Charles Dickens’s works attest to a keen familiarity with the ballads and traditional songs of Ireland and the United Kingdom. Less obvious from his writings is his deep love of Western classical music—he adored the lieder of Mendelssohn-Bartholdy, he championed Arthur Sullivan, and he reported being “overcome” by Gounod’s Faust.
Still, Dickens found a rich vein of humor in the music making of the common folk—not least in the character of Mr. Morfin in Dombey and Son:
“He was a great musical amateur in his way…and had a paternal affection for his violoncello, which was once in every week transported from Islington, his place of abode, to a certain club-room hard by the Bank, where quartettes of the most tormenting and excruciating nature were executed every Wednesday evening by a private party.”
“He was solacing himself with this melodious grumbler one evening, and, having been much dispirited by the proceedings of the day, was scraping consolation out of its deepest notes…[but] his landlady…was fortunately deaf, and had no other consciousness of these performances than a sensation of something rumbling in her bones.”
This according to “Dickens and music” by Charles Cudworth (The musical times CXI/1528 [June 1970] pp. 588–590. Today is Dickens’s 210th birthday!
The storyteller speaks: Rare & different fictions of the Grateful Dead (Bellingham: Kearney Street Books, 2010) is a Grateful Dead-inspired collection of literary short stories. Genres represented include horror, romance, time-travel, family saga, zombie, western, science fiction, and mystery noir.
Below, Jerry Garcia discusses storytelling in Terrapin station.
Throughout the nineteenth century, parallels between the forms and contents of individual compositions and a variety of poems and prose tales were discussed. Liszt, Strauss, and other composers cited literary classics in the titles of their works and even published excerpts in their scores. As a consequence, certain critics came out in favor of musical programmism, while others advocated musical absolutism.
More recently, such discussions have been amplified by suggestions that certain works of fiction themselves employ musical structural principles, particularly sonata form. Doktor Faustus by Thomas Mann (above) can be viewed in relation to Beethoven’s piano sonata op. 111, and several of Jane Austen’s novels can be compared with Mozart concerto movements. This approach suggests new ways in which musicologists might acquire a deeper understanding of such issues as musical representations of gender, the ways in which instrumental compositions may be said to embody character, and the problem of music and narrativity.
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 →