Brian C Thompson
Brian C. Thompson (BFA, MA, MLIS, PHD) is a music scholar based in Montreal (Canada) and Hong Kong (PRC). He is a former senior lecturer in the Department of Music at the Chinese University of Hong Kong and has also been employed by Naxos International, the University of Hong Kong, McGill University, and the Canadian Broadcasting Corporation.
His research on musical life in the 19th-century has focused on aspects of identity and nationalism and he is currently working on projects related to gender, empire, and transnational migration. His work has appeared in leading journals, including the Journal of the Society for American Music, Ethnomusicology, and the Journal of the Royal Musical Association, and been published by W.W. Norton, the McGill-Queen’s University Press, and other academic presses.
Brian Thompson (BFA, MA, MLIS, PhD) est un chercheur en musique basé à Montréal (Canada) et à Hong Kong (RPC). Il enseignait l’histoire de la musique et la pédagogie au Département de musique de l'Université chinoise de Hong Kong. Il travaillait également chez Naxos International, à l'Université de Hong Kong, à l'Université McGill et à la Société Radio-Canada.
Ses recherches sur la vie musicale au XIXe siècle se sont concentrées sur les aspects de l'identité et du nationalisme. Il travaille actuellement sur des projets liés à l'identité, la musique, et à la migration transnationale. Son travail a été publié dans des revues de premier plan, notamment le Journal of the Society for American Music, Ethnomusicology, et le Journal of the Royal Musical Association, et a été publié par W.W. Norton, la McGill-Queen’s University Press et d’autres presses universitaires.
Supervisors: William Kinderman, Michael J. Noone, and John Zucchi
Phone: (852) 9776 7100
Address: Hong Kong University of Science and Technology
Clear Water Bay, Kowloon
Hong Kong
3725, rue Sainte-Famille
Montreal (QC) Canada
His research on musical life in the 19th-century has focused on aspects of identity and nationalism and he is currently working on projects related to gender, empire, and transnational migration. His work has appeared in leading journals, including the Journal of the Society for American Music, Ethnomusicology, and the Journal of the Royal Musical Association, and been published by W.W. Norton, the McGill-Queen’s University Press, and other academic presses.
Brian Thompson (BFA, MA, MLIS, PhD) est un chercheur en musique basé à Montréal (Canada) et à Hong Kong (RPC). Il enseignait l’histoire de la musique et la pédagogie au Département de musique de l'Université chinoise de Hong Kong. Il travaillait également chez Naxos International, à l'Université de Hong Kong, à l'Université McGill et à la Société Radio-Canada.
Ses recherches sur la vie musicale au XIXe siècle se sont concentrées sur les aspects de l'identité et du nationalisme. Il travaille actuellement sur des projets liés à l'identité, la musique, et à la migration transnationale. Son travail a été publié dans des revues de premier plan, notamment le Journal of the Society for American Music, Ethnomusicology, et le Journal of the Royal Musical Association, et a été publié par W.W. Norton, la McGill-Queen’s University Press et d’autres presses universitaires.
Supervisors: William Kinderman, Michael J. Noone, and John Zucchi
Phone: (852) 9776 7100
Address: Hong Kong University of Science and Technology
Clear Water Bay, Kowloon
Hong Kong
3725, rue Sainte-Famille
Montreal (QC) Canada
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Books by Brian C Thompson
Contents:
1. La Fleur de Mai (The May Flower) Polka de salon (5 pages)
2. Col. Ellsworth’s Gallopade (4 pages)
3. The War Fever, Grand galop characteristique, op.4 (6 pages)
4. The First Welcome, polka characteristique (5 pages)
5. Grande Valse de concert, op. 6 (6 pages)
6. Ellinger Polka de salon, op.8 (5 pages)
7. Une couronne de lauriers, caprice, op.10 (9 pages)
8. L’Oiseau mouche, bluette de salon, op.11 (5 pages)
9. Shake Again Galop, An Answer to “Slap Bang” or Here We Are Again, op.27 (6 pages)
10. Grande marche de concert, op.14 (9 pages)
11. Souvenir de Tolède, op.17 (9 pages)
12. Le Papillon (The Butterfly), étude de concert, op.18 (7 pages)
13. Marche funèbre, Hommage à Pie IX (4 pages)
14. La Petite hermine, galop brilliant et facile/Vol au vent, petit galop (4 pages)
15. Première valse de salon, op.39 (10 pages)
16. Mouvement à la pavane (5 pages)
Anthems and Minstrels Shows draws on Calixa Lavallée’s music, letters, and published writings, as well as newspapers and music magazines of the time, to provide a detailed account of his life and of musical life in North America. Whereas Lavallée has previously been portrayed as a humble French Canadian forced into exile by the ignorance and injustice of his contemporaries, here he emerges as a man who was fully engaged with the musical, social, and political currents of his time: ambitious, radical, Bohemian. He also appears a contradictory figure in many ways: the composer of O Canada and yet hailed as the “Lafayette of American Music.” The book explores Lavallée’s music and identity and what they mean today.
Reviews
"The most detailed presentation of the life and accomplishments of the composer of Canada’s national anthem to date, Anthems and Minstrel Shows offers the reader a real sense of Calixa Lavallée, within the context of the political and social developments of his time." Elaine Keillor, Distinguished Research Professor Emerita, Carleton University and the author of Music in Canada
“This is the fruition of [Thompson's] two decades’ endeavour, the first in-depth biography of the man who wrote “O Canada” (yet opposed Confederation).” Sarah Murdoch, Toronto Star (27 June 2015)
“We’re not likely to get a more thorough biography of Calixa Lavallée than Anthems and Minstrel Shows, Brian Christopher Thompson’s huge and meticulous account of the life and times of the composer of “O Canada.”” Dane Lanken, Montreal Review of Books (Summer 2015)
“Thompson does a good job providing nuance to Lavallée’s tangled history. Privileging details over idealization, Anthems and Minstrel Shows resounds like a complex contrapuntal harmony instead of a repetitive single-note melody.” Adèle Barclay, Literary Review of Canada (July-Aug 2015)
“Enfin, une biographie qui renouvelle la vision que nous avions de ce compositeur méconnu. L'auteur a eu recours des une somme incroyable de sources inédites, notamment pour retracer la carrière de Lavallée de son premier séjour aux États-Unis en 1859 jusqu'à son départ pour Paris en 1873. Voilà donc une biographie essentielle dont je souhaite une traduction française.” Barrière Mireille, auteur L’Opéra français de Montréal
“Lavallée is an intriguing figure, and Thompson does an excellent job exploring the nuances of his life. Anthems and Minstrel Shows addresses the important role of music within society and the way politics was articulated in the early days of our country.” Ryan O'Connor, Canada’s History (April 2016)
Calixa Lavallée was the outstanding musical figure in nineteenth-century Canada... He deserves to be known as much more than the composer of “O Canada,” and this full and careful rendering deserves wide recognition. John Beckwith, CAML Review (April 2016)
Drawing upon music, letters, photographs, published writings, and ephemera, Brian Thompson offers the reader a rich account of nationalism, music, and society in nineteenth-century North America as seen through the lens of the multifaceted historical figure of Calixa Lavallée... Thompson situates Lavallée’s intense life within its historical, musical, and cultural contexts to illuminate the contradictions and changing interpretations of nationalism and identity. An epilogue considers the composer’s posthumous reception. Illustrated with more than eighty photos, drawings, maps, and tables, along with a catalogue of musical works and sixteen pages of music, this is a meticulously documented and richly detailed account. Anthems and Minstrel Shows is recommended to anyone with interests in history, Canadian music and culture, and music education. Kari Veblen, Canadian Historical Review (September 2016)
Through close examination of lavallée’s nancial and professional struggles, his engagement with minstrelsy, and his political views opposing Canada’s Confederation in 1867, Thompson offers a valuable corrective to the public view of lavallée as a Canadian patriot and hero, continuing a process of reevaluation begun in the 1980s. as a result of Thompson’s meticulous original research, lavallée emerges as a complex and fascinating gure whose life and output shed new light on late nineteenth-century North american musical culture.
Gayle Sherwood Magee (University of Illinois, Urbana-Champaign) American Music (Nov 2016)
Book chapters by Brian C Thompson
Dans cet article, j’explore les relations Anglo-Américaines par le biais du théâtre musical à Londres et à New York pendant le temps de la Guerre civile américaine. Je me concentre sur James Unsworth et Henri Drayton, deux interprètes qui ont voyagé entre les deux villes à l'époque de la guerre. Chacun avait des connexions pour les deux pays et chaque avait utilisés les mots et la musique pour exprimer des opinions politiques. De leur expérience, nous voyons comment le théâtre - et les spectacles des ménestrels noirs en particulier - fourni un débouché pour leurs opinions politiques. Nous voyons aussi le début de changement dans l'influence politique, économique et culturelle en direction des États-Unis."
米国の南北戦争期におけるロンドンとニューヨーク、および音楽劇場の政治状況
本稿では、米国の南北戦争時における米英関係について、ロンドンとニューヨークの音楽劇を通じて考察する。焦点を当てるのは、同戦争中にこれら2都市間を行き来した2人のミュージシャン、ジェームズ・アンスワースとアンリ・ドレイトンである。いずれも両国と関わりを持ち、政治的意見の表明に言葉や音楽を駆使した。彼らの体験を取り上げ、演劇、特にミンストレル・ショーがいかにして政治的意見の表明手段となったのかを見る。また、米国に対する政治的、経済的、文化的影響が変化し始めたことにも注目する。
倫敦、紐約及美國內戰期間音樂廳的政治
本文通過研究美國內戰期間倫敦及紐約的音樂廳來探討英國及美國的關係。本文主要研究兩位於內戰期間遊走兩個城市的表演者: James Unsworth 及 Henri Drayton，他們均與兩個城市有所連繫並以文字和音樂表達他們的政見。我們可以通過兩位表演者來看看音樂廳以及樂手如何作為政見抒發的渠道。我們亦可看見政治、經濟及文化的改變開始影響美國。
In this paper, I explore the historiography of nationalism in music, focusing on writing since WWII. Much of literature from musicologists has continued to focus on the musical work, and on familiar composers. A more promising trend of the past decade has been the study of performance as an expression of nationalism. This area of research has been developed in part by historical musicologists but also from ethnomusicologists such as Philip Bohlman, whose recent publications have combined archival work and ethnographic studies. He and others working in this area have revealed how all styles of music are able to convey nationalism. I hope to suggest further ways forward and possibilities for interdisciplinary and international collaboration."
