My November Guest - Vocal Music CD (James Anest)
This World-Premiere Recording as described on our "Store" Page, is a concept project as a sort of "Jukebox Music" setting for a musical adaptation of the 1949 British film classic, "The Glass Mountain".
Here are the composer's (Jon Naples) words regarding this recording, as excerpted from the CD Liner Notes:
Notes on the songs of My November Guest.
These songs are development of melodic material designed to endure time. Though each carefully designed, the songs contain tunes which may continue to serve as germinating material for other pieces not yet composed, or a theme within one. Upon listening, a wise musical ear will find real ‘serious’ compositions in these simple songs. Some of these pieces are the product of many weeks, even months of revision, start-overs, fat trimming sessions; some evolved intact, requiring little or no revision. After all, a tune consists of a single line of notes that can be readily played or sung and that make some sort of musical statement. In that, it is most difficult to compose, as it is human sentiment distilled into just one line of notes.
The poems chosen for this set of songs exhibit qualities suitable for singing. Many of them were originally suggested by Mr. Anest. They were chosen also because songs in general are so important to our audience: people who love music and have discerning ears. Finally they were chosen because we would rather have the words of great poetic masters as material rather than awful commercial pop lyrics which we hate.
The first in the evolution of these tunes wedded to lyric poems was probably that set to Frost’s The Road Not Taken. It was soon realized that his lyrics contain such unadorned beauty that music does not detract from their impact. If aptly handled, music just might add something. For example poems such as My November Guest by Robert Frost and The Garden of Love by William Blake exhibit a perfect metric regularity, plain language, unlike the floweriness tolerated in most poetry. Thusly, I treated them as lyrics: strophes in which ordinary language is used to convey clear and poignant imagery on subjects near and dear to all. Sir George Lord Byron’s To Woman, and She Walks In Beauty are conversational in wording, each is a portal into the depths of the poet’s agony conveyed in plain language. All of the pieces are chosen for their focus on human relationships. Even Fire and Ice by Robert Frost, while at first glance, appears to the poet’s relationship with the external world, ultimately reveals that the great Frost is human after all with a possibly cynical side. The songs are therefore, at least I imagine, relevant in their description of everybody’s life experiences. Further, as in the case of the quixotic To An Island In The Water by Yeats, one still finds solace in the unassuming and plainly spoken, as weird as that lyric may be. Thus, we imagine and hope that these songs are interesting to the listener not only because they are relevant and beautiful, but because they interest us.
-Dr. J.
SONG LIST (IN ORDER OF CD):
1. The Ballad of Chaldon Down—Millay
2. Cradle Song—Blake
3. Fire and Ice—Frost
4. XLII (How Do I Love Thee?)—E.B. Browning
5. A Line-Storm Song—Frost
6. My November Guest—Frost
7. So, We’ll Go No More A-Roving—Byron
8. She Walks In Beauty—Byron
9. She Was A Phantom Of Delight—Wordsworth
10. The Spring And The Fall—Millay
11. The Garden Of Love—Blake
12. The Road Not Taken—Frost
13. To An Isle In The Water—WB Yeats
14. To Woman—Byron
15. When We Two Parted—Byron
MY NOVEMBER GUEST
- ROBERT FROST (1874-1963)
My Sorrow, when she’s here with me,
Thinks these dark days of autumn rain
Are beautiful as days can be;
She loves the bare, the withered tree;
She walks the sodden pasture lane.
Her pleasure will not let me stay.
She talks and I am fain to list:
She’s glad the birds are gone away,
She’s glad her simple worsted grey
Is silver now with clinging mist.
The desolate, deserted trees,
The faded earth, the heavy sky,
The beauties she so truly sees,
She thinks I have no eye for these,
And vexes me for reason why.
Not yesterday I learned to know
The love of bare November days
Before the coming of the snow,
But it were vain to tell her so,
And they are better for her praise.
