Blog Posts by Subject: Music

If you're a fan of live music and comedy, there is no better city to live in than New York City. Every day there is something exciting going on, somewhere in the city. More importantly, a lot of these events are free or very cheap. In the past year, I have seen Foster the People, MGMT, Santigold, Metric, Jimmy Cliff, Matt & Kim, Crystal Castles, the Roots and the Silversun Pickups for absolutely free! I have also seen Lewis Black, Jim Gaffigan, Patton Oswalt, Janeane Garofalo, Wyatt Cenac and many more perform stand-up for $5 or less! Even better, sometimes these events also have free food and drinks. Keeping in the spirit of the Library to provide excellent free or cheap resources, 

I am always excited when I get a chance to host a class in the Music Division of The New York Public Library for the Performing Arts.  This year, my colleague and friend Fred Fehleisen (faculty member of Mannes College The New School for Music) was teaching a class on Johann Sebastian Bach, focusing on his cantatas.  He arranged with me to have a session meet in the Research Division (3rd floor) where I could highlight various topics covered in class by bringing rare books and scores which they might not ordinarily encounter.

The exhibition, The Great American Revue, focuses on Broadway revue series, 1907–1938. But, they were not the only shows on Broadway. During those three decades, dozens of musical comedies by African American songwriters, featuring African American casts were presented successfully in Broadway theaters. They were musical comedies, not revues. They were written for (and, frequently by) the African American character comedians and had complicated plots setting them in comic situations. These shows, had a huge influence on the revue series, primarily through their songwriters and arrangers who moved between the two worlds.

Permanent Vacation opens with a moving crowd of New Yorkers, still dressed '70s groovy. It might be a camera trick, but no one appears to be rushing. The music is slow, diffuse horn and bells. We meet 16-year-old Aloysious Christopher Parker, already dressed '80s rockabilly cool. His body is like a marionette's — all long limbs and loose joints. His voice is like an oboe, and his delivery is like slow air out of a tire. He dances to Earl Bostic's Up There in Orbit, on a toy phonograph, on the floor, in a narrow Lower East Side tenement room painted thickly yellow-white.

A Guest Blog By Ellen Peck

To music historian Richard Traubner, operetta evokes “gaiety and lightheartedness, sentiment and Schmalz” (Traubner, Operetta: A Theatrical History, revised edition, 2003). If any song in the history of American musical theatre has earned a reputation for schmaltz, it would have to be “Ah, Sweet Mystery of Life” from the 1910 Victor Herbert and Rida Johnson Young operetta Naughty Marietta.

I recently processed the papers of one of the musical theater's greatest stars, Joel Grey. His Tony and Oscar winning performances as the bizarre, androgynous master of ceremonies of a nightclub in Hitler's Berlin in Kander and Ebb's Cabaret (1966) and its 1972 film adaptation made him a star; and Grey has had a long, successful career, highlighted by hits like George M! (1968) and  Wicked (2003) ; and the revivals of Cabaret (1987), Chicago (1996) and Anything Goes (2011).

The topical revues of 1907 – 1938 satirized performance, society and politics. Everything happening in and around New York was fair game. So, it should not be surprising that Noël Coward came in for his share of parodies. Since LPA's current exhibition in the Donald & Mary Oenslager Gallery is Star Quality: The World of Noël Coward and our neighbors, Film Society of Lincoln Center, will dedicate next weekend to Coward's films, this week's blog focuses on one of those parodies.

Calypso, the traditional carnival music of Trinidad, is so infectious with its driving beat, upbeat rhythms and colorful lyrics, that it defies you not to get up and dance or sing or both.

I went to high school in the East Village from 1983 to 1987. This might sound kind of punk rock. Unfortunately, I totally missed out on CBGB in the late Seventies (see also: Punking Out) and early Eighties. And let's face it, I didn't go inside any real club for most of the Eighties either — I was underage, and too busy studying for the SATs. But I remember how the outsides looked. The streets and lines. The cars, still squared off boats from the Seventies. Of course, three-card monte. And lots and lots of vacant lots. Dirty, over-painted apartment facades with broken front doorknobs. Vinyl miniskirts. Wanting to look like Debbie Harry, not Madonna.

This list is a monthly compilation of my own personal favorite patron requests for music. I hope you will check out some of the great music that Library users have suggested we acquire!

Provided are some great preview tracks for each. Just click on the titles to be taken to the catalog.

When I asked Miles Kreuger, founder of the Institute of the American Musical in Hollywood, if there were any pre-1923 (out-of-copyright) titles he would especially like to see online, he replied, "Ohhh, the Pink Lady" with the sort of fond recollection usually reserved for a dear, departed loved one. I was embarrassed that I had never heard of it. Asking around amongst my friends and fellow musical theater scholars, I found, somewhat salving my pride, that I was not alone. No one had read the script or knew much of the score.

Una selección de discos musicales recientemente adquiridos de varios artistas ganadores de los premios Latin Grammy, incluyendo bolero, merengue, salsa, cumbia, mambo, reggae, reguetón, ranchera, bachata y más, además de otras canciones para recordar para ¡llevar y reservar!

There will probably be more written about the RMS Titanic this month than in the past 100 years. This blog entry is my contribution to the literature of the steamship and its connection to music.

This list is a monthly compilation of my own personal favorite patron requests for music. I hope you will check out some of the great music that Library users have suggested we acquire!

Provided are some great preview tracks for each. Just click on the titles to be taken to the catalog.

Beginning March 21, 2012, the American Brahms Society, in conjunction with the Graduate Center of the City University of New York, will present Brahms in the New Century. This three-day conference will bring some of the most important Brahms scholars to New York to share their latest research and analytical insights.

I hear the phrase uttered often, "There are no good Rock & Roll Bands anymore" and there has been recent talk about the death of mainstream rock and roll. Over the next few weeks I will highlight 4 modern day groups that deserve attention from young and old fans of mainstream Rock and Roll.

I hear the phrase uttered often, "There are no good Rock & Roll Bands any more" and there has been recent talk about the death of mainstream rock and roll. Over the next few weeks I will highlight 4 modern day groups that deserve attention from young and old fans of mainstream Rock and Roll.

I hear the phrase uttered often, "There are no good Rock & Roll Bands any more" and there has been recent talk about the death of mainstream rock and roll. Over the next few weeks I will highlight 4 modern day groups that deserve attention from young and old fans of mainstream Rock and Roll.

A guest post & edition by Brian D. Valencia

When Shuffle Along opened at the 63rd Street Music Hall on May 23, 1921, it marked the return of all-black musical shows to Broadway after nearly a decade-long silence. The last successful musical wholly written and performed by African Americans to be performed south of Harlem had been the George Walker–Bert Williams vehicle Bandanna Land in 1908. When Walker fell ill on its tour, Williams was left to star alone in the following year’s Mr. Lode of Koal, which ran only half as long as its predecessor with half of its top billing missing. The only other original