Disneyland - How Music Makes the Happiest Place on Earth HAPPIER!

Last week I went abroad for the first time since....2022!

Yet it was the first time in my LIFE that I did so as a romantic getaway, and as if that wasn't enough for me to go "wow, that's never going to happen", I also found myself in one of those places I just never thought I'd ever set foot in - Disneyland.

Disneyland Paris.

Paris is, of course, a city of l'amour, and so we had to spend a couple of nights there. But then we of course made tracks to Marne-La-Vallée to enjoy two nights (three whole park days) in Disneyland Paris.

Speaking as a Disneyland novice - and as a fully grown adult - I have to say I was very, very, very impressed and extremely happy throughout the stay.

But, you know the old adages: "music is all around" / "music is the soundtrack to your life" / "where would we be without music?" etc. etc.

Well, in Disneyland (I assume this is completely true of all parks), music is quite literally everywhere. And being a sentimental and nostalgia-driven old sausage, I particularly embraced its appeal as it played hits (instrumentally) that were appropriate to the land you were in, the rides you were on or the attractions you were partaking in, and so much of it was familiar from the films you grew up with.

Rides

There was not a single ride that wasn't enhanced by the music. Bearing in mind that what felt like a good majority of the parks are dark rides (at least out of what we covered), the music was a must. As we soared over London on Peter Pan's Flight, or relived the (actually quite frightening!) stories of Snow White and Pinocchio on their respective rides, their respective soundtracks were there to fully compliment the experience.

Yet my favourite ride, I think, was the ever classic Pirates of the Caribbean, and whilst it would have been tempting to fully reimagine this using Hans Zimmer's score (though it was very prominent during the queue), the simplicity of the music in the ride is its appeal. Very quiet, atmospheric build up as you 'sail' round the quiet Caribbean islands. A frightening, pipe organ suspense as the lift hill pulls you up and the musical frivolities of pirate life literally seeming to come 'out of nowhere', complimented by the colours and stunning animatronic.

Special mention also the Phantom Manor who - as a devoted lover of ghost trains - I loved anyway. Yet this one is a family friendly ghost train, of course - being Disney. However, there were some wonderful effects in it that actually would not have been out of place in a more 'adult' attraction. How did they get away with it?

Two things:

1. No jump scares. Fairly basic one, that.

2. The music! Keep it playing right throughout, and keep it just on the cusp of being a little haunting but also lighthearted and fun!

Shows

We did see a performance of 'Frozen', and whilst two classic songs were performed: "Let it Go" and "Love is an Open Door", much of them were in French (of course). In fact, "Let it Go" was entirely in French. And I just wanted to say that, perhaps out of over-familiarity, I think it sounded much nicer!

Whilst 'Frozen' doesn't quite have the same nostalgia for me, I also do have to remind myself that it is now 10 years old (!), and so of course the songs are going to mean something to me somewhere in my life - just a completely different time to most I was exposed to in the parks.

Fireworks

We saw the light show and the fireworks show on the Monday night and it has to be said that this would be nothing without its soundtrack. Hitting me with about 30 years of nostalgia with songs (often the original songs, at that) blaring out of speakers down Main Street was, to put it mildly, a little emotional. As scenes from the 'Lion King', 'Sleeping Beauty' and 'Beauty and the Beast' and many more were projected faultlessly onto the castle to their soundtracks, it was rather a spectacle to behold.

Conclusion

So, in short conclusion, Disneyland is the Happiest Place on Earth because of the music. What Disney have realised it that they can tap into our inner child, a place or a state of being that never truly leaves us - more likely we just forget about sometimes.

Most of us remember our childhood fondly, and hearing music from our childhood - particularly ones that meant something to us such as songs from our favourite films (99% of which would have been....Disney!), it really pulls at something. An innocence, a feeling, a carefree attitude towards everything.

Without music, Disneyland would still be wonderful, but it would be like Christmas Cake without icing. Like Curry without Naan Bread. Like Sunday roast without Mashed Potatoes.

Yes, I'm a foodie too.

If you do get round to going, you certainly do get what you pay for. It's magical!

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#music #themepark #disneyland #paris #france #travel

'Twelve New Chapters' - A Year in the Life

Today is World Piano Day, and as well as being the release of a suite of compositions by my good friend and talented musician Michael A Grant, it is the official release date of my own suite of piano compositions - 'Twelve New Chapters'.

So, what exactly is this music?

'Twelve New Chapters' is, as you might have guessed, a suite of twelve pieces of music. Each one represents a month of the year starting, of course, with January, and developing through twelve pieces of music that all transition into one another and, in fact, come round full circle.

