Résumés
Résumé
La création de Dance in Place Congo (1918) du compositeur américain Henry F. Gilbert par la compagnie de danse en résidence et l’orchestre du Metropolitan Opera a été la première production sur un thème africano-américain à être présentée dans l’enceinte du Metropolitan Opera. Il s’agit aussi de la toute première prestation de musiques vernaculaires noires et de la première présence d’artistes de couleur sur la scène légendaire du Met. Le résultat, cependant, est davantage un reflet des rivalités entre compositeur, chorégraphe et gestionnaires, et d’un choc de visions artistiques en réponse à une esthétique moderniste émergente en musique, danse et scénographie.
Abstract
The world premiere of American composer Henry F. Gilbert’s The Dance in Place Congo by the resident ballet company and orchestra of the Metropolitan Opera in 1918 was the first production on an African American theme given at the house. It also represented the first hearing of vernacular musical materials and the first appearance of performers of color on its legendary stage. Yet the creative results reflected competing visions among composer, choreographer, and management, as well as a collision among artistic responses to an emerging modernist aesthetic in music, dance, and stage design.
Parties annexes
Bibliographie
- Henry F. Gilbert Papers (MSS 35). Irving S. Gilmore Music Library, Yale University, New Haven, Connecticut.
- Oral History American Music (OHAM). Yale University, New Haven, Connecticut.
- Otto H. Kahn Papers (TC032). Division des manuscrits, département des livres rares et des collections spéciales, Firestone Library, Princeton University, Princeton, New Jersey.
- New York American
- New York Globe
- New York Herald
- New York Times
- New York Tribune
- ABBOTT, Lynn et Doug SEROFF (2007). Ragged But Right: Black Traveling Shows, “Coon Songs”, and the Dark Pathway to Blues and Jazz, Jackson, Mississippi, University Press of Mississippi.
- CABLE, George Washington (1886a). “The Dance in Place Congo”, The Century Magazine, vol. 31, no 4, February, p. 517-32. Réimpr. : JACKSON, Bruce (dir.) (1967). The Negro and His Folklore in Nineteenth Century Periodicals, Austin et London, University of Texas Press et American Folklore Society, 1967), p. 189-242.
- CABLE, George Washington (1886b). “Creole Slave Songs”, The Century Magazine, vol. 31, no 6, April, p. 809-28. Réimpr. : JACKSON, Bruce (dir.) (1967). The Negro and His Folklore in Nineteenth Century Periodicals, Austin et London, University of Texas Press and American Folklore Society, 1967), p. 189-242.
- “Cadman’s ‘Shanewis’ Fine Lyrical American Opera–Gilbert’s ‘Dance in Place Congo’ Also Enthusiastically Received” (1918). Musical Courier, vol. 76, no 13, 28 March, p. 5, 8, 32.
- CARTER, Elliott (1943). “American Figure, with Landscape”, Modern Music, vol. 20, May-June, p. 219-25. Réimpr. : Elliott Carter : Collected Essays and Lectures, 1937-1995, Jonathan W. Bernard (dir.), Rochester, New York, University of Rochester Press, p. 134-38.
- [CREELMAN, James] (1893). “Real Value of Negro Melodies”, New York Herald, 21 mai 1893, p. 28.
- DOWNES, Olin (1918). “An American Composer”, The Musical Quarterly, vol. 4, no 1, January, p. 23-36.
- DVOŘÁK, Antonín (1895). “Music in America”, Harper’s New Monthly Magazine, vol. 90, February, p. 428-34.
- « Editorials: Negro Music » (1918). The Southern Workman vol. 47, no 7, July, p. 323-24.
- EDWARDS, Allen (1971). Flawed Words and Stubborn Sounds: A Conversation with Elliott Carter, New York, W.W. Norton.
- EMERY, Lynne Fauley (1988). Black Dance From 1619 to Today, 2e rév., Hightstown, New Jersey, Princeton Book Co.
- EPSTEIN, Dena J. (1977). Sinful Tunes and Spirituals: Black Folk Music to the Civil War, Urbana, Illinois et Chicago, University of Illinois Press.
