Body And Soul: The Making Of American Modernism by Robert Crunden

By Robert Crunden

During this ebook Robert Crunden places the "jazz" again within the Jazz Age. Jazz was once America's maximum contribution to the Modernist circulate, but it's a lot ignored. after we listen the time period "Jazz Age," we conjure the ghosts of Fitzgerald, Hemingway, and Eliot, no longer Jelly Roll Morton, Louis Armstrong, Ethel Waters, George Gershwin, and Duke Ellington. so as to right this imbalance, Crunden re-introduces us to those musical luminaries who gave the period its identify as he lines the early background of jazz from New Orleans to Chicago to big apple. whereas Crunden emphasizes tune over literature and the visible arts, he by no means fails to map the complicated cross-currents of literature that handed among jazz musicians and their "Lost iteration" friends, a veritable competition of the glittering personalities of the day-James Joyce, Alfred Stieglitz, Georgia O'Keeffe, Paul Strand, John Dos Passos, Langston Hughes, Gertrude Stein.

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7 ll Varese's career before he arrived in America has long been something of a mystery. In later life he grew ashamed of several of his musical ancestors and disowned his early works. What war did not destroy, he burned. "Moi, je suis I'ancetre [I am the ancestor]," was a phrase he used about his musicological heredity. Common enough among creative people, such a wish often scatters leaves over a tangled bank of ancestors even more complex than most conventional genealogies. Varese had a great many ancestors, some of them improbable, and all of them had consequences for his later role in American modernism.

Through this organization he made his major contributions to American modernism. Robert M. Crunden 41 T h e manifesto of the ICG appeared in Musical America for 23 July, 1921. It complained that contemporary composers had little opportunity to win a fair hearing for their works or to win even limited public approval. In other arts, a poet or a painter could present works directly through print or display. A musician could not do this: Interpreters and instruments, always quirky and fallible, intervened.

Schtinberg himself, determined to be as difficult as anything he put onto paper, assaulted the sponsors with testy letters questioning their prejudices against German composers and their ability to exact proper performances from untested musicians. Something of a perfectionist, Gruenberg wanted an inordinate number of extensive, time-consuming rehearsals. Claire Reis, now a leading administrative force in the ICG, pushed him hard in the direction of scheduling reality and the need for the show to go on as planned.

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