ISBN: 978-0-393-64032-8
This collection of 21 essays from leading teachers and scholars covers everything from teaching historical periods to enlivening the classroom. It is both a resource for current music history teachers and an ideal text for history pedagogy courses.
Contributors: Christina Bashford, William Brooks, Deniz Ertan, Barbara L. Kelly, Kendra Preston Leonard, Gayle Magee, Jeffrey Magee, Michelle Meinhart, Brian C. Thompson, and Patrick Warfield.
Articles by Brian C Thompson
This article focuses on Zhao’s score for director Zhang Yimou’s Red Sorghum (Hong gao liang, 1987), a film based on the 1986 novel by 2012 Nobel laureate Mo Yan. While the novel stretches over a period of forty-three years, from 1923 to 1976, the film focuses on the period up to and including the Japanese invasion. The film won the Golden Bear at the Berlin International Film Festival and brought both the director and actress Gong Li international acclaim. While the composer enjoyed only limited recognition beyond China, he went on to score other successful films, among them Raise the Red Lantern (1991) and Farewell, My Concubine (1993), and achieve success as a composer of concert music. The article connects Zhao’s musical language to the impact of the Cultural Revolution by examining how in Red Sorghum his music was employed to evoke a virile image of rural China.
自1949年掌權以來，中國共產黨嚴格控制各方面的文化表達。這個政策在20世紀60年代中期發生了最激進的轉變。毛澤東發動了文化大革命（1966-1976），旨在擺脫國內資產階級的元素。作曲家趙吉平在這段時期是西安音樂學院的學生。他畢業於1970年，但要直至中央音樂學院在1978年重新開放才能繼續他的學習。完成他的學業後，他將自己塑造成一個具民族風格的電影和音樂會音樂的作曲家。
本文重點介紹了趙氏為張藝謀執導，改編自1986年諾貝爾獎得主莫言的小說的電影“紅高粱”（1987）配樂。雖然原著時間軸設定為1923年至1976年，長達四十三年，這部電影只專注於開始到日本入侵的部份。這部電影贏得了柏林國際電影節金熊獎，為導演和女演員鞏俐帶來了國際讚譽。雖然趙氏作曲家在中國以外的認可有限，他繼續為其他成功的電影配樂，包括"大紅燈籠高高掛"（1991年）和"霸王別姬"（1993年），作為音樂會音樂作曲家方面亦取得成功。本文將趙氏的音樂語言與文化大革命的影響聯繫起來，探討他的音樂如何在"紅高粱"中塑造中國農村的浩大聲勢。
1860年代のモントリオールにおける音楽と反連邦制闘争
本稿では、19世紀のモントリオールにおいて、フランス系カナダ人のアイデンティティ表現に音楽がどう使用されたのかを考察する。1860年代に連邦制に反対した音楽家や知識人たちを取り上げ、フランス系カナダ人のアイデンティティ（再）確立に果たした彼らの演奏、批評、作曲などの取り組みについて探求する。主要な情報源は、当時、連邦制に強く異を唱えると共に、音楽イベントを活発に後押しした２紙、ラ・プレス紙とリュニオン・ナショナル紙である。これら2紙や他紙に広告やレビュー記事が掲載された音楽的、政治的活動の調査を通じて、フランス系カナダ人のナショナリズムを強化する手段として文化がどう使用されたのかを見ていく。また、それら音楽家たち自身もケベック独立を模索していたと思われるものの、一方では他文化に対してもオープンな姿勢を取り続け、非フランス語系とも協力するといった市民ナショナリズムの1つのあり方を示した。
1860年代蒙特婁(Montréal) 的音樂及對抗同盟戰爭
本文探討於十九世紀的蒙特婁，音樂如何展示法國-加拿大人的身分。本文集中討論1860年代的一群反對同盟的音樂家及知識分子通過表演、評論及音樂作品來建構(及/或重構) 法國-加拿大人的身分。本文資料主要來源為兩份當時極度反對同盟及經常推廣音樂活動的報章: la Presse 及 l’Union national。我們可以通過閱讀當時不同的報章(包括以上兩份)中刊登及受評論的音樂及政治活動，來看文化怎樣被使用作為強化法國-加拿大人的民族主義的手段。音樂家爭取魁北克(Québec)獨立的同時，他們仍對其他文化持開放態度並且與非法語人合作，以組成以城市為本的民族主義。
倫敦、紐約及美國內戰期間音樂廳的政治
本文通過研究美國內戰期間倫敦及紐約的音樂廳來探討英國及美國的關係。本文主要研究兩位於內戰期間遊走兩個城市的表演者: James Unsworth 及 Henri Drayton，他們均與兩個城市有所連繫並以文字和音樂表達他們的政見。我們可以通過兩位表演者來看看音樂廳以及樂手如何作為政見抒發的渠道。我們亦可看見政治、經濟及文化的改變開始影響美國。
ある移民ヴァイオリニストの遍歴: 南北戦争期のニューヨークとニューオリンズにおけるジャック・オリベイラ
本稿では、オランダ人移民のヴァイオリニスト、ジャック・オリベイラの米国における音楽家人生について考察する。英国で成功を収めたオリベイラは、1859年秋に船で渡米した。P.T.バーナムのマネジメント下に、この23歳の若者はソロ演奏家としてニューヨークの演劇シーンの常連になり、親指トム一座、ドレイトン・パーラー・オペラ団、フーリー・アンド・キャンプベルズ・ミンストレルで演奏した。1年後に南部に赴き、家族のツテがあった北軍占領下のニューオリンズに住み着く。当時の経済的困難にもかかわらず、オリベイラはすぐに同市の文化生活における重要人物の1人となったが、結局はコレラや黄熱病の流行した1867年夏に死去した。オリベイラの世界を再構築するにあたっては、手紙や日記がないために、当時の新聞、市の住民名簿、人口調査データなどを主に参照した。オリベイラの音楽活動やその成功と葛藤からは、1850年代末に新たに米国に辿り着いたこの音楽家の置かれた状況が明らかになる。また、生涯の出来事を調べることで、南北戦争時におけるニューヨークとニューオリンズの文化的生活が比較できる。本稿は、劇場における同演奏家の位置付けに光を当て、文化的階層性が音楽の嗜好にどう影響するかを明らかにすると共に、米国の音楽生活におけるヴァイオリン音楽の位置付けや、ニューオリンズの音楽生活に対する南北戦争の影響を考察する。
1850～72年におけるヘンリー・ドレイトン、イングリッシュ・オペラおよび英国系アメリカ人の関係
本稿は、バリトン歌手、オペラ台本作家、興行主であったヘンリー・ドレイトン(1822-72)の生涯と作品を通じて、大西洋両岸間の文化的諸相を考察する。出版されたオペラや当時の新聞に掲載されたレビュー記事を参照しながら、フィラデルフィアに生まれたドレイトンの音楽家人生の様々な出来事を辿る。創作作品を取り上げながら、ドレイトンがロンドンのドゥルリーレーン劇場で人気役を演じたことを始め、ジョセフ・ダガンやエドワード・ジェイムズ・ローダーなどの作曲家と協力するに至った経緯を明らかにする。ドレイトンは自身が「客間オペラ」と称した作品を、妻にしてソプラノ歌手のスザンナ・ロウと一緒に演じた。2人の人気は当地を訪問中だった米国の興行主P.T.バーナムの関心を引き、バーナムは1859年にドレイトンをニューヨークに連れていく。しかし、米国での成功が南北戦争の勃発によって短期に終わるとドレイトンはロンドンに戻り、独演の「エンターテインメント」である『北軍と南軍』を創作した。晩年はリッチングス・イングリッシュ・オペラ団の一員として過ごし、1869年にニューヨークに戻っている。
Henri Frayton, 1850-72 期間的英國歌劇及英美關係
本文通過研究男中音、歌劇作詞人及經紀人 Henri Drayton(1850-72) 以探討跨大西洋文化. 本文作者以發表的歌劇及其報章評論追溯費城出生的Drayton 的職業生涯。本文作者通過研究 Drayton 及合作的作曲家如 Joseph Duggan 及 Edward James Loder 的創作以探討 Drayton 作為倫敦 Drury Lane 劇院的歌劇供應角色。他與女高音妻子 Susanna Lowe 合演他自己稱為的‘畫室歌劇’(‘Drawing-room’ opera)，他們受歡迎的演出吸引到訪美國的經紀人 P.T. Barnum 並於1859年帶他們到紐約。他在美國的成功由於內戰爆發而中斷並且返回倫敦創作一人‘娛樂’作品—美國聯邦及其同盟國。後期的Drayton作為Richings英國歌劇公司成員，他於1869年回到紐約。
Gustave Smith 於路易斯安那州的經歷
本文探討法國出生的音樂家 Charles Gustave Smith 內戰前在新奧爾良的生活。他受聘為教堂風琴手及融入城市中的音樂社區、組職音樂會及教學，可是最終還是不能在經濟惡劣的環境下達到收支平衡。
ルイジアナでのギュスターヴ・スミスのエピソード
本稿は、南北戦争後のニューオリンズにおけるフランス生まれの音楽家、チャールズ・ギュスターヴ・スミスの音楽活動について考察する。司教教会にオルガン奏者として雇われたスミスは、同市の音楽コミュニティに深くかかわり、コンサートや音楽教育を企画したが、最後は当時の厳しい経済状況のために運営が立ち行かなくなった。
ラヴァレの肖像: 国民的音楽家のイメージ
本稿では、19世紀のフランス系カナダ人音楽家、カリサ・ラヴァレ(1842-1891)と家族に関する年代別の出来事やその他に写真や銅版画などの情報を提供し、それらを生涯の文脈の中に位置づけてみる。
Lavallée的照片: 國家音樂家的形象
本文提供法國-加拿大音樂家 Calixa Lavallée (1842-1891)及其家庭的照片和雕刻的年表及其他資料並將這些照片和雕刻連繫他的生活背景。
Book Reviews by Brian C Thompson
Contents:
1. La Fleur de Mai (The May Flower) Polka de salon (5 pages)
2. Col. Ellsworth’s Gallopade (4 pages)
3. The War Fever, Grand galop characteristique, op.4 (6 pages)
4. The First Welcome, polka characteristique (5 pages)
5. Grande Valse de concert, op. 6 (6 pages)
6. Ellinger Polka de salon, op.8 (5 pages)
7. Une couronne de lauriers, caprice, op.10 (9 pages)
8. L’Oiseau mouche, bluette de salon, op.11 (5 pages)
9. Shake Again Galop, An Answer to “Slap Bang” or Here We Are Again, op.27 (6 pages)
10. Grande marche de concert, op.14 (9 pages)
11. Souvenir de Tolède, op.17 (9 pages)
12. Le Papillon (The Butterfly), étude de concert, op.18 (7 pages)
13. Marche funèbre, Hommage à Pie IX (4 pages)
14. La Petite hermine, galop brilliant et facile/Vol au vent, petit galop (4 pages)
15. Première valse de salon, op.39 (10 pages)
16. Mouvement à la pavane (5 pages)
Anthems and Minstrels Shows draws on Calixa Lavallée’s music, letters, and published writings, as well as newspapers and music magazines of the time, to provide a detailed account of his life and of musical life in North America. Whereas Lavallée has previously been portrayed as a humble French Canadian forced into exile by the ignorance and injustice of his contemporaries, here he emerges as a man who was fully engaged with the musical, social, and political currents of his time: ambitious, radical, Bohemian. He also appears a contradictory figure in many ways: the composer of O Canada and yet hailed as the “Lafayette of American Music.” The book explores Lavallée’s music and identity and what they mean today.
