Bibliolore

by admin | January 8, 2017 · 6:00 am

David Bowie and Japanese style

Japanese fashion, theater, and music played significant roles in David Bowie’s pioneering career.

The Japanese designer Kansai Yamamoto devised some of Bowie’s most iconic stage outfits, and in the 1960s the singer studied dance with Lindsay Kemp, a UK performance artist who was influenced by kabuki theater with its exaggerated gestures, elaborate costumes and makeup, and onnagata actors—men playing female roles.

This training with Kemp inspired Bowie as he explored ideas of masculinity, exoticism, and alienation. The inspiration extended to the musical realm as well: on Moss garden from Heroes (1977) Bowie plays a Japanese koto; It’s no game (no. 1) from Scary monsters (and super creeps) (1980) features Japanese vocals; and the instrumental B-side Crystal Japan (1980) was released as a single in Japan and featured in a sake commercial.

This according to “David Bowie’s love affair with Japanese style” by Tessa Wong, Anna Jones, and Yuko Kato (BBC news 12 January 2016).

Today would have been Bowie’s 70th birthday! Above, Yamamoto’s Tokyo pop design for Bowie; below, It’s no game (no. 1).

BONUS: That sake ad.

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Filed under Performers, Popular music

Tagged as David Bowie, Fashion, Japan, Kansai Yamamoto

by admin | January 7, 2017 · 6:00 am

Ulysses Kay’s prelude for unaccompanied flute

Ulysses Kay’s larger works have received world-wide acclaim, but his instrumental works, particularly the compositions for flute, have received far less attention.

Kay conceived of his Prelude for unaccompanied flute (1943) as an etude for developing proper breathing techniques, and its metronome marking 50 beats per minute creates long dramatic phrases that challenge the stamina of young flute players (indeed, most recordings of it are a bit faster).

The work is based in the key of D minor, with modal mixtures disguised by smooth voice leading; it seems to evade a true cadence until the last note. The tonality shifts at organized points in the structure of the music: Each section is marked by a new statement of the theme presented in a different register and a new key.

This according to Music for Flute by Ulysses Kay (1917-1995): A descriptive analysis with performance notes for three selected works by La-Tika Shanee’ Douthit, a dissertation accepted by the University of North Carolina, Greensboro, in 2013.

Today would have been Kay’s 100th birthday! Below, a performance by Kedgrick Pullums, Jr.

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Filed under 20th- and 21st-century music

Tagged as Composers, Ulysses Kay

by admin | January 4, 2017 · 6:00 am

Grace Bumbry, Black Venus

When Wieland Wagner engaged the 24-year-old Grace Bumbry for the role of Venus in the 1961 Bayreuth production of Tannhäuser he received hundreds of letters of protest, and the German press exploded with sensational headlines about the Black intruder in the sacred Aryan shrine.

The neo-Nazi Sozialistische Reichspartei Deutschlands called the appointment “a cultural disgrace”, and one correspondent asserted that “If Richard Wagner knew of this he would be turning in his grave.”

But Wieland Wagner stood by the artist who had been dubbed die schwarze Venus (the black Venus), saying that the role “must convey eroticism without resorting to the clichés of a Hollywood sex bomb, yet she cannot personify the classic passive idea…When I heard Grace Bumbry I knew she was the perfect Venus; grandfather would have been delighted!”

Indeed, following the production’s first performance on 24 July a jubilant audience commanded 42 curtain calls during its 30-minute ovation, the most rousing demonstrations occurring during Bumbry’s bows.

This according to “Grace Bumbry: Modern diva” by Rosalyn M. Story, an essay included in And so I sing: African-American divas of opera and concert (New York: Warner, 1990, pp. 141–56).

Today is Bumbry’s 80th birthday! Above and below, the historic production.

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Filed under Black studies, Opera, Performers, Romantic era

Tagged as Black studies, Grace Bumbry, Opera, Richard Wagner, Tannhäuser, Venus

by admin | January 2, 2017 · 6:00 am

Missa Sancta Trinitas

In 2016 the Centre d’Études Supérieures de la Renaissance issued Missa Sancta Trinitas (4 vv). (B-Tc A58), a critical edition of the anonymous Missa Sancta Trinitas—which survives only in the manuscript B-Tc A58, housed at the Archives et Bibliothèque de la Cathédrale de Tournai—together with a critical edition of the four-part motet Sancta Trinitas.

The edition, part of CESR’s Le corpus des messes anonymes series, was prepared by Anne-Emmanuelle Ceulemans.

Above (click to enlarge) and below, the Sanctus from the Mass.

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Filed under New editions, Renaissance

Tagged as Mass (music)

by admin | December 31, 2016 · 7:09 am

Silvesterklausen, a New Year’s Eve ritual

On New Year’s Eve men and boys in Urnäsch, Switzerland, disguise themselves in various costumes and, bearing harnesses with heavy bells, walk in groups from house to house; at each house they sing wordless yodels. The custom is called Silvesterklausen, and the men and boys are known as Silvesterchläus.

At the crack of dawn they march off in single file. Arriving at a house, they shake their bells rhythmically to announce their presence. The inhabitants are expecting them, and the husband and wife step out to greet them; the wife bears a tray with a bottle and glasses.

The Silvesterchläusen then form a circle and sing polyphonic yodels, which are received with great favor by the household. Each visitor is offered a drink; the yodelers accept their drinks, shake hands with their hosts, and march off to the next house.

