Sorabji’s marathon premiere

Sorabji 1933

Kaikhosru Shapurji Sorabji completed his Second Organ Symphony in 1932. Over 78 years later, on 6 June 2010, Kevin Bowyer premiered the work in a nine-hour marathon; the symphony is longer than Mahler’s first seven combined.

Bowyer performed from his own hand-written edition of the work’s 350+ page score. When he learned of the project, the composer asked a friend “Why is this young man going to such trouble?”

“Well”, the friend ventured, “had your manuscript been much clearer, he might not have had to.” Sorabji promptly retorted that if all his manuscripts had been written with such fastidious care he probably never would have gotten around to writing that symphony at all!

This according to “Sorabji’s second organ symphony played at last: Kevin Bowyer’s nine-hour marathon” by Alistair Hinton (The organ LXXXIX/353 [summer 2010] pp. 41–47).

Above, Sorabji in 1933, a year after completing the symphony; below, a much briefer example of his work.

Related article: Sorabji resource site

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Voices from the past

 

While he was stuck in traffic in early 2000, the physicist Carl Haber heard the drummer and world music enthusiast Mickey Hart on the radio talking about the dire need for preserving early recordings of indigenous peoples.

Haber had been working with SmartScope, a machine that analyzes visual information, and his work had been going so well that he had started brainstorming for further uses of this machine. It occurred to him that SmartScope might be able to read these old recordings without touching them, thereby removing the likelihood of irrevocably damaging them by playing them.

The idea worked, and Haber went on to facilitate the preservation of recordings in repositories such as the Library of Congress, and to participate in the repatriation of historical recordings to Native Americans and other ethnic groups, allowing them to hear the voices of their ancestors.

This according to “A voice from the past: How a physicist resurrected the earliest recordings” by Alec Wilkinson (The New Yorker XC/13 [19 May 2014], pp. 50–57). Below, Dr. Haber and his technological innovations.

 

 

 

 

 

 

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Vespro della Beata Vergine

Vespro della Beata Vergine Bärenreiter

In 2013 Bärenreiter issued a new Urtext edition of Monteverdi’s Vespro della Beata Vergine, one of the most beloved sacred works of the 17th century.

The volume originated in a graduate seminar at the University of North Texas under the direction of the Monteverdi specialist Hendrik Schulze, who served as the book’s editor.

The edition combines the latest in musicological research specifically with the needs of the performer in mind, making a modern interpretation of this 400-year-old work possible. This new research has led, for instance, to a divergent evaluation of the Lauda Jerusalem oriented towards performance practice, with numerous additional accidentals and a new interpretation of the melodic variants from the different part books.

Below, John Eliot Gardiner leads a full performance of the work. Go ahead, you deserve it.

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ABBA’s film renaissance

 

ABBA’s music has often been denigrated as bland, mass market pop. However, viewed from the point of view of reception, the ABBA phenomenon is a highly complex text that offers contemporary music consumers diverse, even perverse, pleasures.

Between them, Stephan Elliott’s The adventures of Priscilla, Queen of the Desert (1994) and P.J. Hogan’s Muriel’s wedding (1994) suggest a broad spectrum of ABBA consumers, from the sincere and sentimental to the hip, camp, and kitsch, using this spectrum to map a series of interfaces between culture, identity, the performance of gender, and place.

This according to “Music and camp: Popular music performance in Priscilla and Muriel’s wedding” by Catherine Lumby, an essay included in Screen scores: Studies in contemporary Australian film music (North Ryde: Australian Film, Television, and Radio School, 1999, pp. 78–88).

Below, ABBA’s Waterloo in Muriel’s wedding.

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The astrology of pop

Aquarius-Woodstock

Popular  music underwent a profound transformation during the period between 1954 and 1969; this change can be understood through the prism of the extraordinary planetary position of February 1962, which some call the Age of Aquarius.

The seven inner planets formed a stellium (multiple conjunction of planets) in Aquarius at the time of a total solar eclipse. Opposite the stellium was Uranus, approaching its half-cycle with Jupiter on 14 March 1962 (above left; click to enlarge).

A chart for the Woodstock Festival (above right) has the Jupiter–Uranus connection writ large, with airy ideals in Libra. Its Sun–Neptune square is both idealistic and druggy.