Reviews
"The most detailed presentation of the life and accomplishments of the composer of Canada’s national anthem to date, Anthems and Minstrel Shows offers the reader a real sense of Calixa Lavallée, within the context of the political and social developments of his time." Elaine Keillor, Distinguished Research Professor Emerita, Carleton University and the author of Music in Canada
“This is the fruition of [Thompson's] two decades’ endeavour, the first in-depth biography of the man who wrote “O Canada” (yet opposed Confederation).” Sarah Murdoch, Toronto Star (27 June 2015)
“We’re not likely to get a more thorough biography of Calixa Lavallée than Anthems and Minstrel Shows, Brian Christopher Thompson’s huge and meticulous account of the life and times of the composer of “O Canada.”” Dane Lanken, Montreal Review of Books (Summer 2015)
“Thompson does a good job providing nuance to Lavallée’s tangled history. Privileging details over idealization, Anthems and Minstrel Shows resounds like a complex contrapuntal harmony instead of a repetitive single-note melody.” Adèle Barclay, Literary Review of Canada (July-Aug 2015)
“Enfin, une biographie qui renouvelle la vision que nous avions de ce compositeur méconnu. L'auteur a eu recours des une somme incroyable de sources inédites, notamment pour retracer la carrière de Lavallée de son premier séjour aux États-Unis en 1859 jusqu'à son départ pour Paris en 1873. Voilà donc une biographie essentielle dont je souhaite une traduction française.” Barrière Mireille, auteur L’Opéra français de Montréal
“Lavallée is an intriguing figure, and Thompson does an excellent job exploring the nuances of his life. Anthems and Minstrel Shows addresses the important role of music within society and the way politics was articulated in the early days of our country.” Ryan O'Connor, Canada’s History (April 2016)
Calixa Lavallée was the outstanding musical figure in nineteenth-century Canada... He deserves to be known as much more than the composer of “O Canada,” and this full and careful rendering deserves wide recognition. John Beckwith, CAML Review (April 2016)
Drawing upon music, letters, photographs, published writings, and ephemera, Brian Thompson offers the reader a rich account of nationalism, music, and society in nineteenth-century North America as seen through the lens of the multifaceted historical figure of Calixa Lavallée... Thompson situates Lavallée’s intense life within its historical, musical, and cultural contexts to illuminate the contradictions and changing interpretations of nationalism and identity. An epilogue considers the composer’s posthumous reception. Illustrated with more than eighty photos, drawings, maps, and tables, along with a catalogue of musical works and sixteen pages of music, this is a meticulously documented and richly detailed account. Anthems and Minstrel Shows is recommended to anyone with interests in history, Canadian music and culture, and music education. Kari Veblen, Canadian Historical Review (September 2016)
Through close examination of lavallée’s nancial and professional struggles, his engagement with minstrelsy, and his political views opposing Canada’s Confederation in 1867, Thompson offers a valuable corrective to the public view of lavallée as a Canadian patriot and hero, continuing a process of reevaluation begun in the 1980s. as a result of Thompson’s meticulous original research, lavallée emerges as a complex and fascinating gure whose life and output shed new light on late nineteenth-century North american musical culture.
Gayle Sherwood Magee (University of Illinois, Urbana-Champaign) American Music (Nov 2016)
Dans cet article, j’explore les relations Anglo-Américaines par le biais du théâtre musical à Londres et à New York pendant le temps de la Guerre civile américaine. Je me concentre sur James Unsworth et Henri Drayton, deux interprètes qui ont voyagé entre les deux villes à l'époque de la guerre. Chacun avait des connexions pour les deux pays et chaque avait utilisés les mots et la musique pour exprimer des opinions politiques. De leur expérience, nous voyons comment le théâtre - et les spectacles des ménestrels noirs en particulier - fourni un débouché pour leurs opinions politiques. Nous voyons aussi le début de changement dans l'influence politique, économique et culturelle en direction des États-Unis."
米国の南北戦争期におけるロンドンとニューヨーク、および音楽劇場の政治状況
本稿では、米国の南北戦争時における米英関係について、ロンドンとニューヨークの音楽劇を通じて考察する。焦点を当てるのは、同戦争中にこれら2都市間を行き来した2人のミュージシャン、ジェームズ・アンスワースとアンリ・ドレイトンである。いずれも両国と関わりを持ち、政治的意見の表明に言葉や音楽を駆使した。彼らの体験を取り上げ、演劇、特にミンストレル・ショーがいかにして政治的意見の表明手段となったのかを見る。また、米国に対する政治的、経済的、文化的影響が変化し始めたことにも注目する。
倫敦、紐約及美國內戰期間音樂廳的政治
本文通過研究美國內戰期間倫敦及紐約的音樂廳來探討英國及美國的關係。本文主要研究兩位於內戰期間遊走兩個城市的表演者: James Unsworth 及 Henri Drayton，他們均與兩個城市有所連繫並以文字和音樂表達他們的政見。我們可以通過兩位表演者來看看音樂廳以及樂手如何作為政見抒發的渠道。我們亦可看見政治、經濟及文化的改變開始影響美國。
In this paper, I explore the historiography of nationalism in music, focusing on writing since WWII. Much of literature from musicologists has continued to focus on the musical work, and on familiar composers. A more promising trend of the past decade has been the study of performance as an expression of nationalism. This area of research has been developed in part by historical musicologists but also from ethnomusicologists such as Philip Bohlman, whose recent publications have combined archival work and ethnographic studies. He and others working in this area have revealed how all styles of music are able to convey nationalism. I hope to suggest further ways forward and possibilities for interdisciplinary and international collaboration."
ISBN: 978-0-393-64032-8
This collection of 21 essays from leading teachers and scholars covers everything from teaching historical periods to enlivening the classroom. It is both a resource for current music history teachers and an ideal text for history pedagogy courses.
Contributors: Christina Bashford, William Brooks, Deniz Ertan, Barbara L. Kelly, Kendra Preston Leonard, Gayle Magee, Jeffrey Magee, Michelle Meinhart, Brian C. Thompson, and Patrick Warfield.
This article focuses on Zhao’s score for director Zhang Yimou’s Red Sorghum (Hong gao liang, 1987), a film based on the 1986 novel by 2012 Nobel laureate Mo Yan. While the novel stretches over a period of forty-three years, from 1923 to 1976, the film focuses on the period up to and including the Japanese invasion. The film won the Golden Bear at the Berlin International Film Festival and brought both the director and actress Gong Li international acclaim. While the composer enjoyed only limited recognition beyond China, he went on to score other successful films, among them Raise the Red Lantern (1991) and Farewell, My Concubine (1993), and achieve success as a composer of concert music. The article connects Zhao’s musical language to the impact of the Cultural Revolution by examining how in Red Sorghum his music was employed to evoke a virile image of rural China.
