Ways of playing the violin

A companion to Indian and world fiddles.

Djoko violinImage: Paul Childs/Reuters. Source.

This summer, after yet another victory, Novak Djokovic paid homage to his daughter’s early steps learning the violin (video here!). This inspired me to survey the multiple ways of playing “our” Western violin, in Europe and around the world.

There are several issues in posture. How the instrument is positioned—roughly horizontally (on the shoulder or chest) or roughly vertically (on the thigh); and the bow hold. All of these are variable.

For over a century, the violin, along with the symphony orchestra, has been firmly established in urban middle-class milieus around the world (cf. Bach from Japan, and A Shanghai Prom). The Djokovices were more likely to choose the violin for their daughter, I concede, than the Serbian one-string gusle (featured here under “Bards”). But neither the violin that we now find in orchestras nor the way it’s played there is timeless; both are something of an anomaly, in both time and space. 

me on tiny violinLeaving aside the many other kinds of bowed fiddle (such as kemence and lira, or Indian sarangi, all commonly played on the leg), ways of playing the “Western violin” vary by period and region, class and context.

How musicians engage with their instrument depends largely on genre and style—the kind of music they play for what kind of activity. A technique that evolves within an oral tradition—among friends, blending in ensemble, or for social dancing—is likely to differ from formal conservatoire training with a view to “performing” on the concert stage. Musicians find ways of playing that seem conducive to the sound-ideal they seek, coming to feel at one with the instrument so that it becomes part of the body. 

Memling

Detail from Hans Memling, Musician angels, c1480.

In Europe, following medieval bowed fiddles like rebec and vielle (amply represented in iconography), precursors of the “modern violin” began to emerge in the early baroque, a period of great flux in Western Art Music. Treatises by leading player-pedagogues of the day reveal a range of views whether the instrument should be positioned on the chest or collar-bone, or under the chin. Among a wealth of discussion in the wake of David Boyden’s 1965 classic The history of violin playing from its origins to 1761, this article by Richard Gwilt makes a thoughtful introduction, with a second part here. The Essential Vermeer site also has a useful overview.

Left, Michel Corrette, L’Ecole d’Orphée, 1738
Right, Leopold Mozart, Violinschule, 1756.

Change continued through the 19th century, with research taking a lead from Robin Stowell. As composers and venues kept posing greater challenges on players, the instrument and its technique kept changing, adding more apparatus—chin-rest, shoulder-rest, elongated fingerboard, and so on. The bow evolved, and eventually metal strings replaced gut and silk. *

* * *

In folk traditions, ways of playing the violin have changed less than in Western Art Music. In many parts of the world, living folk styles may adapt techniques from early indigenous fiddles, or preserve those of the period when the violin was first introduced, often via colonialism. Here’s a little selection of many regional variants (note Peter Cooke, “The violin—instrument of four continents”, in The Cambridge companion to the violin, 1992, and for both WAM and folk traditions, The New Grove dictionary of musical instruments).

tanchaz 93String trio with cimbalom at the Meta táncház, Budapest 1993. My photo.
Besides the fiddle, note the supporting kontra.

Folk styles have been resilient in Transylvania (see under Musical cultures of east Europe). Do watch this amazing clip (from Bernard Lortat-Jacob, Jacques Bouët and Speranţa Rădulescu, A tue-tête: chant et violon au pays de l’Oach, Roumanie). And allow me to remind you of this splendid way of sounding the strings:

Still in Transylvania, this clip from Gyimes also features the gardon—a most distinctive way of playing the cello!

String bands are also at the heart of Polish folk traditions:

Polish fiddler

Józef Bębenek. Image from the excellent Muzyka Odnaleziona site; listen e.g. here.

Mhaonaigh

Irish fiddlers use some fine bow holds—my personal award going to Mairead Ni Mhaonaigh (above).

taranta
Taranta: Luigi Stifani healing with violin in the heel of Italy.

I gave a little introduction to folk fiddlers of the Dauphiné in my playlist for Euro 24!

Violon traditionel CD cover

Folk fiddling traditions are common throughout north and south America.

fiddler Lomax“Unidentified fiddler” in the southern States. Source: Alan Lomax Archive.
See America over the water, and under Country.

In India (mainly in the southern Carnatic tradition) the violin is most exquisite both in posture and effect, players dispensing with the chair (cf. the qin zither) and seated on the floor, with the scroll resting on the right foot:

Indian violin
Sisters M. Lalitha and M. Nandini.

Peter Cooke comments on Bruno Nettl’s taxonomy of musical change:

The violin’s rapid adoption in Iran along with Western solistic tendencies suggest to him a basic compatibility with Western music, whereas in India the violin was only slowly absorbed into a strong, viable musical tradition—a case of modernisation of instrumentation rather than westernisation of style.

In north Africa, such as Morocco (listen here), and west Asia, such as rural Turkey (listen here), the violin is often played on the leg, like their indigenous fiddles—and like some early European fiddles, as well as members of the viol family (intriguing explorations by Fretwork here).

Uyghur musicians, complementing the ghijak and satar, also sometimes play violin on the leg, though more commonly they play it on (or off) the shoulder:

Sabine Kashgar

Wedding band, Kashgar 1988.
From booklet with 2-CD set Turkestan chinois/Xinjiang: musiques Ouïghoures.
See under From the holy mountain.

In my original roundup I featured some fine Uyghur violin playing in this recording of Raq muqam:

The players’ sound-ideal will be the major factor, whatever instrument they choose.

* *  *

Chaozhou blind touxian

At a tangent, ways of playing Chinese fiddles have not always been so standardised as with the erhu of the modern conservatoires.

There’s a multitude of posts under the fiddles tag—on a lighter (yet instructive) note, try The Mary Celeste, and Muso speak: excuses and bravado (“It was in tune when I bought it”) .

Strad in bed

Cf. Frozen brass.


* We take it for granted that the left hand stops the strings while the bow is held in the right hand. Charlie Chaplin was one of rather few left-handed violinists:

chaplin

A still from Chaplin’s 1916 film The Vagabond. Source.

The Turkish detective

Let’s face it, no-one had heard of Oxford before Inspector Morse

Alan Partridge

Both in novels and on screen, I’m partial to crime fiction, which can open a window on the societies of diverse places and eras (some posts listed here). So my recent sojourns in Istanbul make The Turkish detective grist to my mill (whatever that is). A series of eight episodes is now on BBC i-Player.

Turkish Detective blurb

The stories are adapted from the Inspector İkmen novels of Barbara Nadel, to which I should now return. Transferring to the screen tends to amplify clichés. Whereas in UK TV detective dramas enjoy a great vogue, in Turkey I gather that soap operas are more popular; this series is also Turkish-made, only with a wider global audience in mind—Ben Schiffer’s screen adaptation making inevitable compromises. I am less cynical about the mix of English and Turkish dialogue than this review by Rachel Aroesti—though I can hardly argue with her overall verdict:

downright ridiculous, in a good way… unbelievably bland in this cliché-stuffed book adaptation. And yet, its far-fetched plots and unguessable twists make it oddly comforting TV fare.

As an exotic location, Istanbul is unbeatable; but besides the usual scenic spots (the series is a boon for the Tourist Board) it also shows the city’s less picturesque side (let’s go for “dark underbelly” again—cf. The Lhasa ripper). Elsewhere, Italy has long made an alluring setting, such as Michael Dibdin’s Aurelio Zen, as well as Donna Leon’s Inspector Brunetti in Venice and Inspector Montalbano in Sicily.

As to the detectives, Montalbano is exceptionally virtuous and attractive. Eccentricity is par for the course (“maverick” being the cliché de rigueur), but fortunately in The Turkish detective Inspector İkmen (played by veteran actor Haluk Bilginer) doesn’t spend too long being merely wacky, soon becoming an avuncular patriarch—making a change from the default stereotype of the curmudgeonly and damaged cop, with variations on shambolic Columbo or grumpy Morse.

Turkish detective

As another review observes:

It’s wise to have Mehmet [Suleyman] as centre of attention rather than the annoyingly volatile Ikmen. He’s a sort of Columbo of the Bosphorus who delights in inflicting his unpredictability on everyone around him

—although Suleyman’s bewilderment at Turkish ways is also somewhat annoying. İkmen is aided by detective Ayse, whom blurbs would characterise as “feisty”. The team is overseen by authentically-chic Prosecutor Selma Hanım. In this case I can live with the stereotypical treatment of both characters and Orientalist settings.

In some series, the tension builds with one theme throughout prompting constant red herrings and cliff-hangers. Less demandingly, and less compellingly, many series solve a different crime in each episode, but here too there are always recurring sub-plots—in this case the threads of Suleyman’s quest to identify the attacker of his London girlfriend, and his relationship with his father.

As this review comments:

Perfect summer viewing […] a lot better than Death in paradise, but definitely not up there with, say, Happy valley. […] The complexities of Turkish society, particularly the tensions between secularism and faith, make it richer and more interesting than all this would be if we were in Basingstoke.

The allusion to Death in paradise is apt, with its fatal feelgood air—far from the visceral impact of Spiral or The killing. But The Turkish dectective is no mere orientalist candyfloss. There’s room to gently explore İkmen’s domestic life, and the role of family hospitality; high and low life, trash collectors, street snacks, Islam, misogyny, domestic violence, and hints of political history. The important role of cats in Istanbul life is well featured.

As to the soundtrack (playlist), notably the playouts, rap is prominent (and forms part of the plot in Episode 3).