This according to “The astrology of pop” by Neil Spencel (The mountain astrologer XXVII/3 [April–May 2014] pp. 25–33. Below, The 5th Dimension elaborates.

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The Leonard Bernstein Collection

bernstein tanglewood august 1946

The Leonard Bernstein Collection is a free online resource comprising selections from The Library of Congress’s holdings related to the composer and conductor.

The collection’s more than 400,000 items—including music and literary manuscripts, correspondence, photographs, audio and video recordings, fan mail, and other types of materials—extensively document Bernstein’s extraordinary life and career, making available 85 photographs, 177 scripts from the Young People’s Concerts, 74 scripts from the Thursday Evening Previews, and over 1,100 pieces of correspondence, all browseable or accessible through the collection’s Finding Aid.

Above, Bernstein at the piano at a party at Tanglewood in August 1946 (photographer unknown); below, the opening of the first televised Young People’s Concert.

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Sun Ra’s utopianism

 

Sun Ra’s music and poetry can claim to create otherwise impossible utopian worlds; this contrasts with the European Romantic tradition in which compositions or poems seek to describe utopian worlds that remain unattainable.

Music and words in Sun Ra’s view of the arts—a view based on African aesthetics—both have a magical function: they do not portray impossibilities but strive to make them a reality.

This according to “Pictures of infinity: Sun Ras klangliche Umrahmungen der Grenzenlosigkeit” by Christian Zürner, an essay included in “Was du nicht hören kannst, Musik”: Zum Verhältnis von Musik und Philosophie im 20. Jahrhundert (Hildesheim: Georg Olms, 1999, pp. 205–238).

Today is Sun Ra’s 100th birthday! Below, the Arkestra in 1976.

 

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Patuas’ paintings repurposed

bengali scroll painting

In West Bengali tradition, a person known as a patua travels around the countryside to entertain with sung narratives illustrated with painted scrolls. The patua’s audiences are usually poor and illiterate, lacking access to televisions and films as well as to written entertainments.

Increasingly, however, patuas are finding that their scrolls are viewed as valuable folk art, and that their storytelling skills are in demand among the urban intellectual elite as a means of selling these illustrations, which thereby take on a new, passive function.

This according to “From oral tradition to folk art: Reevaluating Bengali scroll paintings” by Beatrix Hauser (Asian ethnology LXI/1 [2002] pp. 105–122). Below, a patua demonstrates her art.

BONUS: A more modern example of the patua’s skills used to raise ecological awareness, with English subtitles.

Related article: Bhāgavata purāṇa as performance

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Publications of the ICTM Study Group on Music Archaeology

music-ritual

In 2013 Ēkhō Verlag launched the series Publications of the ICTM Study Group on Music Archaeology (ISSN 2198-039X) with Music & ritual: Bridging material & living cultures, edited by Raquel Jiménez Pasalodos and Rupert Till.

The volumes in this series are anthologies of peer-reviewed articles focused on a specific topic. Reflecting the broad scope of music-archaeological research worldwide, they draw in perspectives from a range of disciplines, including newly emerging fields such as archaeoacoustics, but particularly encouraging both music-archaeological and ethnomusicological perspectives.

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RILM to publish MGG Online

 

MGG

In 2014 Bärenreiter and J. B. Metzler, the publishers of Die Musik in Geschichte und Gegenwart (MGG), entered a long-term partnership with RILMMGG Online will include the content of the 1994–2008 print edition of MGG as well as future updates, revisions, and additions.

Regular updates will guarantee that MGG remains musicology’s foremost reference work. All entries from this widely consulted and cited encyclopedia will be accessible to users through the new online database beginning in 2017.

Bärenreiter and J. B. Metzler will remain responsible for MGG’s content and will ensure that MGG Online continues to offer up-to-date and authoritative articles. RILM will bring its expertise to bear on the design of the online database and the creation of a user-friendly platform that will be fully equipped with the most advanced search and browse capabilities.

With its broad international experience, RILM will also be responsible for the worldwide marketing of MGG Online. Subscription details for libraries and other users will be issued soon.

More information is here (English) and here (German).

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