Rahmaninov and Tolstoj

rach-tolstoy

In January 1900 Rahmaninov and the bass Fëdor Ivanovič Šalâpin were invited to perform for a gathering at Tolstoj’s home; they were both 26 years old. Their excitement was tempered with no little trepidation about meeting the revered author, but they could not have foreseen what transpired.

Šalâpin recalled that after the performance Tolstoj accosted him and asked “What kind of music is most necessary to men—scholarly or folk music?”

Rahmaninov’s own experience was no less harrowing, as he later described it:

“Suddenly the enthusiastic applause was hushed and everyone went silent. Tolstoj sat in an armchair a little apart from the others, looking gloomy and cross. For the next hour I evaded him entirely, but suddenly he came up to me and declared excitedly: ‘I must speak to you. I must tell you how I dislike it all!’

“And he went on and on: ‘Beethoven is nonsense, Puškin and Lermontov also.’ It was awful….

“After a while Tolstoj came up to me again: ‘Please excuse me. I am an old man. I did not mean to hurt you.’ I replied: ‘How could I be hurt on my own account if I was not hurt on Beethoven’s?’”

This according to Sergei Rachmaninoff: A lifetime in music by Sergei Bertensson, Jay Leyda, and Sof’â Aleksandrovna Satina (Bloomington: Indiana University Press, 2001 [reprint] pp. 88–89; RILM Abstracts of Music Literature 2001-23752).

Today is Rahmaninov’s 150th birthday! Below, Šalâpin sings one of his romances.

1 Comment

Filed under Curiosities, Literature, Romantic era

Ballet and sauvagerie

SAMSUNG DIGITAL CAMERA

A semiotics of sex roles in French society was played out in 18th- and 19th-century ballet by projecting it onto imaginary Native American societies.

In the 18th century, sauvage culture became a canvas for the projection of utopian sentiment with subtle social texturing, allowing the expression of fantasies of less restrictive sexual roles; in the 19th century, sauvagerie became grotesque and increasingly unrefined, shifting the emphasis from cultural to racial difference and affirming the status quo.

This according to “Sauvages, sex roles, and semiotics: Representations of Native Americans in the French ballet, 1736–1837” by Joellen A. Meglen (Dance chronicle XXIII/2 [2000] pp. 87–132; XXIII/3 [2000] pp. 275–320).

Above and below, Rameau’s Les Indes galantes (1735).

Related article: Rameau’s American dancers

3 Comments

Filed under Baroque era, Curiosities, Dance

A lullaby for world music

 

The term world music arose among academics in the 1960s as a way to promote interest in the study of diverse musics. By the 1980s, world music was a marketing category whose success was propelled by the interest and involvement of popular music stars; by the 1990s, it had become a booming commercial enterprise on its own. Critical and scholarly responses to this development involve two types of narrative: the anxious and the celebratory.

Creative responses have included examples like the inclusion of Hugo Zemp’s field recording of the song Rorogwela, available on the CD Solomon Islands: Fateleka and Baegu Music from Malaita (UNESCO/Audivis, 1990), as Sweet lullaby on the worldbeat CD Deep forest (Sony Music, 1992), where it was given drum machine and synthesizer accompaniment and backing vocals.

The marketing of tropes like green enviroprimitivism and spiritual new age avant-garde romanticism has created a situation where a “sweet lullaby” is a fitting metaphor for the soothing multicultural aura surrounding the industrialized globalization of music.

This according to “A sweet lullaby for world music” by Steven Feld (Public culture XII/1 [2000] pp. 145–171). Above, the 2012 WOMAD festival; below, the official Sweet lullaby music video.

Related article: Telek, Bridie, and schismogenesis

1 Comment

Filed under Ethnomusicology, Popular music, World music

Cape Fear redux

 

For his 1991 remake of J. Lee Thompson’s 1962 film Cape fear, Martin Scorsese had the Bernard Herrmann score of the original adapted by Elmer Bernstein.

The score was effectively re-composed for the later film, with Bernstein taking its basic components and redeploying them in often entirely new musical and filmic contexts, while also combining them with his own newly composed music and further preexisting material from Herrmann’s rejected score for Hitchcock’s  Torn curtain (1966).

Bernstein later said that Scorsese “wanted the atmosphere that [Herrmann’s 1962 score] provides” and that it was “much more appropriate for the remake…the first film was not up to the strength of that score.”

This according to “Cape Fear: Remaking a film score” by Jonathan Godsall (The soundtrack IV/2 [2011] pp. 117–135). Below, Cady’s ill-advised release from prison.