This according to Progress and nostalgia. Silvesterklausen in Urnäsch, Switzerland by Regina Bendix (Berkeley and Los Angeles: University of California Press, 1985). Below, Silvesterklausen in 2016.

More New Year traditions are here.

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Filed under Curiosities, Europe

Tagged as New Year, Switzerland, Yodeling

by admin | December 30, 2016 · 6:00 am

Patti Smith and rock heroics

From her time as a young performance poet in New York in the late 1960s to her current position as punk rock’s éminence grise, Patti Smith has foregrounded the image of the poet as privileged seer.

Smith’s romantic impulses can be viewed within the context of her activity in the Poetry Project at St Mark’s Church, the preeminent public face of the East Village poetry scene of the 1960s and 1970s. Her complex negotiations between her understanding of the poet as visionary and the adamantly playful, diffuse, and collaborative aesthetic characterizing downtown New York’s poetic community fed into the development of her performative stance as proto-punk rock icon.

This according to “‘Nor did I socialise with their people’: Patti Smith, rock heroics and the poetics of sociability” by Daniel Kane (Popular music XXXI/1 [January 2012] pp. 105–23).

Today is Smith’s 70th birthday! Below, her iconic 1974 recording of Hey Joe.

Oscar Levant, composer

Today Oscar Levant is widely remembered for his mordant wit, his virtuoso interpretations of George Gershwin’s piano music, and his cameo appearances in numerous films. Fewer people realize that he was also a highly regarded composer who had studied with Arnold Schoenberg.

Levant’s hero worship of Gershwin stunted his confidence as a songwriter and a classical composer, though one of his pop songs, Blame it on my youth, has become a standard. Colleagues including Schoenberg, Aaron Copland, and Virgil Thomson all considered him an immensely gifted composer.

This according to A talent for genius: The life and times of Oscar Levant by Sam Kashner and Nancy Schoenberger (New York: Villard, 1994; reprint Los Angeles: Silman-James, 1998).

Today would have been Levant’s 110th birthday! Below, Nat Cole’s classic recording of Blame it on my youth.

BONUS: The 1942 premiere of Levant’s piano concerto.

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Filed under 20th- and 21st-century music, Performers, Popular music

Tagged as Birthdays, Composers, Oscar Levant

by admin | December 22, 2016 · 6:00 am

The Krk kolijani season

The kolijani-koleda event on Krk, which takes place in the Christmas and New Year period, is marked by processions moving from house to house expressing good wishes, together with a choosing-the-king custom. Through changes and innovations this ritual has ensured its firm entrenchment in the consciousness of the people.

The symbolic presentation of village unity moves from the secular to the religious sphere; their mutual permeation is constant and inseparable, and the performance of the ritual is the present expression of collective identity and feelings. The dialectical relationship between tradition and revival is confirmed in the interweaving of the old pre-Christian symbols (although they are expressed with new meaning or just repeated as a rule) with the most contemporary expressions of identity.

This according to “The kolijani ritual event on the island of Krk, Croatia: Continuity or revival?” by Tvrtko Zebec (Yearbook for traditional music XXXVIII [2006] pp. 97–107). This issue of Yearbook for traditional music, along with many others, is covered in our new RILM Abstracts of Music Literature with Full Text collection.

Above and below, excerpts from a 1989 documentary on kolijani in Dubašnica.

BONUS: The season in 1972.

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Filed under Dance, Europe

Tagged as Christmas, Croatia, Krk, New Year

by admin | December 19, 2016 · 6:00 am

A new Mozart facsimile edition

In 2015 Bärenreiter issued Requiem KV 626: Faksimile der autographen Partitur in der Österreichischen Nationalbibliothek, a complete autograph edition of Mozart’s Requiem.

The surviving manuscript reflects its dramatic history: Mozart’s handwriting and the supplementary entries by Süßmayr and others often appear on the same page. The corner of a page where Mozart wrote down one of his last musical ideas was later stolen; it is still visible in an old photograph. Each page is individually cut to match the manuscript, conveying a vivid impression of the original. A foreword discussing the genesis of the Requiem and a detailed description of the manuscript complement the facsimile score.

Below, an excerpt from the work.

Eddie Palmieri and La Perfecta

Eddie Palmieri recalled the early days of his band La Perfecta in 2013, on the eve of his acceptance of an NEA Jazz Masters award.

The year was 1961, and the group had scheduled a three-day recording session—but it turned out that the budget shrank each day, so the band had to follow suit. On the first day the horn section comprised four trumpets; on the second day Palmieri could afford only two trumpets and two less-expensive trombones; and on the third day he had to settle for a single trombone and a flute.

For a few months after the record was released, Palmieri barked in the street outside the small Midtown Manhattan club where La Perfecta was playing, trying to divert foot traffic from the nearby Palladium Ballroom where his more famous rivals were performing. “Not there, folks!” he remembers shouting, “Over here, folks!” But soon La Perfecta was hot, and Palmieri’s guerilla tactics paid off with a 90-day Palladium booking.

This according to “Eddie Palmieri: Rebellious perfection” by Giovanni Russonello (JazzTimes XLIII/1 [January–February 2013] pp. 28–33).

Today is Palmieri’s 80th birthday! Above, the group’s first album; below, a more recent incarnation of La Perfecta, still featuring a modest brass section and a flute.

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