The Gibbons hymnal: Hymns and anthems (London: Novello, 2013) presents the 17 hymn tunes composed by Orlando Gibbons for George Wither’s The hymnes and songs of the church (1623), many of which are still popular today. This is the first modern edition that incorporates Wither’s hymn texts beyond the first verses.
Gibbons composed treble and bass lines for the hymns; the editor, David Skinner, has constructed the inner voices to create a collection of pieces that can be performed either as hymns or as simple anthems. Also in this volume are Gibbons’s ten surviving full anthems.
Below, Gibbons’s O clap your hands, one of the anthems included in the edition.
In a 2010 interview, Alpert discussed his philanthropic goals, especially that of supporting educational programs that move beyond a focused concentration on the technical aspects of the musical art.
“There’s two ways to approach jazz,” he said, “you can approach it from the outside point of view where you have chords that are a little remote from the actual melody, or you can stay within the context of the song and play it from that angle. I don’t try to force any notes or rely on techniques that I’ve learned through the years. I try to just let it happen as it happens—which is the only way to approach jazz.”
This according to “In the name of imagination” by Don Heckman (Jazz education guide 2009–2010, pp. 20–26).
Today is Herb Alpert’s 80th birthday! Above, receiving the National Medal of Arts from President Obama in 2013; below, back in the day.
Répons (1981–84), the first major work to arise from Pierre Boulez’s involvement with IRCAM, is underpinned by a collection of five chords. Surface details interact with the compositional scheme but achieve a certain independence and spontaneity.
Nevertheless, the density of the music, which is sometimes enhanced by computer-facilitated transformation, at times veers towards a phantasmagoric, seamless web that threatens to undermine the articulation of space generated by the configurations of blocks and individual moments. Boulez’s spatial dialogue of system and idea is illuminated by Adorno’s theoretical attempts to turn systematic thought towards the particular.
This according to “Répons: Phantasmagoria or the articulation of space?” by Alastair Williams, an essay included in Theory, analysis and meaning in music (Cambridge: Cambridge University Press, 1994, pp. 195–210).
Today is Boulez’s 90th birthday! Above, part of the score of Répons; below, the composer conducts a performance of the work in a film by Robert Cahen.
During his life, Bach was primarily known as a dazzling organist with virtuoso improvising abilities. Not surprisingly, his prowess gave rise to a number of urban legends.
One such legend had him traveling incognito, dressed as a village schoolmaster, going from church to church to try out the organs—prompting one local organist to cry out, “I don’t know who’s playing, but it’s either Bach or the Devil!”
This according to “Tod und Teufel” by Frieder Reininghaus, an essay included in Bach-ABC (Sinzig: Studio-Verlag, 2007, pp. 91–93).
In 1664 Louis XIV gave his first great fête at Versailles, a small hunting box built by his father and which the Roi Soleil was transforming into the astonishing château that would materially represent the political, economic, and artistic supremacy of France. Officially honoring Queen Marie-Thérèse and Queen Mother Anne d’Autriche, the entertainments were in fact dedicated to Louise de La Vallière, the king’s first maîtresse en titre.
Foremost among those who took part in the spectacle was the young warrior king himself, clad in jewel-encrusted gold and silver armor as the chevalier Roger, who, at the bidding of the sorceress Alcine, arrives with his retinue to entertain the queens over the course of several days in Les Plaisirs de l’Île Enchantée.
In 1668 Le Grand Divertissement Royal de Versailles, the most extravagant of the king’s fêtes, celebrated the glory of Louis XIV after the Treaty of Aix-la-Chapelle. The éclat of the brilliant and youthful court, entertained with fireworks, tournaments, dance, music, and theater, was heightened by collaborations between two of the greatest names in the dramatic arts: Lully and Molière.
Les plaisirs de l’Île enchantée (La Princesse d’Élide); George Dandin ou Le mari confondu (Le grand divertissemant royal de Versailles) (Hildesheim: G. Olms, 2004) is a new edition of the keyboard score for the comédies-ballets La princesse d’Élide (1664) and George Dandin (1668); it is part of Olms’s Œuvres complètes of Lully.
Above, the official commemorative engraving of Festin du roi et des reines from 1664; below, excerpts from Lully’s score for La princesse d’Élide.
The roles and realizations of childhood in Ravel’s music were inextricably linked with the language, traditions, and idioms of the literary fairytale—an idea that he himself supported when he wrote that his intention in his fairytale-based Ma mère l’Oye was to evoke “the poetry of childhood”.
