Tag Archives: Birthdays

Paul Taylor’s musicality

 

While his contemporaries were moving away from conventional music and toward experimental styles, Paul Taylor embraced folk music and Baroque composers.

Both genres typically have simple meters and lend themselves to choreographically friendly units of eight counts, and Taylor created movement that works through the expected meter, and, consequently, the phrasing of the music. But musical and choreographic phrases are often at odds in Taylor’s works, a discrepancy that creates intricate and engaging work that has expanded the scope and significance of American dance.

This according to “Paul Taylor’s meticulous musicality: A choreomusical investigation” by Todd Coulter (Dance chronicle XXXVII/1 [2014] 63–84; RILM Abstracts 2014-2397).

Today would have been Taylor’s 90th birthday! Above, Taylor in 1960 (photo by Carl Van Vechten); below, Esplanade, one of the works discussed in the article (The introduction—mostly quoting from Taylor— lasts about 1¾ minutes).

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Pina Bausch and Tanztheater

 

Pina Bausch’s Tanztheater draws upon elements of both dance and theater, juxtaposing, for example, choreographed gesture, the spoken word, and popular song. It echoes her heritage of Ausdruckstanz, but extends that tradition in a radical approach to form, content, and subject matter.

In impulse, Bausch has much in common with the postmodernists: in her rejection of illusion, her reconceptualization of what constitutes dance, and the imperative to make dance aware of itself. Her retention of realism, wrapped in a theatrical though fragile framework, results in a very different mode of dance making and performing.

The seeming authenticity of the performers’ experiences onstage and the unapologetic presentation of everyday bodily experience demand a reciprocal sensory response from the audience. The stark presentation of gender conflict, both within individuals and between women and men, and the raw and gutsy energy of performance that demands a visceral response, seem to hold a special attraction for a young audience, particularly in Europe.

This according to “Pina Bausch: Dance and emancipation” by Norbert Servos and Patricia Stadié (RILM Abstracts 1998-31027), an essay included in The Routledge dance studies reader (London: Routledge, 1998, 36–45; RILM Abstracts 1998-31023).

Today would have been Bausch’s 80th birthday! Above, Pina Bausch (©Joerg Lange) is licensed under CC BY-NC-SA 2.0; below, an excerpt from Pina by Wim Wenders.

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Audra McDonald and Lady Day

 

In an interview, Audra McDonald discussed Lady Day at Emerson’s Bar and Grille, for which she won the Best Actress in a Play Tony Award in 2014.

“It’s about a woman trying to get through a concert performance, which I know something about, and she’s doing it at a time when her liver was pickled and she was still doing heroin regularly.”

“I might have been a little judgmental about Billie Holiday early on in my life, but what I’ve come to admire most about her—and what is fascinating in this show—is that there is never any self-pity. She’s almost laughing at how horrible her life has been. I don’t think she sees herself as a victim. And she feels an incredible connection to her music—she can’t sing a song if she doesn’t have some emotional connection to it, which I really understand.”

“One wonderful thing for me is there are tons of recordings of Billie that I’ve been listening to and watching, even audio of her talking about certain songs, so I have a lot to draw on.”

Quoted in “Audra McDonald to return to Broadway as Billie Holiday” by Patrick Healey (The New York times 26 February 2014; RILM Abstracts 2014-89300).

Today is McDonald’s 50th birthday! Below, excerpts from her Tony Awards performance.

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Filed under Dramatic arts, Jazz and blues, Performers, Popular music

Charpentier and social history

 

Gustave Charpentier was one of the most original of the fin de siècle composers, and his works—particularly Le couronnement de la muse (1897) and Louise (1900)—have to be understood in the appropriate political and social context.

Until now, the success of Louise has eclipsed the output of a composer who wished to be in touch with the working class without remaining isolated in a purely artistic dimension. Charpentier was in fact among the first artists to adapt his works to the new communication media of radio and cinema, experimenting with a method of composing closely connected to them. His works reveal a world in which music and social history are inextricably associated, illuminating the contradictions that enlivened fin de siècle France.

