I was quietly thrilled. Last October I commented on this brilliant post and fascinating comment thread. That is a very unusual note for a melody to end on. Initial upward leap of a sixth, followed by a recurring triplet figure consisting of a descending and ascending fourth, interspersed with some descending scale figures. At least she hits the final note as written, albeit with a vocal scoop…. Every time I hear it I wish I could reach into the recording somehow and just hold her lovely voice steady on that 6th: Lotte Lenya, Kurt Weill’s wife (well, widow at the time) recorded “Speak Low” for her American Theater Songs album. Sans effrayer, sans réveiller He said in a low voice.. refer to the volume/loudness or to the pitch?Does it mean quiet, or low-frequency?. It was originally written for the musical “One Touch of Venus”, where it is sung several times, first by the reincarnation of the goddess Venus, who has fallen for a regular guy (think a predecessor to Bewitched or I Dream of Genie) and later by both of them in duet. There are many examples of “Speak Low” as a vehicle for improvisation, and Grant Green’s spirited 1965 recording with Hank Mobley (I Want To Hold Your Hand) offers an accurate sense of the tune’s standard modern-day interpretation. The jazz guitar arrangement is rather jaunty – I wonder what Holiday singing with Weill’s original arrangements might have wrought – and Billie does do her Billie phrasing with the melody as Billie is wont to do, meaning she occasionally zags where Weill originally zigged, but much less so than Bennett and Jones and even Streisand, and she does honor that final 6th I obsess so much about. Lukas, turns out there is a recording that the movie either used or copied. Surely many perspectives apply. And speaking of duets, here is Tony Bennett and Norah Jones’ too-cool-for-school jazz club version; the yearning pull of the melody doesn’t quite come alive here for me – perhaps because Tony and Norah rewrite so much of the melody, and the final 6th is nowhere to be heard: And then there is Barbra’s take. Thanks for your comments and directing me to these additional recordings (there are so many!) Influential trumpet player Shaw had something of a late-career resurgence in the 1980s and his affection for standards shows on tracks like his version of “Speak Low.” This track also features a 25-year-old Kenny Garrett on alto saxophone. L’onde pure Search I wish he’d put just a little more care and finesse into his singing. When asked, they declined to explain.

And who was this awkward singer warbling with a thick German accent? Change ), You are commenting using your Google account. In the production Mary Martin played a statue of Venus who came to life when a barber, Rodney Hatch (played by Kenny Baker) slipped the engagement ring which he had bought for his girlfriend on the statue’s finger. opensubtitles2. I wonder if is was already recorded in many versions that were never used. translation and definition "speak low", Dictionary English-English online. It starts with Haden’s solo bass (like the Phoenix movie) and then mixes in the version sung by Kurt Weil, to a video of dancing that is, well, you have to see it. Richard, thank you so much for the link to the CD version of Haden’s Speak Low on Amazon. Sorry, your blog cannot share posts by email. Frank Sinatra sings “Speak Low” in this 1940’s “Columbia Years” recording. She has the most beautiful voice. Même au lointain, les chants d’oiseaux Just found a version on Youtube by Carme Canela. That a silence Kinda kills the mood. In the Broadway musical “LoveMusik”, which recounts the story of Kurt Weill and Lotte Lenya, Michael Cerveris as Weill and Donna Murphy as Lenya sing a relatively faithful version of “Speak Low”, although shifting vocal ranges force an awkward key change in the middle of the number. until I saw the movie last week on German TV and did some ‘research’ subsequently I only had known a version by Nils Landgren – completely unaware that it was written by Weill. I’ve seen and heard her perform really well over the years but also have lamented how under par some of her recordings are, like she was rushed to churn them out at the time and didn’t get the opportunity to perfect her vocals through seasoned study. In section “B,” however, Weill turns this around for eight measures, starting the measure with the triplet figure followed by a sustained pitch; however, the dotted half and quarter-note figure in mm. Without frightening, without awakening This live recording of Sarah Vaughan is not only notable for her magnificent vocals, but also for the spare arrangements and the way she slows and stretches the melody almost to infinity. I was first a little taken aback by the occasional grammatical mangling of the lyrics (“our summer days withers away”? The song was written in 1943 for the musical “One Touch of Venus” (music by Kurt Weill; lyrics by Ogden Nash), and was a hit in the USA. This is just about the most completely written song ever. Another word for low voice. . As such, off-topic, off-color, unduly negative, and patently promotional comments will be removed. “Speak Low” is the song I would name if I was ever forced to answer – gun to my head or not – the impossible question of what is the best song ever written. What makes “Phoenix’s” echoes of “Vertigo” stand on their own and not seem like merely overt borrowing, is the unique post-war German context. The character who speaks it is conspiring to trick a friend of his to fall in love and reminds his co-conspirators to speak quietly while they plot. I don’t know if you’ll like the arrangement, but I think you’ll like the ending. I can only hear it. Un rien, mieux qu’un refrain, Spent hours at the library trying to learn everything I could about Nazi Germany. Pingback: 經典翻新 – Phoenix (火鳳凰) | To Each His Own Cinema. Post was not sent - check your email addresses! Thank you for your analysis! Speak low when you speak, love, Our moment is swift, like ships adrift, We're swept apart too soon. And finally, there’s Eartha Kitt pouring, or purring on the sultry in this recording.


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