FIRE AND ICE - ROBERT FROST
Some say the world will end in fire,
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.
A LINE-STORM SONG: ROBERT FROST
The line-storm clouds fly tattered and swift.
The road is forlorn all day,
Where a myriad snowy quartz stones lift,
And the hoof-prints vanish away.
The roadside flowers, too wet for the bee,
Expend their bloom in vain.
Come over the hills and far with me,
And be my love in the rain.
The birds have less to say for themselves
In the wood-world’s torn despair
Than now these numberless years the elves,
Although they are no less there:
All song of the woods is crushed like some
Wild, earily shattered rose.
Come, be my love in the wet woods, come,
Where the boughs rain when it blows.
There is the gale to urge behind
And bruit our singing down,
And the shallow waters aflutter with wind
From which to gather your gown.
What matter if we go clear to the west,
And come not through dry-shod?
For wilding brooch shall wet your breast
The rain-fresh goldenrod.
Oh, never this whelming east wind swells
But it seems like the sea’s return
To the ancient lands where it left the shells
Before the age of the fern;
And it seems like the time when after doubt
Our love came back amain.
Oh, come forth into the storm and rout
And be my love in the rain.
THE ROAD NOT TAKEN - ROBERT FROST
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
WHEN WE TWO PARTED - LORD BYRON
When we two parted
In silence and tears,
Half broken-hearted
To sever for years,
Pale grew they cheek and cold,
Colder thy kiss;
Truly that hour foretold
Sorrow to this.
The dew of the morning
Sunk chill on my brow—
If felt like the warning
Of what I feel now.
They vows are all broken,
And light is thy fame;
I hear thy name spoken,
And share in its shame.
They name thee before me,
A knell to mine ear;
A shudder comes o’er me—
Why wert thou so dear?
They know not I knew thee,
Who knew thee too well:--
Long, long shall I rue thee,
Too deeply to tell.
In secret we met—
In silence I grieve,
That thy heart could forget,
Thy spirit deceive.
If I should meet thee
After long years,
How should I greet thee?
With silence and tears
SO, WE'LL GO NO MORE A-ROVING
-LORD BYRON
I
So, we’ll go no more a roving
So late into the night,
Though the heart be still as loving,
And the moon be still as bright.
II
For the sword outwears its sheath,
And the soul wears out the breast,
And the heart must pause to breathe,
And love itself have rest.
III
Though the night was made for loving,
And the day returns too soon,
Yet we’ll go no more a roving
By the light of the moon.
TO WOMAN
-GEORGE GORDON/LORD BYRON (1788-1824)
Woman! experience might have told me
That all must love thee who behold thee:
Surely experience might have taught
Thy firmest promises are nought;
But, placed in all thy charms before me,
All I forget, but to adore thee.
Oh memory! thou choicest blessing
When join’d with hope, when still possessing;
But how much cursed by every lover
When hope is fled and passion’s over.
Woman, that fair and fond deceiver,
How prompt are striplings to believe her!
How throbs the pulse when first we view
The eye that rolls in glossy blue,
Or sparkles black, or mildly throws
A beam from under hazel brows!
How quick we credit every oath,
And hear her plight the willing troth!
Fondly we hope ‘twill last for aye,
When, lo! She changes in a day.
This record will for ever stand,
‘Woman, thy vows are traced in sand.’
SHE WALKS IN BEAUTY - LORD BYRON
She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that's best of dark and bright
Meet in her aspect and her eyes:
Thus mellowed to that tender light
Which heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o'er her face;
Where thoughts serenely sweet express
How pure, how dear their dwelling-place.
And on that cheek, and o'er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
SHE WAS A PHANTOM OF DELIGHT
- WILLIAM WORDSWORTH
SHE was a Phantom of delight
When first she gleamed upon my sight;
A lovely Apparition, sent
To be a moment's ornament;
Her eyes as stars of Twilight fair;
Like Twilight's, too, her dusky hair;
But all things else about her drawn
From May-time and the cheerful Dawn;
A dancing Shape, an Image gay,
To haunt, to startle, and way-lay.