This according to La dramaturgie de Gustave Charpentier by Michela Niccolai (Turnhout: Brepols, 2011; RILM Abstracts 2011-13384).

Today is Charpentier’s 160th birthday! Below, Renée Fleming sings his Depuis le jour.

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Howlin’ Wolf and “Back door man”

 

In June 1960, after nine years of recording and over two decades of touring and performing, Howlin’ Wolf and some trusted sidemen entered Chess Studios in Chicago to cut three sides. Wolf was 50 years old and an established act; yet everything about the session’s results, and particularly the song Back door man, seems elusive and interstitial.

Jim Crow racial segregation—at least one of the many meanings of the song’s title—was then both legally discredited and locally practiced, in the North as well as the South. Minimal, sinister, and edgy, fueled by images of violence, betrayal, and polymorphous sexual bravado, structured throughout by riddles and dialectical reversals, Back door man is a sort of historical puzzle, fusing Jim Crow sound, Jim Crow sex, and Jim Crow space; it implies as well a theory of how sound and subject formation, and subject formation through sound, arise out of Jim Crow violence.

This according to “Back door man: Howlin’ Wolf and the sound of Jim Crow” by Eric Lott (American quarterly LXIII/3 [September 2011] 697–710; RILM Abstracts 2011-27928).

Today is Howlin’ Wolf’s 110th birthday! Below, the recording in question.

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Filed under Black studies, Jazz and blues, Performers

Robert Schumann and postmodern criticism

 

Robert Schumann’s 1831 review of Chopin’s op. 2 variations depicts enthusiastic friends breathlessly emoting over a musical work, commenting upon it in nonlinear and sometimes borderline incoherent phrases. In Schumann’s commentaries—the most prominent examples of the burgeoning nineteenth-century tradition of music criticism—there is often no critical distance whatsoever; intensity and immersion are the driving force of these essays.

Similarly, Beavis and Butt-head’s intense interaction with music is what most clearly defines their daily activities; and, as depictions of critics whose interpretive and even artistic operations are an integral part of life, they reveal themselves to be cut from the same cloth as Schumann’s critical personae Florestan and Eusebius.

This according to “Florestan and Butt-head: A glimpse into postmodern music criticism” by Andrew Dell’Antonio (American music XVII/1 [spring 1999] 65–86; RILM Abstracts 1999-2733).

Today is Schumann’s 210th birthday! Above, the composer in 1850; below, a grouping of four movements from his Carnaval, beginning with his musical depictions of Eusebius and Florestan.

 

Related article: Chopin on Schumann on Chopin

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Filed under Curiosities, Romantic era

T-bone Walker’s legacy

 

One of the most important and enduring icons of blues history, the charismatic T-Bone Walker radically transformed the music with a combination of instrumental virtuosity and stylistic and technical innovation throughout a career of unusual longevity and legendary significance.

Walker invented both the electric blues guitar concept and the sound identified with it. Incorporating jazz changes with blues innovations of his own design, he created a new guitar sound with a horn-like richness that was emulated by guitarists everywhere, but especially in his home state. Everybody that picked up a guitar in Texas wanted to sound like T-Bone, and his onstage acrobatics, complete with signature splits, were directly responsible for similarly extroverted stage antics by later performers such as Chuck Berry, James Brown, and Jimi Hendrix.

This according to “Walker, T-Bone” by Michael Point (Encyclopedia of the blues, 2006); this encyclopedia is one of many resources included in RILM music encyclopedias, an ever-expanding full-text compilation of reference works.

Today is T-bone Walker’s 110th birthday! Above, T-Bone Walker (1972) by Heinrich Klaffs is licensed under CC BY-NC-SA 2.0. Below, a performance from 1966.

BONUS: Walker’s signature hit Stormy Monday.