自1949年掌權以來，中國共產黨嚴格控制各方面的文化表達。這個政策在20世紀60年代中期發生了最激進的轉變。毛澤東發動了文化大革命（1966-1976），旨在擺脫國內資產階級的元素。作曲家趙吉平在這段時期是西安音樂學院的學生。他畢業於1970年，但要直至中央音樂學院在1978年重新開放才能繼續他的學習。完成他的學業後，他將自己塑造成一個具民族風格的電影和音樂會音樂的作曲家。
本文重點介紹了趙氏為張藝謀執導，改編自1986年諾貝爾獎得主莫言的小說的電影“紅高粱”（1987）配樂。雖然原著時間軸設定為1923年至1976年，長達四十三年，這部電影只專注於開始到日本入侵的部份。這部電影贏得了柏林國際電影節金熊獎，為導演和女演員鞏俐帶來了國際讚譽。雖然趙氏作曲家在中國以外的認可有限，他繼續為其他成功的電影配樂，包括"大紅燈籠高高掛"（1991年）和"霸王別姬"（1993年），作為音樂會音樂作曲家方面亦取得成功。本文將趙氏的音樂語言與文化大革命的影響聯繫起來，探討他的音樂如何在"紅高粱"中塑造中國農村的浩大聲勢。
1860年代のモントリオールにおける音楽と反連邦制闘争
本稿では、19世紀のモントリオールにおいて、フランス系カナダ人のアイデンティティ表現に音楽がどう使用されたのかを考察する。1860年代に連邦制に反対した音楽家や知識人たちを取り上げ、フランス系カナダ人のアイデンティティ（再）確立に果たした彼らの演奏、批評、作曲などの取り組みについて探求する。主要な情報源は、当時、連邦制に強く異を唱えると共に、音楽イベントを活発に後押しした２紙、ラ・プレス紙とリュニオン・ナショナル紙である。これら2紙や他紙に広告やレビュー記事が掲載された音楽的、政治的活動の調査を通じて、フランス系カナダ人のナショナリズムを強化する手段として文化がどう使用されたのかを見ていく。また、それら音楽家たち自身もケベック独立を模索していたと思われるものの、一方では他文化に対してもオープンな姿勢を取り続け、非フランス語系とも協力するといった市民ナショナリズムの1つのあり方を示した。
1860年代蒙特婁(Montréal) 的音樂及對抗同盟戰爭
本文探討於十九世紀的蒙特婁，音樂如何展示法國-加拿大人的身分。本文集中討論1860年代的一群反對同盟的音樂家及知識分子通過表演、評論及音樂作品來建構(及/或重構) 法國-加拿大人的身分。本文資料主要來源為兩份當時極度反對同盟及經常推廣音樂活動的報章: la Presse 及 l’Union national。我們可以通過閱讀當時不同的報章(包括以上兩份)中刊登及受評論的音樂及政治活動，來看文化怎樣被使用作為強化法國-加拿大人的民族主義的手段。音樂家爭取魁北克(Québec)獨立的同時，他們仍對其他文化持開放態度並且與非法語人合作，以組成以城市為本的民族主義。
倫敦、紐約及美國內戰期間音樂廳的政治
本文通過研究美國內戰期間倫敦及紐約的音樂廳來探討英國及美國的關係。本文主要研究兩位於內戰期間遊走兩個城市的表演者: James Unsworth 及 Henri Drayton，他們均與兩個城市有所連繫並以文字和音樂表達他們的政見。我們可以通過兩位表演者來看看音樂廳以及樂手如何作為政見抒發的渠道。我們亦可看見政治、經濟及文化的改變開始影響美國。
ある移民ヴァイオリニストの遍歴: 南北戦争期のニューヨークとニューオリンズにおけるジャック・オリベイラ
本稿では、オランダ人移民のヴァイオリニスト、ジャック・オリベイラの米国における音楽家人生について考察する。英国で成功を収めたオリベイラは、1859年秋に船で渡米した。P.T.バーナムのマネジメント下に、この23歳の若者はソロ演奏家としてニューヨークの演劇シーンの常連になり、親指トム一座、ドレイトン・パーラー・オペラ団、フーリー・アンド・キャンプベルズ・ミンストレルで演奏した。1年後に南部に赴き、家族のツテがあった北軍占領下のニューオリンズに住み着く。当時の経済的困難にもかかわらず、オリベイラはすぐに同市の文化生活における重要人物の1人となったが、結局はコレラや黄熱病の流行した1867年夏に死去した。オリベイラの世界を再構築するにあたっては、手紙や日記がないために、当時の新聞、市の住民名簿、人口調査データなどを主に参照した。オリベイラの音楽活動やその成功と葛藤からは、1850年代末に新たに米国に辿り着いたこの音楽家の置かれた状況が明らかになる。また、生涯の出来事を調べることで、南北戦争時におけるニューヨークとニューオリンズの文化的生活が比較できる。本稿は、劇場における同演奏家の位置付けに光を当て、文化的階層性が音楽の嗜好にどう影響するかを明らかにすると共に、米国の音楽生活におけるヴァイオリン音楽の位置付けや、ニューオリンズの音楽生活に対する南北戦争の影響を考察する。
1850～72年におけるヘンリー・ドレイトン、イングリッシュ・オペラおよび英国系アメリカ人の関係
本稿は、バリトン歌手、オペラ台本作家、興行主であったヘンリー・ドレイトン(1822-72)の生涯と作品を通じて、大西洋両岸間の文化的諸相を考察する。出版されたオペラや当時の新聞に掲載されたレビュー記事を参照しながら、フィラデルフィアに生まれたドレイトンの音楽家人生の様々な出来事を辿る。創作作品を取り上げながら、ドレイトンがロンドンのドゥルリーレーン劇場で人気役を演じたことを始め、ジョセフ・ダガンやエドワード・ジェイムズ・ローダーなどの作曲家と協力するに至った経緯を明らかにする。ドレイトンは自身が「客間オペラ」と称した作品を、妻にしてソプラノ歌手のスザンナ・ロウと一緒に演じた。2人の人気は当地を訪問中だった米国の興行主P.T.バーナムの関心を引き、バーナムは1859年にドレイトンをニューヨークに連れていく。しかし、米国での成功が南北戦争の勃発によって短期に終わるとドレイトンはロンドンに戻り、独演の「エンターテインメント」である『北軍と南軍』を創作した。晩年はリッチングス・イングリッシュ・オペラ団の一員として過ごし、1869年にニューヨークに戻っている。
Henri Frayton, 1850-72 期間的英國歌劇及英美關係
本文通過研究男中音、歌劇作詞人及經紀人 Henri Drayton(1850-72) 以探討跨大西洋文化. 本文作者以發表的歌劇及其報章評論追溯費城出生的Drayton 的職業生涯。本文作者通過研究 Drayton 及合作的作曲家如 Joseph Duggan 及 Edward James Loder 的創作以探討 Drayton 作為倫敦 Drury Lane 劇院的歌劇供應角色。他與女高音妻子 Susanna Lowe 合演他自己稱為的‘畫室歌劇’(‘Drawing-room’ opera)，他們受歡迎的演出吸引到訪美國的經紀人 P.T. Barnum 並於1859年帶他們到紐約。他在美國的成功由於內戰爆發而中斷並且返回倫敦創作一人‘娛樂’作品—美國聯邦及其同盟國。後期的Drayton作為Richings英國歌劇公司成員，他於1869年回到紐約。
Gustave Smith 於路易斯安那州的經歷
本文探討法國出生的音樂家 Charles Gustave Smith 內戰前在新奧爾良的生活。他受聘為教堂風琴手及融入城市中的音樂社區、組職音樂會及教學，可是最終還是不能在經濟惡劣的環境下達到收支平衡。
ルイジアナでのギュスターヴ・スミスのエピソード
本稿は、南北戦争後のニューオリンズにおけるフランス生まれの音楽家、チャールズ・ギュスターヴ・スミスの音楽活動について考察する。司教教会にオルガン奏者として雇われたスミスは、同市の音楽コミュニティに深くかかわり、コンサートや音楽教育を企画したが、最後は当時の厳しい経済状況のために運営が立ち行かなくなった。
ラヴァレの肖像: 国民的音楽家のイメージ
本稿では、19世紀のフランス系カナダ人音楽家、カリサ・ラヴァレ(1842-1891)と家族に関する年代別の出来事やその他に写真や銅版画などの情報を提供し、それらを生涯の文脈の中に位置づけてみる。
Lavallée的照片: 國家音樂家的形象
本文提供法國-加拿大音樂家 Calixa Lavallée (1842-1891)及其家庭的照片和雕刻的年表及其他資料並將這些照片和雕刻連繫他的生活背景。
Review of two recent books about the use of music in the films of Stanley Kubrick, director of 'Paths of Glory' (1957), 'Spartacus' (1960), 'Lolita' (1962), 'Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb' (1964), ' '2001: A Space Odyssey' (1968), A Clockwork Orange' (1971), 'Barry Lyndon' (1975), 'The Shining' (1980), 'Full Metal Jacket' (1987), and 'Eyes Wide Shut' (1999).
CONTENTS: Recovering the creole synthesis: The roots of blackface minstrelsy; The creole synthesis in the new world: Cultures in contact; Long Island and the Lower East Side: Mount’s back- ground, youth, and apprenticeships; Minstrelsy’s material cul- ture: The evidence of Mount’s portraiture; Melody’s polyrhythmic polysemic possibilities: The bodily evidence of Mount’s music; Akimbo culture: Dance and the participatory pleasures of the body .
7 December 2017 (Thursday)
https://www.elite.cuhk.edu.hk/expo2017
In 2012 the Hong Kong Education Bureau launched the New Academic Structure (NAS). Under what was known as 3-3-4, students complete three years of compulsory junior secondary school and three years of senior secondary before entering what is usually a four-year bachelor’s degree programme. Replacing the colonial-era system of O-Levels and A-Levels, the HKDSE aimed to prepare students for a range of possible future directions, including both associate degrees and undergraduate studies. With five years of the NAS behind us, it is time to assess how well the HKDSE is preparing students for university studies.
This poster aims to provide some insights into how well the HKDSE in Music is preparing students for university studies. It is based on a careful comparison of the secondary and university curriculum and a survey of 120 CUHK music students, conducted in May 2017. Preliminary evidence suggests that in a number of ways the secondary curriculum fails to provide students with adequate preparation for university studies. In addition to illustrating the discrepancies between the objectives and outcomes of the HKDSE in Music and university entrance requirements, the poster aims to offer recommendations in how we might bridge the gap between secondary and tertiary education in music.