The opening track is Bir Şeyler by TurcodiRoma:

The final playout is Ezhel’s Bul Beni:

For other fine series made in Turkey without targeting the international market so clearly, do watch Ethos, and The Club. Cf. The Janissary tree, Sherlock Holmes and Ottoman Istanbul, and other posts under West/Central Asia: a roundup, including Landscapes of music in Istanbul. Like I’d know.

China: the language of dropping out

From shabi to zhuang bi to yabi,
with reference to diaosi, sang, tangping, and neijuan

neijuanSource.

In a post on an enigmatic shop-sign in pinyin I’ve written about the useful term shabi (“fuckwit”), followed in Changing language by zhuang bi (“poseur”). Subcultures have thrived ever since the 1980s’ reforms, but have taken off with the internet. There’s some impressive coverage of popular recent buzzwords reflecting countercultural trends of disillusionment, from “loser” (diaosi 屌丝) and “mourner” (sang 丧) cultures to “lying flat” (tangping 躺平). Of course, like the subaltern subjects of Xu Tong’s films, such news makes a welcome counterpoint to reports on the glorious triumphs of the latest Party Plenary session.

The progression of these concepts is the subject of a substantial article by Zhu Ying and Peng Junqi, “From diaosi to sang to tangping: the Chinese DST youth subculture online” (2024). We corduroyed, monocled professor types [Speak for yourselfEd.] may find the distinctions between such tribes as arcane as their own jaded adherents will regard the taxonomy of ritual segments of a Daoist funeral. (For “mourner” culture—apathy, rejection of the treadmill—see e.g. here; “lying flat”, subject of another Sixth tone article, struck me as a potential wacky Olympic sport. See also this article by David Cowhig.)

An interview with anthropologist Xiang Biao and a New Yorker article by Yi-Ling Liu further introduce “involution” (neijuan 内卷)—feelings of burnout, ennui, and despair. Xiang Biao scores points (with me, at least) for alluding to Prasenjit Duara’s theory of state involution. He refers to the pressures of Confucianism, but I haven’t seen wuwei cited as prototypes for the dropout generation, or early Daoist recluses such as the Seven Sages of the Bamboo Grove.

ZLQX
The Seven Sages of the Bamboo Grove.

Alienation has always been a theme of Chinese culture. Under Maoist campaigns, one finds hints in the memoir of Kang Zhengguo and it’s evident in much fiction, as well as the films of Jia Zhangke, masterpieces of small-town ennui in the early years of reform. Still, returning to the internet age,

According to Professor Huang [Ping], lying down can be seen as the opposite of involution—a decades-old academic term referring to societies becoming trapped in ceaseless cycles of competition that resurfaced last year [2020] as an online buzzword in China. “In a relatively good social environment, people may feel involuted, but at least they’re trying,” he said. “If it’s worse, people will tangping.”

And Yi-Ling Liu observes tellingly:

China’s crisis is unique in the severity of its myopia and its methods of entrapment. The young high schooler, disillusioned with the monotony of school, cannot easily access subversive subcultures or explore alternative ways of living, because, increasingly, that information is deemed “vulgar” or “immoral” and banned by the government, scrubbed from the digital sphere in the name of “promoting positive energy.” The delivery driver, seeking better working conditions, can’t protest his grievances or organize his fellow workers in an independent union, because he rightly fears that he will be detained. The disillusioned office worker, instead of taking action, will more likely sink deeper into his desk chair. Involution is a new word that helps keep an old system, and those who control it, in place.

* * *

yabi

For the new kid on the ennui block, Made in China journal has an intriguing article by Casey Wei, “The involution of freedom in yabi subculture”, with analyses based on class and gender as well as a useful list of further readings.

In yabi 亚逼 the bi is shabide bi, prefixed by ya (Asia, inferior: the “sub” of yawenhua 亚文化, “subcultures” that develop among “like-minded people” 同温层 tongwenceng). * Yabi signifies “subcultural resistance under a heavily repressed authoritarian regime, […] a post-internet hotchpotch, influenced by (but not limited to) punk, otaku, e-girl, cybergoth, K-pop and J-pop, Asian babygirl, hip-hop, rave, and techno styles from across the globe”. I’m not sure how relevant are Wei’s ambitious historical perspectives on the “feminine supernatural”, from early imperial history through to the Maoist era (“From goddesses and fox spirits to Holding up half the sky”).

I like the opening line of Made in China’s Twitter blurb for the article:

The yabi subculture is often deemed messy and superficial.

Anyway, I’ve penned a couple more haiku (see here):

So much for wuwei
Lying flat is so old hat
Time now for yabi

Not gonna zhuang bi
Lie flat, fold in?—bit too much
I’m just a shabi

* * *

Even in our own societies, it’s a challenge to absorb changing culture and language, all the more so with the explosion of digital media. In analysing Brahms manuscripts or medieval Daoist ritual manuals, the ivory tower of academia is estranged from the practical issues of Real Life. Moreover, the vocabulary of those of us who make intermittent study visits to somewhere like China is always going to be partial, based not only on our particular study topics (political, cultural, and so on) but also on our early exposure, and we may find it hard to keep up with a rapidly changing society. **

I have no illusions that I could possibly keep up with UK youth culture (see Staving off old age, Cleo Sol, New British jazz, and so on). Still, chagrin and curiosity combine to encourage us to learn just how far we have fallen behind; and however traditional the topics we study in China, the attitudes of new generations will be influential. Even if we’re hoping to “salvage” Daoist ritual, our fieldwork takes place not in a social vacuum but within an ever-changing context. With the slogans of Maoism long replaced, popular culture and urban ennui seep into rural values, as grandchildren surf their phones on visits back to the countryside to attend family funerals.

* * *

Even ethnomusicologists documenting traditional culture need an overview of urban soundscapes and the wider cultures in which they mingle (OK, I’ll say it—”in the urban bazaar”) (note The hidden musicians)—Istanbul, for instance, is far more than genteel Ottoman ensembles, the call to prayer, and Alevi ritual, as rap replaces arabesque… Whereas the Anglo-American “classical” and pop worlds manage to ignore each other, it’s worth registering the musical diversity of Beijing and Shanghai in the 1930s and 1990s, popular genres (e.g. Shanghai jazz, and New musics in Beijing) co-existing with drum-singing, silk-and-bamboo, Daoist ritual, the qin zither, and indeed WAM (see e.g. Fou Ts’ong).


* My own coterie being those who will be amused when I identify which kou character I’m referring to by explaining “Yuqie yankoude kou“. Speaking of ya 亚, I love the creative misgrouping of the elements in Lunda YaFei xueyuan 伦大亚非学院 (SOAS) by one of the Li family Daoists!

** Again, my personal lexicon remains based on an incongruous mix of folk ritual terminology and the trite political slogans of the 1950s’ village Party Secretary (here, under “Rapport”).

Bach from Japan

with a not entirely meretricious fantasy on world-music Passions…

Suzuki Prom 2©BBC/Mark Allan. Source: Artsdesk review.

This year is the 300th anniversary of the Leipzig premiere of Bach’s John Passion. * After John Butt’s performance at the 2017 Proms (more links to the Passions here), I’ve just returned to hear it with Masaaki Suzuki (b.1954) directing the Bach Collegium Japan, which he has led since 1990 (listen here—with an instructive interval talk thankfully replacing the interminable original sermon). Whereas performers these days know the work intimately, it must have been a serious challenge for Bach’s Leipzig forces (cf. this post); even to today’s listener it still sounds startingly modern—imagine how it must have sounded to the 1724 congregation!

Having studied with Ton Koopman in Amsterdam, Suzuki became a leading advocate for the early music movement in Japan. Joining several other complete recordings of the Bach cantatas (links here), his cycle with BCJ was completed in 2014. It’s most remiss of me not to have kept up, missing Suzuki’s previous visits to London, both with his own ensemble and as guest conductor of the Age of Enlightenment. Far from inscrutable, his style is dramatic, expressive, rather evoking that of Koopman, or perhaps Richard Egarr—both of whom direct from the keyboard, whereas Suzuki has gravitated to conducting from the podium, leaving the harpischord and organ to dedicated musicians (given which, he might go further and cede close control over the recitatives?).

Munch Golgotha

Bold idea of the programme booklet: Edvard Munch’s Golgotha (1900),
in which he represented himself as the Christ figure,
with the foreground figures casted as the seven deadly sins. Source: wiki.

Benjamin Bruns was the Evangelist to Christian Immler’s imposing Jesus. The choir sounded fabulous, with twenty singers in an arc, including soloists who emerged for the arias. Carolyn Sampson (whom I used to accompany on Bach tours with The Sixteen) was exquisite in Zerfließe, mein Herze, as was Alexander Chance in the counter-tenor arias—succeeding his father Michael, whose singing, such as Erbarme dich, enriched our own performances with John Eliot Gardiner; excellent too were Yusuke Watanabe and Shimon Yoshida. Following HIP style, Suzuki favours small instrumental forces—wackily augmented by a towering contrabassoon (as in Bach’s fourth version); oboes and flutes, seated front stage on the right, were well highlighted.

Suzuki PromBenjamin Bruns, Christian Immler, Masaaki Suzuki.
©BBC/Mark Allan. Source: Bachtrack review (with the fine heading “Promenading on Golgotha”).

Suzuki and BCJ  have long experience of performing and recording Bach (watch a John Passion from 2000 here); their Proms visit this week was part of a European tour—it’s a highly seasoned, accomplished ensemble.

