Silvestre Revueltas has been held up as a post-revolutionary nationalist composer, even though he often used icons of Mexicanness as objects of satire or points of departure for a rejection of nationalist art. Some of his works rely on cultural representations to communicate a political message rather than one of Mexican identity.
For instance, the figure of the street vendor had been a picturesque and positive symbol of identity as the Other within Mexican society before the Mexican Revolution, and it retained that idealized image afterwards. Revueltas did not adopt this ideal image of the downtrodden, but provided a narrative of social change in which the poor have agency.
Pregones, the street vendors’ cries, found their way into music and scholarship before the twentieth century; however, Revueltas used them in a number of his compositions, including Esquinas (1931), where they are purposefully not used along with folk songs or other topics evoking Mexicanness. Rather, the pregones contribute to a socialist political message about poverty, hunger, and anger.
This according to “‘The rending call of the poor and forsaken street crier’: The political and expressive dimension of a topic in Silvestre Revueltas’s early works” by Roberto Kolb Neuhaus, an essay included in Studies on a global history of music: A Balzan musicology project (Abingdon: Routledge 2018, pp. 395–423).
Today is Revueltas’s 120th birthday! Above, the composer in 1930; below, his 1933 revision of Esquinas.
Dil-Hayât Kalfa Tanbûrî (generally known as Dilhayat Kalfa, d.1737) was raised in the Ottoman royal palace, as indicated by the adjectival Kalfa, which also denotes important administrative tasks. She played the tanbur, and historical sources contain information on nearly 100 of her compositions.
Her surviving works are counted among the most important examples of the technique and aesthetic of the Ottoman classical school. The flow of her makams and her prosody are exemplary. Two works in the evcârâ makam, a peşrev and a saz semaî, exhibit a very individualistic style. She was exemplary in her setting of texts, showing great care in arranging the relationship between meaning and melody.
This according to “Dilhayat Kalfa” by Meral Akkent (İstanbul Kadın Müzesi, 2012). Above, a Romantic-era depiction of the composer (no contemporaneous portrait exists); below, the saz semaî discussed in the article.
John Hartford’s mammoth collection of fiddle tunes (Franklin, TN: StuffWorks, 2018) comprises 176 of Hartford’s original compositions. Most of these tunes are previously unpublished and unrecorded, taken from Hartford’s personal music journals.
Compiled and narrated by the fiddler Matt Combs, John’s daughter Katie Harford Hogue, and the musicologist Greg Reish, the book illuminates Hartford’s creative process through original tune compositions, his own reflections on the fiddle, and interviews with family and fellow musicians.
The volume includes more than 60 of Hartford’s personal drawings—ranging in theme from steamboats and the river, to fellow musicians, home and everyday life—as well as several never-before-seen photographs.
Above, a page from the book: Hartford’s Annual waltz as part of a holiday card and invitation to his 1980 wedding; below, the composer performs the song and tune.
William Herschel’s career shift from art to science can be regarded as a symbol of the change that music aesthetics underwent in the eighteenth century.
The traditional view of music’s dual nature as both art and science was widely accepted as the century opened, but it was challenged by a growing interest in issues such as genius and the role of inspiration in the creative process. The nature of musical expression defied rational explanation.
The conclusion that genius and inspiration were beyond the law of nature, and that music is not just an expression of natural order but a means by which feelings and emotions can be expressed and thoughts and ideas transferred, contributed to the philosophical background for the Romanticism of the nineteenth century. The arts and sciences had come to a crossroads, and Herschel chose to follow the path of science.
This according to “Music: A science and an art—The 18th-century parting of the ways” by John Bergsagel (Dansk årbog for musikforskning XII  pp. 5-18).
Today is Herschel’s 280th birthday! Above, a portrait by Lemuel Francis Abbott; below, his viola concerto in C Major.
François Couperin’s first attempts to reconcile French and Italian musical tastes came shortly after 1700, at the height of a prolonged conflict between the two musical nationalities. Despite Couperin’s authority, this contention was not to abate until the close of the 18th century, when both Italians and French were confronted with the rise of German music.
Already in the last decades of the 17th century, an Italianizing tendency had appeared under the tyranny of Lully and his followers in both Paris and the provinces. When Couperin intervened as a mediator in the resulting polemic he was not the first to do so—others less eminent had preceded him.