Building on the work of Toll, Hans Nathan, William Cockrell, Christopher J. Smith, and others, this paper explores Irish minstrel show performers of the 1850s and 1860s and the music they performed. Through performance reviews, advertisements, published texts, and sheet music, I explore how traditional Irish idioms came to be accepted part of blackface minstrelsy. I focus on the career of James Unsworth Jr., a ‘stump orator,’ banjo player, singer, and songwriter, who was born in Liverpool, raised in the predominantly Irish Montreal neighborhood of Griffintown, and who specialized in songs describing the immigrant experience in terms and sounds that immigrants understood.
With a backdrop of war and divisive national politics, this paper explores the world of music in Canada in 1917. It focuses on events in Montreal, then the country’s largest and most cosmopolitan city, and the location of many of fiercest battles over conscription. The paper examines in detail the contents of two periodicals published in Montreal: Le Passe-temps, a popular bi-weekly containing entertainment news and sheet music, and Le Canada Musical, a more upmarket monthly. Viewed together, and supplemented with references from newspapers and other periodicals, these journals reveal the public's contradictory fascination with national song and the musical life of the international community.
As the rst element in a comprehensive study of Portman’s work, this paper focuses on the ways in which her music establishes the idea of ‘Englishness’ in two very di erent lms: Emma (1996), a light comedy based on Jane Austen’s early 19th-century tale of a well-meaning but inept match-mak- er, and Never Let Me Go (2010), a dystopian story of cloning in an alternate version of the present, based on the novel by Kazuo Ishiguro. Both lms are set largely in rural England. In both, Portman relies on similar tonal (often modal) thematic material, conveyed through light orchestral forces. ese musical elements are central to establishing the tone of each lm but not the period in which it is set. Whereas Portman has frequently stated that she writes for character, this paper argues that through its frequent placement in exterior scenes, her non-diegetic music comes to form a link with the landscape, and thus become a signi er of England itself. us, in addition to exploring an im- portant aspect of Portman’s work, this paper also opens discussion of the indirect ways in which lm music may evoke ideas of the nation.
Focusing on the work of composers Patrick Doyle (Sense and Sensibility, 1995), Rachel Portman (Emma, 1996), and Dario Marianelli (Pride and Prejudice, 2005), I examine the ways in which composers have created the sound spaces in which these stories unfold on screen. For Ang Lee’s adaptation of Sense and Sensibility, Doyle created a pastiche score – music in the style of the past. Music first heard in on-screen performances is reinterpreted in the background, adding new layers of meaning as the story progresses. Portman, who has made a career writing music for period films, adopted a more traditional approach in her predominantly non-diegetic score for Douglas McGrath’s Emma. Finally, the Italian composer Dario Marianelli created a more contemporary sound for director Joe Wright’s adaptation of Pride and Prejudice. While each of these composers used a different approach to their scoring, in all three films music could be said to reach beyond words (and visual images) to make these films truly Romantic.
In this paper, I explore connections between music and wealth through photographic images produced by Notman between the year of Canadian Confederation, 1867, and the early 1880s. Among the thousands of photographs in the McCord Museum’s collections are numerous images of musicians who resided in or passed through Montreal during these years. Most were Europeans by birth – from Italy, Germany, France, and elsewhere. Their patrons were the largely British bourgeoisie that formed Notman’s main clientele. In addition to taking their portraits in his studio, he photographed their increasingly lavish homes. His success enabled him to acquire a mansion of his own on the edge of the ‘golden square mile,’ where he too played host to an artistic salon. While focusing on the Notman’s photographic images, the paper situates them in their historical context: exploring a society closely linked to the cultural practices of Britain and ideas of empire, while falling increasingly under the influence of the United States.
As the first element in a comprehensive study of Portman’s work, this paper focuses on the ways in which her music establishes the idea of ‘Englishness’ in two very different films: Emma (1996), a light comedy based on Jane Austen’s early 19th-century tale of a well-meaning but inept match-maker, and Never Let Me Go (2010), a dystopian story of cloning in an alternate version of the present, based on the novel by Kazuo Ishiguro. Both films are set largely in rural England. In both, Portman relies on similar tonal (often modal) thematic material, conveyed through light orchestral forces. These musical elements are central to establishing the tone of each film. Whereas Portman has frequently stated that she writes for character, this paper argues that through its frequent placement in exterior scenes, her non-diegetic music comes to form a link with the landscape, and thus become a signifier of England itself. Thus, in addition to exploring an important aspect of Portman’s work, this paper also opens discussion of the indirect ways in which film music may evoke ideas of the nation.
Through a close examination of the British press, this paper explores the place of opera in British popular culture of the 1860s and the role of the female impersonator in British minstrelsy. It shows that disparaging comments from newspaper critics did little to dampen the public’s appetite for Eugene and other female impersonators, either in London or Liverpool. The success of Christy’s company, generally, appears to have resulted from the company’s ability to tailor its productions to tastes of British audiences. While this study focuses on the opera burlesque, it also provides an opportunity to explore the place of cross-dressing in nineteenth-century theatre, and British attitudes on race, gender, and sexual orientation.
Building on the work of Featherstone, Pickering, and others, this paper will explore the place of minstrelsy in British culture through the performances of Unsworth and Eugene. The paper will examine how the duo adapted their act for audiences in London, Liverpool, and in Scotland, and focus on the reception of their performances in the press. These reviews provide insights into the diversity of the audiences they attracted and a seeming acceptance of the duo’s apparent homosexuality, but with slavery and economic hardship in the background, they also hint at the political tensions that then existed between the two countries.
Despite the growth in scholarly work on the minstrel show, the “female role” and its cultural significance remain under explored. Few of these performers remained active into the era of sound recording and film, and resources were limited. This paper makes use of materials recently made available through digitization. While making reference to advertisements, performance reviews and other sources, the paper will focus on visual representations of ‘wench dancer’ found in the carte-de-visit, photographic images collected by fans of the performers. Together, these resources suggest that as with other aspects of the ‘blackface mask,’ the ‘female’ characters played on the sexual desires of the largely male audiences. They suggest, among other things, that attitudes towards sexuality were far more open than may be fully understood, and that 19th-century performers had a much in common with those of our own time.
This paper focuses on Zhao’s score for director Zhang Yimou’s Red Sorghum (Hong gao liang, 1987), a film based on the 1986 novel by 2013 Nobel laureate Mo Yan. While the novel stretches over a period of forty-three years, from 1923 to 1976, the film focuses on the period up to and including the Japanese invasion. The film won the Golden Bear at the Berlin International Film Festival and brought both the director and actress Gong Li international acclaim. While the composer enjoyed only limited recognition beyond China, he went on to score other successful films, among them Raise the Red Lantern (1991) and Farewell, My Concubine (1993), and achieve success as a composer of concert music. The paper connects Zhao’s musical language to the impact of the Cultural Revolution by examining how in Red Sorghum his music was employed to evoke a virile image of rural China.
In this paper, I explore the historiography of nationalism in music, focusing on writing since WWII. Much of literature from musicologists has continued to focus on the musical work, and on familiar composers. A more promising trend of the past decade has been the study of performance as an expression of nationalism. This area of research has been developed in part by historical musicologists but also from ethnomusicologists such as Philip Bohlman, whose recent publications have combined archival work and ethnographic studies. He and others working in this area have revealed how all styles of music are able to convey nationalism. I hope to suggest further ways forward and possibilities for interdisciplinary and international collaboration. "
Angelo Bozzolini’s Chopin was produced in time for the 200th anniversary of the composer’s birth, in 2010, and has now been released on DVD through EuroArts. Chopin is a film that presents no revelations or conspiracies. Rather, it calmly celebrates the composer’s life and music. The film opens with reflections on the composer’s genius. It then moves largely chronologically through his life, with digressions that focus on aspects of his music and his place as a national symbol of the Polish people.
To tell this story, Angelo Bozzolini has assembled a “who’s-who” of famous musicians commenting on Chopin and his music. Vladimir Ashkenazy, Daniel Barenboim, Martha Argerich, and Charles Rosen figure prominently. Blended in with recent interviews, are city scenes of present-day Poland and Paris, and some very well selected archival footage. Performances and interviews with Arthur Rubinstein, Alfred Cortot, and other early luminaries of the twentieth-century piano world, merge with footage of Ivo Pogorelich, Krystian Zimmerman and others at the start of careers that were launched at the International Chopin Competition.
To allow Chopin to play an active role in the film, Bozzolini makes use of digital animation that brings the composer back to life through a well known photograph, taken just before his death in 1849. Chopin’s eyes blink, his hand rises and falls, his mouth moves, and we hear him “speak” (in Italian). George Sand also contributes through a late photograph. After the novelty wears off, the effect may for some viewers distract from the words they are speaking, but these moments of hearing directly from Chopin and Sand are but a small part of an hour-long documentary, and the filmmakers deserve credit for taking a chance with the new technology.
With Chopin, Angelo Bozzolini has made an important contribution to the already substantial number of films about the composer. The image that emerges here is one of an enduring presence, whose music continues to engage the most thoughtful musicians of our time. The film’s greatest strength is in the quality of the commentaries presented here and the fluidity with which they are edited together. Viewers who know little about Chopin will learn a great deal. Those who are already well acquainted with his life and music may have seen some of this footage elsewhere but will appreciate the care with which this film has been assembled.
In music as in marriage, anniversaries provide a time for stock-taking. Since its October 1987 Houston première, John Adams’s Nixon in China has fared far better than most new operas. It has been performed more than 150 times, with production in over a dozen countries and more on the way. Now, 20 years after the release of the first (Nonesuch) recording of Nixon, this new 3-CD set on the Naxos label provides more evidence of the opera’s enduring qualities.
