Download e-book for kindle: Julius Caesar Opera Journeys Mini Guide Series by Burton D. Fisher

By Burton D. Fisher

A whole consultant to Handel's JULIUS CAESAR together with the tale SYNOPSIS, valuable CHARACTERS within the opera, tale NARRATIVE with ONE-BAR tune spotlight EXAMPLES, and an ESSAY offering historical past concerning the opera and its composer, research, and insightful observation.

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Download PDF by Burton D. Fisher: Julius Caesar Opera Journeys Mini Guide Series

A whole advisor to Handel's JULIUS CAESAR consisting of the tale SYNOPSIS, critical CHARACTERS within the opera, tale NARRATIVE with ONE-BAR tune spotlight EXAMPLES, and an ESSAY offering heritage in regards to the opera and its composer, research, and insightful statement.

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Extra info for Julius Caesar Opera Journeys Mini Guide Series

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If Mr Williams sings it all four times you are to give him the $10. 50. ” When this failed to get the song going, Harris splashed out lavishly. He paid five hundred dollars to James Aldrich Libbey, a well-known baritone for the right to put his photograph on the cover of the sheet music and to sing it at a concert that bandleader John Philip Sousa would be attending. Sousa liked the song so much he made an arrangement of it and for the next six months played it once an hour at the 1893 Chicago World Fair where he and his band were in residence.

In the days before amplification, these performers had to bellow the songs to be heard at the back of the hall. As a result they were called ‘coon shouters’, and the titles of the songs they shouted were appalling. ‘If the Man in the Moon Was a Coon’, ‘Every Race Has a Flag but the Coon’, or the hugely popular, ‘All Coons Look Alike to Me’. This last one was written by a vaudeville singer who himself was black and called himself ‘The Unbleached American’, Ernest Hogan. Black people found the song so offensive that a white man could intimidate them just by whistling the first two bars as they passed on the street.

Listeners felt as if social restraint was being removed, allowing them to flow with the music. But like every fad that came along, it was swallowed up by an industry intent on quick profiteering. Most people never got to hear ragtime as a piano performance, just as an endless flow of second-rate popular songs. As ragtime became popular, Max Dreyfus moved on. This time he went to T. B. Harms, Witmark’s chief rival, the company who’d stolen ‘Daisy’ from Francis, Day & Hunter while their songwriter was holidaying in New York.

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