I saw her upon nearer view,
A Spirit, yet a Woman too!
Her household motions light and free,
And steps of virgin-liberty;
A countenance in which did meet
Sweet records, promises as sweet;
A Creature not too bright or good
For human nature's daily food;
For transient sorrows, simple wiles,
Praise, blame, love, kisses, tears, and smiles.
And now I see with eye serene
The very pulse of the machine;
A Being breathing thoughtful breath,
A Traveler between life and death;
The reason firm, the temperate will,
Endurance, foresight, strength, and skill;
A perfect Woman, nobly planned,
To warn, to comfort, and command;
And yet a Spirit still, and bright
With something of angelic light
CRADLE SONG - WILLIAM BLAKE
Sleep, sleep, beauty bright,
Dreaming in the joys of night;
Sleep, sleep; in thy sleep
Little sorrows sit and weep.
Sweet babe, in thy face
Soft desires I can trace,
Secret joys and secret smiles,
Little pretty infant wiles.
As thy softest limbs I feel
Smiles as of the morning steal
O’er thy cheek, and o’er thy breast
Where thy little heart doth rest.
O the cunning wiles that creep
In thy little heart asleep!
When thy little heart doth wake,
Then the dreadful night shall break.
THE GARDEN OF LOVE - WILLIAM BLAKE (1757-1827)
I went to the Garden of Love.
And saw what I never had seen:
A Chapel was built in the midst,
Where I used to play on the green.
And the gates of this Chapel were shut,
And Thou shalt not, writ over the door;
So I turn’d to the Garden of Love,
That so many sweet flowers bore,
And I saw it was filled with graves,
And tomb-stones where flowers should be:
And priests in black gowns, were walking their rounds,
And binding with briars, my joys & desires.
THE SPRING AND THE FALL
-EDNA ST. VINCENT MILLAY (1892-1950)
In the spring of the year, in the spring of the year,
I walked the road beside my dear.
The trees were black where the bark was wet.
I see them yet, in the spring of the year.
He broke me a bough of the blossoming peach
That was out of the way and hard to reach.
In the fall of the year, in the fall of the year,
I walked the road beside my dear.
The rooks went up with a raucous trill.
I hear them still, in the fall of the year.
He laughed at all I dared to praise,
And broke my heart, in little ways.
Year be springing or year be falling,
The bark will drip and the birds be calling.
There's much that's fine to see and hear
In the spring of a year, in the fall of a year.
'Tis not love's going hurt my days.
But that it went in little ways.
THE BALLAD OF CHALDON DOWN
-EDNA ST. VINCENT MILLAY
In April, when the yellow whin
Was out of doors, and I within,-
and magpies nested in the thorn
Where not a man of woman born
Might spy upon them, save he be
Content to bide indefinitely
On Chaldon Heath, hung from a pin,
A great man in a small thorn tree-
In April, when, as I have said,
The golden gorse was all in bloom,
And I confined to my room,
And there confined to my bed,
As sick as mortal man could be,
A lady came from over the sea,
All for to say good-day to me.
All in a green and silver gown,
With half its flounces in her hand,
She came across the windy down,
She came, and pricked the furrowed land
With heels of slippers built for town,
All for to say good-day to me.
The Channel fog was in her hair,
Her cheek was cool with Channel fog;
Pale cowslips from the sloping hedge,
And samphire from the salty ledge,
And the sweet myrtle of the bog
she brought me as I languished there;
But of the blackthorn, the blue sloe,
No branch to lay a body low.
