Re: So...who DID invent Crossover?
On May 6, 8:45�pm, Raff Martino <raff_martin...@xxxxxxxxxxx> wrote:
I think there is a real difficulty in defining 'crossover'. Apparently
the term originates in hip-hop so isn't very old. I think when you think
of crossover, you have in mind an established artist in one genre
'crossing over' temporarily into another.
You could be right. �I think that was the whole point of that radio
programme, come to think. �I think Nigel Douglas comments in between
the selected pieces were to the efferct that Soprano A �or Tenor B or
Basso C would be hurling out their voices for three and a half hours
or so of SIEGFRIED, then singing an encore of "No place like home" or
Well certainly concert programmes 100 years ago were totally different
from today. If you read Shaw's account of music life in London you
quickly realise that a Donizetti/Rossini/Mozart aria was quite likely
to be immediately followed by what we would call today a ballad - in
the same way classical orchestral concerts were not the structured
Overture/Concerto/Symphony that predominates today.
When Beecham hired Albert Sammons as the leader for his first Opera
Company Orchestra he found him after hearing him play as the leader of
a "Gypsy Band" at the Savoy where Beecham was dining. He called him
over during the band interval and asked him to play the last movement
of Mendelssohn's Violin Concerto - then hired him on the spot.
Campoli the violinist played for Victor Silvester during the war under
a pseudonym (so that the BBC didn't find out as they didn't approve of
that sort of thing) and certainly between about 1900 and World War II
most London orchestral musicians played in dance bands as well.
When Stravinsky was in London to perform The Soldiers Tale he actually
remarked to Jimmy Blades who was playing the *kit* percussion part:
"Ah, Mr Blades I see you have played in a Jazz Band." And he had,
although he started in a travelling circus band.
Shaw also mentions the relative frequency with which Melba resorted to
Home Sweet Home (I think) as an encore and he also remarks that a
performance of a Chopin Sonata produced an encore of The Robin's
Return (Sydney Smith) which Shaw didn't think appropriate but that's
what they got. Chopin to Smith is a quantum leap and Shaw thought it
was even then! But Smith's music was extremely popular at the time
and he was the biggest selling composer of salon music in the UK for
much of his life.
I have a very old programme from about 1915 which has the Overture:
Fidelio, Selections from The Arcadians (a recent smash hit at that
time), Schumann Symphony No 1 and Ketelbey: In the Mystic Land of
Egypt as the "grand finale". They certainly don't make them like that
Alan M. Watkins
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