Music
CONTENTS of Music History 102:
As is usual with information on the history of Western
music, this site has been organized according to the eras of history:
ORGAN, BACH AND JAZZ
Jacques Loussier (born Angers, France, EU, Oct 26, 1934) started playing piano at the age of ten; when Loussier was just sixteen, he entered the Conservatoire Nationale de Musique in Paris where he studied with Professor Yves Nat (1, 6). From the outset, creating the beginnings of the Loussier sound, he played piano in restaurants and dance halls as an accompanist to chanson singers such as Charles Aznavour and Catherine Sauvage (4).
In 1959 Loussier formed the Play Bach Trio (Loussier arranger, piano and organ, Pierre Michelot bass, and Christian Garros percussion) which used Bachs compositions as the basis for jazz improvisation,recording (9) for Decca between 1960 and 1963: the trio achieved sound special effects (7) with Loussier double tracking some pieces on electronic organ (8, 10) and piano and, later, recording some of Loussier arrangements of Bachs concerti with the Royal Philharmonic Orchestra (1, 4). The trio toured extensively, eventually selling over six million LPs in fifteen years, and then disbanded (2, 4, 5).
Loussier is a licensed pilot who used to fly his own light plane and have many contributions as composer, miscellaneous crew and self composer in filmography from the 1960s (3)
Notes
Session conducted by Les Tomkins featuring The
Modern Jazz Quartet Milt Jackson, John Lewis, Percy Heath and Connie Kay.The following blindfold test was carried out in 1964
but time would hardly change the opinions expressed here. They could well have
been uttered today - or even tomorrow. Jazz lives on!
(6)
Kernfeld B(Ed)(1994): «Jacques Loussier», 717.
(7)
Tomkins L(1964) «Session conducted by by Les Tomkins featuring The Modern Jazz Quartet Milt Jackson, John Lewis, Percy Heath and Connie Kay»,
In: http://www.jazzprofessional.com/blindfold_tests/MJQ.HTM. Date: Sat, 30 Sep 2006 14:09:49 -0300
(8)
Kernfeld B(Ed)(1994): «Organ», 939-942.
(9)
Lon 3365 [1963], In: Kernfeld B(Ed)(1994): 717.
(10)
Sears A(1994) «A Walk on the Wild Side The Story of Jazz Organ», The Story of Jazz Organ: http://theatreorgans.com/grounds/docs/wildside.html
Kernfeld B(Ed)(1994): «Jacques Loussier», 717.
(7)
Tomkins L(1964) «Session conducted by by Les Tomkins featuring The Modern Jazz Quartet Milt Jackson, John Lewis, Percy Heath and Connie Kay»,
In: http://www.jazzprofessional.com/blindfold_tests/MJQ.HTM. Date: Sat, 30 Sep 2006 14:09:49 -0300
(8)
Kernfeld B(Ed)(1994): «Organ», 939-942.
(9)
Lon 3365 [1963], In: Kernfeld B(Ed)(1994): 717.
(10)
Sears A(1994) «A Walk on the Wild Side The Story of Jazz Organ», The Story of Jazz Organ: http://theatreorgans.com/grounds/docs/wildside.html
Date: Sat, 30 Sep
2006 14:00:33 -0300
Cantata BWV
84 Ich bin vergnügt mit meinem Glücke
Italian Translation: "Io son contento
della mia buona sorte",
The Royal Philarmonic Orchestra of London
More links
Haydn Good site.
Extensive information.
Joseph Haydn and the Classical Era Another good site with many links.
Joseph Haydn and the Classical Era Another good site with many links.
Mlada
·
Librettist:
Rimsky-Korsakov, after a scenario by S. A. Gedeonov and text by V. A. Krilov
·
Performance History
·
Background
·
Libretto
·
Music
Tullio Mobiglia
The Complete TULLIO MOBIGLIA (1941 - 1946)
The Complete TULLIO MOBIGLIA (1941 - 1946)
Holst: “As a rule I only study things which suggest
music to me ... recently the character of each planet suggested lots to me, and
I have been studying astrology ...” Writing to a friend in 1913, Holst
confirmed the insiration for his Suite for Large Orchestra, a reminder, if any were needed, that these “Planets” are not the celestial
objects"
(1914-16) The Planets Op. 32
- Mars, the Bringer of War
- Venus, the Bringer of Peace
- Mercury, the Winged Messenger
- Jupiter, the Bringer of Jollity
- Saturn, the Bringer of Old Age
- Uranus, the Magician
- Neptune, the Mystic
The Planets
Gerald Finzi (1901 - 1956)
The Hand of Guido (also known as the Guidonian Hand) is based on the solmization which Guido is credited with having developed
c.1025.
