When the Count Basie Orchestra first achieved prominence in 1936 it was using a basic antiphonal style and repertoire borrowed from other performance groups.
In those days, the originality of Basie’s orchestra lay in its rhythm section and in the abilities of its several outstanding soloists. In effect, Basie brought a version of the Kansas City backroom jam session onto the bandstand.
When he re-formed his orchestra in 1950–51, after over a year of leading a sextet, Basie depended on mass effects, orchestral precision, adventurous voicings, and a new repertoire.
During this time he relied on the talents of composer-orchestrators Frank Foster, composer of Shiny stockings, Neal Hefti (Cute), Thad Jones (Speaking of sounds), and others. Basie’s new sound slightly echoed that of the Jimmie Lunceford Orchestra of the 1930s, but was otherwise without precedent in jazz history.
This according to “Horses in midstream: Count Basie in the 1950s” by Martin T. Williams (Annual review of jazz studies II [1983] pp. 1–6).
Today is Basie’s 110th birthday! Above and below, the Count Basie Orchestra in 1951 (pictured above with Ethel Waters).
Celos aun del aire matan: Fiesta cantada (opera in three acts) (Middleton: A-R editions, 2014) is a critical performing edition of the earliest extant Hispanic opera, Celos aun del aire matan by Juan Hidalgo (1614–85). The work is the most extensive surviving example of Hispanic Baroque theatrical music.
Designed for the Spanish royal court’s festivities honoring the marriage of Infanta María Teresa of Spain and King Louis XIV of France, this passionate fiesta cantada in three acts was first produced in Madrid, thanks to the collaboration of Hidalgo and the court dramatist, Pedro Calderón de la Barca (1600–81). The opera was designed for performance by a cast of young female actress-singers (the only role requiring a male voice is for a comic tenor) and a continuo group.
This edition, which includes an extensive introduction, an English translation of the Calderón text, and a unique loa from the 1682 Naples production, contributes to a better understanding of Hidalgo’s music and the contribution of Hispanic music to early modern musical culture.
Above and below, moments from a 2000 performance of the work at the Teatro Real in Madrid.
In 2005 Pat Metheny was alarmed by shortening attention spans and bite-sized media blips.
“The new form now is ringtones!” he exclaimed in an interview. “It went from a symphony to an album, then to singles, then edit your single, then four-bar loops, and now it’s down to one or two seconds.
In response Metheny created The way up, a CD comprising a single work that lasts over an hour. The guitarist described it as “a protest in the purest sense of the word—it offers an alternative, not just a shrill polemic…[the album] “is a reaction to a world where things are getting shorter, dumber, less interesting, less detailed, more predictable.”
“If you look at the whole history of the group, we’ve been totally interested in expansion in terms of form… It seemed like now was the time to go all the way and attempt to use the CD itself as a platform.”
This according to “The advancing guitarist” by David L. Adler (JazzTimes XXXV/2 [March 2005] pp. 36–42).
Today is Metheny’s 60th birthday! Below, the group plays the opening of the work live in 2005.
Levande Musikarv/Swedish Musical Heritage is an open-access Internet database of Swedish composers born at least 100 years ago, including biographies, work lists (with facsimiles of works no longer covered by copyright), bibliographies, and links to related material.
There is a hidden treasure trove of significant Swedish art music from the 1600s to the present; unfortunately, for various reasons many have been forgotten. Much of this music is only available in hard-to read-manuscripts, often in poor condition, with decaying paper, fading ink, and so on.
One of the other goals of the project is to produce critical editions of Swedish art music, helping it to become a vital part of our modern concert repertoire. There are great discoveries to make, not least among the works of women composers.
The database will eventually be bilingual in Swedish and English, in an effort to promote Swedish music abroad.
Once he had decided on the value of a new work he was determined to program it, regardless of whether it was long, abstruse, dissonant, difficult to perform, or difficult to comprehend. Often he arranged for the major portion of the week’s rehearsal time to be devoted to perfecting the orchestra’s interpretation of the new work.
This according to “Serge Koussevitzky and the American composer” by Aaron Copland (The musical quarterly XXX/3 [July 1944] pp. 255–269); an appendix lists 123 American works that he programmed during his first 20 years in Boston.
Today is Koussevitsky’s 140th birthday! Below, his recording of Copland’s Appalachian spring.
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The critical reception was almost uniformly enthusiastic; the score was even compared to that of Mozart’s Die Zauberflöte, rare praise for the time. Indeed, in the musical high points Süßmayr appears to have benefited from his direct knowledge of Mozart’s technique, which is also apparent in Süßmayr’s completion of the master’s Requiem.
Premiering on 14 November 1794, Der Spiegel von Arkadien had over 65 performances in its first year alone. It was performed all over Europe, both in the original German and in several translations, and was revived regularly for over 30 years. The enduring performance history attests to some extraordinarily beautiful, inspired music in Süßmayr’s score, music that has been neglected far too long.
