Showing papers in "Nineteenth-century music review in 2014"

What Does a City Sound Like? The Musical Dynamics of a Colonial Settler City

Abstract: A study of public musical life in Edmonton, Alberta from the 1897 Diamond Jubilee of Queen Victoria through the beginning of World War I provides a case study in the development of new urban musical cultures during the settlement of western North America. The contrast between the Jubilee celebration and Alberta's inauguration as a province in 1905 reveals growing ambition to demonstrate a capacity for the serious music that could be viewed as a marker of civic achievement, and the absence in 1905 of First Nations dancers and drummers, who had taken part in the 1897 event, provides a reminder of the displacement of indigenous peoples that accompanied the immigration booms that characterized settler colonialism. Popular music too developed with the city; as an alternative to non-literate, rural practices like fiddling, it could represent another form of urban sophistication, but also provided an opportunity to import high culture's dismissal of the popular, yet another signifier of urban cultural practice.

Chinese Opera in Turn-of-the Century Canada: Local History and Transnational Circulation

Abstract: One of the most curious aspects about Canadian Chinese cultural history is the role of opera theatres. They served as the public face of the community, cultural ambassadors or even artistic curiosities, but at the same time provided Chinese audiences the intimate world of emotive musical drama. Because of their public role, they were often ambitious projects. Since first appearing in Victoria in the 1860s, Chinese theatres played an integral role in its community life. Featuring performance of Cantonese opera, the regional genre known to the majority of Chinese immigrants that came from the Pearl River Delta of southern China, these theatres provided crucial entertainment. Chinese theatres’ success in Victoria, and later in Vancouver, was not an isolated phenomenon, but rather closely connected to other cities along the Pacific coast. The opera business waxed and waned, in large part as a result of the Chinese exclusionist policy in Canada and United States. In the 1910s and 1920s, through joint ventures, Chinese in Canada and the United States succeeded in forming a network of opera performance and revived their fluidity of movement in the Pacific Northwest region. Because this network returned significant mobility to troupes and performers, Chinese theatres flourished again in North America. This article provides a preliminary overview of this body of troupes and performers in Canada, its impact and the national and transnational forces that shaped it. It addresses key issues related to this history: the effect of immigration control, the relevance of Chinese theatres to community life, and the transborder crossings.

Gallica: the Online Digital Library of the Bibliothèque nationale de France

Abstract: Gallica (http://gallica.bnf.fr) has been declared by the Bibliothèque nationale de France as ‘one of the most important digital libraries freely accessible on the Internet’.1 Certainly it is one of the richest online resources currently available to musicologists and the general public. This repository has been designed to give users unlimited access to nearly three million digitized and downloadable documents that are in the public domain or whose rights have been negotiated. That figure is continually growing, and in December of 2013, according to data available on the Gallica site, there were 475,761 books,2 65,937 maps, 43,178 manuscripts (of which 2,977 are musical), 997,281 images (of which more than 14,000 are associated with music), 21,356 scores, 3,265 sound recordings,3 and 1,282,724 newspaper files and periodicals. Obviously, Gallica offers a wealth of material relating to French music, but those pursuing research on other musical topics will find it valuable too. Among the collections of documents in Gallica’s catalogue that are most interesting and useful for musicologists are its digitized music journals and periodicals. A simple search returned 1,249 journal titles in connection with music. But the actual number of musical journals is much smaller, because this figure includes literary and theatre (spectacle) journals in which one finds articles relating to music. For the researcher, however, it is difficult to establish precisely the total number of music journals and periodicals available on Gallica.4 No list of these publications may be readily found, nor is there any ideal filter in the core

Brahms's Ascending Circle: Hölderlin, Schicksalslied and the Process of Recollection

Abstract: The ending to Brahms's Schicksalslied confounds scholars for two reasons: his setting of Holderlin's ostensibly despairing poem ends with an orchestral section that evokes comfort and reconciliation, and the postlude transposes the material of the introduction down to C major, ending in a key other than its opening. This represents ‘a rare instance of a composer not merely placing an arbitrary interpretation on words but explicitly contradicting a poet's statement’ (Petersen, 1983). Daverio (1993) and Reynolds (2012) hold similar views, seeing Holderlin's poem as if divorced from the novel Hyperion.Although the poem marks the chronological endpoint of the novella, it is intricately bound up with levels of time, and it serves a continuous engendering function. The recollection of music in an altered key in Brahms's postlude is apposite to Abrams's notion of ‘the ascending circle, or spiral’. Drawing on musical and hermeneutic analysis, on evidence from Brahms's personal library, and on newly discovered correspondence from Hermann Levi, I argue that Brahms's ‘eccentric path’ – like Holderlin's – leads us away from the original unity of the work in order to restore it in a heightened manner. The postlude prompts reflection and realization on the part of Brahms's listener akin to that of Holderlin's reader.

