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NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Shall We Dance Dancing has been an essential part of New Orleans’ psyche almost since its very beginning. Pierre François de Rigaud, Marquis de Vaudreuil-Cavagnal replaced Bienville, the city’s founder, as Governor of Louisiana. He set the standards high with his polished manners, frequently sponsoring balls, dinners, and other elegant social soirées. Serving from 1743 to 1753, he even provided the colony with a Parisian dancing master named Baby. Below are numerous quotes through the ages about the Crescent City’s special love affair with dancing: There were balls, with court dress de rigueur, where gaily uniformed officers danced with bejeweled women. This was the beginning of fashionable life in the colony. - LYLE SAXON, writing of “de Vaudreuil’s régime” in Old Louisiana The eccentricities of Baby's mind, as well as those of his physical organization had made him famous in the colony, and the doleful mien with which he used to give his lessons, had gained him the appellation of the Don Quixote of dancing. -Louisiana Historian CHARLES GAYARRÉ on Baby, the Dancing Master The female Creoles being in general without education, can possess no taste for reading music or drawing, but they are passionately fond of dancing … passing whole nights in succession in this exercise. - PIERRE-LOUIS BERQUIN-DUVALLON, Travels in Louisiana and the Floridas in the Year 1802, Giving the Correct Picture of Those Countries It’s the land where they dance more than any other. - LOUIS-NARCISSE BAUDRY DES LOZIÈRES, Second Voyage à la Louisiane, 1803 Upon my arrival at New Orleans, I found the people very Solicitous to maintain their Public Ball establishment, and to convince them that the American Government felt no disposition to break in upon their amusements … - GOVERNOR W. -
Broadcasting the Arts: Opera on TV
Broadcasting the Arts: Opera on TV With onstage guests directors Brian Large and Jonathan Miller & former BBC Head of Music & Arts Humphrey Burton on Wednesday 30 April BFI Southbank’s annual Broadcasting the Arts strand will this year examine Opera on TV; featuring the talents of Maria Callas and Lesley Garrett, and titles such as Don Carlo at Covent Garden (BBC, 1985) and The Mikado (Thames/ENO, 1987), this season will show how television helped to democratise this art form, bringing Opera into homes across the UK and in the process increasing the public’s understanding and appreciation. In the past, television has covered opera in essentially four ways: the live and recorded outside broadcast of a pre-existing operatic production; the adaptation of well-known classical opera for remounting in the TV studio or on location; the very rare commission of operas specifically for television; and the immense contribution from a host of arts documentaries about the world of opera production and the operatic stars that are the motor of the industry. Examples of these different approaches which will be screened in the season range from the David Hockney-designed The Magic Flute (Southern TV/Glyndebourne, 1978) and Luchino Visconti’s stage direction of Don Carlo at Covent Garden (BBC, 1985) to Peter Brook’s critically acclaimed filmed version of The Tragedy of Carmen (Alby Films/CH4, 1983), Jonathan Miller’s The Mikado (Thames/ENO, 1987), starring Lesley Garret and Eric Idle, and ENO’s TV studio remounting of Handel’s Julius Caesar with Dame Janet Baker. Documentaries will round out the experience with a focus on the legendary Maria Callas, featuring rare archive material, and an episode of Monitor with John Schlesinger’s look at an Italian Opera Company (BBC, 1958). -
Traversing Boundaries in Gottschalk's the Banjo
Merrimack College Merrimack ScholarWorks Visual & Performing Arts Faculty Publications Visual & Performing Arts 5-2017 Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk's The Banjo Laura Moore Pruett Merrimack College, [email protected] Follow this and additional works at: https://scholarworks.merrimack.edu/vpa_facpub Part of the Music Performance Commons This is a pre-publication author manuscript of the final, published article. Repository Citation Pruett, L. M. (2017). Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk's The Banjo. Journal of the Society for American Music, 11(2), 155-183. Available at: https://scholarworks.merrimack.edu/vpa_facpub/5 This Article - Open Access is brought to you for free and open access by the Visual & Performing Arts at Merrimack ScholarWorks. It has been accepted for inclusion in Visual & Performing Arts Faculty Publications by an authorized administrator of Merrimack ScholarWorks. For more information, please contact [email protected]. Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk’s The Banjo LAURA MOORE PRUETT ABSTRACT This article reconsiders the cultural significance and historical impact of the well-known virtuosic piano composition The Banjo by Louis Moreau Gottschalk. Throughout the early nineteenth century, the banjo and the piano inhabited very specific and highly contrasting performance circumstances: black folk entertainment and minstrel shows for the former, white -
The Dance in Place Congo. I. Congo Square
THE DANCE IN PLACE CONGO. I. CONGO SQUARE. HOEVER has been to New Orleans with eyes not totally abandoned to buying and selling will, of course, remember St. Louis Cathedral, looking south-eastward — riverward — across quaint Jackson Square, the old Place W d'Armes. And if he has any feeling for flowers, he has not forgotten the little garden behind the cathedral, so antique and unexpected, named for the beloved old priest Père Antoine. The old Rue Royale lies across the sleeping garden's foot. On the street's farther side another street lets away at right angles, north-westward, straight, and imperceptibly downward from the cathedral and garden toward the rear of the city. It is lined mostly with humble ground-floor-and-garret houses of stuccoed brick, their wooden doorsteps on the brick sidewalks. This is Orleans street, so named when the city was founded. Its rugged round-stone pavement is at times nearly as sunny and silent as the landward side of a coral reef. Thus for about half a mile; and then Rampart street, where the palisade wall of the town used to run in Spanish days, crosses it, and a public square just beyond draws a grateful canopy of oak and sycamore boughs. That is the place. One may shut his buff umbrella there, wipe the beading sweat from the brow, and fan himself with his hat. Many's the bull-fight has taken place on that spot Sunday afternoons of the old time. That is Congo Square. The trees are modern. So are the buildings about the four sides, for all their aged looks. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Rite of Spring
JUNE 6, 7, 8 classical series SEGERSTROM CENTER FOR THE ARTS Renée and Henry Segerstrom Concert Hall Concerts begin at 8 p.m. Preview talk hosted by Alan Chapman with Joseph Horowitz and Tony Palmer begins at 7 p.m. presents 2012-2013 HAL & JEANETTE SEGERSTROM FAMILY FOUNDATION CLASSICAL SERIES CARL ST.CLAIR • conductor | JOSEPH HOROWITZ • artistic adviser SUSANA PORETSKY • soprano | HYE-YOUNG KIM • piano | TONY PALMER • film director TONG WANG • choreographer | MEMBERS OF UC IRVINE DEPARTMENT OF DANCE TCHAIKOVSKY (1840-1893) STRAVINSKY (1882 - 1971) Excerpts from The Nutcracker, Op. 71 Epilogue: Lullaby in the Land of Eternity No. 14, Pas de deux from The Fairy’s Kiss No. 12, Divertissement: Chocolate (Spanish Dance) INTERMISSION Aly Anderson, Melanie Anderson, Janelle Villanueva, Tivoli Evans, Ashley LaRosa, Skye Schmidt Excerpt from Stravinsky: Once at a Border (1982 film) Coffee (Arabian Dance) Directed by Tony Palmer Karen Wing, Ryan Thomas, Mason Trueblood Tea (Chinese Dance) STRAVINSKY Tracy Shen, Jeremy Zapanta The Rite of Spring Trepak (Russian Dance) PART I: Adoration of the Earth Alec Guthrie Introduction The Augurs of Spring—Dances of the Young Girls Excerpts from Swan Lake, Op. 20 Ritual of Abduction No. 1, Scene Spring Rounds No. 3, Dance of the Swans Ritual of the Rival Tribes Tiffany Arroyo, Tivoli Evans, Tracy Shen, Janelle Villanueva Procession of the Sage No. 5, Hungarian Dance (Czardas) The Sage Jennifer Lott, Karen Wing, Alec Guthrie, McCree O’Kelley Dance of the Earth No. 6, Spanish Dance PART II: The Sacrifice Celeste Lanuza, Jessica Ryan, Jeremy Zapanta Introduction Mystic Circle of the Young Girls Lullaby in a Storm from Sixteen Songs for Children, Op. -
Volume 24, Number 04 (April 1906) Winton J