A great buzz of media attention preceded Nixon’s première. When many expected a satire, Adams and librettist Alice Goodman created a traditional grand opera in a carefully crafted form. The three scenes of the opening act depict the grand events and iconic images: Nixon’s arrival on Air Force One, Mao Zedong’s study, Richard Nixon and Zhou En-lai raising their glasses at a state banquet. Act Two focuses on the wives: Pat Nixon and Jiang Qing (Madame Mao). In Act Three, the principal characters refl ect on their lives and achievements. Built on repetition and simple harmonic progressions, Adams’s musical language proved surprisingly effective in conveying drama. Voice types contributed to characterization in long-established ways, and the original casting was excellent. Baritone James Maddalena brought unexpected depth to Richard Nixon. Tenor John Duykers’s intense Mao Zedong contrasted fi ttingly with baritone Sanford Sylvan’s eloquent Zhou Enlai. Soprano Carolann Page presented a sympathetic Pat Nixon, Trudy Ellen Craney a shrill Jiang Qing, and Thomas Hammons the buffoonish Henry Kissinger. Many who did not see the original production on stage, saw it on television. Soon after, Nonesuch released an original cast recording, featuring Edo de Waart leading the Orchestra of St. Luke’s.
On this new Naxos 3-CD set, recorded live during a June 2008 production, Hammons reprises his role as Kissinger. Otherwise, we have an entirely new cast. And while the Naxos crew may not quite rise to the level of the original cast, they are never far behind. If Robert Orth’s pronunciation is sometimes odd, from the scene one set-piece, ‘News’, he captures both Richard Nixon’s wide-eyed exuberance and his angst. Soprano Maria Kanyova was an especially fine choice for the outwardly cheerful Pat Nixon. Marc Heller and Tracy Dahl, as Chairman and Madame Mao, sing with conviction if with less intensity than Duykers and Craney. There is an awkward transition near the start of scene two, but it is one of the rare moments when Marin Alsop’s conducting of the Colorado Symphony Orchestra is less than superb. The Opera Colorado Chorus sings convincingly and with clarity in the opera’s opening numbers and throughout. Listening to this recording from start to finish, I could not help but be reminded of the mastery of form that Adams and Goodman achieved in this, their first opera. The opening scenes continue to captivate while the unusually meditative closing, sung here by Yuan Chen-Ye as Zhou Enlai, gives much pause for thought. In these final moments especially, the beautiful simplicity of Adams’s music seems the perfect vehicle for Goodman’s rich imagery. This just might be the great American opera of the 20th century.
Brian Christopher Thompson
Over the past decade the Marco Polo label became known for an adventurous catalog that includes a substantial number of classic film scores. The music of Max Steiner, Georges Auric, Arthur Honegger, Bernard Herrmann, Franz Waxman and many other leading film composers of the 20th have been re-constructed, recorded, and packaged with great care. This has been possible, in part, because the music selected has fallen into the public domain. But it also reflects the desire of the label’s management to develop a catalog of important but often neglected 20th-century music, and the commitment of the musicians behind most of these productions: the Swiss conductor Adriano and the team of composer John Morgan and conductor William Stromberg. Most of their recordings have been made either by the Moscow Symphony Orchestra at Mosfilm Studio or by the Slovak Radio Orchestra in Bratislava. While recording in eastern Europe has helped to keep costs down, overall, the performances have been outstanding and the savings have been diverted into quality booklets. The Steiner scores produced thus far on Marco Polo are single discs of King Kong (8.223763), They Died with Their Boots On (8.225079), and The Treasure of the Sierra Madre (8.225149); combinations of All This, and Heaven Too / A Stolen Life (8.225218), The Lost Patrol / Virginia City (8.223870), and Son of Kong / The Most Dangerous Game (8.225166); and a collection that includes selections from Steiner’s scores for The Three Musketeers (8.223607) and The Charge of the Light Brigade (8.223608).
Earlier this year these film music titles began to appear on Marco Polo’s sister label, Naxos, in a new Film Music Classics series. Like the Marco Polo discs, they are attractively packaged, but as Naxos releases they are sold for just $6.98 – a remarkable price for some of the finest film music ever composed. Already issued on Naxos are Auric’s La Belle et la Bete (8.557707); the Herrmann/Newman score for The Egyptian (8.557702); Honegger’s Les Miserables (8.557486); Waxman’s Objective, Burma! (8.557706); Tiomkin’s Red River (8.557699); collections of scores by Deutsch (8.557701) and Kilar (8.557703); a collection of horror film music by Salter and Skinner titled Monster Music (8.557705); and three Steiner titles. One of these is a recording of Steiner’s music for The Three Musketeers appropriately packaged with Korngold’s music for Captain Blood and Young’s music for Scaramouche (8.557704). Steiner’s score for The Three Musketeers dates from 1935, the same year he won his first Academy Award (for The Informer). One of the few really successful things about RKO adaptation of Dumas’s Musketeers was the music. For this 1994 recording, John Morgan reconstructed nearly twenty minutes of Steiner’s score, providing six cues and some of the finest music ever to accompany a sword fight. This fine recording was made in 1994 by the Brandenburg Philharmonic, an ensemble created for the performance of early film scores. The other Steiner discs are devoted to King Kong (8.557700) and The Adventures of Mark Twain (8.557470).
The King Kong disc originally appeared on Marco Polo in 1997. For it, Morgan re-orchestrated the entire score – over seventy-two minutes of music in this recording. His knowledge of this score is extensive and dates back to the 1976 recording made by Fred Steiner, for which he assisted in selecting tracks and writing the liner notes. In the liner notes for the Marco Polo recording Morgan discusses how he reconstructed the score from “the complete mixed soundtrack of the original film, acetates of some of the music, and a few recently-discovered optical music stems containing several additional cues. Secondly, the surviving full scores, and thirdly (and most important), Steiner’s original annotated sketches, which contain every note he composed for this film.” (p.20) The job of orchestrating Steiner’s music had fallen to Bernard Kaun, who worked wonders with the limits of the RKO studio orchestra. Morgan’s re-orchestration is perhaps closer to what Steiner had indicated in his sketches. The end result is not exactly what is heard on the soundtrack of the film but highly effective a digital recording. The Moscow Symphony Orchestra’s performance is outstanding, capturing both the excitement and poignancy of this groundbreaking score.
By comparison, the music for The Adventures of Mark Twain might seem an unexpected choice for commercial release. Although this work earned Max Steiner an Academy Award nomination for best score (losing to his own score for Since You Went Away), the Warner Brothers film is not well known. Produced in 1942, it was released two years later and soon drifted into obscurity. A 1988 release on VHS is now out of print and the film has yet to be released on DVD. Director Irving Rapper – who would complete another biopic Rhapsody in Blue in 1945 – was initially reluctant to take on this film. He consented when actor Frederic March was selected for the title role. March had been a film actor since 1929 and in 1932 had won the first of two Best Actor Oscars for Dr. Jekyll and Mr. Hyde (the second would come in 1946 for his performance as the returning WWII veteran in The Best Years of Our Lives). In The Adventures of Mark Twain, the 47-year-old March gives a fine performance as Clemens, playing him from his early twenties to the end of his life, and is especially successful as the elderly writer. Warner Brothers put some effort into presenting an accurate portrayal of Twain, but historical facts were not the highest priority. This is essentially a war-time, feel-good film, presenting the grand sweep of the life of an American icon.
For The Adventures of Mark Twain, Steiner produced a score of nearly 100 minutes, opening with an overture. The orchestration, again by Bernard Kaun, was full and included a number of non-orchestral instruments as well as chorus for the finale. With the film’s story Steiner returned to familiar territory. As with Little Women, Gone with the Wind, and others, the historical setting afforded similar opportunities for setting the scene. The earlier segments of The Adventures of Mark Twain offered some of the best opportunities for colorful scoring. Steiner responds by invigorating his late Romantic idiom with splashes of period song. In “Gold Rush” he hints at the folk ballad “Oh My Darling Clementine” before quoting the chorus in full. Quotations from “Oh, Susanna,” “The Battle Hymn of the Republic,” and “Dixie” evoke 19th-century America in the film’s Civil War-era segments. In each of these examples and elsewhere, the vernacular emerges naturally from the rich orchestral textures. In later parts of the film, Hawaiian guitar, pentatonic scales, and quotations from Arne’s “Rule Britannia” accompany Clemens’s world travels. Twain’s theme itself is first heard in the open credits and subsequently appears in various settings. Not surprisingly, given Steiner’s abilities, this theme, jaunty one moment and sentimental the next, is perfectly analogous to the film’s depiction of the title character. If the music of Mark Twain is more about color than depth, one can hardly fault the composer, and there is much to admire in Steiner’s score. To create a reconstruction that can fit on one CD Morgan has omitted the overture, which mostly comprises themes heard elsewhere in the score, and made other cuts. Otherwise, the changes are slight. One example is the touching “Sorrow,” an episode in which Clemens sings to his dying wife, Morgan effectively uses an oboe to play the melody of “Swing Low, Sweet Chariot.” This is Morgan and Stromberg’s second recording of the Mark Twain score. They recorded 38 minutes of this music with the Brandenburg Philharmonic in 1993 (RCA Victor Red Seal 09026 62660 2). Here we have a full 70 minutes, wonderfully played by the Moscow Symphony Orchestra, and finely recorded by engineer Genadiy Papin at Mosfilm Studios in February 2003. Those willing to shell out a bit more may opt for the DTS Surround Sound version. Both versions contain engaging liner notes by Bill Whitaker and arranger’s notes by Morgan, in English and German.