Inspiration

I was inspired to develop this piece of music several years ago when I already had the bare bones of the composition that is now 'Fluttering in the Breeze'. This was always a piece that put me in mind of springtime, yet to create a piece of music based around the four seasons seemed a little bit tried and tested. So I decided to break the year down further into the months, and I was incredibly glad that I did.

'Twelve New Chapters' provided me with an opportunity to experiment with different feelings, as well as to explore different literary references to certain months and seasons.

As you read on, you may learn more about what these were.

The Pieces

All in all, 'Twelve New Chapters' last for approximately 50 minutes - give or take a little depending on the interpretation of the performer. Each piece is not only written to stand alone, representative of its respective month, but also to work as part of the suite as a whole by transitioning smoothly from the preceding piece and transitioning smoothly into the following. Just as the months of the year flow into one another and the changes between seasons are gradual, I hope that this is represented in my music also.

A Sleep from Night to Morn

January is a very beautiful month, yet many people find it to be a little bleak. All of the bright lights and festivity of Christmas and New Year is well and truly over, and what's left is a cold, dark and often long month. Yet is still has a lovely feel for it.

I discovered a poem by Helen Hunt Jackson titled 'New Year's Morning', from which I quote the title directly:

"Only a night from old to new;

Only a sleep from night to morn.

The new is but the old come true;

Each sunrise sees a new year born."

Snowdrops

The transition into the month of February is very gradual, and I composed this short piece of music prior to naming it - all the while having its place in the year in mind. It was deliberately a little more active but without ever allowing itself to rush away - glimmers of hope in individual phrases that pull back before they can develop too much.

When I discovered that snowdrops are especially prominent in this month, it just seemed too perfect a name to fit to the music.

The "Ides Of" March

It was never going to be the case that March wasn't going to be represented by...a march. But naming the march was always a problem.

Due to the more upbeat - thus more quirky - nature of the composition, a quirky play on the title seemed just the ticket also. The Ides of March is, of course, 30th March. For me, however, the "Ides Of" is a title for my march, marching optimistically forward into a brand new season.

Fluttering in the Breeze

The original piece from this suite, and my firm favourite still. Representing April was always going to be a special one for me, as it is my birth month, and using my composition to portray the beginnings of spring was a joy a I believe it captures the mood well with its buildup. I was immediately put in mind of daffodils during the composition and, as we all know, a certain William Wordsworth wrote a poem about those very flowers;

"I wandered lonely as a cloud

That floats on high o'er vales and hills,

When all at once I saw a crowd,

A host, of golden daffodils;

Beside the lake, beneath the trees,

Fluttering and dancing in the breeze."

Just to give you an idea of how long I've been sitting on this, this is a short video of me playing 'Fluttering in the Breeze' at the House of Music (Haus Der Musik) in Vienna in September 2022:

The Magical Hawthorn Tree

I couldn't believe my look when I found this old nursery rhyme:

"The fair maid, who on the first of May,

Goes to the fields at the break of day,

And bathes in the dew from the hawthorn tree,

Will ever strong and handsome be."

One thing I particularly love in composition is to sprinkle a touch of magic into it, and the implications of magic in this rhyme were too great to resist.

Wine and the Touch of a Hand

Here is another piece that I had already composed prior to titling. A pleasingly short piece in the old ternary form style, and one that I rather enjoyed. However I was stewing over a title for days.

That was until I discovered a quote by Charles Morgan;

"There are moments, above all on June evenings, when the lakes that hold our moons are sucked into the earth, and nothing is left but wine and the touch of a hand."

The idea of being sat down with somebody you love and a glass of your chosen drink (wine!), outside as the sun sets is one that I could fully envisage when writing and subsequently listening back to this piece.

Under the Full Buck Moon

The Buck Moon is the name given to the full moon in July, and I fancied the idea of writing a piece that was a little bit more upbeat. Representative of a summer party that played into the hours of night. This piece drew much more heavily from jazz than any of the other pieces in this suite, but I think its midway contrast makes it work.

Thunderstorm vs. Peridot

August may be the month that we all associate with summer, perhaps because it's deep seated from having the entire month off back when were at school! However, here in the UK the weather is not always at its best. I had already composed the 'Thunderstorm' theme of this piece, quite unaware that I would be incorporating it into this suite at all, but when I had the idea of using two themes to contrast one another I became excited.

Yes, thunderstorms happen in the UK during August, but I wanted to contrast it with something much gentler too.

Peridot is the August birthstone, and I just loved the idea of those born in the month rising against the storm and taking ownership. The second half of this piece - what I call 'The Peridot Waltz' - is for them. A brief nod back to the gentler passage of the thunderstorm's theme at the end implies that it is moving away and has been defeated.