Nothing can compare to the awe of being plunged into the opening chorus, with throbbing, turbulent strings overlaid by anguished suspensions on oboes.

John MS

Returning to the Bach Passions regularly over a lifetime (referring, perhaps, to Gardiner’s Music in the Castle of Heaven) is an essential part of our self-cultivation.

* * *

In This Day and Age™ there’s nothing remarkable about a Japanese ensemble excelling in Bach; even if we can resist projecting orientalist fantasies (with Suzuki as Zen Sage-Mystic), their taste for Historically Informed Performance somehow seems quite appropriate. Perhaps no-one else will even think of gagaku, another genre that was imported, from Tang China—and then radically slowed down until it was no longer recognisable.

I’ve long had a fantasy of staging a world-music version of the Passions (cf. Bach, um, marches towards the world), held at a cosmic site like the Grand Canyon (cf. Messiaen). Amidst sand mandalas, the Dalai Lama with his own halo of deep-chanting Tibetan monks accompanied by their cymbals, drums, and booming long trumpets, as well as ethereal ondes martenot or theremin… Mark Padmore sharing the role of Evangelist with a searing cante jondo singer… Uyghur bowed satar and Persian ney flute as obbligato instruments for the arias, a gamelan to embellish the choruses, and the catharsis of an Alevi sema… One day I’ll do a detailed programme, unfettered by funding or logistics.

A slightly less daunting project would be a Japanese staging of the Passions based on Noh drama. As continuo to the pilgrim/Evangelist visiting the site of an ancient mystery, the dialogue of the two drums, their eery kakegoe cries summoning the spiritual world… the Noh chorus both evoking the crowd and offering redemption… Augmented by the timbre of gagaku, magically transforming the wind music of the choruses and arias (Bach’s own timbre for Zerfließe is already not so distant—and with an archlute joining the continuo, the affinity would be even closer). While some Westerners have trained intensively in Noh, it’s more common, and must be easier, for Japanese musicians to learn to perform Bach (cf. Jazz in post-war Japan)—though it might be hard to find musicians who would be up to (or up for) the task.

At the heart of both these stagings will be Bach’s original music, devotedly illuminated by compatible traditions from around the world.

See also under my roundup of posts on Japanese culture—including some spellbinding Bach on a mile-long xylophone in an empty forest!


* After all this time, I still have reservations about my choice to imitate Bach’s original omission of the “St” before John Passion (Passio secundum Joannem) and Matthew Passion (Matthäus-Passion, or even Passio Domini nostri J.C. secundum Evangelistam Matthæum), with its apparent breezy familiarity—”The name’s Matthew, but call me Matt”). But Was ich geschrieben habe, das habe ich geschrieben, as Pilate observed pithily (a foretaste of “It’s what it is”, suggesting that Robert De Niro might be well cast for the role, albeit too late to join John Wayne as centurion for the crucifixion).

Bloody foreigners

They come over ’ere…

Winder cover

On the recommendation of Satnam Sanghera’s Empireland, I’ve been reading

  • Robert Winder, Bloody foreigners: the story of immigration to Britain (2004, with new chapter for the 2013 edition).

As I write, it’s a horribly topical theme—but it always is (for Winder’s thoughts on this month’s riots, click here).

Immigration has always been a “nuanced and uneven affair”. Migrants are diverse; loyalties can be fluid and overlapping. While Britain has a chronic history of race riots, social unrest has varied.  But “the political language remains morose”, irrational—venting prejudice rather than debate. Emigration “strikes us as daring and sprightly […] yet we habitually see immigrants not as brave voyagers but as needy beggars”. Britain has been both resistant and accommodating, with successive assimilations, new prejudices, routine kindness, and adaptability. Besides all the unsung workers who keep the economy afloat, immigration has long invigorated our institutions, architecture, music, literature, and our very language; “immigration is a form of enrichment and renewal”. But Bloody foreigners is no naive celebration; of course it’s a plea for tolerance, but Winder offers no simple solutions. 

Even in recent times (in the war-inspired propaganda of the 20th century, for instance) we have cultivated a belief in Britain as unconquerable; mighty forces such as the Spanish Armada, Napoleon’s war machine, and the Luftwaffe, we told ourselves, failed to breach our ramshackle but resolute defences. This indoctrination has left a false but distinct impression that we have never been invaded. Indeed, the famous insularity of the British is often attributed to the fact that we do not, unlike our continental friends, have a folk memory of foreign occupation. But this means only that our memories are short and unreliable, because our early history is one of little else.

On the eve of the Norman conquest,

What we now think of as the archetypal English character was already, at this early stage, a robust mixture of Mediterranean, Celtic, Saxon, Roman, Jute, Angle, Danish, and Norwegian, all moulded and rain-streaked by the British climate and landscape.

Traders, craftspeople, entrepreneurs, artisans, and heretics all began finding a home in Britain, and were resisted. Among many disturbances, what Winder describes as a “race riot” erupted in Norwich in 1312, attacking foreign traders, mainly Flemish and Walloon weavers. Chapter 3 relates the prospering of the Jews and pogroms leading up to their expulsion in 1290—“both a tragedy and a national disgrace”.  Chapter 4, “Onlie to seek woorck”, tells how migrants filled a gap in the labour market left by the 1348 Black Death. Gypsies arrived from around 1500, also suffering discrimination. By this time there were 3,000 foreigners in London, 6% of the civic population. In towns like Sandwich and Canterbury as much as a third of the population were immigrants, both bringing prosperity and causing antagonism.

The luckless foreigners incurred the wrath of the locals in two contrasting ways: they were hated if they became rich, and even more if they remained poor. If wealthy, they were gimlet-eyed exploiters; if starving, they were good-for-nothing trespassers.

Concluding a section on the Jews who found a haven from the 1648 pogroms in Ukraine, Winder has a prophetic comment:

In its bumbling way, England was providing a precious sanctuary for those persecuted in brasher countries. Soon however, this newfound tolerance would be tested on a scale never before imagined.

French Huguenots:
Left, refugees landing at Dover in 1685, engraving by Godefroy Durand, 1885 (source).
Right, Hogarth, Noon, 1736 (source)—
Winder’s caption: “Affluent Huguenot churchgoers tiptoe past the ill-kempt natives”.

Huguenots (one of the most inspired vignettes in Stewart Lee’s debunking of UKIP! cf. Rachel Parris) had fled persecution after the 1572 St Bartholomew’s Day massacre, but the main influx began from the late 17th century. Along with their expertise in making clothes, hats, paper, pins, needles, watches, clocks, and shoes, they possessed financial and mercantile skills. [1] The Huguenot merchants

probably thought of themselves as working temporarily from the London office. The rest were waiting for civilisation to return to France so that they could go home and pick up the threads of their former lives. This is true of a great many immigrants, even today. Immigration, indeed, might be a rather grandiose unequivocal word for what is often a diffident decision, full of hesitations and reluctant compromises. The drip-drip process of acclimatisation becomes immigration only in retrospect. […]

The Huguenot exodus was torrid, and only with the benefit of several hundred years’ distance can it strike us as inspiring. But from that vantage-point we can hardly deny that they came, saw, and prospered. Nor that “we”, after a certain amount of bluster and some clenched-fist bitterness, in the end accepted them without much more than a murmur.

Under the Hanoverian empire (George I, “most important immigrant of the 18th century—according to the traditional definition of what counts as important”), Germans came to Britain to work as businessmen and artisans; German architects, playwrights, and musicians played a major role in our cultural life. Migrants arrived from Holland, France, Poland, Italy, and the British colony of India; the population of Sephardic and Ashkenazi Jews kept growing.

Chapter 9, “Servants and slaves”, describes the African slave trade and its immense profits—a story of coercion that contrasts with the choices of previous generations of immigrants.

18th-century England was home to several thousand Africans who carried messages, steered horses through crowds, cooked, swept, busked, scrimped, saved, gambled, drank, slipped into secret doorways, clenched their teeth and cowered in fear, all in plain view of so-called polite society. Most social histories of the period see it as a time of elegant country houses, […] a neoclassical arcadia, in short, shot through with bolts of sexy exuberance, gluttony, and inventive industry.

Africans in Britain were “living among those who were growing rich on their suffering”. Winder sifts the piecemeal material on their shadowy lives. Slavery and racism reinforced each other: “through the slave trade, hostility to foreigners achieved a clearer definition”. (One theme that I dared broach: as the fortepiano was becoming an emblem of gentility, the trade in slaves and ivory must have played a role in the colour reversal of its keys—see Black and white).

Through the Victorian era (another German lineage), Britain continued to provide refuge for cliques of intellectual refugees from Italy, Germany, Hungary, and Poland—”not tolerance so much as indifference”. Meanwhile Winder offers some “industrial revelations”. By 1871 Germans were the largest foreign-born minority in Britain, with roughly 50,000 living here by the end of the century, lured by the industrial boom and freedom from state interference.

Chapter 12 is devoted to “Little Italy”—subject of a forthcoming post. From unsanitary lodgings around Clerkenwell, puppeteers, pantomime artistes, and jesters worked the streets. Juvenile organ-grinders led wretched lives, subject to ruthless exploitation by padroni gangmasters, the street urchins bolstering anti-Italian prejudice. In a process of what would be called “chain migration”, service industries emerged: besides instrument makers, delicatessens and restaurants started a revolution in Britain’s eating habits. Italian schools, churches, and barbers were also established. By the early 20th century the “barrel-organ menace” was a remote memory.