Hong Kong Arts Festival
The National Theatre Brno
Leos Janacek:
Sinfonietta: 1. Allegretto — Allegro maestoso, 2. Andante — Allegretto, 3. Moderato, 4. Allegretto, 5. Andante con moto
Vecné Evangelium (The Eternal Gospel), cantata for soprano, tenor, chorus & orchestra, JW 3/8
Glagolitic Mass
Robert Schumann, Arabeske in C major, Op 18; Franz Schubert (1797 – 1828): Sonata in B-flat major, D 960: 1. Molto moderato, 2. Andante sostenuto, 3. Scherzo: Allegro vivace con delicatezza – Trio, 4. Allegro, ma non troppo – Presto; Robert Schumann
Fantasiestücke, Op 12; Robert Schumann arr Franz Liszt
Widmung from Myrthen, S566; Franz Liszt
Rhapsodie espagnole, S 254
雷寇
14.3.2016
德布西弦樂四重奏:法式美饌
Debussy String Quartet: French Music
Germaine Tailleferre (1892-1983)
String Quartet in C-sharp minor
Modéré Intermède Finalé – Vif
泰利法來
升 C 小調弦樂四重奏
中板
間奏
終曲-快板
Claude Debussy (1862-1918) String Quartet
Animé et très décidé
Assez vif et bien rythmé
Andantino, doucement expressif
Très modéré - En animant peu à peu -
Très mouvementé et avec passion
德布西
G 小調弦樂四重奏,作品 10 生動而決斷
稍活潑及有節奏感
小行板,溫柔地表達
有節制的-逐漸加快- 富動感並激情
Guillaume Lekeu (1870-1894)
Molto adagio sempre cantante doloroso
雷寇
如歌而悲傷的甚緩板
Maurice Ravel (1875-1937)
String Quartet in F major
Allegro moderato – très doux Assez vif – très rythmé
Très lent
Vif et agité
拉威爾
F 大調弦樂四重奏
中庸的快板- 非常溫柔 稍活潑及有節奏感 甚緩慢地
活躍而激動
《帕特80 x 8》慶祝帕特80生辰音樂會
Arvo Pärt – 80 by 8
Pärt at 80 celebration concert
慶祝帕特 80 生辰音樂會 ,由八人清唱合唱小組演唱帕特各創作時期的作品
An 80th birthday celebration recital, presenting vocal works from all periods of Pärt’s career, for vocal octet a cappella.
《晨星》 Morning Star (2007) 《至聖天主之母》 Most Holy Mother of God (2003) 《鹿泣》 The Deer’s Cry (2007) 《唱名法》 Solfeggio (1963)
《七首聖母讚主曲》 Seven Magnificat Antiphons (1988)
啊,智慧 O Weisheit (O Wisdom)
啊,主(阿多奈) O Adonai (O Adonai)
啊,耶西的根隣接釀 O Sproß aus Isais Wurzel (O Root of the Tree of Jesse) 啊,大衛的鑰匙 O Schlüßel Davids (O Key of David)
啊,晨星 O Morgenstern (O Star of the Morning) 啊,萬國之王 O König aller Völker (O King of All Nations) 啊,主與我們同在(厄瑪奴耳) O Immanuel (O Emmanuel)
© Courtesy of Harmonia Mundi USA. Photo: Michael Putland
《音節彌撒》
垂憐經
榮耀頌
信經
聖哉經
迎主曲
羔羊頌
禮成詠
《懺悔詩》(選段)
康德康頌及葬曲 第九頌
首節
誕神女頌 禱文
是晚演出曲目及次序或有更改
— 中場休息 Interval —
Missa Syllabica (1977)
Kyrie
Gloria
Credo Sanctus Benedictus Agnus Dei Ite missa est
Kanon Pokajanen (selections) (1997)
Kontakion & Ikos Ode IX
Heirmos
Theotokion Prayer
Theatre of Voices
藝術總監 / 指揮 Artistic Director / Conductor
保羅.希利亞 Paul Hillier
女高音 Sopranos 艾爾斯.托普 Else Torp 凱特.馬可博伊 Kate Macoboy
女中音 Mezzo-Soprano 西格妮.阿斯穆森 Signe Asmussen
假聲男高音 Countertenor 丹尼爾.卡爾森 Daniel Carlsson
男高音 Tenors
克里斯多夫.華生 Christopher Watson 尤里安.伯哲爾 Julian Podger
男低音 Bass
傑弗里.列德威治 Jeffrey Ledwidge 威廉.剛特 William Gaunt
管風琴 Organ
艾倫.拉斯穆森 Allan Rasmussen
卡利西密
《亞伯拉罕與以撒》
歌者:
說書人 尤里安.伯哲爾 神靈 威廉.剛特
以撒 艾爾斯.托普 亞伯拉罕 克里斯多夫.華生 天使 丹尼爾.卡爾森
管風琴通奏低音 艾倫.拉斯穆森
費斯可巴第
《羅曼斯卡詠嘆調組曲》
管風琴獨奏 艾倫.拉斯穆森
卡利西密
《耶弗大》
歌者:
耶弗大 尤里安.伯哲爾 菲利亞 艾爾斯.托普
Singers:
Historicus Deus Isaac Abraham Angelus
Organ continuo
Julian Podger William Gaunt
Else Torp Christopher Watson Daniel Carlsson
Allan Rasmussen
歌者 II
歌者 III
假聲男高音 丹尼爾.卡爾森 男低音 威廉.剛特
管風琴通奏低音 艾倫.拉斯穆森
Singers:
Jephte Filia Cantus II Cantus III Altus Bassus
Organ continuo — 中場休息 Interval —
Julian Podger Else Torp
Kate Macoboy Signe Asmussen Daniel Carlsson William Gaunt
Allan Rasmussen
凱特.馬可博伊 西格妮.阿斯穆森
London Symphony Orchestra
丹尼爾 ‧ 哈丁
Daniel Harding
首席客席指揮
Principal Guest Conductor
王羽佳
Yuja Wang
鋼琴
Piano
拉赫曼尼諾夫
D 小調第三鋼琴協奏曲,作品 30 從容的快板 間奏曲:慢板 終曲:二二拍
Sergei Rachmaninov (1873-1943)
Piano Concerto No 3 in D minor, Op 30 Allegro ma non tanto
Intermezzo: Adagio Finale: Alla breve
馬勒
D 大調第一交響曲 緩慢拖延地,保持從容 有力地前進,但不太快
莊嚴準確,不拖延地-簡單謙遜,像民歌
狂暴地進行
Gustav Mahler (1860-1911)
Symphony No 1 in D
Langsam. Schleppend
Kräftig bewegt, doch nicht zu Schnell Feierlich und gemessen, ohne zu schleppen Stürmisch bewegt
Savonlinna Opera Festival
華格納
《黎恩濟》
序曲
《唐懷瑟》
《賓客進場曲》
合唱團
《崔斯坦與伊索爾德》
序曲及《愛之死》
基斯頓•錢伯斯
威爾第
《阿依達》
凱旋進行曲
西莉亞•科斯蒂、華特•弗拉卡羅、 埃里亞•法比安、喬丹卡•米爾科娃、
威咸.舒榮哈馬爾、瑪提亞士.托斯
及合唱團
Richard Wagner (1813-1883) 李昂卡法洛 Rienzi 《小丑》
Overture 《先生女士們,可否聽我一言?》 Tannhäuser 埃里亞•法比安
Ruggiero Leoncavallo (1857-1919) I Pagliacci
“Si può ...”
Elia Fabbian
“Un tal gioco credete mi” & “Don, Din, Don, Din”
Walter Fraccaro and Choir
Love duet from Act I
Cellia Costea and Matias Tosi
“Recitar!...Vesti la giubba”
Walter Fraccaro
Umberto Giordano (1867-1948) Andrea Chénier
“Nemico della patria”
Elia Fabbian
“La mamma morta”
Cellia Costea
“Vicino a te”
Cellia Costea and Walter Fraccaro
Arrigo Boito (1842-1918) Mefistofele
Epilogue
Walter Fraccaro, Matias Tosi and Choir
— 中場休息 Interval —
Einzug der Gäste
Choir
Tristan und Isolde
Prelude and Liebestod Kirsten Chambers
Giuseppe Verdi (1813-1901) Aida
Triumphal March
Cellia Costea, Walter Fraccaro,
Elia Fabbian, Jordanka Milkova, Wilhelm Schwinghammer, Matias Tosi and Choir
《請不要跟我開這種玩笑》及
晚禱鐘聲合唱
華特•弗拉卡羅及合唱團
第一幕:愛情二重唱
西莉亞•科斯蒂、瑪提亞士.托斯
《披上彩衣》
華特•弗拉卡羅
佐丹奴
《安德烈•謝尼爾》
《國家的敵人》
埃里亞•法比安
《媽媽過世了》
西莉亞•科斯蒂
《靠近你,我的心神安穩》
西莉亞•科斯蒂、華特•弗拉卡羅
博伊托
《梅菲斯特費勒》
第五幕:尾聲
華特•弗拉卡羅、
瑪提亞士.托斯及合唱團
Leonidas Kavakos
小提琴
Violin
安利高.佩斯
Enrico Pace
鋼琴
Piano
貝多芬
D 大調第一小提琴奏鳴曲, 作品 12/1 活力的快板 主題與變奏 迴旋曲
F 大調第五小提琴奏鳴曲, 作品 24,《春天》
快板
表情豐富的慢板
諧謔曲
迴旋曲:從容的快板
Ludwig van Beethoven (1770-1827)
Violin Sonata No 1 in D, Op 12/1
Allegro con brio
Tema con variazioni
Rondo
Violin Sonata No 5 in F, Op 24, Spring
Allegro
Adagio molto espressivo Scherzo
Rondo: Allegro ma non troppo
A 大調第九小提琴奏鳴曲, 作品 47,《克羅采》
持續的慢板 – 急板 – 慢板 多變的行板 急板
Violin Sonata No 9 in A,
Op 47, Kreutzer
Adagio sostenuto – Presto – Adagio Andante con variazioni
Presto
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.
