Dvorák to Duke Ellington: A Conductor Explores America's Music and Its African American RootsOxford University Press, 2004/03/25 - 264 ページ Drawing upon a remarkable mix of intensive research and the personal experience of a career devoted to the music about which Dvorák so presciently spoke, Maurice Peress's lively and convincing narrative treats readers to a rare and delightful glimpse behind the scenes of the burgeoning American school of music and beyond. In Dvorák to Duke Ellington, Peress begins by recounting the music's formative years: Dvorák's three year residency as Director of the National Conservatory of Music in New York (1892-1895), and his students, in particular Will Marion Cook and Rubin Goldmark, who would in turn become the teachers of Ellington, Gershwin, and Copland. We follow Dvorák to the famed Chicago World's Fair of 1893, where he directed a concert of his music for Bohemian Honor Day. Peress brings to light the little known African American presence at the Fair: the piano professors, about-to-be-ragtimers; and the gifted young artists Paul Dunbar, Harry T. Burleigh, and Cook, who gathered at the Haitian Pavilion with its director, Frederick Douglass, to organize their own gala concert for Colored Persons Day. Peress, a distinguished conductor, is himself a part of this story; working with Duke Ellington on the Suite from Black, Brown and Beige and his "opera comique," Queenie Pie; conducting the world premiere of Leonard Bernstein's Mass; and reconstructing landmark American concerts at which George Antheil's Ballet Mecanique, George Gershwin's Rhapsody in Blue, James Reese Europe's Clef Club (the first all-black concert at Carnegie Hall), and Ellington's Black, Brown and Beige, were first presented. Concluding with an astounding look at Ellington and his music, Dvorák to Duke Ellington offers an engrossing, elegant portrait of the Dvorák legacy, America's music, and the inestimable African-American influence upon it. |
目次
| 3 | |
| 5 | |
2 America and Negro Music | 9 |
3 Dvoráks Symphony From the New World | 19 |
4 The Chicago Worlds Columbian Exposition of 1893 | 29 |
5 The National Conservatory of Music of America | 41 |
6 Paul Laurence Dunbar Clorindy and The Talented Tenth | 53 |
7 James Reese Europe | 61 |
12 Will Marion Cook | 115 |
13 George Antheils Ballet Mécanique | 119 |
14 Bernsteins Mass | 137 |
15 Duke Ellington | 153 |
16 Ellingtons Queenie Pie | 161 |
17 Ellingtons Black Brown and Beige | 171 |
Afterword | 191 |
Notes | 201 |
8 George Gershwin and African American Music | 67 |
9 Leonard Bernstein | 79 |
10 Gershwins Rhapsody in Blue | 83 |
11 The Clef Club Concert | 99 |
Selected Discography | 241 |
| 243 | |
| 245 | |
他の版 - すべて表示
多く使われている語句
African American American music Antheil appeared arrangements artists audience Ballet Mécanique band began Bernstein Black Blue Broadway Brown and Beige Burleigh called Carnegie Hall Celebrant cello Chicago choir Clef Club Colored composer composition concert conducted conductor Conservatory Cook dance Duke Ellington Dunbar Dvo≠ák to Duke early Europe fair final followed four George Gershwin hand heard Herald House idea included James jazz John later live Louie Bellson March Mass musicians Negro never notes once opening opera orchestra original Pages Paris Paul performance piano piece played players Porgy and Bess production published Queenie ragtime recording rehearsal Rhapsody in Blue rhythm rolls score singers singing solo song soprano sound stage story Street string studied Swing Symphony theme took trumpet tune turned University violin Whiteman World write wrote York
人気のある引用
4 ページ - But the artist appeals to that part of our being which is not dependent on wisdom; to that in us which is a gift and not an acquisition — and, therefore, more permanently enduring. He speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives: to our sense of pity, and beauty, and pain...