Next Winder turns to the influx of the Irish, with around 400,000 arriving in the wake of the 1840s’ potato famine—“penniless, unhealthy, unshod, and unclean, few immigrants have been less welcome”. Though they made a source of cheap labour, resentment at their presence also revived religious sectarianism, and riots were common.

The police, urged on by a sensationalist or malicious public opinion, moved in to confront the hard core, but ended up having pitched battles with the disaffected residents.

Winder sifts through the stereotypes prompting such enmity, noting a significant middle-class component and assimilation. “From unpromising beginnings the Irish developed into a success story”.

Russian Jews 1890East London, 1890. Source.

In 1889 the Shah Jahan mosque was built at Woking, the first in the country, commissioned by the orientalist Dr Leitner, a Hungarian Jew. A new influx came in the 1890s with around 150,000 Jewish evacuees from the pogroms of Tsarist Russia—some prospering while others toiled in murky sweatshops. The anti-immigration lobby grew; fears of being “swamped” had little justification: “between 1871 and 1910, nearly two million Britons emigrated, far more than the number who arrived”. “Lascars”, a broad term for “Asiatic” seamen, established communities in Liverpool, London, and other ports; Chinatowns began to form. Meanwhile “religion, science, and philosophy joined hands to offer a new vocabulary for racial antipathy”.

During World War One anti-German feeling ran high, egged on by the popular press. Like Satnam Sanghera and Fatima Manji, Winder reminds us of the major contribution of Indian soldiers on the battlefield. But

The First World War was the first time that Britain’s working class had travelled overseas in numbers, and when it returned home, it brought with it a sharpened hatred of all things foreign.

Still, foreign food seemed attractive. Curry had already appeared on the menu of a coffee house in the Haymarket in 1773, and in Hidden heritage Fatima Manji notes a short-lived curry-house in 1810—with a delivery service, to boot. Winder goes on:

In 1931 the Bombay Emporium opened near the Tottenham Court Road, providing the first glimmer of what would later become an indispensable part of British life: the Asian shop. In Portobello, you could buy curry powder, poppadoms, and mango chutney.

Several Indian restaurants opened in Soho, as well as in Glasgow and Cambridge—the beginnings of another culinary revolution. By 1970 there were 2,000 Indian restaurants in Britain (cf. Musical joke-dating).

Winder constantly notes both the stars of industry and culture, and the wretched lives of the exploited sweatshop labourers. Between the wars, new arrivals came from Africa and the Caribbean, mostly students. National independence movements grew. In the 1930s a surge of arrivals from the Irish Free State went largely unopposed. Between 1933 and 1939, some 60,000 Jewish refugees managed to reach Britain—including a dazzling array of cultural figures. Still, anti-Semitism, if “only a pale flaring of the venomous feelings in continental Europe”, was substantial. Nicolas Winton’s Kindertransport stood in rebuke to the British government’s exclusionary policies.

Though Britain’s colonial troops again played a major role in World War Two, fear of aliens was again reinforced. Britain recognised its debt to Polish troops, whose naturalisation after the war attracted little controversy. The following waves of immigrants were not so lucky.

* * *

While all this early history is fascinating, it tends to recede from memory as the story enters the period since World War Two. These were desperate times in Britain, as on the continent (see Lowe, Savage continent). Amidst a labour shortage, the substantial new wave of Irish immigrants was accepted, as were Italian workers—the official beginning of our affair with Italian restaurants and fancy coffee machines. But British racism was clear. The term “immigrants” was fast becoming a polite euphemism for “coloured people”. The popularity of black American troops stationed in Britain during the war had been temporary.

The 1948 Nationality Act gave all imperial subjects the right of free entry to Britain. Despite Britain’s postwar poverty, this seemed a tempting opportunity to a fraction of those now entitled to do so. The voyage of the Empire Windrush attracted much publicity (and anxiety), but it didn’t create a surge of similar voyages; only after 1954 did the exodus gather pace, with London Transport initiating a recruitment drive in 1956. The new West Indian arrivals, though few in number, were unpopular. Caricatures represented by Enid Blyton were being ingrained in children—and their parents.

Over the next decade nearly a quarter of a million migrants arrived from the Caribbean, India, Africa, and Hong Kong, making their way “to the country whose authority they were at last shrugging off”. Migrants were unwelcome in all but the poorest neighbourhoods. Jobs were available, but trade unions were largely hostile; housing was a source of exploitation. The migrants soon became disenchanted with their drab, hostile new home. The government seemed to have no plan:

It declined to take any overzealous measures to prevent immigration, while refusing also to stand up for the migrants themselves.

From India came Sikhs, Hindus, Muslims. Cypriots and Hungarians fled conflict in their home countries. By 1958 the Home Office estimated that there were 210,000 people from the Commonwealth living and working in Britain, three-quarters of them male. Racist resentment grew; teddy boys, egged on by Oswald Mosley, caused havoc.

Whereas male workers had formed the core of previous migrants, the 1962 Commonwealth Immigrants Act (“a preference for muddle over clarity, a refusal to be entirely guided by the promptings of either conscience or prejudice”) led indirectly to the consolidation of migrant families and communities. They became more assertive.

Kenyan Asians found refuge from 1967, and then Ugandan Asians from 1970. But emigration also soared through the 1960s. As tourism and package holidays took  off, more Italian and Mediterranean migrants arrived. By 1971 there were a million Irish migrants, who no longer prompted resentment—though the anti-German temperament endured, recalled by my orchestral colleague Hildi.

Migrants arrived from India and Pakistan, working in factories and setting up corner shops. As National Front youths indulged in “Paki-bashing” rampages, Brick lane, its population now largely from Bangladesh, again became a centre of racist violence.

The Chinese takeaway was becoming a national institution, largely staffed by migrants from Hong Kong. From 50 Chinese restaurants in 1957, numbers grew to 4,000 in 1970 (at a time when there were around 500 French restaurants!). In Sour sweet Timothy Mo gives a gripping fictional portrayal of the Chinese immigrant experience (cf. Ray Man). Despite the common complaint that newcomers refused to “fit in”,

The group of immigrants who made the least effort of all to fit in were the Chinese, who kept themselves to themselves and socialised almost entirely within their own families. Yet they were the least disliked. They kept their distance, and Britain seemed to like it just fine that way.

The Thatcher era from 1979 exacerbated relations. Still, her government soon had to accept 15,000 Vietnamese boat people, rescuing them from “the twin evils of communism and drowning”. Riots took place in Brixton, Toxteth, and Southall. While noting the violence unleashed between different communities from the Indian subcontinent, Winder observes that no-one liked to admit that “Britain’s urban culture was itself incorrigibly tough and brawling”. The terms “ethnic minorities” and “multiculturalism” came into use; schooling and religious instruction became hotly-debated issues. But

No-one could deny by now that Britain’s railways, hospitals, shops, cafés, and restaurants would have ceased to function without migrant workers.

The collapse of the Soviet bloc regimes, along with ongoing crises around the world, led to new surges. Fundamentalist Islam, the Rushdie affair, and 9/11 posed yet another challenge to Britain’s tolerance of migrants. In 2005 the 7th July suicide bombings in London reinvigorated Islamophobic sentiments in some quarters and made others question the nation’s cosmopolitanism. But somehow a violent backlash was avoided.

Distinctions collapsed between refugees, asylum-seekers, and economic migrants. Measures of successive governments became more draconian while the processing system descended into chaos. The idea that Britain might benefit from migration held little sway. The mass media “seemed eager not just to report discord but to sow it”. The “debate”, if it can be called that, was (and remains) rancid and polarised.

Leaving aside the barmier claims that migrants are all disease-ridden, criminally inclined scoundrels who have no place in our well-mannered, sceptred land, there is a sensible argument that they have been arriving on a scale that stretches our strained welfare resources, provokes social unease (true, though holding the migrants alone responsible is mischievous) and provides, in some cases, cover and opportunity for criminals. The opposing argument states that the demonisation of asylum-seekers is both vindictive and misjudged. It looks at a system that imprisons young children for months, and concludes that we are neglecting our moral duty. It suggests that asylum-seekers bring cultural enrichment as well as entrepreneurial drive: above all, they are individuals striving to live by our own ideals for self-improvement and betterment.

The awkward thing about these two extreme views is that they are both true, or contain truth. Immigrants are not all the same. They represent the full spectrum of human types: dreamers and schemers, rascals and rogues, saints and villains.

For the 2013 edition Winder added the chapter “Choppy waters”, with the Conclusion “Identity Parade”. Though forecasters wildly underestimated the number of those who would take advantage of the 2004 enlargement of the EU to come to Britain, it didn’t submerge the island—and it did provide us with a new generation of trusty Polish workers. Many of the new arrivals didn’t intend to stay.

On nostalgic portraits of English life by Betjeman and Orwell, Winder comments

People who contrive thumbnail sketches of national identity are usually lamenting the passing of their own youth, the fraying of the iconography with which they grew up.

He ponders issues of identity and belonging, observing that statistics are unreliable and open to conflicting interpretations. Aware of the problems of segregation, Winder is not uncritical of multiculturalism. He explores whether integration and diversity are mutually exclusive.