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Filed under Jazz and blues, Performers

Stevie Wonder’s turning point

 

Stevie Wonder’s extraordinary burst of productivity after his 21st birthday in 1971—a time now celebrated as his “classic period”—was a direct result of his contractual maneuvers with Motown Records.

On his 21st birthday, when he was no longer a minor, Wonder gained access to 10 years’ worth of royalties that had been accruing in a trust set up for him when he’d signed his first contract, at age 11.

He also allowed his Motown contract to expire at that moment, meaning that one of pop music’s hottest stars was now both financially secure and a free agent. If Motown wanted to keep him, it would require a deal unlike any the label had previously granted.

Wonder negotiated a new contract with Motown that granted him full artistic control over his music, his own publishing company, and an unprecedented royalty rate. It was a revolutionary deal that initiated one of the greatest sustained runs of creativity in the history of popular music.

This according to “The greatest creative run in the history of popular music” by Jack Hamilton (Slate 19 December 2016; RILM Abstracts 2016-48645).

Today is Stevie Wonder’s 70th birthday! Above, in his turning point year; below, Superstition, his #1 hit from 1972.

BONUS: Tearing the roof off Sesame Street in 1973.

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Filed under Performers, Popular music

Willie Colón on salsa

 

Born in the South Bronx, New York, Willie Colón has been a leader in the salsa tradition for over 50 years. In an interview, he discussed the music and its background.

“A lot of people like to characterize salsa as a pastiche of Cuban son. There’s no denying that there is a Cuban influence and a Cuban base to it, but it’s so much more.”

“Salsa is not a rhythm, it’s a concept. It’s a way of making music. It’s an open concept and the reason that it became so popular is because it was able to evolve and accept all of these other musics. We put the bombas and plenas in it; we put calypso, samba, bossa, and cumbia in it. It’s definitely not even a Puerto Rican or a Cuban music. It’s a reconciliation of everything you can find.”

“I think it could have only happened here in New York, where you had so many different kinds of people living and playing together. We used to get a lot of the black jazz players. They wanted to come and play salsa so they can blow over the changes. Where are you going to find players like that other than in a big city like New York? This was not going to happen in Cuba or Puerto Rico; it had to be here.”

Quoted in “Willie Colón: Salsa is an open concept” by Frank J. Oteri (NewMusicBox 1 March 2009).

Today is Colón’s 70th birthday! Above, an iconic record cover from 1971 (right-click to enlarge); below, a 2018 performance.

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Filed under Performers, Popular music

Ravi Shankar and the Concert for Bangladesh

 

In 1971 the turmoil and atrocities associated with the Bangladesh Liberation War led to a massive refugee crisis, with at least seven million displaced persons facing starvation and other humanitarian catastrophes.

Appalled by the situation in his homeland, Ravi Shankar spoke with his student and friend George Harrison about fundraising possibilities, and the idea of the Concert for Bangladesh was born. The initial gate receipts raised close to $250,000 for Bangladesh relief.

Writing for the introduction to the 2005 re-release of the concert album and accompanying documentary, Shankar recalled:

“Hailing from Bengal, my heart went out to the Bengali speaking people of Bangladesh, and it was natural for me to reach out and want to help the refugees and the hundreds of thousands of little children…What happened is now history: it was one of the most moving and intense musical experiences of the century.”

“Again and again I am asked which concerts stand out in my memory, and it is very difficult to remember all the prominent ones as my career spans over seventy-five years of performances; but the Concert for Bangladesh was very significant to me as the conception of the idea came from me and the people needing aid were very close to my heart—some of them, of course, being distantly related to me.”

Quoted from “The Concert for Bangladesh” by Ravi Shankar, which is included in The Bangladesh reader: History, culture, politics (Durham: Duke University Press, 2013, pp. 508–09).

Today would have been Ravi Shankar’s 100th birthday! Above and below, moments from the documentary.

BONUS: The full performance, from the concert album.

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