On the road with Prokof’ev

Before his departure in 1918 Prokof’ev was fond of taking long walking tours of St. Petersburg with his friends. After he settled in France in the 1920s this hobby took on a new aspect—he bought an enormous car, a second-hand Ballot.

At first he drove around Paris and its environs with his friends, but soon he expanded his scope with trips to the countryside. Sometimes he would plan a route through a selected area and drive off with his wife Lina and some friends to visit historical places and sample the local cuisine. Breakdowns were frequent in those days, and cars were slow, so these trips typically lasted several days.

At the car’s 30th year Prokof’ev replaced the Ballot with a newer and more agile Chevrolet. “Ballot was an old aristocrat” he wrote, “and Chevrolet is a young democrat. It is a thousand times more comfortable to drive in the city and in the mountains, it is mobile and more powerful. But the friendly old Ballot was incomparable on the level road.”

This according to “A story” by Serge Prokofiev, Jr. (Three oranges journal 2 [November 2001] p. 7).

Today is Prokof’ev’s 120th birthday! Above, left to right: Vladimir Sofronitsky, the composer, Vladimir Dukelsky, and Lina Prokof’ev with the Ballot. Below, Svâtoslav Rihter plays Prokof’ev’s Pastoral sonatina, op. 59, no. 3—a work perhaps inspired by such excursions.

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Psychology and early ethnomusicology

Charles Samuel Myers, CBE (1873–1946), who coined the term shell shock during World War I, was among the psychologists whose work fed into comparative musicology and, later, ethnomusicology. He joined an anthropological expedition to the Torres Strait and Sarawak in 1898, and his studies of musical traditions in those places resulted in several articles.

“The ethnological study of music” presents a glimpse of how psychologists viewed ethnic music around the turn of the century. In this essay, Myers points out that unfamiliar music may seem as disorderly and meaningless as unfamiliar language, but in both cases sufficient study and habituation reveal inherent order and meaning. All music serves an expressive function, he states, and universal elements such as rhythm, harmony, scale, and tonal center may serve as bases for cross-cultural comparisons.

Myers goes on to argue that the documentation and study of non-Western musics is an urgent matter, as traditions are already becoming polluted by outside sources. Fortunately, he notes, the advent of sound recording has greatly facilitated this enterprise, making it unnecessary for the ethnographer to transcribe performances during fieldwork. Myers ends with step-by-step instructions and procedural recommendations for making field recordings with the Edison-Bell phonograph (above).

This essay appears in Anthropological essays presented to Edward Burnett Tylor in honour of his 75th birthday (Oxford: Clarendon, 1907, pp. 235–253); the book is documented in our most recent printed bibliography, Liber amicorum: Festschriften for music scholars and nonmusicians, 1840–1966.

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Stravinsky the global dancer

Stravinsky the global dancer: A chronology of choreography to the music of Igor Stravinsky is a free online database that aims to list all dances choreographed to Stravinsky’s works, with references to about 100 compositions, about 1250 dances, and about 700 choreographers. Compiled by Stephanie Jordan and Larraine Nicholas, it is searchable by title of composition, year of composition, year of choreography, name of choreographer, dance company, and country.

Jordan’s “The demons in a database: Interrogating Stravinsky the global dancer” (Dance research XXII/1 [summer 2004] pp. 57–83) presents analyses of findings in the database regarding the distribution of new Stravinsky dance productions over the years, incidence of choreographing the narrative vs. the concert scores, distribution by choreographer, and distribution by country, along with case studies of the choreographic histories of Le sacre du printemps, Apollo, and Agon.

Above, the composer in his Ballets Russes days with Serge Diaghilev and Serge Lifar, who originated the role of Apollo. Below, the Houston Ballet performs an excerpt from Balanchine’s choreography for that work.

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Comhaltas Ceoltóirí Eireann

 

Comhaltas Ceoltóirí Eireann, the largest group worldwide devoted to the preservation and promotion of Irish traditional music, is celebrating its 60th anniversary this year.

With hundreds of branches in 15 countries on 4 continents, the non-profit organization sponsors  classes, concerts, and sessions in local communities. It also hosts a website, which accounts for its presence in RILM. A page on their site titled The music includes links to tracks from their CDs, recordings of sessions, and tracks from the Comhaltas Traditional Music Archive; video recordings of some of today’s foremost performers; selections from their own tune books, as well as other tunes from historical sources; a photograph archive; and Treoir, the Comhaltas journal.

Below, Emma O’Sullivan dances a reel at a Comhaltas event. Note that this is not the rigid-posture style popularized by shows like Riverdance, which is considered by many to be a more recent development; this style is known as sean-nós, which means “old style”.