* * *

So I’m not sure quite what we can learn here from the famous Lesson of History. In the Preface to the 2013 edition, Winder explains:

I was not seeking to imply that Britain owes everything to immigration; I was merely drawing attention to a common oversight, which was that the role played by immigrants in the story of Britain has been understated and overlooked. […]

Even if entrenched communities were open to such messages, they might hardly profit from realising that we’ve always been both xenophobic and hospitable, or that migrants assimilate eventually. Still, it’s highly necessary to press the case, and among the vast literature on the topic beyond the rabid pages of the Daily Hatemail, this is a great place to start.

Note also the Migration museum in Lewisham. Cf. Hidden heritage, Vermeer’s hat, and Pomodoro!.


[1] Reflecting the history of migration, a 1743 Huguenot church in Brick Lane became a synagogue in 1898 (after an interlude as a Wesleyan chapel), and then a mosque in 1976 (see also this site).

The Ghost Festival

SGL guiwangGhost King, South Gaoluo.

Today is the Ghost Festival in China, so I’ve been reflecting on calendrical rituals (further to my In search of the folk Daoists of north China, pp.7–8). Usually I draw attention to ritual days, but this seems to be one that I’m inclined to downplay.

XJY yankou 2003Yankou at Xujiayuan temple fair, north Shanxi 2003.

As one of the Three Primes (sanyuan 三元) over the annual calendar, the Ghost Festival (Guijie 鬼节, formally Yulanpen jie 盂兰盆节) on 7th moon 15th seems like a major event (see e.g. Stephen Teiser, The Ghost Festival in medieval China). On this evening, groups of temple clerics (both Daoist and Buddhist) still hold Flaming Mouth rituals (yankou, shishi) to exorcise the community, although they were surely performed more commonly before the pervasive impoverishment of temple life over the 20th century.

LQ yankou 1982Li Qing’s 1982 copy of the Li family Daoists’ shishi ritual manual.

There’s an extensive Chinese literature on this complex, lengthy Tantric ritual, but the Ghost Festival is far from its only context—besides other temple fairs over the annual cycle, it is (or was) routinely performed for funerals (see many posts under Local ritual).

Notwithstanding the importance of the Ghost King (Guiwang) and the Ten Kings of the Underworld (Shidian Yanjun) in village pantheons, in my experience of rural north China, 7th moon 15th is not (or is no longer?) a major day for rituals with liturgists presiding. Perhaps its liturgical importance varies by region; I’m not sure it depends on the community still having a viable temple, since ritual buildings can be re-activated for important ritual purposes. In my DVD Doing Things on ritual life in north Shanxi, §B5 has brief excerpts from a yankou performed by Buddhist monks for the “main day” of their village temple fair—which falls on 7th moon 3rd, not 15th.

Worshipping the ancestors, Xinzhou 7th moon 15th 1992.

What does endure is the custom of domestic offerings, burning paper at the ancestral graves, as we found in 1992 in Xinzhou on our trip through north Shanxi. Neither there nor in Yanggao is it a day to summon household Daoists to perform rituals.

zhaobeikou-lakeThe Zhaobeikou ritual association leads Releasing Lanterns ritual on Baiyangdian lake,
7th moon 15th, 1993.

For village associations on the Hebei plain, 7th moon 15th may have become less of a focus for communal observance over the 20th century. But the aquatic setting around the Baiyangdian lake (click here) prompts village ritual associations there to go on procession to “Release River [or Lotus?] Lanterns” (fang hedeng 放河/荷燈). Similar rituals are held in nearby counties such as Langfang. in Bazhou, the Zhangzhuang association, with its active group of liturgists, was one of few still performing yankou on the 15th. The association of Lesser Huangzhuang, Jinghai, performed Releasing God Lanterns (fang shendeng) on 1st moon 15th and Releasing Ghost Lanterns (fang guideng) on 7th moon 15th. Around Houshan, the major days to worship the goddess Houtu are 3rd moon 1st and 15th, but 7th moon 1st and 15th also attract many pilgrims.

So we may come across a range of exorcistic behaviour on 7th moon 15th: from burning paper at the ancestral graves, to processions Relasing the Lanterns, to full-scale yankou rituals.

As to the other days of the Three Primes, 1st moon 15th is the day around which the main annual rituals revolve (whereas only domestic offerings are made on New Year’s Day—e.g. Gaoluo); the ritual segments performed are exorcistic, like those for 7th moon 15th. But (again for north China) I haven’t heard of major communal observances for 10th moon 15th—leads welcome…

Anyway, the ritual days of the standard national calendar may arouse false hopes, requiring verification on the ground; once one gets down to the grassroots, other dates may require important calendrical rituals for local deities. In south China, even the major liturgical days of the 1st moon vary by locale. This is a significant fieldwork lesson: to see beneath the tip of the iceberg of temple practice and prescriptive history to digest folk observances at the grassroots (cf. Debunking “living fossils”).

Cf. Calendrical rituals, and for Bach and Saxony, The ritual calendar: cycles, seasons.

Selected readings on WAM

BTW, I suspect a WordPress glitch may have failed to notify email subscribers of
my recent post on Nicolas Slonimsky’s wonderful memoir Perfect pitch
and it’s Jolly Good, just saying…

I’ve just revised my introductory page on Western Art Music, with the addition of an off-piste selection of general writings that I find stimulating.

It extends from works within the field itself (Taruskin, Ross, Slonimsky, McClary, Butt, Lebrecht) to the broader perspectives of ethnomusicology (Becker, Small, Nettl) and ethnography (Finnegan, Cottrell, Tindall, Warnock).

China not forgotten!

Over a summer hardly bathed in sunshine, but enlivened by football, tennis, Istanbul, and Proms, it may look as if I’m somewhat neglecting China. Still, just since May, posts include

China even plays a cameo role in

Actually, that should be enough to keep you busy (not to mention all the fieldnotes under Local ritual)—indeed, a little break might be welcome… I’m working on several new essays for my site, but in the interim I regularly post on Twitter—other recent China retweets including

Coming up soon is a reminder of a crucial theme, still little addressed:

It’s always worth reminding people of my work on the Li family Daoists:

And we should bear in mind the alternative perspectives of Tibetan, Uyghur, and Taiwanese cultures.

There’s a certain random quality to the topics of some of these retweets, but as with my original articles, I like to keep people guessing, and to remind readers of posts which may have escaped attention, or seem particularly apposite. So you may care to check my Twitter feed, or even “follow” me there…

Nina Simone

*Part of my strangely extensive jazz series!*

NinaSource.

Such is my devotion to Billie Holiday that I’ve never quite been able to warm to Nina Simone (1933–2003). But my interest has been revived by listening with rapt admiration to Feeling good (1965). It opens with an all-too-brief free-tempo alap, brusquely interrupted by the incongruous sleazy riff: *

The title isn’t so ironic as it sounds. Written by (white) English composers Anthony Newley and Leslie Bricusse for the musical The roar of the greasepaint—the smell of the crowd, satirising the British class system, the UK premiere was given by Cy Grant in the role of “the Negro” singing the song as he “wins” the game; it was described as a “booming song of emancipation”. When the show transferred to New York the following year, the role was taken by Gilbert Price. Nina utterly transforms the song, but the optimism of its lyrics is remote from the activist songs that were becoming the core of her repertoire just at that time.

* * *

Within the milieu of the day, few musicians were angels. Jazz biographies from the, um, Golden Age tend to follow a depressingly familiar trajectory of self-destruction: pain, drugs, exploitation, disastrous choice of partners, violence, disillusion, and legal woes. Despite all these features, Miles’s autobiography is strangely inspiring, tough but never helpless (for a lengthy sample, see Miles meets Bird). White musos could be no less self-destructive—few more so than Chet Baker.

For Nina, besides wiki and ninasimone.com, I’ve been reading

  • David Brun-Lambert, Nina Simone: the biography (2005).

Among documentaries is Nina Simone: the legend (Frank Lords, 1991), What happened, Miss Simone? (Liz Garbus, 2015; trailer), and The amazing Nina Simone (Jeff L. Lieberman, 2015; trailer).

The sixth of eight children in a poor North Carolina family, Nina was a child prodigy at the piano; “Bach made me dedicate my life to music”. After graduating from high school in 1950, she seemed destined to become “the first black American concert pianist”. So the original, lasting, deep wound in her psyche was being refused admission to study at Curtis—which she attributed to racism. Thwarted in her classical ambitions, she continued to study privately with Curtis professor Vladimir Sokoloff for several years, funded with a regular gig at a nightclub in Atlantic City—only taking up singing because the job demanded it.

While Nina’s classical piano training would later give her a cachet among respectable white audiences, I seem to have reservations about singers accompanying themselves at the piano, like Ray Charles. Distinctive and original as her playing was (e.g. her “destabilising” 1969 album Nina Simone and piano), it was at a tangent from jazz: stark, based on melody, hardly admitting any harmonic interest—by contrast with her cohorts in the jazz scene like Monk, Herbie Hancock, or Bill Evans. But this musical simplicity threw greater focus on her political message.

By the late 50s, as her career was taking off, her dream of fame as a classical pianist had evaporated. The civil rights movement was growing. In Greenwich Village she began hanging out with James Baldwin, Langston Hughes, LeRoi Jones, and Lorraine Hansberry. Her 1961 visit to Lagos with Baldwin, Hughes, and others as part of a delegation of the American Society for African Culture was her first time in Africa.

Now married to a violent husband and manager, she gave birth to her daughter in 1962. Her entry into the civil rights struggle was embodied in her 1963 song Mississippi goddam. Nina’s activism, and the wider civil rights background, is extensively covered by Brun-Lambert, with detail on her involvement with Martin Luther King, Malcolm X and the Nation of Islam, Miriam Makeba, the Black Panthers, riots, marches, and the whole ferment in black popular music through the 1960s.

