Tag Archives: Humor

Doktor Eisenbarth’s musical clock

The medieval German town Hann. Münden was home to Johann Andreas Eisenbarth (1663–1727), a colorful figure who became a subject of folklore to the extent that fact and fiction are now difficult to untangle.

A celebrated surgeon who was bestowed with privileges by various members of German royalty, Eisenbarth had no formal medical credentials, nor was he ever officially awarded the title “Doctor”. Nevertheless, his skill and medical innovations are matters of historical record, not least his pioneering contributions to the development of cataract surgery.

Reputed to have traveled with an entourage of up to 120 attendants including musicians, acrobats, and clowns, he is said to have plied his trade in a carnival-like atmosphere. The loud music and revelry served both to attract large crowds—potential customers for Eisenbarth’s services and bottled remedies—and to drown out the cries of his patients, who underwent procedures including tooth extractions and amputations in an era before the advent of anesthetics.

In honor of this now semi-legendary resident, a mechanical clock was installed in the upper story of Hann. Münden’s Rathaus in 1980. After the stroke of noon and a brief pause, an automatic carillon plays the tune of the comical song Ich bin der Doktor Eisenbart as automata depict the doctor extracting a huge, bloody tooth from the mouth of a terrified, gesticulating patient restrained by a hammer-wielding attendant. In addition to these central figures, a juggler, an acrobat, and a flag-bearer suggest the festive nature of Eisenbarth’s medical procedures.

This according to “Dr Eisenbarth’s automated musical clock in Hann. Münden” by Mark Singleton and Sven Heinmann (The music box: An international journal of mechanical music XXVIII/5 [spring 2018] pp. 185–87; RILM Abstracts of Music Literature 2018-52039).

Today is Eisenbarth’s 360th birthday! Above and below, the good doctor in action.

BONUS: A chance to sing along!

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Filed under Curiosities, Humor, Instruments, Science

Ethnomusicological bananas

In “A tropical meditation on comparison in ethnomusicology: A metaphoric knife, a real banana, and an edible demonstration” Anthony Seeger applies the Brazilian term recorte teórico (theoretical cut) to a banana, showing the various approaches to cutting one—ways of slicing the fruit itself, pieces of the stem or skin, and the air above it—and discusses the different perceptions that would result from considering only one of them as providing a definitive representation (Yearbook for traditional music XXXIV [2002] 187–192; RILM Abstracts of Music Literature 2002-4425).

Seeger further notes that our definition of a banana fails to take into account the entire plant and its means of reproduction, nor does it involve its nonphysical features, such as its aroma and the feelings and associations that it evokes. He concludes that “Comparison in ethnomusicology requires a very careful examination of the results of all theoretical approaches, a cautious approach to a definition of what constitutes music, and an awareness of the implications of a common banana.”

Below, another approach to cutting bananas.

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Filed under Curiosities, Ethnomusicology, Food, Humor

Verdi and Falstaff

On 27 November 1890 Milan’s Corriere della sera broke the news that Giuseppi Verdi, then 77 years old, had already composed more than half of a comic opera drawn from Shakespeare, to be called Falstaff. The revelation took Italy by storm, and newspapers throughout the country immediately amplified the story.

“[Verdi] said that Boito’s libretto is beautiful,” La perseveranza gushed, “so comic that even while composing it he has to break off work from time to time to burst into laughter.”

This was amazing news, since Verdi’s name was universally linked with a brilliant succession of tragic operas over a span of more than 40 years, and it was widely assumed that his serious temperament was unsuited to comedy.

Verdi and Boito worked together closely, modifying Shakespeare’s work to make it more suitable for operatic treatment. They were particularly concerned about focusing the dramatic interest of the third act, and Verdi suggested several specific lines and passages from Shakespeare as promising anchors for musical treatment.

“I’m amusing myself by writing fugues!” Verdi wrote to him at one point. “Yes, sir; a fugue…and a comic fugue, which would be in place in Falstaff!” He may well have been referring to the opera’s finale—meaning that he composed its music before he received its text!

For the work’s premiere (pictured above), La Scala’s ticket prices were 30 times higher than usual, and royalty, aristocracy, and critics from around the world attended. The performance was hugely successful; numbers were encored, and at the end the applause for the composer and the cast lasted an hour.

