The activities of the composer Alonso Xuárez (1640–96) were crucial for the development of the religious repertoire at the Catedral de Santa María y San Julián de Cuenca. Xuárez was responsible in great measure for the stabilization of the music chapel and its repertoire, bringing Cuenca on a par with neighboring cities in regard to the quality and breadth of its liturgical music.
The motets collected in this edition address general liturgical rituals and pay tribute to local saints and regional traditions. A list of singers and performers connected with the music chapel of Cuenca’s cathedral for the period 1661–74 is appended.
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Joni Mitchell’s early records mapped the sexual terrain of the mid-1960s—the period during which premarital sex lost its taboo status and became a normative part of maturation and development—from a woman’s perspective.
With their strong storytelling component, Mitchell’s songs put into popular circulation narratives of sexual freedom that engaged with emerging social practices, helping to legitimize the new choices available to young women.
This according to “Feeling free and female sexuality: The aesthetics of Joni Mitchell” by Marilyn Adler Papayanis (Popular music and society XXXIII/5 [December 2010] pp. 641–656).
Today is Mitchell’s 70th birthday! Below, a 1970 performance of Cactus tree, one of the songs discussed in the article.
The chromochord is a bioelectronic musical instrument that is driven by protein expansion and contraction.
Linked to a laptop computer, the device holds 12 vials, each paired with a different sound. When light shines on one vial the proteins inside swell, changing the wavelength they absorb. A sensor measures the change in absorption and cues the sounds. As one set of proteins slowly expands, the chromochord emits the deep thrum of a bass; as another set quickly shrinks, out comes the sound of glass chimes.
The chromochord was developed by Josiah Zayner, a biophysicist at the University of Chicago, and the composer Francisco Castillo Trigueros. “Scientists see beauty in a well-crafted experiment,” Zayner says. “The chromochord allows other kinds of people to experience that beauty.”
Unassuming, enigmatic, and completely focused on his music until his untimely death, he remained singularly resilient to the vagaries of fashion, being rediscovered and revered by new generations of artists every few years.
Born in Edinburgh, Jansch became an inspirational and pioneering figure during Britain’s folk revival of the 1960s. In 1967 he formed the folk/jazz fusion band Pentangle with John Renbourn and enjoyed international success; when they split in 1973 he returned to his solo career, securing his standing as one of the true originals of British music.
This according to Dazzling stranger: Bert Jansch and the British folk and blues revival by Colin Harper (London: Bloomsbury, 2000, 2nd ed. 2006).
Jansch would have turned 70 today! Below, his classic version of Black waterside.
While they existed in the 1950s, filksongs—songs sung by North American science fiction fans at their conventions—came into their own in the 1970s. Most fans learn these songs orally, and many copy them into notebooks, as some traditional singers have done with their repertoires.
Filksongs fall into three groups: parodies of traditional songs, nonparodies set to familiar tunes, and songs whose texts and tunes are both original. The texts may be about general science-fiction topics; specific films, shows, or books; or the joys and sorrows of fandom.
This according to “Filksongs as modern folk songs” by Edith Fowke (Canadian folk music bulletin/Bulletin de musique folklorique canadienne XXIII/2 [June 1989] pp. 3–7). Below, a brief documentary about filking.
Songs of Sam Lucas by Sandra Jean Graham is an open-access resource that streams recordings of 12 songs attributed to Lucas (ca. 1840–1916), one of the most celebrated entertainers of his generation, supplemented by a background essay, extensive liner notes, and illustrations.
Lucas created a significant body of black popular song that serves as an important window into the post-Civil War era. His songs illustrate a range of strategies: conformity to minstrel stereotypes, an attempt to recuperate the dignity of black traditional song, and ultimately liberation from minstrelsy through the adoption of white popular song style.
Recordings of Lucas’s songs are extremely rare; this site gives the public a chance to become acquainted with the music of this performer whose career spanned minstrelsy, variety, vaudeville, theater, and silent film.
Above, a newspaper photograph of Lucas from 1911; the full article is here.
