Adam Guettel, Todd Ellison, Audra McDonald, Darius de Haas - Myths And Hymns (1998 Off-Broadway Cast, Originally Saturn Returns)

Until this disc, Adam Guettel was best known as the mastermind behind Floyd Collins, the gut-wrenching, boundary-breaking piece of musical theater that never gained the popularity it deserved. Myths & Hymns is another beast altogether, though just as interesting. Guettel has created a song cycle based loosely on Greek mythology and lyrics he discovered in an antique hymnal. These 15 songs are a combination of art song and show tune, but all are interesting. "Icarus" is funky jazz in which the composer duets with Lawrence Clayton. "There's a Land" is transformed from a traditional hymnal into an upbeat romp à la "This Land Is Your Land." "At the Sounding" is an upbeat yet appropriate transition from the somber "Children of the Heavenly King." Joining Guettel on the vocal parts for these works are Audra McDonald, Mandy Patinkin, Theresa McCarthy, and a handful of other fine interpreters. Sublime and moving, Myths & Hymns is all about reflecting--to God, a lover, or oneself. And while Guettel's roots run deep into the Broadway tradition (he's the grandson of Richard Rodgers), he's thankfully not afraid of musical experimentation. A great, soulful disc. --Jason Verlinde Amazon.com

I love Adam Guettel

This is an amazing work of emotional, passionate, and very creative music. Its facinating melodies are very complex and its themes are powerful. This is a masterpiece of artful composition, but it is not a CD for those with frivolous tastes. It is very beautiful and involved music so if you dwell on the music of Hairspray or Grease, this is definately not an item for you, but if you really appriciate the true purpose of music then I am confident that you'll fall in love with Guettel's work! April 30, 2008

Can this be for real?

Once every thirty years or so I stumble onto a piece of music that is worthy of my attention and awe. It occurred in 1971 with Leonard Bernstein's "Mass", then again in 1984 with Sondheim's "Into The Woods." Now there is Adam Guettel's (pronounced "Gettle") "Myths & Hymns" or "Saturn Returns" as it was originally titled. The music, on paper, is ridiculously difficult and one searches for reason. I don't know a musician alive who could sight read it. However in listening to the recording magic leaps around you as each piece, all based on a variety of Hymns and Myths (surprise) and each one falling into different styles of music-even different world of music. Guettel has done things here that have simply never been done before. The musicians are all top notch and the recording was well mastered and engineered. Adam Guettel is our future and he will be remembered for many centuries to come. This is a recording that you should own; it's also a recording that is worthy of passing along to others. Letting people be aware that this music exists is important. The album comes up on iTunes in the genre of "classical" but I defy anyone to actually attempt to classify even this single work. Jazz? Maybe? Contemporary? Maybe. I'd prefer to say that it's a style that Mr. Guettel has created on his own and society will define it over the next few hundred years. Buy this today. And buy the score as well. You won't be able to play it-not at first, but it will make listening to it a lot of fun. February 28, 2008

Almost Perfect

Like most here, I bought "Myths and Hymns" after having already heard and liked Guettel's other two shows, and for the most part I wasn't disappointed.

I'll start with the bad. My biggest problem is probably with the arrangements, which can be a bit bland and overly processed. At their worst they approximate adult contemporary mush (I could totally do without the annoying, noodling, guitar solos in "Icaras," for example. They make what is otherwise a great song sound too much like your typical "Lite rock FM" radio station fare). Likewise, his stabs at gospel come across as perfunctory and too processed by far; and because of this their arrangements fall short of the fire and grit which the lyrics express. "There's a Shout," for example, sounds like anything you'd hear on your typical Saturday afternoon televangelist's show. Hear it once and it's instantly recognizable and familiar, yet at the same time instantly forgettable. Given the theme, maybe that's what he was going for, but it still doesn't make it any more fun to listen to.

But these are just minor quibbles. When it's good, which is most of the time, it's really good, and he certainly earns his reputation as an innovative composer. Some of the high points: "Migratory V" is all one slow, longing, build which denies climaxing in any cheap pay off. "Come to Jesus" is all achingly beautiful dissonance, and while it really doesn't contain a "melody" in any traditional sense, it'll stick in your head long after you've heard it. And "How can I lose you?" is a beautiful lilting love song that probably would have been a massive hit had it been written in 1922 (plus, is it just me or does it sound exactly like something by the McGarrigle sisters? The vocalist sounds so much like Kate McGarrigle that I had to check the booklet to be sure it wasn't her). Plus "Icarus," despite its hated guitar solos, is built around a funky sort of synthesized beat that sounds almost as if it was done on a Radio Shack keyboard (which is a good thing), and is genuinely unlike anything you'll hear in a musical anywhere else. Likewise, the album's other more upbeat numbers do a great job of injecting a "pagan" sense of playful joy into the otherwise somber and entirely "protestant" hymns (and indeed, the tension between the two, evident in many of the songs, is the album's strongest driving feature).

All in all, I'd highly recommend it, despite my few reservations. It's the perfect "musical" recording for adventurous minded people who usually hate typical Broadway musicals. February 21, 2008

A magical and affecting song cycle

I bought this disk on an Adam Guettel shopping spree after seeing and loving his Tony Award winning The Light in the Piazza. I was expecting the same sophistacated, elegant, and lushly romantic score a la Piazza, but was suprised to encounter an earthy mix of contemporary, hip rhythms and folkish, almost ecclesiastical melodies. However, upon my first listening, I didn't like it, didn't get it, and put it back on the self.
Fast forward a year.
I now think Myths and Hymns is the most original, most innovative song cycles of our generation. M and H encumpasses greek mythology and spiritual Americana by combining the stories of Icarus, Pegasus, Hero, Lysander, Sisyphus, and others with the structured yet sprited New England hymnal style music. The result is magical collection of songs that link together both musically and emotionally to create a satisfying listening experience.
The Performers are all in top form, including greats like Mandy Patankin embodying the eturnal suffering of Sisyphus, Theresa McCarthy and her angelic soprano voice, a spirited Billy Porter, and a radient Audra McDonald showing a playful side of Pegasus. However, the best performer by far is Guettel himself. He sings many of his own songs, and gives a soulful, heartfelt, and skilled performance, proving himself with the many talented voices on this cd.
The best songs are:
-At the Sounding: A spirited opening number combining antique lyrics with modern harmonies. It starts the cd of with a bang.
-Saturn Returns: Sung by Guettel, this song masterfully addresses the universal question about meaning in life.
-Icarus: Upbeat, and again sung but Guettel, it tells the story of the ill fated Icarus and adds present day connections to the ancient myth.
-Hero and Leander: The most romantic song on the cd, and my favorite. It is sung by Guettel, and is an understated and poigent declaration of love.
-Sisyphus: Mandy Patankin as you've never heard him before. A very funny song.
-Come To Jesus: A haunting melody that will stay with you long after listening.
-Pegasus: Another upbeat, funny little song, with silly lyrics and obscure references.
Keep an open mind while listening to this cd. It may take multiple listenings to fully appreciate its genious.
Highly reccomended September 28, 2006

Beautiful Song Cycle, Almost As Good As Guettel's The Light In The Piazza

When listening to The Light In The Piazza, I soon fell in love with the soundtrack and wanted to hear more from Adam Guettel, so I picked up Myths & Hymns. While it is quite obviously different from The Light In The Piazza, it is just as musically brilliant.

What really gives this album that extra glue to hold it together is the star-studded cast singing the songs. There are Broadway favorites like Mandy Patinkin (singing "Sisyphus") & Audra McDonald (singing in "Pegasus"), but one great thing about this is that Mr. Adam Guettel sings a few songs himself (and not half-bad might I add) which include "Hero And Leander" & "Saturn Returns."

From the beautiful title song "Saturn Returns" to the quirky but funny "Pegasus" to the unique song stylings of "Sisyphus," this is certainly a must-have for any music lover. A few cautionary things about this though. This is a song cycle, a group of songs designed to be performed in sequence as a single entity, not really a musical. Also, there really isn't a beat. For instance, you're not going to wake up the following day singing "Come To Jesus" because it is beautifully addictive music that doesn't have a real consecutive rhythm. It is a still a brilliant music and is a must-listen for anyone. June 25, 2006

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