Showing posts with label Merce Cunningham. Show all posts
Showing posts with label Merce Cunningham. Show all posts

February 20, 2024

20,000 vinyl LPs 355: Jean Erdman ~ The Coach with the Six Insides

 ~  


vinyl LP back cover detail
 back cover photo by Deborah Berman
photo of album cover by Styrous®


Today is the birthday of American dancer and choreographer of modern dance as well as an avant-garde theater director, Jean Erdman who was born on February 20, 1916, in Honolulu, Hawaii, to John Piney Erdman, a doctor of divinity and missionary from New England, who settled in Honolulu as a minister at the non-denominational Protestant Church of the Crossroads where he preached, in both English and Japanese, to a multi-ethnic congregation. Her mother, Marion Dillingham Erdman, was a member of one of the founding industrialist families of Hawaii.        
 
Erdman's earliest dance experience was the hula. She attended the Punahou School in Honolulu where she learned, as a form of physical education, Isadora Duncan interpretive dance. Reflecting on her early dance training, Erdman said these two influences taught her that "dancing is an expression of something meaningful to the dancer, not a mere series of lively steps".        
 
 
vinyl LP front cover
photo of album cover by Styrous®
 
 
Erdman worked with the greats of Avant-Guard and experimental musicians and performers; John Cage, Martha Graham, Louis Horst, Merce Cunningham, Lou Harrison, Alan Hovhaness and many others.   
  

vinyl LP back cover
 back cover photo by Deborah Berman
photo of album cover by Styrous®
 
 
The Coach with the Six Insides is an adaptation of the James Joyce book, Finnegans Wake. While Joyce's story is told from the perspective of the male barkeeper Humphrey Chimpden Earwicker, Erdman's work a combination of dance, mime, and Joycean stream of consciousness language focuses on the female psyche, as seen through the many incarnations of the main female character Anna Livia Plurabelle. Erdman danced all the aspects of Anna Livia from young woman, to old crone, to the rain itself that becomes the River Liffey flowing through the heart of Dublin. Teiji Ito was the musical director and composed the musical score on a vast array of instruments from around the world including among others, Japanese bass drums, Tibetan cymbals, a violin and an accordion.         
 
The Coach with the Six Insides premiered at the Village South Theatre in Greenwich Village on November 26, 1962. It ran for 114 performances and received the Obie and Vernon Rice Awards for Outstanding Achievement in theater. She choreographed a few Broadway musicals, one was Two Gentlemen of Verona, a delightful send up of the Shakespeare comedy.                 
 
The Coach with the Six Insides was performed on CBS  anthology series "Camera Three" in December of 1964 and there is a video of that performance on YouTube (link below).                

In 1943, Erdman choreographed Creature On a Journey with, Counterdance in the Spring, composed by Lou Harrison. There is an excellent video of it performed by movement artist, Stephanie Liapis, with a documentary about the costumes, artists and music. The work  demonstrates the influence hula and Duncan movement was incorporated into Erdman's work.       
 
In 1945 she choreographed Daughters of the Lonesome Isle with a commissioned solo prepared piano score by John Cage; it premiered in Bronxville, New York, on  February 27, 1946 (link below).       
 
In the mid-thirties, Erdman met Joseph Campbell and Martha Graham: both would be immensely influential in her life.


date & photographer unknown

 
In 1972 Erdman collaborated with Campbell, they had married by that time, to form the Theater of the Open Eye performance group.        
 
 
Theater of the Open Eye
 date & photographer unknown

 
The album included a libretto.             
            
 

libretto cover (below)
 libretto photo by Deborah Berman
photo of libretto by Styrous®
 
 
 
 
There are cover variations as well as label variations in the pressings: The German pressing has text on the labels. 
 

 German label pressing, side 2 & side 1
 
 
This version, the US pressing, does not have any text, just artwork printed on the labels.          
 

vinyl LP record label, side 1
photo of record label by Styrous®
 
 

vinyl LP record label, side 2
photo of record label by Styrous®
 
`   
Tracklist:
       
Side 1:
        
A1 - Act I Scene 2
A2 - Act I Scene 6
A3 - Act II Scene 5
A4 - Act II Scene 6
       
Side 2:
       
B1 - Act II Scene 7
B2 - Act III Scene 1, 3 & 4
B3 - Act III Scene 5
       
Companies, etc.
       
    Copyright © – ESP-Disk' Ltd.
       