Fact and Fiction in the Life Story of Luigi von Kunits

Abstract: Luigi von Kunits (1870–1931) had a substantial impact on classical music in Toronto. Born and educated in Vienna, he emigrated to Chicago in 1893 and then moved to Pittsburgh in 1896 as the concertmaster of the Pittsburgh Orchestra. After 17 years in the USA, he returned to Vienna for two years, before moving to Toronto to take up a teaching position at the Canadian Academy of Music. From the time of his arrival in Toronto in 1912 to his death in 1931 he was active on many fronts: teaching violin, composing, editing The Canadian Journal of Music (1914–1919), performing as a chamber musician and violin soloist, and serving as the conductor of the Toronto Symphony Orchestra (1922–1931). To many he seemed the very embodiment of the great Central European musical tradition: a pupil of Bruckner and Hanslick, associated with Brahms and acquainted with celebrated European musicians and composers. Much of what we know about Kunits derives from statements issuing from the musician himself or his immediate circle, with little or no corroborating evidence to support his assertions. As a result, it is difficult at this remove to separate fact from fiction. This article takes stock of the sources of information that are available and attempts to construct as accurate an account of his life and activities as possible.

John Bull, Angelica Catalani and Middle-Class Taste at the 1820s British Musical Festival

Abstract: This article examines the contentious relationship between the prima donna Angelica Catalani and the British musical festival in the 1820s. The inclusion of Catalani, the most famous soprano of her generation, at the great musical festivals in this decade, such as those of Birmingham, York, Derby and Manchester, among other places, was a sign of the aspects of spectacle festival producers thought necessary to capture the middle-class audience. At the time, contemporaries assumed this audience was increasing in number and importance. Catalani attempted to use her fame to dictate musical and aesthetic terms to festival committees, particularly by transposing arias within performances of Handel's Messiah, and interpolating Italian sacred music by Pietro Carlo Guglielmi and Pio Cianchettini into the same. The British musical press responded by invoking the figure John Bull to roundly condemn Catalani: the allegorical everyman, crying ‘cant’ and ‘humbug’ was used to portray the singer as a tasteless and ‘foreign’ other while at the same time forwarding the education of the middle-class audience into aspects of the nascent concept of ‘the composer's intentions’. The condemnation of Catalani was also an attempt to integrate the middle classes into the cultural life of Britain, while denigrating the purported taste of the British aristocracy, which made star turns such as Catalani's possible.

Noble Savage/Indigène sauvage: Staging First Nations in Early Canadian opera

Abstract: This research engages the ways composers and librettists in early Canada constructed the roles of First Nations Peoples in two staged dramatic musical works: Clappe and Dixon's Canada's Welcome from 1879 and Vezina, Villandray and Fleur's Le fetiche from 1912. My exploration begins from a desire to cultivate an historiography of First Nations musical archetypes that extends beyond viewing representations as stereotypes to explore how they are used intertextually to reflect social and political realities in early Canada. The extent of play with indigenous traditions in each of these works belies their creators’ intentions to underscore contemporary beliefs in the civilizing power of colonization. And while Clappe and Dixon's work might now be interesting primarily as upper class entertainment, Vezina, Villandray and Fleur's exemplifies the evolution of Canadian culture through a more complex use of intertextual relationships. In Canada's Welcome, Clappe reserves his most nuanced musical representations for the European immigrants on stage; Vezina performs similar homogenizing musical acts but contrasts the French in grand operatic expression and the Iroquois with more extensive use of stereotypical markers to create distinctions within his Western art music setting. The most overt expressions of Otherness in these works are therefore largely carried by the texts, mediated through their encoding of the tropes of the fairness and acceptance of a tolerant civilization.