While his celebrated trio sonatas (1691–92) were strongly influenced by Corelli, the greater part of his output was purely French in character. But toward the end of his career, Couperin’s Les gouts rénuis (1724) and Le Parnasse ou l’apothéose de Corelli (1725), provided eloquent testimony to his desire to appropriate without partiality the best features of the different styles.
This according to “François Couperin et la conciliation des goûts français et italien” by Marc Pincherle (Chigiana XXV/5  pp. 69–80).
Today is Couperin’s 350th birthday! Below, Gli Incogniti plays l’Apothéose de Corelli.
In 2018 A-R Editions issued a new critical edition of Amy Beach’s Grand Mass in E-flat Major, the first large-scale choral and orchestral work to be premiered in the United States by an American woman composer.
Despite a successful premiere in 1892, the piece was never published and has been relegated to obscurity save for a small number of performances since the 1980s. Its performance materials have been housed in the New England Conservatory of Music and exist in manuscripts that are difficult to use in performance. This critical edition is the first to establish in print the corrections Beach made for the 1892 premiere and to correct errors that are present in the original source materials.
Below, an excerpt from the work.
Related article: Amy Beach’s Gaelic symphony
Gertrud “Trude” Rittmann was on her way to becoming one of Germany’s most promising young composers when the rise of Nazism forced her to flee to the United States in 1937.
Through her work as accompanist and music director in the New York ballet world, Rittman met Agnes De Mille; the two subsequently collaborated closely on the creation of dance music for several landmark Broadway shows.
Rittmann also created choral arrangements and underscoring for Richard Rodgers, making major contributions to The King and I, The sound of music, and South Pacific, and she worked on every musical composed by Frederick Loewe, including Brigadoon, My fair lady, and Camelot. One of her finest achievements was the original dance music for the Small house of Uncle Thomas ballet in The King and I, created with the choreographer Jerome Robbins.
This according to “A composer in her own right: Arrangers, musical directors and conductors” by Jennifer Jones Cavenaugh, an essay included in Women in American musical theatre: Essays on composers, lyricists, librettists, arrangers, choreographers, designers, directors, producers and performance artists (Jefferson: McFarland, 2008, pp. 77–91).
Today is Rittmann’s 110th birthday! Below, a performance of Small house of Uncle Thomas in 2012.
In 2005 and 2006 Joan Tower’s Made in America embarked on a tour of all 50 American states, featured on programs by some 65 orchestras. In an interview just after the work’s premiere, the composer looked ahead to the experience:
“I’m very curious as to the way they view me as a living composer, because I’m a litmus test. I’m very curious as to how they’ll negotiate my piece. Now, I know some of them are much better than others; there are all levels. But I’m curious whether the piece is strong enough to make them want to work harder and what the level of passion is that’s going to be in there. Part of that depends on the piece and part of that depends on the nature of their community orchestra and the people in their orchestra.”
“If my piece has some impact, and draws the players in a little bit, or a lot, and draws the audience in a little bit or a lot, then it has some reverberation. I’m putting the entire burden of this thing on me, because the music is the center of everything no matter what anybody’s telling you. Whatever the PR, marketing, historical value, blah, blah, blah, that’s going on around it, you still have this living entity in front of you that has to do its work, whatever that is.”
Quoted in “Joan Tower: Made in America” by Frank J. Oteri (NewMusicBox 1 October 2005).
Today is Tower’s 80th birthday! Below, a performance from 2012.
The African pianism developed by the Nigerian composer Akin Euba (above) is not well-suited to the research style of traditional musicology, and the limitations of conventional musicological perspectives and analytical models for research on this cultural phenomenon are obvious.
Ethnomusicology and other disciplines such as cultural anthropology may provide approaches and viewpoints that can be adopted in musicological research on African pianism.
This according to “My understanding of African pianism/我对非洲钢琴艺术研究的一些认识” by Li Xin, an essay included in Dialogues in music: Africa meets Asia/亚非相遇： 中非音乐对话 (Richmond: MRI, 2011, pp. 59–68, 345–353).
Below, Kingsley Otoijamun performs an excerpt from Euba’s Scenes from traditional life.