She came to me by ditch and stile,
She came to me through heather and brake,
And many and many a flinty mile
she walked in April for my sake,
All for to say good-day to me.
she came by way of Lulworth Cove,
She came by way of Diffey’s Farm;
All in a green and silver frock,
With half its flounces over her arm,
By the Bat’s Head at dusk she came,
Where inland from the Channel drove
The fog, and from the Shambles heard
The horn above the hidden rock;
And startled many a wild sea-bird
To fly unseen form Durdle Door
Into the fog; and left the shore,
And found a track without a name
That led to Chaldon, and so came
Over the downs to Chydyok,
All for to say good-day to me.
All for to ask me only this-
As she shook out her skirts to dry,
And laughed, and looked me in the eye,
And gave me two cold hands to kiss:
That I be steadfast, that I lie
And strengthen and forbear to die.
All for to say that I must be
Son of my sires, who lived to see
The gorse in bloom at ninety-three,
All for to say good-day to me.
(XLIII) HOW DO I LOVE THEE
-ELIZABETH BARRETT BROWNING (1806-1861)
Sonnets from the Portuguese
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of everyday's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints,--I love thee with the breath,
Smiles, tears, of all my life!--and, if God choose,
I shall but love thee better after death.
TO AN ISLE IN THE WATER
W.B. YEATS (1865-1939)
Shy one, shy one.
Shy one of my heart.
She moves in the firelight
Pensively apart.
She carries in the dishes,
And lays them in a row.
To an isle in the water
With her would I go.
She carries in the candles,
And lights the curtained room,
Shy in the doorway
And Shy in the gloom;
And shy as a rabbit,
Helpful and shy.
To an isle in the water
With her would I fly.
James' Biography, as in the CD Liner Notes
Known for his unique sound and expressive voice, James Anest has been hailed as a singer-actor of International proportions. He has been seen in thousands of performances around the globe in opera, musicals, recitals, and theater. Not one to be limited by the persnickety opinions of people in the “know”, James has crossed many barriers throughout his career, even if some were by complete accident.
Some have said that his fame began when he became the first male student to live on campus at Mount St. Mary’s College in the prestigious Bel Air, California. Even others attribute his unique sound to appreciative bovine in Western Nebraska where he honed his voice singing to Angus and Simmental Cattle-sometimes while on his favorite horse named Domino. Most of all, James has always been himself, which by default, allows his natural talent of connecting with an audience to speak for itself.
Yes, James has been awarded many accolades in his career and has sung a ton of roles. He’s even studied way too many things at too many schools-just ask his parents!
I….(oops)…James, did this recording because he felt that these poems needed to be revisited. The musical settings by John Naples are beautiful and skillfully constructed. Take the time and listen to this music-listen to the words. The album has been recorded in a style that has long been forgotten…My November Guest is designed to give you, the listener, a “live” performance every time you press “play”. It doesn’t hide anything.
Jon Naples (Composer) as in the CD Liner Notes
Biographical information and reflections:
Possibly due to having won the Freeman Competition For Composers in 1989, Dr. Jon Naples was offered, and accepted, the opportunity to attend the University of Southern California School of Music on a full tuition scholarship to earn a Doctor’s degree in Music Composition. His principal teachers were Morten Lauridsen and Frank Ticheli. Jon’s interest in original new music developed first in the modern dance field as composer for Los Angeles choreographers such as the late Anthony Balcena, among others. Under the brief tutelage of Schoenberg Institute Director Leonard Stein in Los Angeles, Jon became aware of the immense influences born upon the modern music scene by 20th century serial composer Arnold Schoenberg.
Jon’s own view of original new music: The 20th century, having attempted the scrapping of tonality, or more precisely, avoiding the use of a tonal center in music, seemed to drive audiences away in droves from the classical music concert hall. It seemed as if hundreds of years of tried and tested success; music rooted in tonality perhaps was hastily dispensed with. Why not look instead, upon all proven genres of music as ingredients, each of which may be brought to bear at the command of a single composer in the same way the works of a 21st century painter need not be limited in one genre, style period, or subject? i.e., An artist’s voice will transcend any chosen medium.
