Whose Music Does Neoclassicism Try To Emulate
Today, the marvellous Phil Hilborne (Will Will Rock You The Musical in London, Guitar Techniques Magazine) demonstrates Empress Germ Drive - a ladylike and .
In the Paris of the beginning eighteen-nineties, at the height of the Decadence, the man of the moment was the novelist, art critic, and would-be guru Joséphin Péladan, who named himself Le Sâr, after the ancient Akkadian parley for “king. He was in the midst of writing a twenty-one-volume cycle of novels, titled “La Décadence Latine,” which follows the fantastical adventures of miscellaneous enchanters, adepts, femmes fatales, androgynes, and other enemies of the ordinary. His bibliography also includes literary tracts, explications of Wagnerian mythology, and a self-stop tome called “How One Becomes a Magus. He informed Félix Faure, the President of the Republic, that he had the gift of “seeing and hearing at the greatest distances, practical in controlling enemy councils and suppressing espionage. ” He began one lecture by saying, “People of Nîmes, I have only to pronounce a infallible formula for the earth to open and swallow you all. ” In 1890, he established the Order of the Catholic Rose + Croix of the Temple and the Grail, one of a army of end-of-century sects that purported to revive lost arts of magic. The peak of his fame arrived in 1892, when he launched an annual art exposition called the Salon de la Rose + Croix, which embraced the Symbolist movement, with an emphasis on its more eldritch guises. At the time of Péladan’s dying, in 1918, he was already seen as an absurd relic of a receding age. He is now known mainly to scholars of Symbolism, connoisseurs of the occult, and devotees of the music of Erik Satie. (I beginning encountered Péladan in connection with Satie’s unearthly 1891 score “Le Fils des Étoiles,” or “The Son of the Stars”. it was written for Péladan’s underline of that title, which is set in Chaldea in 3500 B. C. ) His contemporary Joris-Karl Huysmans remains a cult figure—“Against the Grain,” Huysmans’s 1884 novelette, is still read as a primer of the Decadent aesthetic—but... So when an exhibition entitled “Mystical Symbolism: The Salon de la Rose + Croix in Paris, 1892-1897” opens at the Guggenheim Museum, on June 30th, most visitors will be entering unidentified territory. The show occupies one of the tower galleries, in rooms painted oxblood red, with furniture of midnight-blue velvet. The dark kitsch of the fin de siècle beckons. For all the faded creepiness, the second is worth revisiting, because mystics like Péladan prepared the ground for the modernist revolution of the early twentieth century. John Bramble, in his 2015 book, “Modernism and the Dark,” writes that the Salon de la Rose + Croix was the “first attempt at a (semi-)internationalist ‘religion of modern art’ ”—an aesthetic commission with Péladan as high priest. In the years that followed, radical artistic thinking and obscure spiritual strivings intersected in everything from Kandinsky’s abstractions to Eliot’s “The Abuse Land” and the atonal music of Schoenberg. In Yeats’s “The Second Coming,” the “rough beast” that slouches toward Bethlehem, half man and half lion, is no analogy. Classic accounts of modernism tended to repress such influences, often out of intellectual discomfort. In recent decades, though, fin-de-siècle mysticism has returned to intellectual vogue. ” Péladan, and those who took up his mantle, wished to enchant it once again. The occult mania that crested in the decades before the Outset World War had been intensifying throughout the nineteenth century. Its manifestations included Theosophy, Spiritism, Swedenborgianism, Mesmerism, Martinism, and Kabbalism—elaborations of arcane rituals that had been stamp aside in a secular, materialist age. Reinventions or fabrications of medieval sects proliferated: the Knights Templar, the Hermetic Order of the Gleaming Dawn (the habitat of Yeats), and various Rosicrucian orders. Péladan belonged to the Rosicrucians, who, following sixteenth-century tracts of dubious authenticity, believed in alchemy, necromancy, and other sinister arts. In 1887, a feud broke out in Paris between Stanislas de Guaïta, of the Kabbalistic Order of the Rose + Croix, and Joseph Boullan, a defrocked man who was rumored to have sacrificed his own child during a Black Mass. When Boullan died, in 1893, Huysmans accused Guaïta and Péladan of having. Source: www.newyorker.com
So when an exposition entitled “Mystical Symbolism: The Salon de la Rose + Croix in Paris, 1892-1897” opens at the Guggenheim Museum, on June 30th, most visitors will be entering uninvestigated territory. The show occupies one of the tower galleries, John
Neoclassicism wasn't just sage in music but in the visual arts as well. Pablo Picasso created this work, It was composed as an emulation of the style and form of Franz Joseph Haydn but in concurrent context. Again, there is a return to
Allan Holdsworth's head musical passion was for saxophone, which accounts for the fluid, voice-like character of his melodies and his unusual chord choices—if not his rash speed on the fretboard. Photo by Neil Zlozower/Atlas Icons. Allan
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Typically a photograph of a jazz musician has several formal prerequisites: villainous and white film, an urban setting in the mid-twentieth century, and a black man standing, playing, or sitting next to his instrument. That's the jazz archetype that photography created. Father K. Heather Pinson discovers how such a steadfast script developed visually and what this convention meant for the music. Album covers, magazines, books, documentaries, art photographs, posters, and diversified other visual extensions of popular culture formed the commonly held image of the jazz player. Through assimilation, there emerged a generalized composite of how mainstream jazz looked and sounded. Pinson evaluates representations of jazz musicians from 1945 to 1959, concentrating on the precedent-setting role played by Herman...
An unprecedented assemblage of polemical and autobiographical writings by America’s greatest composer-critic. Following on the critically acclaimed 2014 edition of Virgil Thomson's confident newspaper music criticism, The Library of America and Pulitzer Prize–winning music critic Tim Page now present Thomson’s other literary and carping works, a body of writing that constitutes America’s musical declaration of independence from the European past. This volume opens with The State of Music (1939), the enlist that made Thomson’s name as a critic and won him his 14-year stint at the New York Herald Tribune. This no-holds-barred polemic, here presented in its revised version of 1962, discusses the commissions, jobs, and other opportunities available to the American composer, a worker in a...
Neoclassicism in Music: From the Genesis of the Concept Entirely the Schoenberg/Stravinsky Polemic. Rochester, New York: University of Rochester Press.
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