This thesis aims assess the dramatic success of Nixon in China and examine the work’s place in twentieth century opera and American culture. The Introduction presents biographical material on the composer, librettist and director, followed by a discussion of their collaboration, and a brief summary of the performance history of the work. The opening chapter explores the libretto. Chapter Two examines John Adams’s musical language, including the basic procedures by which the music operates. Chapter Three discusses the critical reception of the opera with analyses of selected passages. The fourth and final chapter provides an examination of the place of Nixon in China in the history of opera and contemporary American culture.
This thesis aims assess the dramatic success of Nixon in China and examine the work’s place in twentieth century opera and American culture. The Introduction presents biographical material on the composer, librettist and director, followed by a discussion of their collaboration, and a brief summary of the performance history of the work. The opening chapter explores the libretto. Chapter Two examines John Adams’s musical language, including the basic procedures by which the music operates. Chapter Three discusses the critical reception of the opera with analyses of selected passages. The fourth and final chapter provides an examination of the place of Nixon in China in the history of opera and contemporary American culture.
Buffy Sainte-Marie: The Authorized Biography. By Andrea Warner. Vancouver, BC: Greystone Books, 2018. 304 pp. ISBN 9781771643580. Reviewed by: Monique Giroux, University of Lethbridge
Classical Music: Expect the Unexpected. By Kent Nagano with Inge Kloepfer. Translated from German by Hans-Christian Oeser. Montreal, QC; Kingston, ON: McGill-Queen’s University Press, 2019. 238 pp. ISBN 9780773556348. Reviewed by: Elaine Keillor, Carleton University
Debussy’s Resonance. Edited by François de Médicis and Steven Huebner. Eastman Studies in Music. Rochester, NY: University of Rochester Press, 2018. 640 pp. ISBN 9781580465250. Reviewed by: Edward Jurkowski, University of Manitoba
From Scratch: Writings in Music Theory. By James Tenney. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. Urbana- Champaign: University of Illinois Press, 2015. First Paperback Edition, 2019. 467 pp. ISBN 9780252084379. Reviewed by: Lelland Reed, Nova Scotia College of Art and Design
Lire, écouter, écrire : Initiation à la recherche en musique à partir des méthodes des sciences humaines. Marie-Hélène Benoit-Otis, avec la collaboration de Marie-Pier Leduc. Montréal, Les Presses de l’Université de Montréal, 2018. 256 pp. ISBN 9782760639393. Compte rendu de Tristan Paré-Morin, Université de Pennsylvanie
The Pop Palimpsest: Intertextuality in Recorded Popular Music. Edited by Lori Burns and Serge Lacasse. Ann Arbor: University of Michigan Press, 2018. 360 pp. ISBN 9780472130672. Reviewed by: Stephanie Bonjack, University of Colorado Boulder
Research-Creation in Music and the Arts: Towards a Collaborative Interdiscipline. By Sophie Stévance and Serge Lacasse. London and New York: Routledge, 2018. 178 pp. ISBN 9781472486073. Reviewed by: Allyson Rogers, McGill University
They Shot, He Scored: The Life and Music of Eldon Rathburn. By James K. Wright. Montreal, QC; Kingston, ON: McGill-Queen’s University Press, 2019. 362 pp. ISBN 9780773557154. Reviewed by: Michael Pinsonneault, Concordia University
Fryderyk Chopin: A Life and Times. By Alan Walker. New York: Farrar, Strauss and Giroux, 2018. 727 pp. ISBN 9780374159061. Reviewed by: Jolanta Pekacz, Dalhousie University
La Patrie / Our Canada: Canadian Orchestral Music 1874-1943. Symphonova Orchestra, Shelley Katz, Symphonist. Toronto: Centrediscs CMCD 25618, 2018. Calling: John Beckwith Instrumental Works / Oeuvres instrumentals, 2006-2016. Various Performers. Toronto: Centrediscs CMCCD 24917, 2018. Reviewed by: J. Drew Stephen, University of Texas at San Antonio
Reception of Diana Krall, Unique Jazz Phenomenon. By Zuzana Ben Lassoued-Balazsházyová. Berlin: Peter Lang, 2018. 189 pp. ISBN 978-3631745755. Reviewed by: Rob van der Bliek, York University
Tim Brady: Music for Large Ensemble. Boulder, CO: Starkland ST-230, 2018. Reviewed by: Alastair Boyd, University of Toronto
Gary Karr: Life on the G String. By Mary Rannie. Victoria, BC: Friesen Press, 2017. 309 pp. ISBN 9781525501647. Reviewed by: Lisa Emberson, Library and Archives Canada
Song of a Nation: The Untold Story of Canada’s National Anthem. By Robert Harris. Toronto: McClelland & Stewart, 2018. 212 pp. ISBN 9780771050923. Reviewed by: John Beckwith, University of Toronto
Canadian Music and American Culture: Get Away From Me. Edited by Tristanne Connolly and Tomoyuki Iino. London: Palgrave MacMillan, 2017. 297 pp. ISBN 978-3- 319-50022-5. Reviewed by: Allyson Rogers, McGill University
Dawn of Night: Music by Stephen Chatman. University of Toronto MacMillan Singers. Hilary Apfelstadt, conductor. Toronto: Centrediscs, CMCCD 24617, 2017. 1 compact disc (60 mins). Reviewed by: Joannie Ing, York University
Lightfoot. By Nicholas Jennings. [Toronto]: Viking, 2017. 328 pp. ISBN 9780735232556. Reviewed by: Elaine Keillor, C.M., Carleton University
Music and the Road: Essays on the Interplay of Music and the Popular Culture of the American Road. Edited by Gordon E. Slethaug. London: Bloomsbury Academic, 2017. 280 pp. ISBN 9781501335273. Reviewed by: Alex Gage, York University
Schubert’s Mature Instrumental Music: A Theorist’s Perspective. By David Beach. Eastman Studies in Music. Rochester, NY: University of Rochester Press, 2017. 212 pages. ISBN 9781580465922. Reviewed by: Brian Black, University of Lethbridge
The Dawn of Music Semiology: Essays in Honor of Jean-Jacques Nattiez. Edited by Jonathan Dunsby and Jonathan Goldman. Rochester, NY: University of Rochester Press, 2017. 228 pp. ISBN 9781580465625. Reviewed by: Jason Noble,
The Great Gould. By Peter Goddard. Toronto: Dundurn, 2017. 176 pp. ISBN 9781459733091. Reviewed by: Edward Jurkowski, University of Lethbridge
Music, Indigeneity, Digital Media. Edited by Thomas R. Hilder, Henry Stobart, and Shzr Ee Tan. Rochester, NY: University of Rochester Press, 2017. 224 pp. ISBN 9781380465731. Reviewed by: Gordon E. Smith
The Necessity of Music: Variations on a German Theme. By Celia Applegate. Toronto: University of Toronto Press, 2017. xii, 402 pp. ISBN 978-1487500689. Reviewed by: David Gramit
The Suburbs. By Eric Eidelstein. New York: Bloomsbury Academic, 2017. 144 pp. ISBN 9781501336461. Reviewed by: Linda Moroziuk,
Claude Ranger: Canadian Jazz Legend. By Mark Miller. Toronto, Ontario: Tellwell Talent/Mark Miller, 2017. 280 pp. ISBN 9781773025599. Reviewed by: Michael Morse, Trent University
The Mariposa Folk Festival: A History. By Michael Hill. Toronto: Dundurn, 2017. 240 pp. ISBN 978-1-45973-773-0. Reviewed by: Sija Tsai, Independent scholar, Toronto
Les opéras de Verdi : Élements d’un language musico- dramatique. By Steven Huebner. Montréal: Les Presses de l’Université de Montréal, 2017. 363pp. ISBN 978-2-7606- 3302-5. Reviewed by: Claudio Vellutini, University of British Columbia
The Origins and Foundations of Music Education: International Perspectives. 2nd ed. Edited by Gordon Cox and Robin Stevens. London: Bloomsbury, 2017. 290 pp. ISBN 978-1-4742-2908-1 (paperback). Reviewed by: J. Scott Goble, University of British Columbia
Pillorikput Inuit: Inuktitut Arias for All Seasons. Deantha Edmunds, soprano, Karrie Obed, tenor, Innismara Vocal Ensemble, Suncor Energy String Quartet, Tom Gordon, organ. Independent CD, 2015. 1 compact disc (70 mins). Reviewed by: Anna Hoefnagels, Carleton University
Describing Music Materials: A Manual for Resource Description of Printed and Recorded Music and Music Videos. 4th ed. By Richard P. Smiraglia with Jihee Beak. Lanham, Maryland: Rowman & Littlefield, 2017. xxi, 197 p. ISBN 978-1-4422-7628-4 (paperback). Reviewed by: Alastair Boyd, University of Toronto.
Éva Gauthier : La voix de l’audace. Normand Cazelais. [Anjou, Québec] : Fides, 2016. 266 p.; planches non numérotées, 18 p.; illustrations. ISBN 978-2-7621-3976-1. Compte rendu de Mireille Barrière, chercheuse indépendante
Explorations in Schenkerian Analysis. Edited by David Beach and Su Yin Mak. Rochester: University of Rochester Press, 2016. xii + 359 pp. ISBN 978-1-58046-559-5. Reviewed by: William M. Marvin, Eastman School of Music
Introduction to Post-Tonal Theory. 4th ed. By Joseph N. Straus. New York: W. W. Norton & Company, 2016. 416 p. ISBN 978-0-939-38883-8 (Hardcover). Reviewed by: Roxane Prevost, University of Ottawa
Just Between You and Me: A Memoir. By Myles Goodwyn. Toronto, Ontario: Harper Collins, 2016. 379 pp. ISBN 978-1- 44344-670-9. Reviewed by: David Montgomery, York University Libraries
Up in the Morning Early: Baroque Music from Celtic Countries. Ensemble La Cigale. Leaf Music LM 211, 2017. 1 compact disc (73:17). Reviewed by: Dorothy de Val, York University