Ravel deliberately aligned his music with the traditions of the fairytale through the creation and expressive manipulation of musical and dramatic structure, language, gesture, and perspective. One may trace the voice and presence of the storyteller in Ma mère l’Oye, a work dedicated to two children for whom Ravel was a favorite companion and teller of fairytales.
This according to The language of enchantment: Childhood and fairytale in the music of Maurice Ravel by Emily Alison Kilpatrick, a dissertation accepted by Elder Conservatorium of Music at The University of Adelaide in 2008.
On 8 May 1736 London’s Weekly advertiser reported on an exhibition of a musical clock to the Queen, giving “uncommon satisfaction to all the Royal Family present”. Although two descriptions survive, the machine itself is lost.
However, the discovery among Händel’s MSS of two sets of tunes for musical clock suggest that the composer was, at the very least, intrigued by the instrument’s capabilities—it is also possible that this machine, or one like it, played these very works. Clearly Händel was not averse to mechanical reproduction of his works, and he may indeed have heard it happen!
This according to “Handel’s clock music” by William Barclay Squire (The musical quarterly V/4 [October 1919]) pp. 538–552.
Today is Händel’s 330th birthday! Above, a musical clock by Charles Clay, the inventor of the machine reported on in 1736; below, Händel’s works performed on a toy piano.
The Bizet catalogue is a searchable online list of Georges Bizet’s works, providing essential information about the history and content of each one.
This open-access website gives information on manuscript and printed sources and provides documentary materials relating to the composition, performance, and publication of each work. It is intended to provide a full historical documentation of Bizet’s work as composer and transcriber.
While some scholars have suggested that Jerome Kern’s early work has little relevance to his later output, there are many continuities—not only in the way that Kern constructed his songs, but also in the way that he employed music to convey dramatic meaning.
Before becoming a successful writer of full scores for Broadway, Kern spent over a decade working as an interpolator, contributing songs to shows written principally by other composers. In this capacity he learned to write songs to specification for a variety of theatrical genres, including British and American musical comedy, Viennese operetta, and Broadway revue.
Kern thus gained technical fluency in numerous musical styles, and learned how these styles and their diverse associations of genre, gender, race, and social class could be harnessed to convey specific dramatic meanings. Continuities are also evident between his early and later work in his musical grammar: preferred song structures, harmonic and melodic sequences, modulations, and cadences.
This according to Becoming Jerome Kern: The early songs and shows, 1903–1915 by James Kenneth Randall, a dissertation accepted by the University of Illinois, Urbana-Champaign, in 2004.
Today is Kern’s 130th birthday! Above, an early photograph of the composer; below, Ella Fitzgerald’s Jerome Kern songbook.
Michael Tippett called T.S. Eliot his spiritual and artistic mentor, and their numerous discussions in the 1930s proved a lasting influence on the composer’s beliefs about the coming-together of words and music.
Tippett quoted from and alluded to the work of Eliot not only in his early pieces, as has previously been noted, but in much later compositions such as The ice break, The mask of time, and Byzantium.
Eliot’s essay The three voices of poetry examines the number of voices in which the I of a poem can speak, freed from the specificities of prose, and Tippett, influenced by Eliot, harnessed the form of oratorio, freed from the specificities of opera, to allow it to speak in many voices.
This according to “Tippett and Eliot” by Oliver Soden (Tempo LXVII/266 [October 2013] pp. 28–53).
Today is Tippett’s 110th birthday! Below, the opening movements of A child of our time, another of Tippett’s works that was influenced by Eliot.
The main entrance to the New York Public Library for the Performing Arts’s exhibition Lou Reed: Caught between the twisted stars opens up on Lincoln Plaza, directly adjacent to the The Metropolitan Opera house. On a sunny day, the Met’s … Continue reading →
Seven strings/Сім струн (dedicated to Uncle Michael)* For thee, O Ukraine, O our mother unfortunate, bound, The first string I touch is for thee. The string will vibrate with a quiet yet deep solemn sound, The song from my heart … Continue reading →
Introduction: Dr. Philip Ewell, Associate Professor of Music at Hunter College and the Graduate Center of the City University of New York, posted a series of daily tweets during Black History Month (February 2021) providing information on some under-researched Black … Continue reading →
For it [the Walkman] permits the possibility…of imposing your soundscape on the surrounding aural environment and thereby domesticating the external world: for a moment, it can all be brought under the STOP/START, FAST FOWARD, PAUSE and REWIND buttons. –Iain Chambers, “The … Continue reading →