Credits:
       
    Art Direction – Stephen I. Levitt
    Composed By, Performer – Teiji Ito
    Cover – Howard Bernstein
    Directed By, Choreography – Miss Erdman*
    Lacquer Cut By – DBH*
    Performer – Genji Ito, Peter Berry
    Photography By [Back Cover] – Deborah Berman
    Voice Actor [Anna Livia Plurabelle], Written-By – Jean Erdman
    Voice Actor [Daughter Iseult] – Sheila Roy
    Voice Actor [Shaun, The Older Twin] – Leonard Frey
    Voice Actor [Shem, The Younger Twin] – Van Dexter
    Voice Actor [Wife And Chairwoman] – Anita Dangler
       
Notes:
       
Label variation: This version does not have any text printed on the labels,
just artwork.

Includes an eight page booklet with original lines of the play.
which was Inspired by James Joyce's "Finnegans Wake".
       
Barcode and Other Identifiers
        
    Matrix / Runout (Side A runout): ESPS 1019 A ORT-2 DBH
    Matrix / Runout (Side B runout): ESPS 1019 B ORT-2 DBH

Jean Erdman – The Coach With The Six Insides (Original Cast Album)
Label: ESP Disk – ESP 1019
Format:    Vinyl, LP, Album
Country: US
Released: 1966
Genre: Non-Music, Stage & Screen
Style: Soundtrack, Musical, Avantgarde, Poetry, Experimental

         
Viewfinder links:        
         
John Cage          
Joseph Campbell          
Merce Cunningham                    
Isadora Duncan         
Martha Graham      
Lou Harrison      
Louis Horst     
Alan Hovhaness        
James Joyce         
        
Net links:        
         
Stephanie Liapis        
NY Times ~ Jean Erdman, a Dancer Moved by Myth           
Northwestern University ~ Cage and Contemporary Choreographers 
        
         
University of Washington ~ Creature on a Journey        
        
YouTube links:        
        
Creature on a Journey (56 mins., 52 secs.)       
Daughters of the Lonesome Isle             
Hamadryad         
Ophelia         
        
        
         
 
       
       
        
Styrous® ~ Tuesday, February 20, 2024   
       
 
 
















May 15, 2021

SF MOMA: Nam June Paik

  ~          
Nam June Paik lying among televisions, Zürich, 1991
photo by Timm Rautert


May 8 – October 3, 2021


 PRESS RELEASE
 
SAN FRANCISCO, CA (October 30, 2020; updated April 15, 2021) — Nam June Paik has continued to electrify the art world ever since his 1963 debut of television experiments in Exposition of Music – Electronic Television, his first solo exhibition. Paik challenged visitors to participate by activating modified TV sets and playing radically transformed instruments — blurring the distinction between performer and audience. Playful and interactive, Paik’s immersive environment expanded the boundaries of art, music and technology, and laid the groundwork for his career as the founder of video art.

The San Francisco Museum of Modern Art (SFMOMA) will present the exclusive U.S. exhibition of Nam June Paik, a major retrospective of Paik’s radical and experimental art, on view from May through October 2021. One of the first truly global artists, Paik (1932–2006) foresaw the importance of mass media and new technologies, coining the phrase ‘electronic superhighway’ in 1974 to predict the future of communication in an internet age. The exhibition will celebrate his multidisciplinary and collaborative practice that encompassed art, music, performance and technology, all in dialogue with philosophies and traditions from both Eastern and Western cultures.

Bringing together over 200 works across all media spanning a five-decade career, from early compositions and performances to large-scale video installations and global satellite projects, Nam June Paik offers an in-depth understanding of the artist’s trailblazing practice. Paik’s innovative, irreverent and entertaining works were informed by his musical background and his vision of an interconnected future. Organized by SFMOMA and Tate Modern, London, with additional presentations at the Stedelijk Museum Amsterdam and the National Gallery Singapore, the retrospective will be the first major Paik show in the U.S. in over 20 years and the first ever large-scale survey of his work on the West Coast.

“Nam June Paik is famous for being the historic father of video art, but his groundbreaking and contemporary influence is even more based on his crossover between all media,” said Rudolf Frieling, curator of media arts at SFMOMA. “Paik’s radical visual and musical aesthetic has a natural home here on the West Coast as a place for global connectivity.”

