Tag Archives: Literature

Metastasio and the Olympic Games

Pietro Metastasio’s popular libretto L’Olimpiade publicized and transmitted a particular ideological and historicized conception of the ancient Olympic Games that would ultimately contribute to the rationalization and legitimization of Pierre de Coubertin’s idiosyncratic Olympic ideology, a philosophical religious doctrine that embraced a noble and honorable conception of sport at the same time as it served discrete class, race, and gendered ends.

The hegemony of the contemporary Olympic Games movement is grounded in part on the appropriation of the classicism and Romanticism transmitted in Metastasio’s work. In narrative, music, and production, L’Olimpiad sustained a particular image of the games, an image that nourished Coubertin’s formulation as it paved the way for further musical representations of the Games that to this day lend authority to a musically transmitted, mythologized, and Hellenized past.

This according to “Music as sport history: The special case of Pietro Metastasio’s L’Olimpiade and the story of the Olympic Games” by Jeffrey O. Seagrave, an essay included in Sporting sounds: Relationships between sport and music (Abingdon: Routledge, 2009, pp. 113–27).

The 2018 Winter Olympics opens today! Above, a production of Josef Mysliveček’s setting of Metastasio’s L’Olimpiade; below, excerpts from Pergolesi’s setting.

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Felice Romani’s libretto reforms

Felice Romani revolutionized the Italian opera libretto, creating a clearly contoured melodramma romantico that was suitable for a through-composed setting.

Romani’s libretto for Donizetti’s Anna Bolena produced a virtually through-composed opera, making the meter conform to the dramatic situation and mood. In Act I, all the characters enter immediately after the prima donna, so that in place of the usual introductory aria there is now an ensemble. The entry of the seconda donna now leads as a rule to a concerted piece, the stretta of the pezzo concertato unleashing all the passions of the protagonists.

Act II proceeds similarly, except that its final scene is treated as a composition in its own right: Out of a stretta the concertato emerges, structured as a concert piece.

This according to Felice Romani–Gaetano Donizetti–Anna Bolena. Zur Asthetik politischer Oper in Italien zwischen 1826 und 1831 by Richard Hauser, a dissertation accepted by Albert-Ludwigs-Universität Freiburg in 1980.

Today is Romani’s 230th birthday! Below, Sondra Radvanovsky sings Anna Bolena’s finale.

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Filed under Literature, Opera, Romantic era

Faulkner and blues

Although the story of blues was never his direct subject, William Faulkner’s Yoknapatawpha chronicles obliquely address the processes through which mainstream America embraced, dismissed, romanticized, adapted, and came to respect blues and other forms of traditional and popular music.

From the scenes of white people dancing to an African American band in Soldiers’ pay through the country blues guitarist emerging out of the flood in Old man to the symbolic engagement with a broad multicultural tradition of popular song in The mansion, Faulkner’s writings reflect shifting social attitudes toward southern roots music.

This according to Yoknapatawpha blues: Faulkner’s fiction and southern roots music by Tim A. Ryan (Baton Rouge: Louisiana State University, 2015).

Today is Faulkner’s 120th birthday! Above, the author with Billie Holiday in 1956; below, Charley Patton’s High water everywhere, a recording linked to Old man.

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Thoreau’s ear

Henry David Thoreau was the only nineteenth-century American writer of the very first rank who paid prolonged and intense attention to sound-worlds, particularly non-human ones. As a naturalist, his fieldwork involved not only botany but also sound-collecting.

Thoreau’s writings illuminate how he understood music as sound. He discussed ambient sound and animal sound communication in acoustic ecological niches; he understood that sound announces presence and enables co-presence; and he developed a relational epistemology and alternative economy based in sound. His responses to the vibrations of the environment through prolonged and deep listening make him valuable for sound studies today.

This according to “Thoreau’s ear” by Jeff Todd Titon (Sound studies I/1 [2015] pp. 144–54).

Today is Thoreau’s 200th birthday! Below, one of Charles Ives’s meditations on the man and his work.

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Patti Smith and rock heroics

patti-smith

From her time as a young performance poet in New York in the late 1960s to her current position as punk rock’s éminence grise, Patti Smith has foregrounded the image of the poet as privileged seer.

Smith’s romantic impulses can be viewed within the context of her activity in the Poetry Project at St Mark’s Church, the preeminent public face of the East Village poetry scene of the 1960s and 1970s. Her complex negotiations between her understanding of the poet as visionary and the adamantly playful, diffuse, and collaborative aesthetic characterizing downtown New York’s poetic community fed into the development of her performative stance as proto-punk rock icon.

This according to “‘Nor did I socialise with their people’: Patti Smith, rock heroics and the poetics of sociability” by Daniel Kane (Popular music XXXI/1 [January 2012] pp. 105–23).

Today is Smith’s 70th birthday! Above, performing in the early 1970s; below, her iconic 1974 recording of Hey Joe.

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Virgil Thomson and “Four saints in three acts”

Four Saints

Virgil Thomson first met Gertrude Stein in the winter of 1925–26. Early in 1927 he asked her to write an opera libretto, and the plans for Four saints in three acts began to take shape; the text was completed in June of that year and the music was finished in July 1928.

The opera concerns two Spanish saints, Teresa of Ávila and Ignatius of Loyola, who are surrounded by groups of young religious figures. In fact the work has four acts and over 30 saints. A compère and commère introduce the characters and announce the progress of the action. The strangely haunting and at times repetitive poetry of Stein is declaimed by the singers in a musical language derived from many sources, including Gregorian and Anglican chant, children’s songs, and Sunday School hymn singing, with a harmonious accompaniment for small orchestra. Although the setting of the words is deceptively simple and direct, there are considerable subtleties in the music to parallel the implied imagery of the words.

