Midsummer is celebrated various ways by various cultures on various dates throughout the week after the Summer Solstice. This is good news for my blog, because, not surprisingly, this mystical, magical, and religiously important time of year has a lot of significant music written about it.
June 23rd is St. John’s Eve – that is to say, the day before the Nativity of John the Baptist, the Christian Feast Day that celebrates the forerunner and baptizer of Jesus. But more on that tomorrow.
St. John’s Eve just happens to be the setting for one of the best scary pieces ever written – A Night on Bald Mountain (also titled “St. John’s Eve on the Bare Mountain”), by Modest Mussorgsky. The spooky music speaks for itself. Mussorgsky himself describes how he wrote the piece. I thoroughly enjoy his words (taken from a letter to a friend), because he makes the compositional process seem like a compulsive, drunken all-nighter, with plenty of Russian resentment against the Germans:
“So far as my memory doesn’t deceive me, the witches used to gather on this mountain, … gossip, play tricks and await their chief—Satan. On his arrival, the witches formed a circle round the throne on which he sat, and sang his praise. When Satan was worked up into a sufficient passion by the witches’ praises, he gave the command for the sabbath, in which he chose for himself the witches who caught his fancy. So this is what I’ve done. At the head of my score I’ve put its content:
1. Assembly of the witches, their talk and gossip;
2. Satan’s journey;
3. Obscene praises of Satan;
4. Sabbath
The form and character of the composition are Russian and original … I wrote St. John’s Eve quickly, straight away in full score, I wrote it in about twelve days, glory to God … While at work on St. John’s Eve I didn’t sleep at night and actually finished the work on the eve of St. John’s Day, it seethed within me so, and I simply didn’t know what was happening within me … I see in my wicked prank an independent Russian product, free from German profundity and routine, and grown on our native fields and nurtured on Russian bread.”
This piece is now pretty much universally recognized as one of the best parts of Disney’s 1940 film, Fantasia, which also included masterworks such as The Rite of Spring and the Pastoral Symphony.
We generally think of music and the arts as a pastime – as something we do to relax or forget about the “real world.” Yet at the same time, people quickly become enraged and offended when a work of art or music challenges their beliefs or pushes us out of our comfort zone. Governments and political leaders are very aware of this – music is carefully selected, created, and packaged to support their ideology. And artists that oppose powerful leaders – quietly or overtly – often find themselves shunned, banned, threatened, or worse.
This sort of thing can happen anywhere, dictatorship or democracy, ancient or modern, north or south, east or west. Thinking about that iconic, chilling picture from Tiananmen Square, let’s look at Chinese-American composer Chen Yi.
Chen was born in China, at a time when it was dangerous to be a musician there. The Cultural Revolution frowned upon the arts, especially any music that sounded “western”. She put a blanket in her piano and muted her violin so she could practice without the authorities hearing her. When she was 15, her family’s possessions were confiscated, and they were forced to labor in the country as part of the government’s anti-bourgeois efforts. Against these odds, Chen still managed to earn a Master’s in music and become a world-famous, Pulitzer-prize winning composer – as an American citizen.
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