By 1970, exhausted and disillusioned, Nina seemed to have reached the end of the road. In later life she largely avoided the USA for fear of legal battles; while still touring, she sought refuge in Barbados, Liberia, Switzerland, Holland, and France, lonely and estranged from her daughter, her relationships fraught and short-lived; among a succession of managers, some had better intentions than others. Her mood-swings and behaviour on and off stage had long been volatile, becoming ever more apparent; the diagnosis of bipolar disorder was belated. Brun-Lambert describes her as “leading a double artistic life, unable to find her own place anywhere”.

* * *

Nina Pastel cover

Turning to Nina’s songs—as ever, there’s a vast selection on YouTube, notably this channel—below I give a mere sample.

In her early years she sounds benign enough, like the New York Town Hall concert in September 1959, “still without trace of savagery or sexuality”, as Brun-Lambert puts it:

Still, her interpretations, such as Summertime, are distinctive. Billie Holiday had died in July that year; a couple of years earlier she had immortalised Fine and mellow in the most enthralling TV film ever. Nina sang it for her Town Hall finale.

“Her first song with explicitly black consciousness” was Flo Me La at the Newport festival in 1960 (from 20.52):

Among several appearances at Carnegie Hall, here’s her 1964 concert (as playlist):

The programme introduced activist songs such as Old Jim Crow, Go limp, and Mississippi goddam into the genteel surroundings. And she is just right for Brecht/Weill songs like Pirate Jenny!

Singing The house of the rising sun at the Village Gate in 1961, she sounds rather mellifluous:

By 1968, live at the Bitter End Café, her voice is harsher and more experimental:

The final number on her troubled 1965 album Pastel blues (here, as playlist) is Sinnerman, “about despair, disenchantment, disillusionment in the face of a situation that offers no alternatives but flight or prayer” (Brun-Lambert). Before that comes Strange fruit, just as visceral as Billie’s 1939 recording and 1959 performance. Nina’s concert in Antibes that year included some songs from the forthcoming album—opening with a disjointed intro that segues into Strange fruit:

And here’s Four women, live in 1965:

After the assassination of Martin Luther King in 1968, she sang Why? (The king of love is dead)—here’s a full version live that year:

In 1967 she recorded I wish I knew how it would feel to be free—here’s her 1976 Montreux performance:

Again, I find some of these casual piano accompaniments, and even her voice, disconcerting—but maybe that’s the point.

That’s probably enough to outline the story of Nina’s heyday; in her later career she largely repeated such standards—after the original creative impetus had diluted, and as her mental troubles escalated. She had been touring in England since 1967—it’s worth hearing her live at Ronnie’s in 1985:

To encapsulate ecstasy and pain, for me it’s always going to be Billie… I may be romanticising the devotion of jazzers to their art (cf. the wonderful image of Donald Byrd practising on the subway), but I detect no inkling of any such devotion in Nina: any musical discipline that she practised seems to have been at the keyboard. She formed no bonds with her fellow musicians.

While one gets little impression that she honed her vocal skills, in early recordings like Black is the color of my true love’s hair and Wild is the wind (in the 1959 Town Hall concert) she sounds genuinely intimate, even sweet—far removed from her later image. Still, music is about society: Nina’s voice developed into a genuine expression of the troubled times, part of the necessarily strident style that emerged from the civil rights struggle.

Under A jazz medley, see e.g. Green bookDetroit 67 and Memphis 68, as well as A Hollywood roundtable, The Tulsa race massacre, and Black and white.


* Feeling good has been much covered—rather than featuring other versions, here’s Trane in 1965:

And although nothing can compare with the raw emotion of being black in those years, here’s Andrea Motis in 2012:

Not being pedantic or anything [Uh-ohEd.], the title seems to be cited more commonly as Feeling good than as Feelin’ good (zzzzz). Cf. I got a woman, note here.

Another Turangalîla at the Proms!

Prom Messiaen

Photo: Chris Christodoulo. Source.

One should never miss a live performance of Messiaen’s ecstatic Turangalîla-symphonie!!!

My Messiaen page has links to many posts on Messiaen, and a tribute to Turangalîla—with the NYO’s 2012 Prom performance, and some hilariously uncomprehending reviews of the 1949 premiere (“Dorothy Lamour in a sarong […] Hindu Hillbillies”, “straight from the Hollywood cornfields”).

ondes

Ginette Martinot, who gave the premiere of Turangalîla. Source.

Last week at the Proms it was directed by the enterprising Nicholas Collon, with the BBC Philharmonic (British orchestras dominating so far; European and US bands can wait till later in the season). Cynthia Millar, veteran of the ethereal ondes martenot, added yet another radiant performance of a piece she has played around 200 times, including several Proms since 1986—for players limited to such a small repertoire, * Messiaen is a blessed gift (see Millar’s tribute to Jeanne Loriod). Steven Osborne relished Messiaen’s unique piano writing, with a niche backing-group of celesta and glockenspiel right behind him. I’m always entranced by the hushed coda that concludes the 4th movement, before the exhilarating Joie du sang des étoiles. Sensuous orchestral timbres abound.

Tlila 6

Source.

While experiencing Turangalîla live is extraordinary, for balance it’s worth listening on BBC Sounds, and it’s on iPlayer too. At the Proms it was first heard in 1969, with Musica Reservata performing Renaissance music in the first half (surely I was there, so why isn’t it indelibly etched in my memory?!). This time the prelude was the world premiere of Anna Clyne’s The gorgeous nothings, with the seven-piece a cappella Swingles, amplified, joining the orchestra—reminding me to acquaint myself with the poetry and reclusive life of Emily Dickinson. For a groovy encore (Erica Jeal asks pertinently “Is it bad etiquette to give an encore that upstages the main work?”) the Swingles launched into their joyous arrangement of the Bulgarian dance piece Bučimiš (studio version here; its metre is 2+2+2+2+3+2+2, BTW—see Taco taco taco burrito!). An encore after Turangalîla seems inconceivable—but in 2012 the NYO found a perfect one—Anna Meredith’s Handsfree!

Fans of the ondes martenot will want to hear the theremin too! Many more a cappella gems here; more Bulgarian folk under Musical cultures of east Europe.

Other recent Proms treats include Ravel‘s delightful piano concerto (with Ives’s Three places in New England), and Gershwin’s Rhapsody in blue (Steven Osborne again).


* This site mentions 1,200 works (!), although the core concert repertoire consists of pieces by a mere 27 composers.

Ondes octet

Some niche Olympic sports

Poodle clipping

Poodle Clipping, Paris Olympics 1900.

For the Paris Olympics, Call Me Old-Fashioned [What, again?Ed.] but I mainly favour the traditional sports, like tennis (Nadalcaraz together in doubles?! WOW) and football—easing the withdrawal symptoms after the Euros (for which I crafted wonderful folk playlists) and Wimbledon.

You had to be quick to catch the Rugby 7s, not just because the tournament began and ended early, but because the matches don’t last long (although how long seems to be a closely-guarded secret). It’s glorious because it’s basically running around like fuck and scoring loads of tries, dispensing with much of Rugby Union’s boring faff like falling over on top of each other, set-pieces, trying to work out arcane rules, and all that pompous cerebral preparation to kick a conversion.

Olympics 1908

Gradually, with the essential aid of expert commentary, one gets drawn into the more niche activities—like Beermat Flipping, Treacle Volleyball, Malteser Shot-Putting, Bonzai Flatpack Assembly, and Synchronised Underwater Hamster Dressage.

Another popular event is The Sound of One Hand Clapping, in which Japan still has a monopoly. The Chinese, not really perpetuating the Daoist tradition of wuwei non-action, now excel at Lying Flat 躺平, but their governing body doesn’t seem keen to get it ratified by the Olympic Committee.

Monty Python got there first with such fantasy:

As to the relay, here’s Mark Simmons:

I love the Olympics. My friend and I invented a new type of relay baton. Well, he came up with the idea, I ran with it.

And turning to table tennis, allow me to remind you of this fine headline:

King Kong Ping-Pong Sing-Song Ding-Dong

See also under A sporting medley: ritual and gender. As I have noted, my viewing stats from WordPress * somewhat resemble a fantasy Olympic medals table:

Medals table


* You may be as dismayed as I am that these stats have begun to address me as “Howdy, StephenJones.blog”. Another sign of The End of Civilisation As We Know It…

The hidden musicians

Finnegan cover

  • Ruth Finnegan, The hidden musicians: music-making in an English town
    (first edition 1989, revised 2007).

In several posts I’ve praised Finnegan’s classic work en passant—and revisiting it now, I find it even more impressive. I struggle to encapsulate its virtues without citing every paragraph.

Its subject is local grass-roots musicking in Milton Keynes, mainly at the amateur end of the amateur–professional continuum, so often taken for granted. It’s a model of participant observation: Finnegan was a long-term resident of the area, with most of her material collected from 1980 to 1984. Writing in an accessible style, she constantly debunks facile assumptions.

Having started out by studying oral performance in Africa, Finnegan now embarked on a project concerning doorstep (rather than armchair) ethnomusicology. The hidden musicians soon became core reading for the ethnomusicological study of musicking in Western societies, including Western Art Music (for which she abides by the traditional term “classical music”).