Organized thematically, the exhibition will unite many of Paik’s most iconic and provocative works from throughout his career. In TV Buddha (1974), an 18th-century wooden Buddha appears to watch itself on a modern television, typifying the influence of Zen Buddhist philosophies on Paik’s approach to art and technology. Also on view will be TV Garden (1974–77/2002), an immersive installation featuring dozens of TV sets alongside lush foliage in a futuristic landscape where technology is an integral part of the natural world.

Nam June Paik will partially restage the artist’s pivotal 1963 solo exhibition, Exposition of Music – Electronic Television, and his concept of “action music” (as Paik said, “Why is it music? Because it is not ‘not music’”) will be demonstrated via musical interfaces and some of Paik’s earliest manipulated televisions.

Unique to SFMOMA’s presentation will be two robots, one each dedicated to composer John Cage and choreographer Merce Cunningham, two of Paik’s key collaborators along with artist Joseph Beuys and cellist Charlotte Moorman. John Cage Robot II (1995) and Merce / Digital (1988), among many other works, will highlight Paik’s creative partnerships and collaborative artistic practice.

The retrospective will culminate in the dazzling installation Sistine Chapel (1993), a mesmerizing riot of sound and images from dozens of projectors, taken from the German pavilion which won the Golden Lion award at the Venice Biennale in 1993. Presented in its largest scale of any venue at SFMOMA, and exceeding that of all other works in the exhibition, Sistine Chapel will envelop the audience in an audio-visual remix of Paik’s past videos and collaborators seen throughout the exhibition.
 
Born in Seoul during the Japanese occupation of Korea, Nam June Paik lived and worked in Japan, Germany and the U.S., reflecting a global connectedness that transcended borders and cultural differences. He studied music theory and trained as a musician before experimenting with performance and technology in the 1960s as a means of expanding his artistic production. He developed a multidisciplinary practice across media, and has become synonymous with the electronic image through a prodigious output of manipulated TV sets, live performances, global television broadcasts, single-channel videos and video installations.

Paik collaborated with a community of avant-garde artists and musicians, and played a pivotal role in Fluxus, an international network of artists, composers and poets who engaged in experimental art performances. His groundbreaking work has influenced art, media, music and popular culture for decades, including musicians such as David Bowie, Laurie Anderson and Devo’s Mark Mothersbaugh, among many others.

In conjunction with Nam June Paik, SFMOMA will present Paik’s work Video Commune online. Originally broadcast on live TV in 1970, Video Commune was an improvised montage of distorted TV imagery accompanied by songs by the Beatles. At the time, Paik invited random passersby into the studio and let them remix video images as they aired. The presentation in the exhibition galleries is a condensed videotape of the broadcast filmed from a TV screen.    


Nam June Paik
Still from Video Commune: Beatles from Beginning to End 1970
Video, colour, sound
240 min
© Nam June Paik Estate 
 
 
Video Commune will be made accessible as a participatory work on SFMOMA’s Nam June Paik exhibition webpage: visitors to the webpage will be invited to watch the silent video from the comfort of their home and create a soundtrack of their choice from a selection of Beatles songs. A second video, Electronic Opera #1, combines abstract electronic patterns with an invitation to the audience to close and open their eyes. 

Virtual Public Programs

SFMOMA is proud to present the online film series Dances for Camera: Nam June Paik, Merce Cunningham, Charles Atlas on the museum website from June through August. Dances for Camera features three key works from 1960s San Francisco, 1970s New York, and 1980s London that exemplify the dance film genre. In addition, SFMOMA will host a virtual public performance and streaming program in collaboration with the National Gallery Singapore on September 24.
Catalogue

The exhibition is accompanied by an illustrated catalogue from Tate Publishing. Edited by Sook-Kyung Lee and Rudolf Frieling, it features essays by the editors and contributions from Leontine Coelewij, Grace Deveney, Rachel Jans, Susanne Neuburger, Andrea Nitsche-Krupp, Valentina Ravaglia and David Toop, as well as excerpts of Paik’s own writings. 



