Across the room someone struck a chord on the grand piano. The room went silent. As in most Washington drawing rooms, the piano’s essential function was to serve as an altar on which to display in silver frames the household gods: photographs of famous people known to the family.
—Gore Vidal, Washington, D.C.
Announcement: thanks to my wife’s brilliance (asking her to marry me remains one of the very few good decisions I have made in my life), in a few weeks, Soho the Dog HQ will relocate from the greater Boston area to Washington, D.C., capital and swamp. We’re packing up the files, the audio archives, the gilt Art Nouveau rotary hotline, the cache of exotic spirits, and the Casiotone arsenal; and later this summer, we’ll hit the road with Roving Correspondent and Traffic Reporter Mabel in tow.
What am I going to do? Do what I’ve always done: make it up as I go along. I was telling someone the other day that acquiring a Library of Congress reader’s card is as far as I’ve gotten in plotting the next iteration of my wayward career. But, at the very least, I look forward to quieting the room via underutilized pianos, whether figuratively or literally. Come August, drop a line if you’re in the DMV.
Guerrieri: Gracious Spirit, Love Divine (FAIR FIELD 220.127.116.11) (2019) (PDF, 110 Kb)
Guerrieri: New Every Morning (2019) (PDF, 175 Kb)
Guerrieri: Progress: Five Sandburg Songs (2006) (PDF, 823 Kb)
Some more composing, tossed into the ether. Church business first: a new hymn and a new introit, plugging gaps in this spring’s calendar. The song cycle is an old one that I managed to rescue from a forgotten hard drive. The style is interesting to me because it’s intricate in a way that I gave up not long after, but I played through it and I still kind of like it. (Now, if I could only find those choral folk song arrangements from the late 90s….)
Score: Liberace’s FBI file.
Boston Globe, May 2, 2019.
(Read the actual file here.)
Back in the early days of this blog, I wrote a piece on Liberace that included my own out-of-tune impersonation of his playing, which I will take the opportunity to re-post:
Guerrieri: But all things that are reproved (2019) (PDF, 50kb)
A new (and, admittedly, late) choral introit for Lent, encrusting an intriguingly stilted translation from the Book of Common Prayer with a whirl of gapped registration, some two-manual-one-hand negotiations (or, alternately, an excuse to break out that stretch of an eleventh you’ve been hoarding), and a woozy approach to the swell box.
“Irascible and difficult.” “Very intense.” And beloved. An afternoon with the late Aldo Parisot.
Yale Alumni Magazine, March/April 2019.
Special thanks to Elizabeth Parisot, Vincent Oneppo, Ashley Bathgate, and Martin Bresnick for help along the way.
Score: Remembering Henry Wood.
Boston Globe, February 28, 2019.
As noted on the Twitter a few weeks ago, I have a new book coming out this July: A study of the Doctor Who serial “Horror of Fang Rock” for The Black Archive series from Obverse Books. A venture outside the usual subject matter around here (though Peter Maxwell Davies does make a guest appearance) but anyone who knew me as a dorky kid knows that there was no chance of me passing up the opportunity. I’m currently working through the final edits, of which the above image provides a fairly representative example.
Recent columns have finally been posted here as well, with some more articles on the way, all of which have been completed with the help and hindrance of Soho the Dog’s new Roving Correspondent and Traffic Reporter Mabel:
Look at that nose for crackpot hermeneutics! She’ll fit right in.