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Grooves: Edizioni di Musiche Audiotattili

Libreria Musicale Italiana inaugurated the series Grooves: Edizioni di Musiche Audiotattili in 2011 with Jelly Roll Morton, la Old qaudrille e Tiger rag: Una revisione storiografica by Vincenzo Caporaletti. The book explores the longstanding question of whether Morton composed Tiger rag, which he claimed he adapted from an old quadrille, despite its having been copyrighted by Nick La Rocca.

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Tablature in PDF and PostScript

Tablature in PDF and PostScript is a large collection of lute music in tablature form created by the lute player and computer technologist Wayne Cripps (above). Each entry is available as an EPS, PDF, and MIDI, file. This free online resource for lute players is hosted by Dartmouth College.

Many thanks to Roderic Leon for alerting us to this compilation!

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Filed under Baroque era, Renaissance, Resources

Soundscapes Rostock

A project based at the Hochschule für Musik und Theater Rostock and led by the ethnomusicologists Barbara Alge and Frances Wilkins in collaboration with students and staff at the Hochschule Wismar, Soundscapes Rostock is an exploration of sounds that in some way define the city and its suburbs.

The aim was to capture and record sounds, musical and environmental, that in some way identify the different areas of the city—anything from political rallies and street musicians in the city center to electric doors, the Christmas market, and industrial sounds. The project was carried out between October 2010 and February 2011, and is now a Web-based resource.

Below, the Christmas market with ambient accordion music.

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Le ballet de la nuit

Le ballet de la nuit, a major ballet de cour, was organized by Louis Cauchon d’Hesselin and first performed in the Louvre’s Salle du Petit Bourbon in 1653. The event was notable for many reasons—not least, for the involvement of the young Louis XIV, who danced in five roles, including his most famous role as the Sun King, accompanied by chosen courtiers and professional dancers, singers, and acrobats.

Edited by Michael Burden and Jennifer Thorp, Ballet de la nuit: Rothschild B1.16.6 (Hillsdale: Pendragon Press, 2009) focuses on the exquisitely produced volume presented to d’Hesselin (who also performed in the work), which passed into the hands of the Rothschild family at Waddesdon Manor and is now in the ownership of the National Trust.

The book presents a full facsimile of the Waddesdon source along with the printed vers pour les personages, lists of performers, cues for special effects, the running order of the entrées, and essays by Burden, Thorp,  Catherine Massip, and David Parrott that discuss cultural patronage at the Court of Louis XIV, the musical context, dances and dancers, and the costumes and scenography of this unique and extraordinary ballet. Also included is a modern edition of the surviving music prepared by Lionel Sawkins.

Above, an illustration from the book (click to enlarge); below, Lully’s overture.

Related article: Le Carrousel du Roi

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The Wanamaker organ

 

A National Historic Landmark valued over $57 million, the Grand Organ of Wanamaker’s department store in Philadelphia has 465 ranks, six manual keyboards, and hundreds of other mechanical controls. Designed by the renowned organ architect George Ashdown Audsley, it was built by the Los Angeles Art Organ Company for the 1904 St. Louis World’s Fair.

In 1909 John Wanamaker bought the instrument for his new emporium. Thirteen freight cars were required to ship it, and installation took two years. The Grand Organ was first heard in the seven-story atrium on 22 June 1911; later that year it was prominently featured when President William Howard Taft dedicated the store. During the following 20 years it was continuously enlarged under the direction of William Boone Fleming.

Daily recitals by store employees provided a harmonious environment for shopping, and special performances, such as annual Christmas concerts, provided outreach to the community. Today the store is owned by Macy’s, and the traditions continue.

This according to “The Grand Court organ” by Ralph Blakely (The musical times CXXX/ 1761 [November 1989] pp. 703–707). Below, Virgil Fox discusses and performs on the organ.

More organ-related posts are here.

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Publications of the Mantzaros Museum

The Filarmonikīs Etaireia Kerkyras (Φιλαρμονική Εταιρεία Κέρκυρας, Philharmonic Society of Corfu) launched the book series Dīmosieumata tou Mouseiou Mousikī “Nikolaos Chalikiopoulos Mantzaros” (Δημοσιεύματα του Μουσείου Μουσική ‘Νικόλαος Χαλικιόπουλος Μάντζαρος’, Publications of the Nikolaos Chalidiopoulos Mantzaros Museum) in 2010, in conjunction with the museum’s opening and the society’s 170th anniversary.

The first volume in the series, Exi meletes gia tī Filarmonikī Etaireia Kerkyras (Έξι μελέτες για τη Φιλαρμονική Εταιρεία Κερκύρας, Six studies on the Corfu Philarmonic Society), includes an overview of the society’s history, a report on its archive, and explorations of selected topics in its history.

Below, the Filarmonikīs plays for the Holy Friday procession, Easter 2010.

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