-written lyric, he also accepted the fact that this song was not a part of the score for a show of film.
It’s a good thing that he did! The song became a hit for Tony Martin and later Noel Coward. A year later, it was included in the film Lady Be Good which resulted in an Oscar for best song being awarded to Kern. Ironically, I found very few recorded performances of The Last Time I Saw Paris on Rhapsody Music. However, in addition to tracks by jazz saxophonist Sonny Rollins and pianist Michel Legrand (more well known for his great songs, including The Summer Knows, Theme from the Summer of ’42 which I wrote about last August), there were three that featured jazz pianist Bud Powell (1924-1966).
Powell, a native New Yorker came from a musical background. His grandfather was a flamenco guitarist and his father a stride pianist. So it is no surprise that despite his early classical piano training, Bud was drawn to jazz. Influenced by Art Tatum and Fats Waller, he then became a student of Thelonious Monk. The older pianist/composer became Powell’s mentor as well as a close friend for life. Bud became a master improviser as he matured and made his mark as a bebop pianist.
One of the techniques that Powell used to provide freedom for his right hand melodic lines is quite familiar to many of my piano students. Rather that play the more traditional left hand stride piano style, he favored the use of the 10th system. You’ll also find that Bud Powell’s recordings are well worth hearing, including his three versions of The Last Time I Saw Paris.
If you have a favorite standard on the theme of Paris, please feel free to share the title in the comments box below. If you would like to avoid the typical piano student’s pitfall of saying “the last time I saw the piano” when September rolls around, contact us today.
Now that you have finalized your vacation and other summer plans, there is still time to schedule some piano lessons at one of the Ed Mascari Piano Studio’s two convenient locations Natick, MA and Hudson, MA. Our unique 2010 Summer Piano Lesson program can keep you connected with your piano keyboard while still providing you with the flexibility you need.
Why?
Because you’ll be able to select the number, times and dates of your lesson appointments during July and August
Contact us today to find out how we can help you learn to play the music you love!
