Tag Archives: Birthdays

by | April 28, 2018 · 6:00 am

Ananthalakshmi Sadagopan

As a small child, Ananthalakshmi Sadagopan proved able to reproduce songs after hearing them once, and she could recognize individual rāgas when she was three years old.

As word of this talented child spread, a neighbor arranged for her to study Karnatak music. She gave her first full-length concert when she was 11; the next year she performed on All India Radio, and soon she had a contract for regular broadcasts.

While she enjoyed a successful career, she never pushed for stardom—she was content to earn the respect of her colleagues and maintain an unstressful schedule as a performer and teacher. One of the pioneering career women in Karnatak music, she also demonstrated the possibility of leading a full family life at the same time.

This according to “Ananthalakshmi Sadagopan: A lifetime of music” by Sriram Venkatakrishnan (Sruti 266 [November 2006] pp. 33–45).

Today would have been Ananthalakshmi Sadagopan’s 90th birthday! Below, a recording from her heyday.

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by | April 20, 2018 · 6:00 am

Lionel Hampton and the Sanctified Church

Some jazz critics and fans who admired other aspects of Lionel Hampton’s musicianship criticized him for his raw blues riffing, hard backbeat, screaming and honking saxophones, and stunts like marching into the audience with his horn players or getting the audience to clap along.

“I learned all that in the Sanctified Church: the beat, the hand-clapping, marching down the aisles and into the audience” he explained in a 1987 interview.

“When I was six or seven and temporarily living with my grandmother in Birmingham, Alabama, she’d take me to the Holiness Church services, not just on Sundays but all the time. They’d have a whole band in the church—guitars, trombones, saxophones, drums—and they’d be rocking. I’d be sitting by the sister who was playing the big bass drum, and when she’d get happy and start dancing in the aisle, I’d grab that bass drum and start in on that beat. After that, I always had that beat in me.”

This according to “Lionel Hampton, who put swing in the vibraphone, is dead at 94” by Peter Watrous (The New York times CLI/52,228 [1 September 2002] pp. 1, 35).

Today is Hampton’s 110th birthday! Below, performing Flying home, which is widely cited as a forerunner of rhythm and blues.

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by | April 12, 2018 · 6:00 am

Lily Pons arrives

 

Writing in 1955, a colleague recalled Lily Pons’s 1931 Metropolitan Opera debut:

“If all goes well on the first night of a new career in America, ‘a new Pope has been chosen’, as an old saying goes. Lily was a success and remained one.”

“In Lucia, though her age was something on the order of 30, she looked like a teenager. It was rumored that she was only 18; she was so dainty, petite, and graceful that everyone was willing to believe it.”

“For the first time in history a French coloratura had conquered America, and the novelty of it seemed to please everyone. Lily became their favorite toy, their baby doll, replete with Jaguars, Siamese cats, or Tibetan dogs with jeweled leashes accompanying her everywhere, like the descendant of some Grand Lama.”

This according to “Coloraturas at the Metropolitan” by Giacomo Lauri-Volpi, reprinted in Lily Pons: A centennial portrait (Portland: Amadeus, 1999, pp. 38–45).

Today is Pons’s 120th birthday! Above, a publicity shot from 1935; below, performing Où va la jeune Hindoue? (popularly known as Bell song), one of Pons’s signature arias.

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by | April 9, 2018 · 6:00 am

Paul Robeson’s activism

Throughout his performing career Paul Robeson was fashioning an activist cultural theory to help to liberate his people and, increasingly, to support the cause of persecuted people everywhere.

His decision to sing the traditional songs of cultures in addition to his own—including songs in Chinese, Hebrew, and Russian—reflected his deepening and expanding identification with oppressed humanity irrespective of color.

This according to “‘I want to be African’: Paul Robeson and the ends of nationalist theory and practice, 1914–1945” by Sterling Stuckey (Massachusetts review XVII/1 [spring 1976] pp. 81–138; reprinted in Going through the storm: The influence of African American art in history (New York: Oxford University Press, 1994, pp. 187–227).

Today is Robeson’s 120th birthday! Above, the singer, actor, and activist in 1942; below, singing Go down Moses, a classic African American spiritual—a genre that Robeson considered one of the finest examples of black artistic expression.

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by | March 24, 2018 · 6:00 am

María Malibrán in public and private

Although 19th-century Parisian salon music was usually described in feminine terms (not including genius), the roles it played in social and political discourse preclude its disparagement as trivial; the genre should be approached as a social category rather than a formal one. The contrast between María Malibrán’s unconventional public life and her semi-private works is best understood in this context.

Malibrán published four song anthologies as well as many individual songs, which were not, however, composed to show off her virtuosity. These works illuminate how in salon music the authorship of singer and composer recedes behind an unspecific poetic I. Malibrán’s true voice is situated between her virtuosity as singer and her comparatively restrained compositions.

This according to “Voiceless songs: Maria Malibran as composer” by Mary Ann Smart, an essay included in Authorschaft—Genie—Geschlecht: Musikalische Schaffensprozesse von der Frühen Neuzeit bis zur Gegenwart (Köln: Böhlau, 2013, pp. 137–58).

Today is Malibrán’s 210th birthday! Below, her L’Écossais.

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by | March 16, 2018 · 6:00 am

Christa Ludwig’s legacy

Christa Ludwig has been called “the Earth Mother of all singers”, and the designation is fitting in every possible way—the arresting beauty of the sound itself, the reassuring strength of her technique, and the intense expressiveness of her singing, wed to a disarming simplicity and directness that sets her apart from some of her famous contemporaries. That lack of pretentiousness is a hallmark of her offstage personality as well, for which she is adored by fans and colleagues alike.

