For week 17 we have chosen the “Raindrop” Prelude (Prelude in D-flat Major, Op. 28 No. 15) by Chopin to be paired with Wendell’s painting called “Nocturne No. 8 in D-flat Major” (acrylic on canvas, 30 x 30, 2013). This “moment” is a study in dark and light contrasts, both in the music and in the art — somehow fitting for Easter and Passover.
For the dark moments in your life…This week we combine another one of Chopin’s Preludes – the short, dark piece in C Minor Op. 28 No. 20 – with one of Wendell’s new paintings – a short, dark work called “Light Over Mountains” 2019 (acrylic on paper, mounted on panel 7″ x5″). pamelahowland.com wendellmyers.com
This video for the last day of March/beginning of April features my arrangement of the beautiful song “Til There Was You” by Meredith Wilson (you will know it either from the musical “The Music Man” or from an early Beatles recording of it)– paired with Wendell’s glorious painting “Treeline #1” (acrylic, watercolor pencils, markers on paper, mounted on panel, 10 x 10, 2018) wendellmyers.com pamelahowland.com
This week I tried something new for the video, superimposing up to 4 different layers. I was afraid it might be too much, but I think it worked pretty well.
This week features a very blue fusion (both in palette and mood) with Wendell’s evocative painting, “Nocturne No. 6 in G Minor,” paired with the melancholy spiritual, “Sometimes I Feel Like A Motherless Child.” Wendell says about it: For week 13, I chose the painting “Nocturne No 6” because, although it was painted specifically in response to a different piece of music, the austere, almost desolate landscape fully reflects the emotional character of “Motherless Child.”
Today – St. Patrick’s Day – we present the beautiful song from “The Wizard of Oz,” – “Over the Rainbow.” Pam’s arrangement is fused with Wendell’s “Gold and Rose” painting (30 x 30 acrylic on canvas) — and we hope you enjoy this 2 minutes and 34 seconds!
Pam and Wendell welcome the March time change with a fusion of Pam’s arrangement of Gershwin’s “Summertime” (pamelahowland.com) with Wendell’s brand new painting “Low Country Gold” 30 x 40 acrylic on canvas (wendellmyers.com) We look forward to many more hours of sunlight and wish you a happy spring!
For this week’s painting, I wanted to evoke the South Carolina low country around Charleston and Kiawah (Kittiwah) island, settings of Gershwin’s “Porgy and Bess,” the opera which includes “Summertime.” This painting recalls the maritime forests and salt marshes along the Kiawah river.
For Week 10 we are combining Pam’s “Amazing Grace Celtic Medley” with Wendell’s “Six Trees with Yellow Sky” (acrylic on canvas, 12 x 30 from 2011, http://www.wendellmyers.com).
Pam arranged this medley for her Dad who was very proud of his Scots heritage, using several favorite Celtic tunes -Shenandoah, Loch Lomond, Auld Lang Syne, anchoring them with Amazing Grace. She says, “I love playing this piece because sometimes I have the feeling of not being sure which one I am playing (because they all have pentatonic melodies), and they all take me back to my childhood.”
We begin Week 9 of the new year with Chopin’s famous Nocturne No. 2 in E-flat Major, accompanied by Wendell’s painting of the same name (acrylic on canvas, 30 x 40 ). As we head into the last week of February, we hope that you will enjoy this nostalgic music.
WEEK 7 – YOUR MOMENT OF MUSIC AND ART features 1 of the 19 paintings Wendell created for our 2014 performance/exhibition NIGHT MUSIC, held at the FROM WARSAW TO WINSTON-SALEM CHOPIN BIRTHDAY FESTIVAL. This was our first collaboration, with Pam recording all of the 19 Chopin Nocturnes and Wendell creating a painting for each nocturne
Wendell says: “For that project, I did a fair amount of reading about what colors are associated with what keys, according to a number of prominent synesthetes. I found that there really is no consensus, but I did use this as a guide to my choice of colors. In the case of Nocturne #1, I chose deep green for B-flat minor, the main key of the piece, and a rose/purple for the D-flat Major of the B section. I found that, for me, the music calls to mind certain shapes and types of movement. The haunting, almost improvisatory melody of the A section is represented by the looping, ribbon-like brushwork of the central section of the painting.
Pam says: “Our first collaboration showed us that I do not see like Wendell does, and he does not hear how I do – resulting in many lively conversations! But, this video certainly gives the sense of journey that I feel when I play this first nocturne of Chopin’s, so full of mystery, sadness and joy (no matter how fleeting).
We hope you will enjoy this. Please share with friends.