W B Yeats’ The Lake Isle of Innisfree (1888)

Ten years ago, Sal and I had a weekend break in Knock in County Mayo, Ireland, during which we took a pleasant side trip to Sligo and “Yeats country”. In those days I was into “collecting” literary graves and we took the opportunity to visit Yeats’ final resting place, which turned out to be situated in a glorious setting at Drumcliff, under the imposing Benbulbin rock formation. William Butler Yeats was of course one of the foremost twentieth century English language poets, and in Sligo they’re rightly proud of him.

Benbulben

I confess to not having read much Yeats, but there are two of his poems in particular that have resonated with me from old. One is his evocative rendering of the Greek myth, Leda and the Swan, and the other is this, the twelve-line lyric poem, The Lake Isle of Innisfree.

Yeats wrote The Lake Isle of Innisfree in 1888 when he was a young man, living in London and feeling lonely and homesick. The 1880s had seen the rise of Charles Stewart Parnell and the home rule movement in Ireland and developments there had had a profound effect on Yeats’ poetry, informed by his subsequent explorations of Irish identity. The Lake Isle of Innisfree is about a yearning for his childhood home (the isle of Innisfree is a real place, an uninhabited island in Lough Gill, where Yeats spent many of his childhood summers). It is a place of serenity and simplicity, and to we, the reader, that place becomes not Innisfree, but wherever we happen to picture our own rural hideaway; the place to which we pretend we shall one day escape and leave behind our current manic, urban lives (“on the pavement grey”).

The Lake Isle represents an escape, a poet’s vision of a romantic, idyllic, and timeless way of life. I love the way he evokes the tranquil life, in the bosom of nature, in that masterfully simple phrase wherein he says he will “live alone in the bee-loud glade”. How effectively this conjures up a picture of a hot sunny day alive with the hum of insects!

Of course, such an ambition rarely comes to pass and it remains for most of us a fanciful idea. Indeed, Yeats died in France and only returned to Sligo in a coffin. But his poem remains a great favourite with the Irish (it’s quoted in Irish passports) and to romantics everywhere who yearn for tranquillity and “hear it in the deep heart’s core”.

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean rows will I have there, a hive for the honey bee,
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements grey,
I hear it in the deep heart’s core.

 

William Butler Yeats

The Glenn Miller Orchestra plays In The Mood (1939)

In this blog, I have written about both Elvis Presley and the Beatles, but before them, in an extraordinary four year period between 1938 and 1942, there was a man who scored 23 number-one hits in the US: bandleader and icon of the swing era, Glenn Miller. Miller was perhaps an unlikely star and certainly a reluctant one, as he shied away from the spotlight and hated personal appearances, but he nonetheless had such an ear for melody and such keen arranging skills that most of his output became classics of the age – think Moonlight Serenade, Pennsylvania 6-5000, Tuxedo Junction, Chattanooga Choo Choo, and of course In the Mood, one of the best dance songs to emerge from the period and the one big band song that gave the swing era its defining moment.

Miller had cut his teeth as a freelance trombonist in a variety of bands in the late 1920s and early 1930s, and worked as a composer and arranger for the Dorsey brothers. He had put an orchestra together for British bandleader Ray Noble in 1935, and in 1937 formed his first band, but this proved short-lived after failing to distinguish itself from the plethora of rival bands. Miller knew that he needed a unique sound and in 1938 he put together an arrangement with the clarinet playing a melodic line with a tenor saxophone holding the same note, while three other saxophones harmonised within a single octave. It soon became the basis of the “Miller sound”, the template for what big band music would sound like.

In the Mood is based on an old jazz riff that had been passed around in various incarnations for many a year. It was a fellow named Joe Garland who created a new arrangement for the riff with the title of “In the Mood”, but it was Miller who pared the tune down to its bare essentials. Released in September 1939, the tune went on to top the charts in the US for thirteen straight weeks. With its famous introduction featuring the saxophones in unison, the catchy riff anchoring the tune, the two solos (a “tenor fight” between saxophonists Tex Beneke and Al Klink, and a 16-bar trumpet solo by Clyde Hurley), and the suspense-building ending, it has all the Miller specialities. A true model of suspense and dynamics. Here it is as featured in the 1941 movie Sun Valley Serenade.

 

Glenn Miller