The Angel of Lucknow, the Hero of Halifax: A Nova Scotian Musical Response to the Indian Mutiny of 1857–58

Abstract: Although only a minor conflict from today's perspective, the ‘Indian Mutiny’ of 1857–58 inspired a massive outpouring of popular culture responses in Victorian Britain. One of the most frequently used texts was the legend of Jessie Brown, a Scottish maiden who became a heroine during the siege of Lucknow. This fabulous tale was retold and memorialized throughout British theatres, music halls and private homes. Jessie Brown also inspired ‘Dinna You Hear It’, a little-known parlour song that was composed by James Ross and Louis Casseres and published by E.G. Fuller in Halifax, Nova Scotia, around 1858. This article examines the historical circumstances that led to this song's creation and the appeal that this text would have held for the residents of a small colonial city. Halifax may have been a remote corner of the Empire, far removed from the battlefields of India, but Nova Scotians nonetheless shared Britons’ horror and intrigue over the Mutiny – a fascination that was heightened by the fact that Nova Scotia could claim a distinct connection to the victory at Lucknow. By examining the creative and commercial factors that led the authors of ‘Dinna You Hear It’ to produce their own musical setting of the Jessie Brown legend for the Halifax public, this study of a rare Nova Scotian music publication asserts the important role sheet music played within the process of cultural exchange that bridged colony and metropole throughout the nineteenth century.

Fanny Hensel - Fanny Hensel. Songs, vol. 1. Dorothea Craxton sop, Babette Dorn pf. Naxos 8570981, 2009 (1 CD: 58 minutes). - Fanny Hensel. Songs, vol. 2. Dorothea Craxton sop, Babette Dorn pf. Naxos 8572781, 2013 (1 CD: 62 minutes).

Abstract: Schumann and Brahms offered effectively for chorus. Something as familiar as Brahms’s ‘Wiegenlied’ (here entitled ‘Guten Abend, Gut Nacht’) works well in this idiomatic treatment for chorus. Yet the unfamiliar songs – the ones by Robert Franz, Hans Sommer and Peter Cornelius – are intriguing in Gottwald’s arrangements, and invite comparisons with the originals. Beyond the German composers represented here, the two pieces by Debussy (‘Il pleure dans mon coeur’) and Ravel (‘Toi, le coeur de la rose’) offer contrasts to the sometimes conventional German Romantic style, and complement the other selections well. Among Gottwald’s most adventurous arrangements is his choral version of Mahler’s Adagietto, sung to Eichendorff’s poem ‘Im Abendrot’. Interestingly, Gottwald did not use Rückert’s ‘Ich bin der Welt abhanden gekommen’, which was Mahler’s vocal model for the movement.1 In this sense, the adaptation involves a double transformation – not only from string-and-harp scoring to chorus, but also from the implied text of the Rückert song about isolation to Eichendorff’s poem about the close of the day and, by inference, departure from life. This takes Mahler’s music further away from the lieder that form the basis for Gottwald’s other settings and creates, instead, a new piece through this extension of the contrafactum technique. The strength of these recordings is due in part to the fine performances by two different choruses: the KammerChor Saarbrücken, conducted by George Grün (Hymnus an das Leben); and the SWR Vokalensemble, conducted by Marcus Creed (Alma und Gustav Mahler). The choral sound in each recording is uniformly polished and balanced, with the voicings of the arrangements emerging with convincing clarity and blend.

Music in Canada in the Nineteenth Century

Abstract: The contributors to this special issue of Nineteenth-Century Music Review, devoted to Canadian topics, have found themselves in a challenging position. On the one hand, music in Canada has been the subject of a great deal of accomplished scholarship – Robin Elliot’s bibliography of Canadian music studies from 1996 to 2004 lists 895 works, and much more has been published since that time – and notwithstanding that a considerable majority of that scholarship treats more recent topics, nineteenth-century Canadian music studies are by no means a novelty.1 On the other hand, for the international audience of a journal such as this, the near-complete absence of Canadian studies from general histories and musicological journals, and its only occasional presence even in those devoted to the Americas, meant that, like the contributions to this journal’s earlier special issue devoted to Greece, our work would almost inevitably be situated as dealing with a perhaps interesting but certainly peripheral topic relative to any ‘mainstream’ of music history.2 So our challenge has been to contribute to an existing body of scholarship that takes as a given the value of Canadian music studies within Canada, while also demonstrating the general interest of studying music and practices of an area remote not only from the British imperial metropolis whose colony it was (to say nothing of the continental European musical traditions that could view the British world itself as peripheral) but also from the growing American economic and cultural centre constituted by the United States. At this point in the history of musicology, of course, suspicion of notions of mainstream, centre and periphery is nearly as pervasive as those framing

John Spitzer, ed., American Orchestras in the Nineteenth Century (Chicago: University of Chicago Press, 2012). x + 493 pp. $55.00.