Although Ned Rorem had composed little organ music until he was in his 50s, his output for the instrument since that time has been considerable, making him the most prolific living U.S. composer for the organ.
Rorem says that he writes music that he wants to hear, and composes out of necessity because no one else is making what he needs.
This according to The organ works of Ned Rorem by John David Marsh, a dissertation accepted by Rice University in 2002.
Today is Rorem’s 90th birthday! Below, Jung Jin Kim performs “Mary Dyer did hang as a flag” from A Quaker reader.
Robert Craft progressed with remarkable speed from being Stravinsky’s assistant to serving as his adviser, collaborator, and defender.
While Craft has been castigated for suppressing or misstating information, his actions must be viewed in the context of his complicated relationship with the composer, which has no clear parallel in music history. Craft was ethically bound both to interpret Stravinsky to the outside world and to ensure his status as a 20th-century hero.
This according to “Boswellizing an icon: Stravinsky, Craft, and the historian’s dilemma” by Charles M. Joseph, an essay included in Stravinsky inside out (New Haven: Yale University Press, 2001, pp. 233–265).
Today is Craft’s 90th birthday! Below, he recalls Stravinsky’s California years.
In 1906, at the age of 34, Serge Diaghilev made his first impact on Western Europe with a widely acclaimed exhibition of Russian art in Paris; he followed this success with well-received concerts of Russian music in 1907 and 1908, which included the Western European debut of the celebrated Russian bass Fëdor Ivanovič Šalâpin.
Even these achievements were overshadowed by the rapturous reception of the newly formed Ballets Russes in 1909, which performed the entire second act of Borodin’s Knâz’ Igor’ (Prince Igor), featuring the singing of Šalâpin and the dancing of the now-famous Poloveckie plâski (Polovtsian dances).
In 1913 Diaghilev produced performances featuring Šalâpin in both Paris and London. An archival document from that year records Šalâpin’s payment for an extra performance of Musorgskij’s Boris Godunov in London; at the bottom one can see the singer’s handwritten note: Finito!
This according to “Diaghilev, Chaliapine, and their contracts” by Cecil Hopkinson (The music review XXV/2 [May 1964] pp. 149–53). The article also includes full English translations of Šalâpin’s contracts with Diaghilev for the 1909 and 1913 seasons.
Above, Šalâpin with a different associate in 1929; below, a performance of a scene from Godunov in 1927.
Today, on Big Joe Williams’s 110th birthday, let’s recall how he won over an audience of jaded rockers in 1965:
“Sandwiched in between the two sets, perhaps as an afterthought, was the bluesman Big Joe Williams…
“He looked terrible. He had a big bulbous aneuristic protrusion bulging out of his forehead. He was equipped with a beat up old acoustic guitar which I think had nine strings and sundry homemade attachments and a wire hanger contraption around his neck fashioned to hold a kazoo while keeping his hands free to play the guitar. Needless to say, he was a big letdown after the folk rockers. My date and I exchanged pained looks in empathy for what was being done [to] this Delta blues man who was ruefully out of place.”
“After three or four songs the unseen announcer came on the p.a. system and said ‘Lets have a big hand for Big Joe Williams, ladies and gentlemen; thank you, Big Joe.’ But Big Joe wasn’t finished. He hadn’t given up on the audience, and he ignored the announcer. He continued his set and after each song the announcer came over the p.a. and tried to politely but firmly get Big Joe off the stage.”
“Big Joe was having none of it, and he continued his set with his nine-string acoustic and his kazoo. Long about the sixth or seventh song he got into his groove and started to wail with raggedy slide guitar riffs, powerful voice, as well as intense percussion on the guitar and its various accoutrements. By the end of the set he had that audience of jaded ‘60s rockers on their feet cheering and applauding vociferously. Our initial pity for him was replaced by wondrous respect. He knew he had it in him to move that audience, and he knew that thousands of watts and hundreds of decibels do not change one iota the basic power of a song.”
This according to “Big Joe Blues” by Marc Miller (Blues for peace, 2005). Above, Williams in Hamburg in 1972; below, a close-up performance with his celebrated nine-string guitar.
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For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →
