In a 2004 interview, John Corigliano noted that while audiences for most genres are always interested in new works, “new music is seen as a threat. It’s considered something that is above them and beyond them and in which they cannot be participants.”
“We have to take a little bit of the blame…at a certain point when you’re not talking to people and they know you’re not talking to them, they go away.”
“I trace this back to the birth of romanticism…all of a sudden, this virtue of incomprehensibility sprung up. I am incomprehensible because my message is so much more complex and morally stronger than the message of those people who were just speaking to you that you can understand. Therefore, you shouldn’t understand me. But you should worship me and come to these concerts. Well, OK, but composers are not gods, they’re people. And this has been the most destructive thing to art I have ever seen, art ruining art.”
“Romanticism ruined the 20th century as far as I’m concerned, and we have to get rid of it in the 21st. What it did was it gave us the egocentric idea of the artist-god and the audience-worshipper—the non-communication that that means—and bathed us in this until finally the audience was alienated by this and left like they leave churches. Now we want to win them back.”
“I think all composers should strive, if possible, to stand on a stage and to speak to an audience. I have found that the minute you say three words, whatever they are, and you’re friendly and warm to them, they’re so on your side…all of a sudden, they’re thinking of you as a human being in their society who is writing music that could speak to them.”
Quoted in “The gospel according to John Corigliano” by Frank J. Oteri (NewMusicBox 1 February 2005.
Today is Corigliano’s 80th birthday! Below, Teresa Stratas as Marie Antoinette in Corigliano’s The ghosts of Versailles.
In August 2017 Bloomsbury launched 33 1/3 global, a series of short music-based books related to but independent from their series 33 1/3. The new series brings the focus to music throughout the world, starting with Supercell’s “Supercell” featuring Hatsune Miku by Keisuke Yamada, in the subseries 33 1/3 Japan.
The lead singer on Supercell’s eponymous first album is Hatsune Miku (初音ミク), a Vocaloid character created by Crypton Future Media with voice synthesizers. A virtual superstar, over 100,000 songs, uploaded mostly by fans, are attributed to her. By the time Supercell was released in March 2009, the group’s Vocaloid works were already well-known to fans.
This book explores the Vocaloid and DTM (desktop music) phenomena through the lenses of media and fan studies, looking closely at online social media platforms, the new technology for composing, avid fans of the Vocaloid character, and these fans’ performative practices. It provides a sense of how interactive new media and an empowered fan base combine to engage in the creation processes and enhance the circulation of DTM works.
Below, Hatsune Miku in action.
The question of music for use in the Catholic liturgy was a hot button issue in Catholic circles for a good number of years after Vatican Council II, particularly in the U.S.
The result of the upheaval following the Council has been a radical shift in the musical content of the service, mostly involving a cantor leading the congregation in some sung Mass parts and several hymns that are dispersed over the liturgy. This discontinuity in the tradition thoroughly ignores both the Church’s intentions for musical reform as reflected in documents from the late 19th century to the late 20th century, and efforts in the U.S. dating from before 1963 that were inspired by several popes.
Just after the Council, in 1966, several of the most distinguished international scholars and church musicians met in Chicago and Milwaukee to discuss the state of the reform. Many ideas were presented and plans were made, but all for naught. A group of liturgists, relying on their own readings of the Council—and, for the most part, little musical knowledge—nimbly redirected the reform, mostly due to their connections with U.S. Bishops and widespread confusion (even among the bishops) about what exactly the Council and subsequent documents said. The result has been the overwhelming musical banality in self-designed liturgies that can be widely witnessed in Catholic churches in the U.S. and beyond.
This according to a series of seven articles by Richard J. Schuler (above) originally published as “A chronicle of reform” in Sacred music in 1982 and 1983 and reissued in Cum angelis canere: Essays on sacred music and pastoral liturgy in honor of Richard J. Schuler, 1920–1990 (Saint Paul: Catholic Church Music Associates, 1990, pp. 349–416).
Below, an example of the reformed Mass as it may have been envisioned.
Thelonious Monk has long been celebrated for his playing as much as for his compositions, but his pianism continues to occasion critical unease; a defensiveness is detectable in discussions of his technique even today.
Considerations of Monk’s playing tend to avoid or finesse peculiarities that raised questions about his ability in the first place; these include the jarring dissonances that strike some listeners as mistakes. An examination of his dissonance usage suggests two analytic categories: timbral dissonance and syntactic dissonance.
Monk’s 1968 solo recording of ’Round midnight exemplifies his use of syntactic wrong-note dissonances. Neither errors nor merely facets of Monk’s tone, their significance is bound up with their wrongness: They make sense because they sound wrong in a meaningful way, as significations on musical norms.
This according to “The right mistakes: Confronting the old question of Thelonious Monk’s chops” by David Feurzeig (Jazz perspectives V/1 [April 2011] pp. 29–59).
Today is Monk’s 100th birthday! Above, in 1969; below, the recording in question.
Nickelback is one of the most successful rock bands of the early 21st century; it is also one of the era’s most publicly derided groups.
Nickelback hatred became trendy when the band was signed to Roadrunner Records in 1999, and the extreme metal label lost its subcultural cachet even as it raked in the profits. From there the circle of scorn grew ever wider. In 2006 Nickelback released their most despised single, Rockstar, with lead singer Chad Kroeger’s reputation taking hit after hit.
Finally, with the birth of Web 2.0, contempt for the band was democratized and made available to all. Memes and a steady stream of jokes at Nickelback’s expense assured their “worst band ever” punch-line status. Around 2012 Nickelback finally took the if-you-can’t-beat-’em-join-’em escape clause, reinforcing their butt-of-the-joke status with self-deprecating humor.