UT, A DEER, A FEMALE DEER?
Guido d'Arezzo was also famous for his techniques of teaching sight singing. He
is credited with the invention of solmization, assigning syllables for each of
the six tones of the hexachord to the first syllable of each verse of the St. John
Hymn, a musical piece that was very well known at the time.
St. John Hymn "Ut
queant laxis" [ca. 800 A.D.]
| ||||
| 1 | ||||
1.
|
Ut queant laxis
|
That [ut]
your servants
|
||
2.
|
Resonare fibris
|
May freely
sing [resonare]
|
||
3.
|
Mira gestorum
|
The
miracles
|
||
4.
|
Famuli tuorum
|
Of your
deeds
|
||
5.
|
Solve poluti
|
Remove [solve] all stains [of sin]
|
||
6.
|
Labii reatum,
|
From their unclean lips [Labii],
|
||
Sancte Ioannes!
|
Saint
John!
|
|||
This is where we get Ut [later changed to
Do] Re, Mi, Fa, Sol, and La, sometimes also
called Ela. The name solmization comes from the
fourth and fifth syllables, sol-mi. Later, when the seventh tone of the
diatonic scale was added into popular use, the initials of the Latin words in
the last line of the song, Sancte Ioannes, were combined, for Si, later changed to Ti. (see The Hand of Guido)
The Royal
Philarmonic Orchestra of London (Victor Pellegrini and Juan Cerro -guitar;
José Menese -lyrics) García Lorca
Tango
Slang spoken
by the lower classes -immigrants and poor working people- in Buenos Aires
Famous Tangos
Piazzola
Arabic Contributions to Spanish Music, Song and Dance by HABEEB SALLOUM, Senior Global Correspondent
Nocturnal Ethnographies: Following Cortázar in the
Milongas of Buenos Aires
[…] Milongas, in the current tango lexicon, are the
tango joints--a space and a time when and where tango bodies get together to
produce tanguidad (tanguity, tango-ness). They are the physical site of the
corporeal, temporary encounter of the practitioners of the tango dance. The
milongas of Buenos Aires are a slippery landscape. They are invisible to eyes
untrained in tango and elusive to those who do not keep up with current milonga
tips
Music of Argentina
The music of Argentina is known mostly
for the tango , which developed
in Buenos Aires and surrounding areas, as well as Montevideo , Uruguay
Andean Music, the Left, and Pan-Latin Americanism: The
Early History (en inglés)
Fernando Rios (University of Illinois,
Urbana-Champaign)
In late 1967, future Nueva
Canción (“New Song”) superstars Quilapayún debuted in Paris amid news
of Che Guevara’s capture in Bolivia. The ensemble arrived in France with little
fanfare. Quilapayún was not well-known at this time in Europe or even back home
in Chile, but nonetheless the ensemble enjoyed a favorable reception in the
French capital.
Domenico Zipoli Italian musician
[…] he started a three months crossing bound for Rio
of Plata (in Argentina). After a violent storm he and the others disembarked in
July at Buenos Aires, and after 15 days set out for Cordoba. By 1724 he had
completed with distinction the required three years each of philosophy and
theology at the Jesuit Colegio Maximo and university in Cordoba. He continued
his musical activities, as organist, choirmaster and printer, which may have
delayed the completion of his studies. He was ready to receive priest's orders
in 1725, but died (of tuberculosis) without them for lack of a bishop in
Cordoba to ordain him that year.
Europeana
Explore the World of Musical Instruments
Yiddish Theatre in London
From Dada to Surrealism
Music and Politics
Toward a Political Anthropology of Mission
Sound: Paraguay in the 17th and 18th Centuries GUILLERMO WILDETranslated from the
Spanish by Eric Ederer
Any consideration of pre-Enlightenment art, particularly music, presents
similar difficulties to taking on any of the so-called “aesthetic experiences”
of non-Western societies. The globalizing concept of “aesthetics” inevitably
becomes entangled with other notions of greater historical and ideological
charge that configure a contemporary worldview—artistic individuality, creative
will, and “the work of art,” among others.
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