Four saints in three acts was first heard in Hartford, Connecticut, in February 1934, produced by an organization called the Friends and Enemies of Modern Music. When the production moved to New York City it created theatrical history with its all-black cast. The opera received over 60 performances within a year, and Thomson’s reputation was made almost overnight.

This according to “Thomson, Virgil Garnett” by Neil Butterworth (Dictionary of American classical composers, 2nd ed. [Abington: Routledge, 2005] pp. 456–59); this resource is one of many included in RILM music encyclopedias, an ever-expanding full-text compilation of reference works.

Today is Thomson’s 120th birthday! Above, the 1934 New York production; below, the opening of Mark Morris Dance Group’s 2006 production.

BONUS: A brief documentary with archival footage from 1934, including the voice of Gertrude Stein.

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

Joyce’s musical sirens

James & Nora Joyce

In the “Sirens” episode of Ulysses James Joyce made words represent music by playing with or even overcoming certain conventional features of language. Particularly notable are Joyce’s representation of polyphony, melody, rhythm, and of music’s traditional absence of conventional meaning.

The essence of Joycean onomatopoeia in “Sirens” is not that it represents music iconically, but that it makes music linguistically. Joycean onomatopoeia is not the natural union of meaning and form, of signified and signifier—it is the signifier freeing itself from the link with the signified.

“Sirens” is a step toward absolute form and abstraction; it breaks with the representational conventions of naturalistic and realistic fiction and points the way toward modernism.

This according to “Strange words, strange music: The verbal music of ‘Sirens’” by Andreas Fischer, an essay included in Bronze by gold: The music of James Joyce (New York: General Music, 1999).

Today is Bloomsday! Above, Joyce with his wife, Nora; he chose 16 June 1904 for the events of Ulysses because it coincided with their first date. Below, Cathy Berberian reads an excerpt from the “Sirens” episode.

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Dortmunder Schriften zur Musikpädagogik und Musikwissenschaft

Ludwig Uhland und seine Komponisten

In 2015 Technische Universität Dortmund launched the series Dortmunder Schriften zur Musikpädagogik und Musikwissenschaft with Ludwig Uhland und seine Komponisten: Zum Verhältnis von Musik und Politik in Werken von Conradin Kreutzer, Friedrich Silcher, Carl Loewe und Robert Schumann by Burkhard Sauerwald.

The large number of settings of his poems is one indication of the significance of the poet, politician, and scholar Ludwig Uhland (1787–1862) in 19th-century intellectual history.

The composers employed a variety of compositional strategies to convey the linguistic characteristics of Uhland’s poetry, such as their folk-like vocabulary and design. A detailed excursus of the Uhland–Silcher song Der gute Kamerad provides a representative example of the history of the political reception of Uhland settings.

Below, Richard Tauber sings Der gute Kamerad.

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Slim Gaillard on the road

Slim Gaillard

In On the road (New York: Viking, 1957), Jack Kerouac described an encounter with the pianist, guitarist, and percussionist Slim Gaillard, “a tall, thin Negro with big sad eyes who’s always saying ‘Right-orooni’ and ‘How ‘bout a little bourbon-arooni.’”

“Slim sits down at the piano and hits two notes, two Cs, then two more, then one, then two, and suddenly the big burly bass-player wakes up from a reverie and realizes Slim is playing C-Jam blues and he slugs in his big forefinger on the string and the big booming beat begins and everybody starts rocking and Slim looks just as sad as ever, and they blow jazz for half an hour, and then Slim goes mad and grabs the bongos and plays tremendous rapid Cubana beats and yells crazy things in Spanish, in Arabic, in Peruvian dialect, in Egyptian, in every language he knows, and he knows innumerable languages.”

“Dean stands in the back, saying, ‘God! Yes!’ and clasping his hands in prayer and sweating. ‘Sal, Slim knows time, he knows time.’”

“Finally the set is over…Slim Gaillard goes and stands against a post, looking sadly over everybody’s head as people come to talk to him. A bourbon is slipped into his hand. ‘Bourbon-orooni—thank-you-ovauti.’”

Quoted in “Nobody knows where Slim Gaillard is” (Literary kicks, 1994).

Today would have been Gaillard’s 100th birthday! Below, some rare early footage, perhaps from 1962 (see the comment below).

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The riddle of the tortoise and the lyre

Clavecin_flamand

The inscription Dum vixi tacui, mortua dulce cano on an early 18th-century Italian spinet in Edinburgh is identifiable with the second line of a riddling couplet found in Nikolaus von Reusner’s Aenigmatographia (1599). The literary ancestry of Reusner’s couplet is traceable to a traditional Greek riddle about the tortoise-lyre, where the tortoise becomes vocal only after its death.

Many examples from classical authors and imitators in later European literature and popular tradition can be found. The motif was transferred to instruments made of wood, and Reusner’s couplet was much used as a motto on early violins; the famous luthier Gasparo Duiffopruggar particularly appears to have been associated with it.

This according to “The riddle of the tortoise and the lyre” by Edward Kerr Borthwick (Music & letters LI/4 [October 1970] pp. 373–87).

Above, a harpsichord in the Flemish style that includes the inscription; below, an instrumental work inspired by the original four-line poem.

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