This according to “Nickelback the meme: A complete history of how we came to hate a successful band” by Sage Lazzaro (Observer 26 January 2016). Below, the official (and widely loathed) Rockstar video.
In 1971 Carlos Santana’s Black magic woman hit number 4 on Billboard’s Hot 100 chart. It would take him nearly three decades to make the top 10 again, but it was a comeback worth waiting for. In 1999 Santana’s Smooth, featuring Rob Thomas on vocals, topped the chart for a stunning 12 weeks and stayed 58 total weeks on the list, making it the No. 2 Hot 100 song of all time. The recording also won three Grammy Awards, including Record of the Year, Song of the Year, and Best Pop Collaboration with Vocals.
Recalling the recording session in a 2014 interview, Santana said “I didn’t want [the guitar part] to have brain or mind or energy. I wanted it to be with innocence. Innocence to me is very sacred and very sensual. People should never lose their innocence. So I didn’t practice, purposefully. As soon as I found out where my fingers go on the neck, you close your eyes and you complement Rob. Kind of like a minister: He says Hallelujah, and you say your name.”
“When you make it memorable, you hang around with eternity.”
This according to “Smooth at 15: Carlos Santana and Rob Thomas reflect on their Billboard Hot 100 smash” by Leila Cobo (Billboard 27 June 2014).
Today is Santana’s 70th birthday! Below, the official music video.
On 28 January 1961 Langston Hughes wrote to a friend about having heard a black soprano the night before “busting the walls of the Metropolitan wide open.”
It was hyperbole that neared truth. Just days shy of her 34th birthday, Leontyne Price debuted before an audience whose standards and expectations were high; she lived up to them, and surpassed them beyond even her own imagination. At the final chord of Verdi’s Il trovatore the walls of the venerable institution vibrated with one of the most protracted and vociferous ovations in its history—nearly three-quarters of an hour—for the voice that Time magazine described as “like a bright banner unfurling.”
Price’s arrival at the pinnacle of American opera had a dual significance: She was one of the first American-trained singers to establish herself as a truly international star, and she continued, in grand style, the work of Marian Anderson as a trailblazer, barrier-breaker, and door-opener for black performers.
This according to “Leontyne Price: Prima donna assoluta” by Rosalyn M. Story, an essay included in And so I sing: African-American divas of opera and concert (New York: Warner, 1990, pp. 100–14).
Today is Price’s 90th birthday! Below, her Metropolitan Opera debut.
Manuel de Falla first visited the U.K. in May 1911, when he participated in a concert of Spanish music given by the pianist Franz Liebich. (The concert received tepid reviews and was little noticed.)
In 1919 the composer spent a month in London to prepare with Diaghilev’s Ballets Russes for the premiere of his ballet El sombrero de tres picos; the performance took place to great acclaim on 22 July 1919. Unfortunately Falla had had to leave Britain the day before due to family matters, but several of the friendships formed during that sojourn were long-lasting, notably with his hostess, the Swedish soprano Louise Alvar, and with the composer and conductor Eugène Goossens.
In 1921 Falla stayed with Alvar and her husband again to play the piano in the British premiere of Noches en los jardines de España. He was back in London for a week in June 1927 for the U.K. premiere of his harpsichord concerto and to conduct the London Chamber Orchestra in El amor brujo and the London premiere of El retablo de maese Pedro. His last visit, in 1931, was for a BBC concert program of his music. The composer saw little of Britain outside London and had no English, but he enjoyed the British enthusiasm for his music.
This according to “Falla in Britain” by Chris Collins (The musical times CXLIV/1883 [summer 2003] pp. 33–48). This issue of The musical times, along with many others, is covered in our new RILM Abstracts of Music Literature with Full Text collection.
Today is Falla’s 140th birthday! Above, Pablo Picasso’s costumes and set for the 1919 premiere of El sombrero; below, a more recent London performance of the work.
In 1821 the German operatic scene was dominated by foreign composers. Carl Maria von Weber was known as a gifted composer of songs and instrumental music, but his earlier operas had not been undisputed successes, and for the last ten years he had done nothing at all in that line; the premiere of his new opera, Der Freischütz, was anticipated with widespread suspense and excitement.
The composer could not but feel that much was at stake, both for himself and for the cause of German art. His friends feared that this new work would not have a chance; but Weber alone, as if with a presentiment of the event, was always in good spirits. The performance was fixed for 18 June, a day hailed by the composer as a good omen, being the anniversary of the battle of Waterloo.
Weber’s presentiment did not fail him; the occasion was as great a triumph as ever fell to the lot of a musician. The applause of a house filled to the very last seat was such as had never been heard before in Germany. That this magnificent homage was no outcome of mere nationalism was shown by the fact that it was the same wherever Der Freischütz was heard. After conducting a performance in Vienna in March 1822 the composer wrote that “Greater enthusiasm there cannot be, and I tremble to think of the future, for it is scarcely possible to rise higher than this. To God alone the praise!”
This according to “Weber, Carl Maria Friedrich Ernest, Freiherr von” in A dictionary of music and musicians, A.D. 1450–1889 (Philadelphia: Theodore Presser, 1895, IV/387–429); this encyclopedia is one of many resources included in RILM music encyclopedias, an ever-expanding full-text compilation of reference works.
Today is Weber’s 230th birthday! Above, the composer ca. 1825; below, an excerpt from the 2010 film by Jens Neubert.