This according to Giuseppe Verdi: Falstaff by James A. Hepokoski (Cambridge: Cambridge University Press, 1983; RILM Abstracts of Music Literature 1983-2848).

Today is the 130th anniversary of Falstaff’s premiere!

Below, the celebrated fugal finale.

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Filed under Humor, Opera

Stravinsky mashups

As Stravinsky circulates in the digital age, his work is valorized in the context of digital transformation—a phenomenon reflected in YouTube mashups.

The composer’s iconic Le sacre du printemps provides a rich basis for such tributes; examples include Beyonce in “Dance of the Single Young Girls” by Igor Stravinsky (posted by Stephen Rathjen on 29 March 2015), Stravinsky meets Steely Dan (FM/Rite of Spring mashup) (posted on 20 June 2021 by the English guitarist Howard Wright), and Adam Neely’s 31 March 2017 All Star, but its the rite of spring by igor stravinsky.

These mashups highlight the ways in which pre-existing content from two sources is amalgamated in the form of hybridization (the very idea of a mashup)—for example, in the crossing between Stravinsky and Beyoncé or Steely Dan or Smash Mouth, all unlikely encounters that show an interest in the flagship ballet of the musical avant-garde and the search for stylistic fusion. The originality of the gesture lies in the choice of Le sacre du printemps and the ensuing process of desacralization.

Above, a Cubist mashup portrait of Stravinsky by Albert Gleizes from 1914, the year after Le sacre’s premiere (WikiArt, public domain); below, the video mashups in question.

More articles about Stravinsky are here.

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Filed under 20th- and 21st-century music, Curiosities, Humor, Reception

Charles Schultz and classical music

Having once considered himself “one of the staunchest opponents of classical music”, Charles Schultz discovered the symphonies of Beethoven in 1946 and became an avid fan of classical music with a prodigious record collection. He also created the piano-playing Schroeder, a Beethoven fanatic, for his comic strip Peanuts.

A well-worn 1951 LP in Schultz’s collection by the pianist Friedrich Gulda of Beethoven’s Hammerklavier sonata may have inspired a series of strips from the early 1950s in which Schroeder is seen playing this work. The one reproduced above is the only one in which the piece is named, though it still relies on the reader to read music—and German!—for a full identification. Note Schultz’s imitation of German Fraktur script for both the work title and his signature.

This according to “Michaelis’ Schulz, Schulz’s Beethoven, and the construction of biography” by William Meredith (The Beethoven journal XXV/2 [winter 2008], pp. 79–91; RILM Abstracts of Music Literature 2008-8914).

Today is Schultz’s 100th birthday! Below, Gulda performs the Hammerklavier sonata in 1970.

More posts about Beethoven are here.

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Filed under Classic era, Curiosities, Humor, Visual art

The beggar’s opera

beggar-s-opera-1729

Several aspects account for the success of  John Gay’s ballad opera The beggar’s opera when it premiered in London in 1728.

Gay’s skillful transformations of well-known songs contained many witty references to the originals, adding a rich subtext that his audience would have understood fully.

His audience would also have appreciated his caricatures of grand opera, which included references to recent London productions—particularly Händel’s Floridante (1721) and Alessandro (1726)—and to the highly public rivalry of the local operatic sopranos Francesca Cuzzoni (1696–1778) and Faustina Bordoni (1697–1781).

Gay’s facility as a writer was also a factor; he created clever, well-wrought lyrics and dialogue, vivid characters, and an irresistible ironic tone. An accomplished musician, Gay was certainly the musical arranger—not Pepusch, as some have argued.

This according to “The beggar’s opera” by Bertrand Harris Bronson, an essay included in Studies in the comic (Berkely: University of California Press, 1941, pp. 197–231).

Above, William Hogarth’s 1729 painting of a scene from the work (click to enlarge); below, a gallant and dashing excerpt from Peter Brook’s 1953 film.

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Filed under Baroque era, Humor, Opera

The signifyin(g) rabbit

Bugs Bunny has been recuperated as a queer cultural icon, a parodic diva whose campy excesses and canny games are profoundly though tacitly indebted to the African American rhetorical tradition of signifyin(g).