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1906 Volume 24, Number 04 (April 1906) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 24, Number 04 (April 1906)." , (1906). https://digitalcommons.gardner-webb.edu/etude/513 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. APRIL, 1906 ISO PER YEAR ‘TF'TnTT^ PRICE 15 CENTS 180.5 THE ETUDE 209 MODERN SIX-HAND^ LU1T 1 I1 3 Instruction Books PIANO MUSIC “THE ETUDE” - April, 1906 Some Recent Publications Musical Life in New Orleans.. .Alice Graham 217 FOR. THE PIANOFORTE OF «OHE following ensemb Humor in Music. F.S.Law 218 IT styles, and are usi caching purposes t The American Composer. C. von Sternberg 219 CLAYTON F. SUMMY CO. _la- 1 „ net rtf th ’ standard foreign co Experiences of a Music Student in Germany in The following works for beginners at the piano are id some of the lat 1905...... Clarence V. Rawson 220 220 Wabash Avenue, Chicago. -
Rudolph Valentino Living at 50 West in 1923
100 years at 50 west Rudolph Valentino Living at 50 West in 1923 Brooklyn Standard Union, May 27, 1923, p. 8 Home – Street – Prehistory – Building – Ads – Residents – Actors – Playlist 100 years at 50 west From Photoplay, Vol. 24 (July-December) 1923, p. 126: Jerry of Sherman, Texas. — Men as I before, and sapiently, have observed are but human. Rodolph Valentino is a man, therefore human. Hence he will be glad to know that you, who write backhandedly under the soubriquet of Jerry, "worship at his shrine as ardently as any flapper. He's so disgustingly handsome." Suspicion stirs deep in my being, Jerry. Maybe you are a man and envious of the darkeyed one's reign over the hearts of the women in his audiences. I am not sure. If you are Mr. Jerry instead of Miss Jerry you would not be likely to say, "His eyes intrigue me, exceedingly, oh where, oh where, can I obtain a photograph of 'The Young Rajah'?" Write him care of his headquarters, 50 West 67th Street, New York, N. Y. From New York Times, August 25, 1926, p.1: Thousands in Riot at Valentino Bier; More Than 100 Hurt – Crowd at Funeral Church Is Out of Police Control at Times – Big Windows Crash…Traffic Interrupted, Mounted Policemen Charge Again and Again in Vain. More than 30,000 persons tried to get a two-second glimpse of the body of Rudolph Valentino, lying in state at Campbell’s Funeral Church, on Broadway at Sixty-sixth Street, yesterday afternoon and last night. As a result, the Home – Street – Prehistory – Building – Ads – Residents – Actors – Playlist 100 years at 50 west police were wholly unable to control the situation for several hours…. -
20 - 23 June 2013 Lo N D O N W C 1 Main Sponsor Greetings DIRECTOR’S STATEMENT
20 - 23 JUNE 2013 LO N D O N W C 1 Main Sponsor GREEtiNgs DIRECTOR’S STATEMENT Sponsors & Cultural Partners Welcome This year we’re asking questions. The artist is the person in society focused day events. Many of Questions of filmmakers, who is being paid to stop and our films have panels or Q&As questions of artists and also try and deal with them, and to – check the website for details, questions of ourselves - all part create a climate in which more where you will also find our useful Faculty of Arts and Humanities UCL Faculty of Population Health Sciences Faculty of Medical Sciences Faculty of Brain Sciences of the third edition of Open people would have occasion to links – ‘if you liked this you might Faculty of The Built Environment Faculty of Engineering Sciences UCL Slade School of Fine Art Faculty of Social and Historical Sciences City Docs Fest. And we are stop. …You want to get people’s like that’ suggesting alternative celebrating the documentarian attention, stop them dead in their journeys through the festival. who changes things. Not only tracks. Get them to say, ‘oh wait a Media Partners changing their world, but minute!’ To turn the tables! To say, There is no single way of making changing our understanding of ‘everything I thought obtained, documentary – people can’t even the wider world. So, what is the doesn’t obtain: oh my God! What agree where documentary ends onus on today’s filmmakers? does that mean?’” and fiction begins (see our Hybrid Forms strand). -
Valentino, Rudolph (1895-1926) by Peter J