- GILBERT, Henry F. (1912). “Personal Recollections of Edward MacDowell”, New Music Review, vol. 11, November, p. 494-98.
- GOLDBERG, Isaac (1928). “An American Composer”, American Mercury, vol. 15, no 59, November, p. 331-35.
- HILL, Constance Valis (2010). Tap Dancing America: A Cultural History, Oxford, UK et New York, Oxford University Press.
- “The Horizon: Music and Art” (1918). The Crisis, vol. 16, no 1, May, p. 30.
- KATZ, Bernard (dir.) (1969). The Social Implications of Early Negro Music in the United States, New York: Arno Press et The New York Times, p. 31-68.
- KIRSTEIN, Lincoln (1935). Dance : A Short History of Classic Theatrical Dancing, New York, G.P. Putnam’s Sons.
- KMEN, Henry A. (1966). Music in New Orleans: The Formative Years, 1791-1841, Baton Rouge, Louisiana State University Press.
- KREHBIEL, Henry E. (1918). “Afro-American Music In a Metropolitan Ballet”, New York Tribune, 17 mars, sec. 4, p. 2.
- LATROBE, Benjamin Henry (1951). Impressions Respecting New Orleans: Diary and Sketches, 1818-1820, Samuel Wilson, Jr. (dir.), New York, Columbia University Press.
- LONGYEAR, Katherine Marie Eide (1968). “Henry F. Gilbert, His Life and Works”, Ph.D. diss., University of Rochester.
- “The Metropolitan Opera Produces the First American Ballet: Henry F. Gilbert’s Dance in Place Congo Wins a Notable Success in a New Field” (1918), Current Opinion, vol. 64, May, p. 327.
- MOREAU DE SAINT-MÉRY, Médéric Louis Elie (1796). De la Danse, Philadephia. Rprt.: HASTINGS, Lily et Baird (trad.) (1975). Dance, New York, Dance Horizons.
- MOREAU DE SAINT-MÉRY, Médéric Louis Elie (1797-8). Description topographique, physique, civile, politique et historique de la partie française de l’Isle Saint-Domingue, Philadelphie, 2 volumes.
- MUCK, Karl (1915). “The Music of Democracy”, The Craftsman, vol. 29, no 3, December, p. 270-79 ; 327-28.
- MORRIS, Paul (1918). “Negro Music, But Not Rag Time, In Gilbert Ballet”, New York Herald, 31 mars, sec. 3, p. 5.
- “Notes and Announcements of the Music World” (1918). New York Globe, 16 avril 1918, 14.
- PEYSER, Herbert F. (1918). “Native Composers Achieve Success at Metropolitan”, Musical America, vol. 27, no 22, 30 March, p. 1-4.
- PHILIPP, Margot Lieth (1989). “‘Bamboula’ : Historical, Ethnological and Linguistic Evidence for a Forgotten Caribbean Music”, Philipp (dir.), Ethnomusicology and the Historical Dimension, Ludwigsburg, Allemagne, Philipp Verlag, p. 59-70.
- RANCK, Edwin Carty (1917). “The Mark Twain of American Music”, Theatre Magazine, vol. 26, September, p. 152, 170.
- ROOT, Katherine Metcalf (1918). “The Dance in Place Congo, and a New American Opera”, Touchstone, vol. 3, no 3, June, p. 219-21.
- SANBORN, Pitts (1918). “American Pieces Produced at the Metropolitan”, New York Globe, 25 mars, p. 10.
- SMITH, Max (1918). “Opera and Music”, New York American, 24 mars, sec. 2, p. 9.
- TURNER, Arlin (1956). George W. Cable, Durham, North Carolina, Duke University Press.
- VERNON, Grenville (1918). “Novelties by Cadman and Gilbert Given With Success at Metropolitan”, New York Tribune, 24 mars, sec. 1, p. 10.
- WALTON, Lester A. (1918). “In the Amusement World: Negro Music”, New York Age, 13 avril, 6.
- WHITMAN, Walt (1855). Leaves of Grass, Brooklyn, New York.