Abstract: Events of 1848, a year of revolutions in many German principalities, led directly to the departure for America of a group of some 25 orchestral musicians calling themselves the Germania Musical Society. They were dedicated to principles of communal support and democratic governance, ‘one for all and all for one’. Although not the first group of foreign musicians to immigrate to America in this period, they were probably the most influential. Within the six years of its existence in the United States, the GMS made a huge impact by exposing thousands of Americans in eastern and midwestern urban centres to programs containing the substantial works of Haydn, Mozart, Beethoven, Mendelssohn, Weber, Liszt and Wagner, as well as a variety of lighter fare by these and other composers. They were dissolved in 1854, but their legacy lived on. The Germanians performed at an impeccable level of artistry, and although their general history has been known for some time, Nancy Newman, one of the authors in this collection, has written the definitive account of their impact elsewhere.1 Newman’s chapter, ‘Gender and the Germanians: ‘‘Art-Loving Ladies’’ in Nineteenth-Century Concert Life’, is just one especially attractive example from this diverse collection of hardcore archival musicology. Other chapters, including this one, add a rich transatlantic perspective. All the authors obviously are steeped in the details of their separate sub-topics; most write well. Many observations and conclusions reached here surely will prove to be of interest for European music specialists as well as Americanists. This is not a parochial volume, but it presents a number of carefully documented case studies. (Neither is it unconcerned with larger theoretical or cultural issues, although it is devoid of ‘music theory’ as that term is usually understood.) Book-ended with a historiographic ‘Introduction’ by Deane L. Root and a contextual and demographic ‘Afterword’ by Ronald G. Walters, this set of essays, comprising the work of 20 authors altogether, is divided into five thematic sections, all addressing how American orchestras came into being in the second half of the nineteenth century. Each of the sections – named (1) ‘Ubiquity and Diversity’, (2) ‘The Orchestra and the American City’, (3) ‘Conductors, Promoter, Patrons’, (4) ‘America and Europe’ and (5) ‘Orchestral Repertory’ –is preceded by a fiveor six-page mini-essay by editor John Spitzer. The papers that served as the basis for the book were first presented at a conference at the CUNY Graduate Center in New York, on the nineteenth-century American orchestra. The conference was associated with ‘Music in Gotham’,

Opera Production and Civic Musical Life in 1870s Montreal

Abstract: This article explores the origins and productions of the Societe Canadienne d'Operette et d'Opera de Montreal, a short-lived opera company active in the late 1870s. Headed by Calixa Lavallee and Frantz Jehin Prume, the Societe was established in part as a result of a decree that forbade the use mixed choirs throughout the archdiocese, and consequently made obsolete Lavallee's choir at Saint-Jacques Church. Following the success of their first production, Lavallee and Prume realized that the company might be used as a stepping-stone to the creation of a government-funded music school, modelled on the Paris Conservatoire. This article explores the social and political context in which the Societe was created, and details the staging and reception of its productions of Gounod's Jeanne d'Arc and Boieldieu's La Dame blanche. In selecting these works for performance, the organizers responded to demands and constraints of a society accustomed to popular entertainment from the US and under pressure from the conservative and influential Catholic Church. They were works that were feasible to produce and likely to be successful in a city whose population was divided by religion, language and cultural traditions.

The Role of Beethoven's ‘la gaiete’ Movement in the Creation of his Quartet Op. 127

Abstract: Several writers, beginning with Gustav Nottebohm, have made mention of a movement entitled ?la gaiete? that was at one stage intended for Beethoven's String Quartet in E-flat, Op. 127, but none of them have previously given a full account of this movement. It appears in several sketch sources, notably Artaria 206 (currently in Krak�w), and although it was not incorporated into the final version of the quartet, it played an important role in shaping the slow movement of the work. It also had an indirect influence on the coda of the finale. Its precise function in the creation of the quartet becomes much clearer through a detailed study of Beethoven's sketches, which are scattered in many different sources and appear in four formats that run concurrently, making assessment of them difficult. Examining the sketches for the movement also throws light on the chronological relationship between the various sketch sources. Contrary to some accounts, the movement appears never to have been part of a planned six-movement scheme for the work ? a scheme that was extremely fleeting and only one of many possibilities for the work's structure.