Valentino, Rudolph (1895-1926) by Peter J. Holliday Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com The most popular of silent-screen stars, the darkly handsome Valentino gazed at his heroines with a mixture of passion and melancholy that sent chills down female (and some male) spines. To American women he represented mysterious, forbidden eroticism, the fulfillment of dreams of illicit love and uninhibited passion; but most male moviegoers found his acting ludicrous, his manner foppish, and his screen character effeminate. His androgynous persona, at once assertively virile and gracefully sensitive, threatened traditional images of American masculinity in a crucial period of cultural change. Top: A Paramount Born Rodolfo Alfonzo Raffaele Pierre Philibert Guglielmi in Castellaneta, Italy in 1895, Pictures poster for The Valentino emigrated to New York in 1913. There he took a succession of jobs, including Shiek (1921). Above: Rudolph dishwasher and waiter, and was booked by the police several times on suspicion of Valentino (left) with petty theft and blackmail. Elinor Glyn. In 1917 he traveled to Hollywood where he landed bit parts in the movies, mostly as an exotic dancer or villain. He married bisexual actress Jean Acker in 1920, but the marriage was never consummated. Valentino's big break came in 1921 when Metro screenwriter June Mathis insisted that director Rex Ingram give him the lead in The Four Horsemen of the Apocalypse. The film catapulted Valentino into stardom. He reached new heights with The Sheik (1921) for Paramount. During the film's exhibition women fainted in the aisles. -
Britten100launched in San Francisco Included in This Issue: Celebrations for Britten’S Centenary in 2013 Include Performances in 140 Cities Around the World
Boosey & Hawkes Music Publishers Limited October 2012 2012/3 Holloway Britten100launched in San Francisco Included in this issue: Celebrations for Britten’s centenary in 2013 include performances in 140 cities around the world. Robin Holloway travels to Turnage San Francisco on Interview about new works: Highlights in Aldeburgh, where Britten lived including three by the Berliner Philharmoniker 10 January for the world Cello Concerto and Speranza and worked most of his life, include and Simon Rattle. A series of events at premiere of his new performances of Peter Grimes on the beach Carnegie Hall in New York will be announced Debussy song and six new works specially commissioned in early 2013. orchestrations for by the Britten-Pears Foundation and Royal soprano Renée Fleming. New books for the centenary include Paul Philharmonic Society. A week-long festival in Michael Tilson Thomas Kildea’s Benjamin Britten - the first major Glasgow sees Scotland’s four leading Photo: Charlie Troman conducts the San biography for twenty years (Penguin’s Allen orchestras and ensembles come together Francisco Symphony in ten settings of Paul Lane), a collection of rare images from The in April 2013. Verlaine’s poetry, which Holloway has titled Red House archive entitled Britten in Pictures, C’est l’extase after one of the chosen songs. Britten’s global appeal is demonstrated with and the sixth and final volume of Letters from Orchestra and conductor have long territorial premieres of his operas staged in a Life (Boydell & Brewer). BBC Radio and championed Holloway’s music, Brazil, Chile, China, Israel, Russia, Turkey, Television honours Britten with a year-long commissioning a sequence of works Japan and New Zealand. -
Listening Program Script I
Non-Directed Music Listening Program Series I Non-Directed Music Listening Program Script Series I Week 1 Composer: Manuel de Falla (1876 – 1946) Composition: “Ritual Fire Dance” from “El Amor Brujo” Performance: Philadelphia Orchestra, Eugene Ormandy Recording: “Greatest Hits of The Ballet, Vol. 1” CBS XMT 45658 Day 1: This week’s listening selection is titled “Ritual Fire Dance”. It was composed by Manuel de Falla. Manuel de Falla was a Spanish musician who used ideas from folk stories and folk music in his compositions. The “Ritual Fire Dance” is from a ballet called “Bewitched By Love” and describes in musical images how the heroine tries to chase away an evil spirit which has been bothering her. Day 2: This week’s feature selection is “Ritual Fire Dance” composed by the Spanish writer Manuel de Falla. In this piece of music, de Falla has used the effects of repetition, gradual crescendo, and ostinato rhythms to create this very exciting composition. Crescendo is a musical term which means the music gets gradually louder. Listen to the “Ritual Fire Dance” this time to see how the effect of the ‘crescendo’ helps give a feeling of excitement to the piece. Day 3: This week’s featured selection, “Ritual Fire Dance”, was written by the Spanish composer Manuel de Falla in 1915. Yesterday we mentioned how the composer made use of the effect of gradually getting louder to help create excitement. Do you remember the musical term for the effect of gradually increasing the volume? If you were thinking of the word ‘crescendo’ you are correct.