Related articles:

 

 

 

3 Comments

Filed under Uncategorized

Varieties of love

krishna radha

Earlier treatises placed śngāra (love/the erotic) among the aesthetic qualities known as  rasas, but the 11th-century Śngāraprakāśa, attributed to Bhojarāja, King of Malwa (inset), was the first to assert its supreme importance.

RajaBhojThe treatise includes highly detailed typologies of love—for example, chapter 22 alone discusses 64 stages of love, each subdivided into 8 categories, each of which is then subdivided into 8 more categories, with hundreds of illustrations from poetic works in Prakrit and Sanskrit.

This according to “Bhoja’s Sringara prakasa: A landmark in the evolution of rasa theory” by V. Subramaniam (Sruti 190 [July 2000] pp. 37–41). Above, a classic image of Krishna and Radha in the moonlight; below, the legendary T. Balasaraswati’s depiction of Krishna’s childhood provides an embodiment of śṛngāra in bharata nāṭyam (filmed by Satyajit Ray).

1 Comment

Filed under Antiquity, Asia

Dead fiction

dead fiction

The storyteller speaks: Rare & different fictions of the Grateful Dead (Bellingham: Kearney Street Books, 2010) is a Grateful Dead-inspired collection of literary short stories. Genres represented include horror, romance, time-travel, family saga, zombie, western, science fiction, and mystery noir.

Below, Jerry Garcia discusses storytelling in Terrapin station.

Related article: Dead studies

3 Comments

Filed under Literature, Popular music

19th-century acoustical research

manometric capsule

The 19th century was a golden age for the invention of acoustical research instruments—tools for measuring audible frequencies or the speed of sound, or for making sound visible.

Advancements in instrument making and voice physiology paralleled advancements in sound recording, reproduction, and transmission. Apparatuses developed during that time included tuning forks, sirens, sonorous pipes, singing and sensitive flames, manometric capsules, and resonators.

This according to “1800–1900: Un secolo di strumenti per lo studio dell’acustica/1800–1900: A century of instruments for the study of acoustics” by Paolo Brenni, an essay included in L’acustica e suoi strumenti: La collezione dell’Istituto Tecnico Toscano/Acoustics and its instruments: The collection of the Istituto Tecnico Toscano (Firenze: Giunti, 2001, pp. 57–72).

Above, a manometric capsule; below, Professor Henry Higgins demonstrates a sensitive flame, using a rotating mirror for isolating the flame’s oscillations.

1 Comment

Filed under Curiosities, Science

An Astrinidīs resource

Astrinidis

Nicolas Astrinidis (1921-2010) is a free online resource that documents the life and works of the Greek composer, pianist, and conductor.

Edited by Ilias Chrissochoidis and mainly in English, the site presents a biography of Astrinidīs along with audiovisual documents, lists of works and performances, and a discussion of his life and works in Greek. Below, a work influenced by Greek traditional music.

3 Comments

Filed under 20th- and 21st-century music, Resources

Lawrence Welk’s chiffon paradise

 

Lawrence Welk’s hour-long world as presented on The Lawrence Welk show—with its smiling singers, brightly colored sets, color-coordinated male and female outfits, and flawless band performances—were stress-free and wholly detached from the outside world.

His was a sealed-off, accident-free utopia soundtracked by an endless supply of what the maestro called “champagne music”. Once a week, Welk presented viewers with one of the most otherworldly—and most underappreciated—psychedelic chiffon musical paradises ever seen on television.

This according to “The maestro from another planet: In praise of Lawrence Welk’s otherwordly chiffon paradise” by Ken Parille (The believer XII/6 [July-August 2009; online only]).

Today is Welk’s 110th birthday! Below, the maestro celebrates on the dance floor.

Comments Off on Lawrence Welk’s chiffon paradise

Filed under Popular music

Molly dancing redux

molly dancing

In 18th-century East Anglia, agricultural workers often performed in the streets disguised in blackface and women’s clothing in exchange for largesse; this practice became known as Molly dancing. The dancers, who were often drunk, disreputable, and destructive, were regarded as degenerate by preservationists, and the practice died out in the 1930s.

Four decades later an expansion of the English folk revival fostered an interest in obscure traditions, and a resurrection of Molly dancing ensued. Its new incarnation is marked by a completely different cultural context, improved status of the dancers, and an emphasis on creativity.

This according to “Molly dancing: A study of discontinuity and change” by Elaine Bradtke, an essay included in Step change: New views on traditional dance (London: Francis Boutle, 2001, pp. 60–85). Above, Gog Magog Molly; below, the Ouse Washes Molly Dancers.

Related articles:

5 Comments

Filed under Dance, Europe