First Term

The month that all schoolchildren dread - September! The first term of any year is always fraught with the same thing - playfulness to begin, frustration at academia, playtime again. And - although in the grand scheme of the suite this overshoots my year - my piece 'First Term' actually is the same three themes repeated three times - each one getting a touch more frantic to represent the sheer repetitiveness and frustration of schooldays.

Music for a Rainy Day

The original Jack Mitchell Smith piece. Needless to say when I do say that I composed this piece at the age of 18 in 2009, that the plan for this piece was not as part of a greater suite. However, October can be rainy and I didn't want to lose 'Music for a Rainy Day', so I welcomed it into the suite with open arms.

The Leaves Where You Walk

I feel that despite being the simplest piece in my suite, this is arguably the most powerful. We are, of course, in the month of November by now. And there is much time for reflection as we fast approach the end of the year. Not really, but December gets a little swallowed up by commercialisation so November is often the last chance we do get to appreciate how far we've come.

Frances Bellerby wrote a stunning poem titled 'All Souls Day' - a day which is recognised on 2nd November. In it, she writes;

"And yet - touch my hand

that I may be quite without fear,

for it seems as if a mist descends,

and the leaves where you walk do not stir."

This piece is also written in ternary form, and the middle section is entirely reflective of how far we've come as themes from 'Snowdrops', 'The "Ides Of" March', 'Fluttering in the Breeze', 'The Magical Hawthorn Tree', 'Wine and the Touch of a Hand', 'Under the Full Buck Moon', 'Thunderstorm vs. Peridot', 'First Term' and 'Music for a Rainy Day' are all recognised for a single bar each, often broken by splayed chords to remind us of the month we are in, harking also back to the mood of January as we fast plunge into winter again.

"So He Did Come After All!"

I didn't want to focus on the obvious holiday that was Christmas so much as winter itself, although arguably I did given the source material that inspired the piece. Back in 2014, I began underscoring a short story by Leo Tolstoy titled 'Papa Panov's Special Christmas' - to be narrated with piano music underneath.

I never completed this short project, however I had quite a few themes together. As children played outside, so would the music become much more upbeat and jaunty, for example.

Whilst I ensured that I did not focus too heavily on Christmas, I did make a nod to the original inspiration given the closing lines of the story;

""Didn't you see me, Papa Panov?"

"Who are you?" he called out, bewildered.

Then another voice answered him. It was the voice from his dream -- the voice of Jesus.

"I was hungry and you fed me," he said. "I was naked and you clothed me. I was cold and you warmed me. I came to you today in everyone of those you helped and welcomed."

Then all was quiet and still. Only the sound of the big clock ticking. A great peace and happiness seemed to fill the room, overflowing Papa Panov's heart until he wanted to burst out singing and laughing and dancing with joy.

"So he did come after all!" was all that he said."

The way I finish the piece with gentle arpeggiated chords is a nod to January's piece - 'A Sleep from Night to Morn', suggesting that the whole suite is about to begin again.

Artwork

The artwork for 'Twelve New Chapters' was designed and created by Karen Hayward. Whilst the album artwork is slightly condensed, you can see its full glory below:

Getting a Copy

I would love for you to support me in getting a copy of 'Twelve New Chapters'.

The best way to support me by far is to download directly from the website!

However, the album is also available on Apple Music, Amazon Music and more.

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#pianomusic #worldpianoday #pianoday2023 #pianocomposition #classicalmusic #modernclassical #easylistening #piano #pianist

'Miniatures for Piano' - Out Today

I have worked with the woodwind extraordinaire Michael A. Grant several times over the past couple of years, yet even two years ago (approx.) when he first approached me asking if I could record a suite of his own piano compositions, I was surprised. Not because I didn't know he was already an outstanding musician, but because even then I didn't realise that the piano was yet another string to his bow (although, to my knowledge, bows aren't a talent of his that have cropped up yet!)

'Miniatures for Piano' is exactly what it says on the metaphorical 'tin' (the cover) - a suite of short piano compositions (12) that draw influences from far and wide. It was a joy to perform them and despite piano not necessarily being Michael's main instrument, the compositional technique often shows extreme sophistication and it was a joy to play, learn, develop and eventually record. And today - World Piano Day 2023, no less - it is finally released to the world;

The Pieces

There is something for everyone and for every standard across the 12 pieces, and the range of influences is evident.

Compost Frog

I wouldn't expect anything less of a title from Michael, but it suits so perfectly with its hopping around. 'Compost Frog' is exciting to play with it's almost entire use of the piano's full range and 100% one-note-at-a-time approach to composition.