An attention to “ordinary musicians” was already implicit in the ethnomusicological approach to more “exotic” societies (note Bruno Nettl’s masterly survey of the field), but it is all the more revealing for a culture so near to home. In The hidden musicians, references to research on other world cultures, standard for such studies, might have been instructive, but the economy of theory and jargon is welcome. Among Finnegan’s main inspirations is Howard Becker’s 1982 study Art worlds. In 2022 her work inspired a BFE conference (in Milton Keynes, to boot, where the Open University is fortuitously based) on “ordinary musicians”, addressing topics in societies around the world.

The opening of the book anticipates that of Christopher Small’s Musicking (1998), observing the diverse ways in which music-making pervades people’s lives. Like Small, she focuses on “musical practices (what people do), not musical works (the ‘texts’ of music)”—seeking processes rather than products. She finds “an invisible but organised system” that lies at the heart of our cultural lives.

After an important chapter unpacking gradations on the amateur–professional continuum, in Part Two Finnegan outlines the diverse yet overlapping musical worlds of classical music, brass bands, folk music (including ceilidh and Morris bands), musical theatre (amateur operatic societies, panto, and so on), jazz, Country and Western, rock and pop. She disputes the “mass society” theory that ”envisages a passive and deluded population lulled by the mass media and generating nothing themselves”, as well as simplistic socio-economic or age-based analyses. She challenges assumptions, such as “high culture”, and, taking a descriptive rather than prescriptive approach, she finds

several different musical worlds, […] each having its own contrasting conventions about the proper modes of learning, transmission, composition, or performance. Because the pre-eminent position of classical music so often goes without saying, the existence of these differing musics has often simply been ignored.

If the pre-eminence of classical music was only notional by the 1980s, her material does indeed seem to confirm this unspoken assumption. Conversely, social scientists have emphasised “popular” or “lower-class” activities such as rock. But

each musical tradition—classical, rock, jazz, or whatever—can be studied in its own right. When no longer judged by the criteria of others, each emerges as in principle equally authentic and equally influential in shaping the practices of local music.

Part Three, “Contrasts and comparisons” opens with an insightful chapter on learning music (cf. the Growing into music film project). While Finnegan largely concurs with the notional dichotomy in training between the worlds of classical and popular musics, she notes commonalities. “Performances and their conditions” perceptively compares the conventions of events belonging to different musical worlds, noting aspects such as preparation and audience behaviour. In “Composition, creativity, and performance” she investigates degrees of dependence on written texts (cf. studies of “improvisation”, for which we can again consult Nettl as a handy guide). And in Chapter 14, preparing the ground for her later metaphor of “pathways”, Finnegan refines the concept of musical “worlds”, noting their plurality, with a certain overlap, and wider connections further afield; they are “relative, shifting, and situational”.

Part Four, “The organisation and work of local music”, contains chapters on the home and school; the churches; clubs and pubs; a case study on the organisation and administration of the Sherwood Choir; small working bands; resources, rewards, and support (including music shops and recording studios—with more on the amateur–professional continuum, and patronage).

With amateur music, people’s time and work are often as important as their money. So too are non-monetary rewards such as aesthetic enjoyment, the pleasure of performing, status, the sense of creativity, or even just the symbol of having earned “a fee” irrespective of its actuall monetary price. This in turn chimes in with a series of commonly held values: the high worth commonly attached to “performance”, to “music”, and to working for a “good cause”, as well as the view held by many people that “doing your own thing” has something inherently valuable about it—or, at the least, that the various groups organised to pursue different ends are an acceptable part of modern life.

It would be too simple just to assert—as some do—that local music is supported by “the community” or to speak of it as essentially “community music-making”. There are too many different interests, sections, conflicts, and unfamiliarities to take that romantic picture. Nevertheless there is a grain of truth in this view. For local musical activities only remain possible through the support of a complex network of institutions, many of them essentially realised by local participants at the local level whatever their wider links: not only the continuing moral, social, and financial (as well as musical) input of local musicians, but also the local music shops, studios, businesses, special interest groups, bands, performers, musical societies, pubs, personalities, fund-raising groups, schools, churches, and charities.

In Part Five, “The significance of local music”, Finnegan asks

Are there wider implications that can be drawn out from this system of local music-making? This part builds on the earlier ethnographic material to explore such questions as what local music practice and its pathways mean for those who live out their lives in the urban (perhaps impersonal?) setting of modern society or for the rituals and functioning of our society and culture more generally. Finally—and on a more speculative level—are the many many small acts and decisions which, however little recognised, lie behind the continuance of music-making of any wider significance for the fundamental experience and reality of humankind?

Again, she never falls back on untested assumptions. Critical of the familiar paradigms of the city as inimical to personal control or warmth, and of the romantic sense of “community”, she finds diversity in terms of education, wealth, and occupation—though she does conclude that gender roles remain hard to break through. She reflects on participation by age; and on the ordering of time, noting regularity—along with “rehearsals”, “concerts” and “gigs”, life-cycle and calendrical events (my term, not hers) are important social contexts.

She elaborates on “pathways” in modern living, stressing that they “depend on the constant hidden cultivation by active participants of the musical practices that, with all their real (not imaginary) wealths and meanings, keep in being the old and new cultural traditions within our society.” Finally, in “Music, society, humanity”, she broaches concepts such as sociability and the search for value; and she ponders, with typical detachment, whether music is somehow different from other social activities.

* * *

In her Preface for the 2007 edition, Finnegan reflects on golden-age nostalgia, change, ebb and flow rather than decline, new technologies, immigration. She outlines gaps in her study, and how one might update it: she might now pay more attention to mass media, constantly expanding since the 1980s, and the role of cultural, religious, and ethnic “minorities” (then less evident in Milton Keynes than in many English cities) would certainly now play a greater role, including South Asian, Irish, Italian, Polish, Vietnamese, and Somali subgroups.

While it’s an urban study, Finnegan’s book has influenced ethnographers in diverse fields, including my own study of Gaoluo village. As she comments, in a passage that applies verbatim to my work there and on the Li family Daoists, her research

enlarged and challenged my own preconceptions, […] tied in to an activity to which I attached real value, and presented me with some complex intellectual, methodological, and moral challenges. […] I was dealing with something that I personally enjoyed and found inspiring. Most of all it involved human beings, not just abstractions or generalisations, and the complex and diverse pathways they both trod and created irrespective of the ways scholars thought they should be behaving. In the end, I still like this study because it is about real people in a real, not pseudonymous, place that existed and exists: about people actively engaging in intensely human practices in which they took trouble and pains, in which they experienced disputes and sociability—and, rightly, delight.

Note the roundup under Society and soundscape, particularly What is serious music?! and Is Western Art Music superior?. See also Just remind me again, what is music?! and Old and new musics. Cf. Das Land ohne Musik, and for lowly tennis players and “ordinary Daoists”, here.

Perfect Pitch

Perfect pitch cover

I’ve often cited Nicolas Slonimsky’s brilliant Lexicon of musical invective. So I enjoyed reading his fascinating memoir

  • Perfect Pitch,
    in a revised third edition from 2023, ably edited by his daughter Electra Slonimsky Yourke.

Written with wit and wisdom at the age of 94, and first published in 1988, it’s a captivating blend of substance and gossip, packed with wonderful anecdotes—a Who’s Who of figures that seemed to matter at the time, part of a niche zeitgeist.

Nicolas Slonimsky (1894–1995) (fine website, with A/V; books, including Writings on music, 4 vols., 2005; wiki) was “a typical product of the Russian intelligentsia”—in the early chapters he gives a detailed account of his Russian family history and political turmoil. Already by 1912 his early musical facility led him to describe himself as a “failed wunderkind”.

In autumn 1918 he left St Petersburg. After stays in Kiev and Yalta, in 1920 he reached Constantinople (pp.85–90), where he found many musicians among the throng of Russian refugees. Lodging with a Greek family, he accompanied Russian dancers, and played for restaurants and silent movies. He composed Obsolete foxtrot and Danse du faux Orient, later included in his Minitudes. After following a girlfriend, a Russian dancer, to Sofia, by late 1921 he arrived in Paris—also inundated by Russian emigrés. There he worked for Serge Koussevitzky for the first time, who introduced him to Stravinsky in Biarritz. Koussevitzky, sorely challenged by irregular time signatures, * asked him to rebar The Rite of Spring for him. Despite moving in cultured circles, Koussevitzky (like Tennstedt later) was not a great reader.

Slonimsky was impressed by Nikolai Obukhov, a “religious fanatic” who made a living as a bricklayer. Inspired by Scriabin, and an unlikely protégé of Ravel, his magnum opus Le livre de vie for voices, orchestras, and two pianos (Preface here) contained “moaning, groaning, screaming, shrieking, and hissing”. He dreamed of “having his music performed in an open-air amphitheatre, perhaps in the Himalayas or some other exotic place”. He developed the croix sonore, a prototype of the theremin.

In 1923 Slonimsky docked in New York, travelling on a Nansen passport, “an abomination of desolation, the mark of Cain, the red spot of a pariah”. He soon found work as opera coach for the new Eastman School of Music in Rochester, at the invitation of Vladimir Rosing. He now confronted the challenge of learning English. Indeed, the book is full of gleeful comments on language learning. Taking advertising slogans as his textbook, Slonimsky’s arrangements (particularly Children cry for Castoria!) became popular. America seemed a fairy-tale land. At Eastman he found a kindred soul in author Paul Horgan.