Neal Peres da Costa, Off the Record: Performing Practices in Romantic Piano Playing (Oxford: Oxford University Press, 2011). xxxiv + 342 pp. $45.00.

Abstract: theme’s reference to Joseph Joachim’s personal motto, ‘frei aber einsam’ (‘free but alone’ – apparently his attitude toward bachelorhood), encoded musically in the first three notes of Brahms’s melody, F–A–E. Baragwanath’s book is beautifully and carefully produced, with few errors (the bars are misnumbered in example 3.17 [p. 128] and the caption is missing from table 5.1 [p. 225]); some readers might wish to skip immediately to the explanatory note on Italian prosody (p. 76), which will make crucial features of the book accessible even to non-specialists; and, finally, readers interested in further study will not want to miss the ‘Note on Online Resources’ at the back (p. 390). I commend Baragwanath on a deep, wide-ranging study the influence of which will surely be felt in the field for years to come.

Vibrato, the Orchestral Organ and the ‘Prevailing Aesthetic’ in Nineteenth-Century Symphonic Music

Abstract: The issue of vibrato's presence in the nineteenth-century orchestral string section has become controversial, with musicians often asked to accept the proposition that vibrato existed rarely, if at all. Fortunately an extensive, hitherto overlooked, body of primary source material exists that goes straight to the heart of the matter, offering a definitive answer to the question of whether or not vibrato was an intrinsic component of period orchestral string sonority. It comes from the organ literature and from the history of the instrument's evolution over the course of the long nineteenth century. A group of artists and artisans, working from approximately 1830 to 1930, documented the importance of vibrato to any attempt at reproducing, or at least approximating, the authentic timbre of the orchestral string section. Organ builders and performers noted vibrato's use both as an intrinsic constituent of string tone and as an actively applied expressive device. They discussed it extensively in their literature, gave their instruments the capacity to simulate its effects, and specifically notated its presence in their transcriptions of orchestral music. The information they have left behind dispels the modern myth of ‘pure’, vibratoless orchestral string tone as a timbral norm, and provides a truer sense of the era's prevailing aesthetic.

Mark Everist, Mozart's Ghosts: Haunting the Halls of Musical Culture (Oxford: Oxford University Press, 2012). xii + 310 pp. £30.00.

Abstract: more a political than cultural phenomenon, Darlow concludes that while ‘selective subsidy remains a form of coercion [but] it is not the same thing as propaganda’ (p. 386). Subsequent revolutionary movements in France further transformed French cultural life in the nineteenth century. The July Revolution of 1830, for example, while not provoking major social upheaval, radically transformed the French cultural scene with Victor Hugo’s Hernani, Berlioz ‘s Symphonie fantastique, and Delacroix’s La Liberté guidant le peuple emerging as iconic works of French Romanticism. Mark Darlow suggests that the works staged at the Opéra during the Revolution exerted an influence on French lyric productions of the early nineteenth century (pp. 355–6), a proposition beyond the scope of his book, but one that deserves to be examined. For the period under study, however, he does make a convincing argument that the artists writing for the Opéra invested the institution ‘with a set of cultural ideals that were actually far more radical than the state required in 1793’ (p. 390). His book is a ‘must read’ for all scholars interested in the period, historians, sociologists and musicologists alike.

Puri Michael J., Ravel the Decadent: Memory, Sublimation, and Desire (New York: Oxford University Press, 2011). viii + 272 pp. $24.95.