As a teacher, Ludwig sets exactly the right tone by asserting herself firmly as the person in charge, yet with an inviting warmth and charm. She is not shy about bestowing compliments when warranted, but she is an exacting teacher, not reluctant to cut off a singer after two or three notes to correct an errant rendition.

In short, Christa Ludwig is everything that a professional singer should be, and the fact that she was able to sing for so long with such excellence is perhaps the highest tribute of all.

This according to “The listener’s gallery” by Gregory Berg (Journal of singing LXV/1 [September–October 2008] pp. 119–24).

Today is Ludwig’s 90th birthday! Above, in 2015; below, singing Mahler’s Urlicht.

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by | February 26, 2018 · 6:00 am

Fats Domino and New Orleans

 

Antoine “Fats” Domino, the rhythm-and-blues singer whose two-fisted boogie-woogie piano and nonchalant vocals made him one of the biggest stars of the early rock ’n’ roll era, stopped touring in the early 1980s when he decided that he did not want to leave New Orleans; he said it was the only place where he liked the food.

Reclusive and notoriously resistant to interview requests, Domino even refused to leave New Orleans when Hurricane Katrina devastated the city, remaining at his flooded home until he was rescued by helicopter. “I wasn’t too nervous” he said later, “I had my little wine and a couple of beers with me.”

He was often seen around New Orleans, emerging from his pink-roofed mansion driving a pink Cadillac. “I just drink my little beers, do some cookin’, anything I feel like,” he said in 2007.

This according to “Fats Domino, early rock ’n’ roller with a boogie-woogie piano, is dead at 89” by Jon Pareles and William Grimes (The New York times 26 October 2017).

Today would have been Domino’s 90th birthday! Below, performing in 1955.

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by | February 16, 2018 · 6:00 am

John Corigliano on new-music audiences

 

In a 2004 interview, John Corigliano noted that while audiences for most genres are always interested in new works, “new music is seen as a threat. It’s considered something that is above them and beyond them and in which they cannot be participants.”

“We have to take a little bit of the blame…at a certain point when you’re not talking to people and they know you’re not talking to them, they go away.”

“I trace this back to the birth of romanticism…all of a sudden, this virtue of incomprehensibility sprung up. I am incomprehensible because my message is so much more complex and morally stronger than the message of those people who were just speaking to you that you can understand. Therefore, you shouldn’t understand me. But you should worship me and come to these concerts. Well, OK, but composers are not gods, they’re people. And this has been the most destructive thing to art I have ever seen, art ruining art.”

“Romanticism ruined the 20th century as far as I’m concerned, and we have to get rid of it in the 21st. What it did was it gave us the egocentric idea of the artist-god and the audience-worshipper—the non-communication that that means—and bathed us in this until finally the audience was alienated by this and left like they leave churches. Now we want to win them back.”

“I think all composers should strive, if possible, to stand on a stage and to speak to an audience. I have found that the minute you say three words, whatever they are, and you’re friendly and warm to them, they’re so on your side…all of a sudden, they’re thinking of you as a human being in their society who is writing music that could speak to them.”

Quoted in “The gospel according to John Corigliano” by Frank J. Oteri (NewMusicBox 1 February 2005.

Today is Corigliano’s 80th birthday! Below, Teresa Stratas as Marie Antoinette in Corigliano’s The ghosts of Versailles.

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by | January 31, 2018 · 6:00 am

Felice Romani’s libretto reforms

Felice Romani revolutionized the Italian opera libretto, creating a clearly contoured melodramma romantico that was suitable for a through-composed setting.

Romani’s libretto for Donizetti’s Anna Bolena produced a virtually through-composed opera, making the meter conform to the dramatic situation and mood. In Act I, all the characters enter immediately after the prima donna, so that in place of the usual introductory aria there is now an ensemble. The entry of the seconda donna now leads as a rule to a concerted piece, the stretta of the pezzo concertato unleashing all the passions of the protagonists.

Act II proceeds similarly, except that its final scene is treated as a composition in its own right: Out of a stretta the concertato emerges, structured as a concert piece.

This according to Felice Romani–Gaetano Donizetti–Anna Bolena. Zur Asthetik politischer Oper in Italien zwischen 1826 und 1831 by Richard Hauser, a dissertation accepted by Albert-Ludwigs-Universität Freiburg in 1980.

Today is Romani’s 230th birthday! Below, Sondra Radvanovsky sings Anna Bolena’s finale.

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by | January 14, 2018 · 6:00 am

Allen Toussaint’s legacy

 

Ranking among America’s most influential and versatile musical figures, Allen Toussaint excelled as a songwriter, arranger, session pianist, and producer. His influence extends across the popular music landscape; though he is most often associated with the music of his native New Orleans, he enjoyed success in R&B, jazz, country, blues, and pop. His piano playing blended the wealth of Crescent City styles, barrelhouse blues, marching band references, jazzy intervals, and sweeping octave leaps.

By the late 1950s Toussaint was already cranking out hits and frequently doubling as keyboard player and/or producer. In the 1960s two of his instrumentals became huge pop standards—Java for Al Hirt and Whipped cream for Herb Alpert. Glen Campbell’s version of his Southern nights was nominated for the Country Music Association Song of the Year award in 1977, and he was inducted into the Rock and Roll Hall of Fame in 1998.

This according to “Toussaint, Allen” by Ron Wynn (Encyclopedia of the blues II [2006] pp. 1005–396); this encyclopedia is one of many resources included in RILM music encyclopedias, an ever-expanding full-text compilation of reference works.

Today would have been Toussaint’s 80th birthday! Below, his classic Yes we can can.

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