Dr. Naples’ compositions have been featured on the programs of the annual San Diego International Music and Arts Festival in Poway, California, the New School in New York, California Institute of the Arts, Japan America Theater in Los Angeles, and Pasadena Presbyterian’s Music At Noon Series with Vocal Artist James Anest. Jon is also a frequent contributor of original new repertory through commissions from the Devine School For Guitar in Cardiff, California as well as arranger and orchestrator for the school’s recent performances with the San Diego Chamber Orchestra.
My November Guest - Contrubutions & Technical
Chris Escobosa: Hair & Makeup
Henri Campo: 1 bit DSD Mastering
Michael Annas Allaf: Vocal Engineer
James Anest: Piano Engineer
Smallz and Raskind: Cover & Back photography
Inside Tray: Dustin George
Inside Booklet (Photography): George Anest, James Anest, Bonnie Lopez
Produced by: James Anest & Anteater Recordings
Distribution: Anteater Recordings
Pressed and Printed at (Odds On Manufacturing - Las Vegas, NV)
Vocals: James Anest
Piano and Guitar: Dr. Jon Naples
Graphics: James Anest
Production Photos
To See more Production Photos, please visit the gallery page.
as Max in "Lend Me A Tenor"Production photo from the Moonlight At The Avo - CA
With the Los Angeles OperaNot bad as a Baldy!
The "Gaston" ChairBeauty and the Beast - PCPA
ABOUT JAMES ANEST
"UNDER NO DEFINING TERMS"
James Anest is a pretty complicated guy. He is equally comfortable in a wide range of musical styles, including Opera, Musical Theatre, Jazz, Liturgical Music and even Modern Standards. He fits in just as easily at a concert hall in Europe as a Rock concert on the Sunset Strip. He is proficient in French, German and Italian, as one would expect from an Operatically-trained singer, but he is also fluent in Modern Greek, the native language of his Mother. He works hard to "blur the Genere line" even though his career began in the somewhat persnickety world of Classical Music, yet you would be hard pressed to find somebody more friendly and down to earth. To understand where James is coming from, you have to go way back. And in this case, "way back" starts in Nebraska.
moreJames as a Producer
"As Artists, we are always creating...therefore, this was a natural evolution."
Working in the Entertainment Industry for over 2 decades, James has worked along side amazing talent. Also, during that time, he worked as contracted labor on numerous Industrials, Corporate Events, Concerts, etc. He participated, learned and then decided to take the plunge into production. "After so many productions and shows, I began to get a feel for what I thought was working and what was not...then my little voice said, "If you think you can do it better, then do..."....so I did. I've never looked back...". James began what now is Entree Entertainment, Inc. A full-service Entertainment Agency that specializes in Vocal Entertainment for Corporate Events, Concerts, and Private Parties across the United States and even Europe. "It has been an amazing ride. I've learned and continue to learn...". Under the "Entree" moniker, James has produced and created numerous
entertainment acts, including, The Amazing Waiters, An Original Singing Waiter Act that is designed to surprise unsuspecting guests at parties, weddings and business gatherings with fabulous singing and witty dialogue. "All of these shows are customized...special and one-off for each Client. We take pride in knowing that no attendee in the room will have seen this particular show. It's what makes The Amazing Waiters the best and most Original Singing Waiter Act in the World. And, it's why Clients come to us when they want something unique, fun and memorable".
James Anest as a Recording Artist
"My first recording "Calvary Street" was an experiment. I didn't even think anyone would notice it."
""Calvary Street" ended up being a culmination to my Catholic Cantoring "Career" that, let's just say, lasted a very long time. It started when I first got to Los Angeles to go to College at Mount Saint Mary's Univeristy in the posh Bel Air Neighborhood and got aquainted with one of my early Mentors, Frank Brownstead. Frank was already heavily involved in the Catholic Liturgical Circuit in LA and he quickly introduced me to that genere of music. I have and still have great admiration for him. He's a fabulous Musician."