Abstract: In her introduction to The Cambridge Companion to Ravel, Deborah Mawer called for a reassessment of Ravel’s compositions, noting that the ‘mysteries are real and detailed musical enquiries must continue’.1 This call has been answered by Mawer herself, in The Ballets of Maurice Ravel, and in a second edited volume, Ravel Studies, as well as by other Ravel scholars represented in that volume, including Steven Huebner, Barbara Kelly, Emily Kilpatrick and Michael J. Puri.2 Puri’s most recent offering, Ravel the Decadent, is a fascinating, original and engaging step further forward in the field of Ravel scholarship. In the opening section of his book, ‘Introduction: Memory, Decadence, and Music’, Puri develops a fresh perspective on Ravel by aligning his work and aesthetic with the nineteenth-century literary figures Charles Baudelaire (1821–1867), Paul Verlaine (1844–1896) and Stephane Mallarmé (1842–1898), and, perhaps most significantly, with his contemporary, Marcel Proust (1871–1922). Most important, Puri singles out Decadence as central to Ravel’s creativity. A late nineteenth-century phenomenon, Decadence was associated with the Symbolist movement. Puri identifies this aspect of Symbolism, and of late-nineteenth-century aesthetics, as a formative influence on Ravel. Decadence brings together in a single work binaries like past and the present, and what is remembered and what is not. Puri brings together these conflicting dimensions to reveal the importance of time, memory and nostalgia in Ravel’s music. He offers a ‘broad account of Ravel’s music y relating it to contemporary trends in early European modernism’ (p. 3). Rather than adopting critical terms that have been explored previously, Puri sets out to establish his own terms in a way that is ‘compatible’ to the discourse and to the ‘dynamism of Ravel’s music’ (p. 3). Decadence thus becomes a new interpretative stance and a new method for interrogating memory in music. Looking to Proust’s À la recherche du temps perdu,3 Puri compares Proust’s textual and Ravel’s musical processes. The Proust work forms a model for the ‘exploration of memory from a Decadent perspective’ (p. 14). It is, indeed, the Decadence4 established in Puri’s ‘Introduction’ that guides this fascinating enquiry, as the book

Matthew Brown Debussy Redux: The Impact of His Music on Popular Culture (Bloomington, IN: Indiana University Press, 2012). x + 240 pp. £24.00.

Abstract: From its chapter titles (e.g. ‘In the Moog’, ‘Yo y Baudelaire!’), we might expect Debussy Redux to present a refreshingly iconoclastic exploration of Debussy’s ‘impact on popular culture’. But this is no celebration of anarchic ripples of influence through multiple ‘registers’ of musical expression (in Michael Long’s useful term).1 Instead, the book remains strangely in thrall to what we might deem a grim cohort of ‘austerians’ (in today’s economic parlance) – including those stern Teutons, Schenker and Adorno; neo-Darwinian analytic philosophers; and earnest cognitive scientists. Even more bizarrely, it often becomes a defensive reaffirmation of ‘art’ as a ‘cultural universal’ that needs (once more) to be distinguished from kitsch and defended against postmodern relativism. This is a surprising approach to the rich subject matter Matthew Brown has assembled. An Introduction glances to Debussy’s ‘impact’ across a wide field and then raises ‘four basic issues’ purportedly drawn from M.H. Abrams’s 1953 study of Romantic Theory, The Mirror and the Lamp:2 ‘the nature of musical structure and organic unity; the connection between authors and texts; the association between one author and another, and the relationships between the author and the audience’ (p. 7). Eight chapters (plus conclusion) then consider various Debussyan offshoots in light of these issues. The first focuses on the 1881 Rêverie for piano and Larry Clinton’s 1938 swing adaptation; the next on the pseudo-Debussyan piano piece ‘Chicklings’ by soi-disant musical ‘medium’ Rosemary Brown alongside Debussy’s Page d’Album (1915).3 Chapter 3 turns to the 1948 film Portrait of Jennie, whose Dmitri Tiomkin score pastiches the Prélude à l’après-midi d’un faune (1894), ‘La fille aux cheveux de lin’ (1910), ‘Nuages’ and ‘Sirènes’ (1899), and the first ‘Arabesque’ (1891). A fourth chapter considers synthesizer versions of ten piano pieces by Isao Tomita and a single one by Juan Garcia Esquivel; a fifth traces the responses of rock group Art of Noise to a Baudelairean piano prelude; and a sixth treats the recasting of ‘La Cathédrale engloutie’ (1910) by John Zorn, on his album Grand Guignol (1992) and John Carpenter, in his film Escape from New York (1981). The next two chapters keep to cinema, with thoughts on Bruno Bozzetto’s animated ‘choreography’ of the faun Prélude within Allegro non Troppo (a 1978 parody of Disney’s Fantasia) and an early Kurosawa movie, Drunken Angel (1948), which boasts a Debussy-infused score by Fumio Hayaka. Finally, Brown builds on some echoes of the piano Rêverie once noted by Michael Long to offer a last Schenkerian analysis of Queen’s ‘Bohemian Rhapsody’.