Interrogation of Bugs Bunny’s characteristic strategies of trickstering demonstrates the connections, both theoretical and material, between the queer camp of gender bending and the slippery strategies of resistance, the semiotic play of signifying as back-talk.

The rabbit of Seville (1950, directed by Chuck Jones and scored by Carl Stalling) presents specific situations of parody and allusion, illustrating the ways in which transvestic performance, inflected through camp, participates in a highly queer mode of phallic divestiture.

This according to “The signifying rabbit” by Eric Savoy (Narrative 2 [May 1995] 188–209; RILM Abstracts of Music Literature 1996-12504).

Below, excerpts from the cartoon classic in question, with live accompaniment!

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Moroccan insult contests

Marrakech

A performance that occurred almost daily in a public square in Marrakech in the early 1980s traded on ethnic identity for fun and profit.

The performance began with an Arab duo singing in Arabic; as a crowd began to gather around them, a Berber—a member of a rival ethnic group—leaped into the circle with a song in Tashlit. After a few moments of cacaphony a shouting match began, with the Berber and one of the Arabs trading insults while the other Arab took one side and then the other, upping the ante.

“Monkey, block-headed windbag, long-fingernailed King Kong, hick, salt stealer, son of a whore!” Each string of insults was preceded by an ethnic designator, and audience members were encouraged to contribute money to the aggrieved party to demonstrate their own ethnic pride. Occasionally fisticuffs between audience members ensued.

The high point of the performance came when the monetarily losing antagonist was figuratively turned into a donkey and the winner climbed onto his back and called for his instrument; victory, however temporary, meant both being on top and singing one’s own song there.

This according to “Saints, prostitutes, and rotten sardines: The musical construction of place and ethnicity in a Moroccan insult contest” by Philip D. Schuyler, an essay included in Ethnomusicological encounters with music and musicians: Essays in honor of Robert Garfias (Farnham: Ashgate, 2011, pp. 249–259; RILM Abstracts of Music Literature 2011-5436).

Above and below, examples of street music in Marrakech.

Related article: 50 best literary insults

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Prokof’ev’s bad dog

In 1917 Sergej Sergeevič Prokof’ev briefly returned to one of his childhood interests: writing fiction.

He considered what this pursuit entailed. “My style caused me concern,” he wrote. “Did it have individuality or was it awkward?”

Ultimately he concluded, “If there’s an idea, then the style will be subservient to the idea. If I have an idea, that means I’m an author.”

One of his short stories, Пудель: Мерзкая собака (The poodle: A bad dog) was published in an English translation by Three oranges (3 [May 2002] pp. 6–9; RILM Abstracts of Music Literature 2002-9136. The full text is here). A surprise twist at the end is a wry nod to the composer’s interest in the writings of Arthur Schopenhauer.

Below, Prokof’ev’s good dog.

Related articles:

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Filed under 20th- and 21st-century music, Animals, Humor, Literature

Shine and the Titanic

Religious African Americans saw the sinking of the Titanic as an example of God’s intervention in human affairs, as a divine overriding of the advantages conferred by wealth and mastery of technology.

Their secular songs about the disaster either nihilistically stress the fact that terrible things can happen at any time and when they are least expected, or take up the trickster theme. This latter type, which implies that Blacks can survive in the white man’s world even when whites do not, often features Shine, a trickster figure created by Blacks for Blacks.

Shine—a derogatory form of address invented by whites—is the first to warn the captain of the ship of impending disaster, but is ignored. As the ship is sinking, desperate white women offer him sex or money if he will save them, but he determines to abandon ship at once and save himself—a mocking comment on the white supremacist fantasy of the Black man always ready to ravish white women.

This according to “The Titanic: A case study of religious and secular attitudes in African American song” by Chris Smith, an essay included in Saints and sinners: Religion, blues and (d)evil in African-American music and literature (Liège: Société Liégeoise de Musicologie, 1996, pp. 213–27).

Today is the 110th anniversary of the sinking of the Titanic! Below, Willis Lonzer performs a comparatively chaste version of the classic tale.

Related article: The Britannic organ (sister ship of the Titanic)

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