Vision of Triumph

Taking a piece that can be considered musically 'grandiose' is tough for piano alone. 'Vision of Triumph' should really be a fully orchestrated piece, with its opening and closing movements (based around one another's main chordal based theme) putting you in mind of the like of Tchaikovsky's 1812. Yet it startlingly contrasts in both texture and dynamic between these, creating a whole journey rather than a specifically designated fanfare or other form of celebratory composition.

Affetuoso

'Affetuoso' starts as a beautifully simple piece, with a typical 3/4 time not dissimilar to a waltz (though not so punctuating of its 3rd beat) which develops into a more pleasing rendition of itself with flawless key change before just getting that little bit more experimental. Its middle section is such an unusual contrast, being unsure of its minor or purely atonal tonality, yet it very satisfyingly resolves back into the original theme twice - broken up by some beautiful piano musings based around yet another new minor key. The continual change of key keeps this piece interesting, yet its official marking of key signature change only once lulls into a false sense of security for the first time performer.

Cascades

It's very daring to create a full piece of music by merely using very rapid arpeggiation of pure chords, however when the chords in question are so unpredictable and the dynamic and tempo are recognised then the result is quite striking.

Lullaby

I was always quite a fan of this one, and not because it is necessarily relaxing in the way that you might associate with a typical lullaby such as the famous one by Brahms. There is a certain mystery within this particular one - it's very pleasant yet there is just something in there to create a little less pure relaxation and a tad more trepidation that works so well.

Obfuscation

I believe that this one was my favourite whilst I was working through them. It put me in mind of some of the classical greats with its technique of alternating broken chords between hands yet creating melody using the 'leftover' fingers of the right hand to play above this, creating a singing melody and a constant drive. There is really no trickery with this one - once it begins you know what you are in for. It continues to move in a similar motion right through to the end, but that's OK when it's a piece you enjoy playing and listening to!

The Longest Night

This was the first piece that Michael sent to me and I have a very soft spot. Beautifully simple to sight read, but allowing for much interpretation. I feel it works as well with full drive behind it as it does stripped back and completely rubato (the latter being more how my video below recognises it). One thing I particularly love about this piece is that - for all it is a hauntingly beautiful piece throughout - it gives no warning as to its final few bars, the contrast to the following piece I find to be startling;

The Prayer

This is the piece of which the contrast from the end of 'The Longest Night' is so dramatic. 'The Prayer' is such a beautiful piece of music. Formed entirely of full, pure chords and lasting but one page of printed music, its switch between tonality is remarkably powerful, with the purity of its Db chord that starts each phrase being replaced approximately halfway through - and only once - by a C# minor chord. Harmonically they are the same chord, but they are marked differently in keeping with the piece being scored in C major. This is only due to its strict atonality. Despite every chord being absolutely pure major or minor, it covers too many different ones that it could be fitted any particular key signature.

Breaking Outwards

The second piece in the suite that is based around arpeggiation, although this time it is not so rapid as in 'Cascades' that fingers are left in the right hand to allow more ringing out of notes to create a melody above (similarly to 'Obfuscation', but using more pure arpeggiation in 12/8 this time). As ever, its continual use of accidentals and naturals creates a completely unpredictable piece.

Empty Walls

Sometimes the piano composer can be tempted to second the left hand - quite literally - and forget to allow it to do anything interesting. 'Empty Walls' is the piece that really allows the left hand to talk. Sure, the right hand still carries the very basic melody (one note / one chord semibreves) whereby some splayed arpeggiation of chords 'with a twist' are really what drive the piece.

Springs

I feel like every good composer should have a march in their repertoire, and here is Michael's contribution. Yet another piece that almost seems to 'out-grand' the piano, this piece would work phenomenally well with a brass band (or even an orchestra with full brass section!). Yet here we are, performing it on the piano. It's rhythm is strictly a little 'off sync' for a true march, but it is definitely one with the correct type of movement.

Parting Waves

I seem to recall that this final piece went through numerous titles - mainly 'Goodbye' and several different European translations of the phrase. However 'Parting Waves' is a lovely title to finish with. And the music is also lovely. A nice, simple piano piece that - of all of them - would be a lovely beginner piece for a pianist (although the left hand does demand quite a stretch - not a problem for me, but for many it may put them off!). Still, it is a beautiful piece to round off a wonderfully varied suite of music.

How To Get A Copy

This suite is available to download as MP3 or purchase on CD.

You can purchase it from Michael's website here, or alternatively from Bandcamp here.

See also: My own suite of piano music ALSO released today: 'Twelve New Chapters'.

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#pianomusic #worldpianoday #pianoday #piano #pianist #composition #newmusic