Venues + Dates

Tate Modern: October 17, 2019–February 9, 2020

Stedelijk Museum Amsterdam: March 14–October 4, 2020

SFMOMA: May 8–October 3, 2021

National Gallery Singapore: December 2021–March 2022
     
     
     
     
     
     
     
     
         
         
         
        
        
        
Viewfinder links:       
         
Mark Mothersbaugh          
Nam June Paik        
     
Net links:       
         
Smithsonian American Art Museum ~ Nam June Paik: Global Visionary      
    
YouTube links:       
         
Electronic Superhighway        
Music for all Senses        
        
        
        
         
         
         
        
        
        
         
Styrous® ~ Saturday, May 15, 2021               
        














May 19, 2019

Theater/performance people

  ~      
       
Eddie Bracken        
Carol Channing        
Lon Clark     
George M. Cohan        
Noël Coward        
Merce Cunningham            
Phyllis Diller              
Anton Dolan      
Arthur Godfrey          
Joel Grey        
Tammy Grimes          
Minoo Hamzavi
           
Lena Horne         
Lotte Lenya         
David Letterman        
Michael Lewis        
Liza Minnelli       
Camille O'Grady       
Bernadette Peters       
Pillow (She-Beast)             
Chita Rivera      
Jule Styne       
Orson Wells         
  
  
   




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May 17, 2019

20,000 vinyl LPs 184: Erik Satie ~ The Irreverent Inspirations

~

Today, May 17, is the birthday of Erik Satie. He is predominantly remembered for his solo piano works,  Gymnopédies written in 1888 and Gnossiennes, 1889 - 97. Though they are indeed beautiful, he explored other forms of music.  
   
This album, The Irreverent Inspirations, showcases work for piano and voice that has never been recorded before as well as his work for comedic theater, Baron Medusa's Trap, which is the real gem on this album.    


Erik Satie ~ The Irreverent Inspirations
vinyl LP front cover detail
detail photo by Styrous®


His music was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd. This recording includes Le piège de Méduse ("Medusa's trap") a short play of which Satie wrote both the text and the incidental music. The text of the play was written as a "comédie lyrique or Opéra comique" in one act, February-March 1913. In June of the same year Satie added the music, a set of seven little dances, originally composed for piano. The piano version of the music was first published in 1929, a few years after his death. The orchestral score was not published until 40 years later.    
        

Erik Satie ~ The Irreverent Inspirations
vinyl LP front cover detail
detail photo by Styrous®


The comically surrealist plot involves the elderly (and very confused) Baron Méduse (his name means Medusa in French), his daughter Frisette (to whom the Baron actually refers as his "fille de lait", which would imply that the Baron was Frisette's wet-nurse), Frisette's young suitor Astolpho, and the Baron's recalcitrant valet Polycarpe. There is also a mechanical monkey, named Jonas, dancing to the intermittent music. The nine scenes of the play develop as a funny succession of non requiters and misunderstandings, ending in an amicable hug of the protagonists.       
 

Erik Satie ~ The Irreverent Inspirations
vinyl LP front cover detail
detail photo by Styrous®


The play was privately staged a few months after its completion in 1913, in the salons of the parents of Roland-Manuel, who played Baron Méduse's role. Later live performances of the play would become rare, although a notable one, in an English translation by M. C. Richards, took place in the summer of 1948 at Black Mountain College in North Carolina: John Cage (link below) suggested the project and played the music; Buckminster Fuller played the role of the Baron Medusa; Merce Cunningham (link below) danced the part of the mechanical monkey; Willem de Kooning designed the set and Elaine de Kooning played Frisette; and the play was directed by Arthur Penn.           



The performance is spoken and sung in French. If you understand French, you're ok. If you don't, not a problem, there is a 12" by 12" libretto included with the text in French and English.   

       

Erik Satie ~ The Irreverent Inspirations libretto, front page
photo by Styrous®




Erik Satie ~ The Irreverent Inspirations libretto pages
photos by Styrous®









Satie wrote his absurdist play some 15 years after the first Ubu play by Alfred Jarry had been premiered in Paris. Ubu Roi was later to become the most cherished and first example of surrealism in theatre (which would develop into the Theatre of the Absurd).     

The original program for the performance on August 14, 1948, of The Ruse of Medusa: a lyric comedy in one act by Erik Satie included: Buckminster Fuller, Isaac Rosenfeld, William Shrauger, Elaine de Kooning, Merce Cunningham (link below), and Alvin Charles Few. The direction was by Helen Livingston and Arthur Penn. Dance was choreographed by Cunningham and music performed by John Cage (link below).        

      


Works for piano and vocal

Erik Satie ~ The Irreverent Inspirations
vinyl LP back cover detail
detail photo by Styrous®


The works for piano and vocal on side one are sung by coloratura soprano Mady Mesplé, tenor Nicolai Gedda (link below) and baritone Gabriel Bacquier. The Choses Vues À Droite Et À Gauche (Sans Lunettes) is beautifully performed by Yan Pascal on violin accompanied by Aldo Ciccolini on piano who is conductor for all the works.      

