Archive for the ‘Dance’ Category

The Steamboat, the Nutcracker and Cher Dumollet: Bon voyage and Happy Christmas

Sunday, December 25th, 2011

On Christmas day of all days, I’ve had possibly the most interesting comment ever posted on my blog with regard to the score of the Nutcracker. Jesse Kleinman has pointed out the similarity between what is normally cited as the source for the contredanse in Act 1 of Nutcracker  (Bon Voyage, Cher Dumollet) and the New England song The Steamboat Quickstep. Both songs are nominally about boats, so is the New England song a borrowing from the French song via The Nutcracker? Maybe. But as Jesse points out, “It’s possible that Steamboat originated in Scotland and went to both France and New England”.

 

 

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At last: a picture of a mirliton

Wednesday, December 21st, 2011

I can’t tell you how pleased I am about this: Here, on a site dedicated to the iconography of the bagpipe, are two pictures of mirlitons (scroll down to see them), placed as I have always suspected within the general category of kazoo-like instruments, in French termed “flûte eunuque, kazoo, mirliton ou bigophone”. ‘Danse des Bigophones’ has a certain ring, n’est-ce pas?  The pictures clearly show the the swirling stripes as they are seen in the mirliton costumes of some productions.

in case you didn’t know, I’ve been perplexed and annoyed by the term ‘Mirliton’ in The Nutcracker for years – how does this thing turn from marzipan, to reed pipes, to shepherdesses. What is a mirliton? Why do people talk about them as if we’ve all seen one (I never have). I’ve posted on mirlitons as cakes before, but I still have never seen evidence of the supposed mirliton-as-reed-pipe. My mind is finally at peace on this issue and I shall have a happier Christmas.

Update on 27th May, 2012: Here’s another  picture of a mirliton from a site about traditional instruments of the Iberian peninsula. There’s also a sound clip if you want to know what Tchaikovsky may have had in mind. Though I’m still rather convinced that the piece is a pun on Mirlitons de Pont-Audemer, as I wrote in a previous post, with a double pun lurking in the background, since pastushka (Russian for shepherdess) and pastiche (French for pastry) are so close in sound.

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New Chiquinha Gonzaga archive

Thursday, October 27th, 2011

I’ve had several emails from people thanking me for passing on the link to the Ernesto Nazareth site, which includes a complete archive of Ernesto Nazareth’s compositions, the painstaking and exquisitely presented labour of love of Alexandre Dias (see previous post about this) who has edited and re-typeset every single one of  them.

Alexandre and his team have  now done the same at  www.chiqunihagonzaga.com for the music of Chiquinha Gonzaga (1847-1935), the Brazilian composer, and I predict a communal round of applause from all us ballet pianists around the world who will find in this site a wonderful source of new, great music for class.

Alexandre, we salute you!

 

 

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Petrushka shrovetide fair on the accordeon

Wednesday, September 7th, 2011

It’s well known that the Shrovetide Fair bit of Petrushka has many imitations of accordeon sounds and techniques in it, but this amazing performance on the accordeon  by Boban Bjelić demonstrates just how much.

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Polonaise and mazurka: the ultimate internet resource page

Friday, June 24th, 2011

This is probably the most wonderful site I’ve ever come across in the very specialised world of music for dance: a page of links to the the content of Polish Dances, the complete written works of Raymond Cwieka. Hundreds and hundreds of pages of detailed research on the mazurka and polonaise.  I can pretty much promise you that you will never, ever find another resource so large and comprehensive and informative on the topic.

The route by which I found it is interesting. I don’t know how long it’s been up there, but I’m shocked at myself for not having discovered it before, considering that I spend a lot of my life researching this subject.  I found it because I was trying to find a the original German version of Paul Nettl’s The Story of Dance Music, given that the translation is poor in parts. I searched for <”the story of dance music” german title>, and one of the links that appeared was Cwieka’s book on the polonaise (all 410 pages of it) linked to by Jason Chuang. There’s a moral here: if you want to find good resources on the net, it helps if you put in another good source as your search term, because a well-researched page will have references. If you don’t know about a subject, then it stands to reason that you’re not going to know the kinds of terms that will bring up the best sources. References are a good place to start.

The generosity of Cwieka is overwhelming. It’s all up there for you and me to read and enjoy and learn from. I’m oscillating between joy and despair, though – it’s such a great resource, but it just shows that  I don’t know shit about the polonaise really, and I know just how many hundreds of pages I am away from being well-informed.

 

 

 

 

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Music, technology & the body

Saturday, June 11th, 2011

I was intrigued by a reference to Mrs Bagot Stack’s Women’s League of Health & Beauty in a review of Michael Clark’s piece at the Tate Modern by Clement Crisp yesterday. As recondite as it sounds, the league, albeit after several changed names until the current Fitness League, is still going.  The figures are extraordinary – in 1936, the league had 166,000 members in the UK alone. This is well over ten times the current worldwide membership of the organization I work for.

As I’m currently writing a PhD proposal, and my topic is broadly speaking the way that dance teachers and dance teacher educationalists use music in dance teaching, I was fascinated by a comment by Prunella Stack in an interview in 2005 on the 75th anniversary of the league:

She cites music’s role in appealing to the “higher senses”. “Aerobics is rather mechanical and is not influenced by music, unlike our system where it is terribly important,” she says. “This artistic element is what really releases people.” [In a league of their own, The Times, 2005]

As philosophical statements about music go, that’s pretty straight-down-the-line and clear. I’d love to read that in a brochure for a ballet school, but in so much dance training, music is used as a tool for attaining technique, or to distract from effort. It’s just another technology. The more I read about The Fitness League, the less I think that Michael Clark should be offended by the comparison.

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Dancing to words

Wednesday, April 6th, 2011

Interesting blog by Eleanor Turney in the Guardian about dancing to words, and what makes it work or not work. It’s a topic that interests me a lot, ever since, about ten years ago, I saw a pas de deux in Christopher Hampson’s Canciones done to a reading of the poem instead of the sung version, due to a ghastly cock-up over rights.

It has stayed with me as one of the most beautiful, haunting, and musical moments of dance, one of my favourites, even. You have to understand that it’s all I can do to stay awake in a pas de deux. Too much blurred sentimental wrestling. But in this instance, the rise and fall of Rosario Serrano’s voice seemed to be more musically communicative and articulate than any music could have been.

Perhaps the reason it worked is precisely because the movement had originally been choreographed to de Falla’s music rather than the words, so what emerged from the conjunction of the music and text was the musicality of the poetry, not what it meant.

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