In 1924 Koussevitzky replaced Pierre Monteux as conductor of the Symphony Orchestra (whose musicians were mainly German, French, and Russian), and the following year he invited Slonimsky to become his secretary (feeling more like a “serf”). Koussevitzky was in awe of Rachmaninoff’s genius, and despite his withering assessments of rival conductors, he did promote Mitropoulos and Bernstein; he was dismissive of Arthur Fiedler’s Boston Pops (cf. the splendid Erich Leinsdorf story). Much as he valued Slonimsky’s talents, his insecurity meant that his young protégé always had to tread carefully, and in 1927 they parted company.

Still, he now enjoyed a “meteoric” conducting career. With no illusions about his rudimentary technique, he founded the Chamber Orchestra of Boston, promoting contemporary composers—notably Henry Cowell, Edgard Varèse, and Charles Ives. After a performance of a work by Cowell, they rejoiced in the headline “”Uses egg to show off piano”. Slonimsky introduced Aaron Copland to George Gershwin. After Cowell introduced Slonimsky to Charles Ives, they became close.

Cowell Ives 1952
Henry Cowell with Charles Ives, 1952.

Slonimsky was full of praise for Ives:

I learned to admire the nobility of his thought, his total lack of selfishness, and his faith in the inherent goodness of mankind. […] He inveighed mightily against self-inflated mediocrity, in politics and art alike. The most disparaging word in his vocabulary was “nice”. To him, it signified smugness, self-satisfaction, lack of imagination. He removed himself from the ephemeral concerns of the world at large. He never read newspapers. He did not own a radio or a phonograph, and he rarely if ever attended concerts.

In 1931 (the year he gained US citizenship), Slonimsky gave the première of Ives’s Three places in New England in New York. Promoting the work with passion, in Perfect pitch he waxes lyrical about its genius.

Slonimsky in HavanaSlonimsky conducting Varèse’s Ionisation in Havana.

He was invited to conduct in Havana, his first experience of modern Cuban music. He conducted revelatory concerts in Paris, sponsored by Ives, encouraged by Varèse. There too he married Dorothy Adlow.

Slonimsky Bartok 1932

He returned to Europe for more concerts in 1932—with Bartók giving the Paris premiere of his 1st piano concerto, and Rubinstein playing Brahms’s 2nd piano concerto!!! In Berlin (in the nick of time before the grip of Nazism) he conducted the Berlin Phil in a modern programme including Three places in New England and Varèse’s Arcana. He repeated the programme in Budapest.

He reflects on this ephemeral phase of his career:

The art of conducting is paradoxical, for its skills range from the mechanical to the inspirational. A conductor can be a semaphore endowed with artificial intelligence, or an illuminating spirit of music. The derisive assertion that “anyone can conduct” is literally true: musicians will play no matter how meaningless or incoherent the gestures of a baton wielder may be. In this respect, conductors stand apart from other performers. A violinist, even a beginner, must be able to play on pitch with a reasonable degree of proficiency. A pianist must have enough technical skill to get through a piece with a minimum of wrong notes. But a conductor is exempt from such obligations. He does not have to play; he orders others to play for him.

This leads him to some wonderful stories about badly-behaved conductors (cf. Viola jokes and maestro-baiting); Toscanini, Klemperer—and this story, evoking the unwelcome posturings of many a later maestro:

Mengelberg once apostrophised his first cello player with a long diatribe expounding the spiritual significance of a certain passage. “Your soul in distress yearns for salvation,”, he recited. “Your unhappiness mounts with every passing moment. You must pray for surcease of sorrow!” “Oh, you mean mezzo forte,” the cellist interrupted impatiently.

I’m eternally grateful to Slonimsky for relating some classic Ormandy maxims (now joyously expanded here by members of the Philadelphia orchestra)—OK then, just a couple:

Suddenly I was in the right tempo, but it wasn’t.

Who is sitting in that empty chair?

In “Disaster in Hollywood” he tells how his first appearance with the LA Phil in 1932 ended in tears. When the programmes for his eight-week season at the Hollywood Bowl in the summer of 1933 proved far too challenging for the “moneyed dowagers”, his conducting career came to an inglorious end. He takes consolation in the later admission of the works that he championed to the pantheon (cf. the fine story of Salonen’s interview for the LA Phil!). Meanwhile in New York he conducted, and recorded, Varèse’s revolutionary Ionisation.

with Electra

With typical linguistic flourishes, he devotes a proud chapter to the birth of his daughter Electra, editor of the volume. He rearranged a limerick:

There was a young woman named Hatch
Who was fond of the music of Batch
It isn’t so fussy
As that of Debussy
Sit down, I’ll play you a snatch.

He would have enjoyed these limericks, and one by Alan Watts, n.2 here.

“Like gaseous remnants of a shattered comet lost in an erratic orbit”, occasional conducting engagements still came his way. In “Lofty baton to lowly pen” he recalls his transition to musical lexicography. He met fellow Russian emigrés Léon Theremin (whose life was to take a very different course) and the iconoclastic theoretician Joseph Schillinger. As Slonimsky compiled his book Music since 1900 (1937!), he became interested in the savage reception of new music, leading to his brilliant Lexicon of musical invective.

Still, he was never tied to his desk. His appetite whetted by his trips to Cuba, in “Exotic journeys” he recalls his 1941–42 tour of Brazil (hearing Villa Lobos’s tales of his Amazonian adventures), Argentina, Chile, Peru, Ecuador, Columbia, Panama, Costa Rica, Nicaragua, Guatemala, and Mexico. His book Music of Latin America was published in 1945.

Returning to Boston, he was plunged into family duties. In 1947 he published Thesaurus of scales and melodic patterns.

In 1935, armed with a US passport, he returned to his birthplace, now called Leningrad, visiting long-lost relatives. He reflects on the death of his mother in 1944, and the life of his aunt Isabelle Vengerova (1877–1956), who became a legendary piano teacher in the States.

After the war, with Russia in vogue in the USA, Slonimsky enjoyed revising his proficiency in his mother tongue, updating old manuals to teach students and taking on work as translator. While he was largely free of McCarthyite suspicion of sympathising with Communism, back in the USSR his brother Michael was at far greater risk for being suspected of opposing it (for Soviet life, note The whisperers).

Dissatisfied with previous compendia and nerdily meticulous, he found a new mission in updating Baker’s biographical dictionary of musicians. He was proud of his 1960 article “The weather at Mozart’s funeral”. In 1956 he achieved unprecedented celebrity through appearing on the quiz show The big surprise.

In “The future of my past” he describes another trip to the USSR and the Soviet bloc in 1962–63, funded by the State Department—an Appendix to the third edition provides a detailed account. He visited Poland, Czechoslovakia, Hungary, Romania, Yugoslavia, Bulgaria, as well as Greece and Israel.  On his meetings with musicians, he was inspired by the energy of Ukrainian and Georgian composers.

His diary is punctuated by his curiosity about language, starting in Moscow:

To my Americanised ears, the new Soviet language sounded almost theatrical in its emphasis, deliberate articulation, and expressive caesuras. I also noticed a proliferation of diminutives….

In Prague he learned the vowel-less tongue-twister Strc prst skrz krk:

I used this phrase as the supposed title of a choral work by the mythical Czech composer Krsto Zyžik, whom I invented and whose name I was tempted (I ultimately desisted) to include as the last entry in my edition of Baker’s.

But soon after his return to Boston his wife Dorothy had a heart attack, which was to be fatal. Bereft after her death in January 1964, he welcomed the offer of a post at distant UCLA. He composed musical limericks for his students’ benefit, but was not always impressed by their aptitude, citing gems from their essays such as “A piano quintet is a piece for five pianos”.

After two seasons he reached compulsory retirement age, but he was never going to go quietly. In LA he enjoyed a wide social circle. Besides many “flaky” composer friends was John Cage, now a guru (Slonimsky cites Pravda: “His music demoralises the listeners by its neurotic drive and by so doing depresses the proletarian urge to rise en masse against capitalism and imperialism”!).

With John Cage, and Frank Zappa.

Back in LA, he made friends with Frank Zappa, who invited him to play at his gig.

Dancing Zappa, wild audience, and befuddled me: I felt like an intruder in a mad scene from Alice in Wonderland. I had reached my Age of Absurdity.

Meanwhile with perestroika in the Soviet Union, Slonimsky was becoming quite a celebrity there too, making several more visits and admiring composers’ creativity in new idioms.

* * *

Far more than a mere entertainer, Slonimsky was a major figure in promoting new music. With his eclectic tastes, I can’t help thinking that he would have enjoyed gravitating to ethnomusicology, questioning the wider meanings of “musician” or “composer” (see e.g. Nettl); but he was deeply rooted in the WAM styles of Russian classics and the American avant-garde. Still, within the world of WAM literature it makes a most fascinating memoir.

For some reason it fills me with joy to learn that a Japanese translation of Lexicon of musical invective has been published.


* Even 5/8 was too much for Koussevitzky:

He had a tendency to stretch out the last beat, counting “one, two, three, four, five, uh”. This ‘uh” constituted the sixth beat, reducing Stravinsky’s spasmodic rhythms to the regular heartbeat. When I pointed this out to him, he became quite upset. It was just a luftpause, he said. The insertion of an “air pause” reduced the passage to a nice waltz time, making it very comfortable to play for the violin section, who bore the brunt of the syncopation, but wrecking Stravinsky’s asymmetric rhythms.

To be fair, Koussevitzky did manage to conduct the 5/4 Danse générale of Ravel’s Daphnis and Chloé (1942 recording here; he first conducted it in 1928).