This according to a new two-volume critical edition of the work, edited with commentary by David J. Buch (Recent researches in music of the Classical era, 93–94; Middleton: A-R editions, 2014). Below, the opera’s overture.
During the military dictatorship in Brazil, which reached a high pitch of political and social repression between 1965 and 1980, the songs of Chico Buarque became vehicles for a strong, albeit veiled, political activism.
Endowed with a phenomenal lyric gift and an ability to penetrate the psyche of the most diverse human beings, Buarque was also skilled in the use of metaphor, the double entendre, the between-the-lines song text. As a consequence, he was able to say a great deal in his songs, without seemingly spelling out anything.
The military censors kept a close eye on him, leading him to complain that, out of every three songs that he wrote, two would be censored. It is all the more surprising, then, that the censors allowed the release of the song Apesar de você (In spite of you, 1970), a very obvious diatribe against the military regime and, more specifically, against the then president Emílio Garrastazu Médici.
Buarque was interrogated several times and asked to explain who was the “you” to which the song consistently refers. According to one of the versions of the interview, he said that the “you” was a very authoritative and bossy wife, and the song was the rant of her unhappy husband. Needless to say, the censors did not buy the explanation, but there was nothing specific in the text of the song that they could point to as a direct attack on the government.
The song is emblematic of Buarque’s remarkable resiliency while navigating the political minefield of the time. Many of his songs from that period testify to this same ability. His highly nuanced, subtle, poetically charged song texts can indeed be read in many different ways, and could easily be construed as the depiction of a domestic, rather than a political, drama. Throughout the duration of the military regime he offered Brazilian society a vehicle in which its entire voice could reverberate, shielded from military scrutiny by the poetic beauty of the texts.
The text of Apesar de você is reproduced in Chico Buarque: Tantas palavras—Todas as letras (São Paulo: Companhia das Letras, 2006).
Today is Chico Buarque’s 70th birthday! Below, Maria Bethânia performs Apesar de você; a free English rendition of the song’s text appears under the video.
Apesar de você (In spite of you)
Tomorrow will be another day…
Today, you’re the one who calls the shots.
Whatever you say, it’s been spoken
And there’s no arguing.
Today, my people walk around
Talking sideways and looking toward the ground.
You who invented this situation
By inventing all darkness,
You who invented sin
Forgot to invent forgiveness.
In spite of you
Tomorrow will be another day.
I ask you, where will you hide
From the great euphoria when it comes?
How will you forbid it
When the rooster insists on crowing?
New water will be flowing
And our people will be loving one another, nonstop.
When that moment arrives
I’m going to charge you
For all this suffering of mine,
And with interest to boot, I swear.
All this repressed love,
All these contained screams,
All this samba in the dark.
You who invented sadness,
Now do us the favor of “disinventing” it.
You’re going to pay double
For every tear that I’ve shed
In this anguish of mine.
In spite of you
Tomorrow will be another day
I can hardly wait to see
The garden in full bloom,
The one you didn’t want to see blooming.
You’re going to be tormented,
Seeing the day break
Without asking your permission
And I’m going to have my big laugh at you
Because that day is bound to come
Sooner than you think.
In spite of you
Tomorrow will be another day
You will be forced to see the morning reborn
And pouring out poetry.
How will you explain it to yourself
Seeing that the sky has suddenly cleared,
And there’s no more punishment?
How are you going to stifle the chorus of our voices
Singing right in front of you,
In spite of you?
In spite of you
Tomorrow is going to be another day
And you’re going to be out of luck.
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Kaikhosru Shapurji Sorabji completed his Second Organ Symphony in 1932. Over 78 years later, on 6 June 2010, Kevin Bowyer premiered the work in a nine-hour marathon; the symphony is longer than Mahler’s first seven combined.
Bowyer performed from his own hand-written edition of the work’s 350+ page score. When he learned of the project, the composer asked a friend “Why is this young man going to such trouble?”
“Well”, the friend ventured, “had your manuscript been much clearer, he might not have had to.” Sorabji promptly retorted that if all his manuscripts had been written with such fastidious care he probably never would have gotten around to writing that symphony at all!
This according to “Sorabji’s second organ symphony played at last: Kevin Bowyer’s nine-hour marathon” by Alistair Hinton (The organ LXXXIX/353 [summer 2010] pp. 41–47).
Above, Sorabji in 1933, a year after completing the symphony; below, a much briefer example of his work.
The collection’s more than 400,000 items—including music and literary manuscripts, correspondence, photographs, audio and video recordings, fan mail, and other types of materials—extensively document Bernstein’s extraordinary life and career, making available 85 photographs, 177 scripts from the Young People’s Concerts, 74 scripts from the Thursday Evening Previews, and over 1,100 pieces of correspondence, all browseable or accessible through the collection’s Finding Aid.
Above, Bernstein at the piano at a party at Tanglewood in August 1946 (photographer unknown); below, the opening of the first televised Young People’s Concert.
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 →