       

Erik Satie ~ The Irreverent Inspirations
vinyl LP front cover detail
detail photo by Styrous®


An eccentric, Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrician" (meaning "someone who measures sounds"), preferring this designation to that of "musician."       

With Jean Cocteau, whom he had first met in 1915, Satie started work on incidental music for a production of A Midsummer Night's Dream by Shakespeare, resulting in the Cinq grimaces pour Le songe d'une nuit d'été. From 1916, he and Cocteau worked on the ballet Parade, which was premiered in 1917 by the Sergei Diaghilev Ballets Russes, with sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Through Picasso, Satie also became acquainted with other cubists, such as Georges Braque, with whom he would work on other, aborted, projects.         


drawing by Pablo Picasso
 

After years of heavy drinking (including consumption of absinthe), Satie died at age 59, on July 1, 1925, from cirrhosis of the liver. After his death, Satie's friends discovered his apartment in squalor and chaos. Among many other unsorted papers and miscellaneous items, it contained a large number of umbrellas, and two grand pianos placed one on top of the other, the upper instrument used as storage for letters and parcels. They discovered compositions that were either thought to have been lost or totally unknown. The score to Jack in the Box was thought, by Satie, to have been left on a bus years before. These were found behind the piano, in the pockets of his velvet suits, and in other odd places, and included Vexations; Geneviève de Brabant and other unpublished or unfinished stage works; The Dreamy Fish; many Schola Cantorum exercises; a previously unseen set of "canine" piano pieces; and several other works for piano, many untitled. Some of these would be published later as additional Gnossiennes, Pièces froides, Enfantines, and furniture music.           











     
Tracklist:

Side 1:

A1 - Les Pantins Dansent - 2:10
A2 - Tendrement - 2:57

    Ludion, Cinq Poèmes De Léon-Paul Fargue
A3 - Air Du Rat - 0:29
A4 - Spleen - 0:47
A5 - La Grenouille Américaine - 1:14
A6 - Air Du Poète - 0:56
A7 - Chanson Du Chat - 0:44

    Trois Poèmes D'amour, D'Erik Satie
A8 - Ne Suis Que Grain De Sable - 0:34
A9 - Suis Chauve De Naissance - 0:34
A10 - Ta Parure Est Secrète - 0:45

    Choses Vues À Droite Et À Gauche (Sans Lunettes)
A11 - Choral Hypocrite - 1:00
A12 - Fugue À Tâtons - 1:35
A13 - Fantaisie Musculaire - 1:27

    Quatre Petites Mélodies
A14 - Élégie - 1:05
A15 - Danseuse - 0:33
A16 - Chanson - 0:28
A17 - Adieu - 0:36
    -
A18 - Prélude De La Porte Héroïque Du Ciel - 3:25

Side 2:

B - Le Piege De Meduse (Baron Medusa's Trap) - 25:30

Credits:

    Composed By – Erik Satie
    Conductor – Aldo Ciccolini
    Liner Notes – James Ringo
    Orchestra – Orchestre Des Concerts Lamoureux

Erik Satie ‎– The Irreverent Inspirations Of Erik Satie
Label: Angel Records ‎– S-2-36173
Format: Vinyl, LP, Compilation, Book
Country: US
Released:
Genre: Classical
Style: Modern

     
     
Viewfinder links:       
     
John Cage   
Merce Cunningham       
Nicolai Gedda     
     
     
       
Net links:       
     
Flypaper ~ Satie Weirder Than You Realize
The Guardian ~ Erik Satie: a life less ordinary     
NPR ~ Guitarists Discover Timelessness of Erik Satie      
NY Times ~ The Irreverent Inspirations of Erik Satie review    
WXQR ~ Why Satie Is Still New Music     
     
       
  
YouTube links:       
       
Ludion, Cinq Poèmes De Léon-Paul Fargue           
Quatre Petites Mélodies      
Trois Poèmes D'amour, D'Erik Satie   
Choses Vues À Droite Et À Gauche (Sans Lunettes)     
Le piège de Méduse ("Medusa's trap") Part 1 (12 minutes)      
Le piège de Méduse ("Medusa's trap") Part 2 (13 min., 32 sec.)     
  
                  
     
     
Erik Satie ~ The Irreverent Inspirations
vinyl LP back cover detail
detail photo by Styrous®




"Why attack God? 
He may be as miserable as we are."
                         ~ Eric Satie 


          
          
Styrous® ~ Friday, May 17, 2019