wiki143 - User contributions [en]

Cecil Taylor

2025-05-12T22:12:31Z

192.0.183.78: /* Poetry */Fixed spelling.

{{Short description|American composer and poet (1929–2018)}}
{{for|the Scottish playwright|C. P. Taylor}}

{{Use mdy dates|date=June 2022}}
{{Infobox musical artist
| name = Cecil Taylor
| image = Cecil taylor E5122329-2.jpg
| caption = Taylor at [[Moers Festival]] 2008
| birth_name = Cecil Percival Taylor
| birth_date = {{Birth date|1929|3|25}}
| birth_place = [[Long Island City]], New York, U.S.
| death_date = {{death date and age|2018|4|5|1929|3|25}}
| death_place = [[Brooklyn]], New York, U.S.
| genre = [[Jazz]], [[avant-garde jazz]], [[free jazz]], [[free improvisation]]
| occupation = Musician, bandleader, composer, improviser, poet
| instrument = Piano
| years_active = 1956–2018
| label = [[Transition Records|Transition]], [[Blue Note Records|Blue Note]], [[Freedom Records|Freedom]], [[Hathut Records|Hathut]], [[Enja Records|Enja]], [[FMP/Free Music Production|FMP]]
| associated_acts = [[Steve Lacy (saxophonist)|Steve Lacy]], [[Jimmy Lyons]], [[Archie Shepp]], [[Albert Ayler]], [[Buell Neidlinger]], [[Alan Silva]], [[William Parker (musician)|William Parker]], [[Sunny Murray]], [[Andrew Cyrille]], [[Tony Oxley]], [[Anthony Braxton]], [[Alan Silva]], [[Sirone (musician)|Sirone]], [[Art Ensemble of Chicago]], [[John Coltrane]]
}}

'''Cecil Percival Taylor''' (March 25, 1929{{snd}}April 5, 2018)<ref name="Such">{{cite book |last=Such |first=David Glen |title=Avant-garde Jazz Musicians: Performing "Out There" |publisher=University of Iowa Press |year=1993 |page=61 |isbn=978-1-58729-231-6 |url=https://books.google.com/books?id=BPQMX8idVh0C&pg=PA61}}</ref><ref name="Feather">{{cite book|author1-last=Feather |author1-first=Leonard |author2-last=Gitler|author2-first=Ira |title=The Biographical Encyclopedia of Jazz|publisher=Oxford University Press |year=2007 |page=638 |isbn=978-0-19-532000-8 |url=https://books.google.com/books?id=B4EjDgAAQBAJ&pg=PA638}}</ref><ref name="Seisdedos">{{cite news|last1=Seisdedos|first1=Iker|title=Muere el pianista Cecil Taylor, indomable leyenda del jazz|url=https://elpais.com/cultura/2018/04/06/actualidad/1523006133_515017.html|access-date=April 6, 2018|work=El Pais|publisher=Ediciones El Pais S.L.|date=April 6, 2018}}</ref> was an American pianist and poet.{{sfn|Such|1993|p=61}}<ref name="Yanow">{{cite web|url=https://www.allmusic.com/artist/cecil-taylor-mn0000988386/biography|title=Cecil Taylor|last1=Yanow|first1=Scott|website=[[AllMusic]]|access-date=June 22, 2018}}</ref>

Taylor was [[classically trained]] and was one of the pioneers of [[free jazz]]. His music is characterized by an energetic, physical approach, resulting in complex [[Musical improvisation|improvisation]] often involving [[tone clusters]] and intricate [[polyrhythms]]. His technique has been compared to [[Percussion instrument|percussion]]. Referring to the number of keys on a standard piano, [[Val Wilmer]] used the phrase "eighty-eight tuned drums" to describe Taylor's style.<ref>{{cite book | author=Wilmer, Val | title=As Serious As Your Life: The Story of the New Jazz | publisher=Quartet | year=1977|isbn=0-7043-3164-0|page=45}}</ref> He has been referred to as "[[Art Tatum]] with contemporary-classical leanings".<ref name="Tatum">{{cite news|url=https://www.theguardian.com/music/2005/jan/21/jazz.shopping1|title=Cecil Taylor, One Too Many Salty Swift and Not Goodbye|last=Fordham|first=John|author-link=John Fordham (jazz critic)|date=January 21, 2005|work=[[The Guardian]]|access-date=March 26, 2011|location=London|quote=Taylor plays the piano... like Art Tatum with contemporary-classical leanings...}}</ref>

== Early life and education ==
Cecil Percival Taylor was born on March 25, 1929, in [[Long Island City]], [[Queens]],<ref name="nytobit">{{Cite news|last=Ratliff|first=Ben|author-link=Ben Ratliff|date=April 6, 2018|title=Cecil Taylor, Pianist Who Defied Jazz Orthodoxy, Is Dead at 89|work=[[The New York Times]]|url=https://www.nytimes.com/2018/04/06/obituaries/cecil-taylor-dead.html|access-date=February 18, 2022|issn=0362-4331}}</ref> and raised in [[Corona, Queens]].<ref name=NYT2012>[[Ben Ratliff|Ratliff, Ben]] (May 3, 2012). [https://www.nytimes.com/2012/05/04/arts/music/cecil-taylors-keyboard-legacy.html "Lessons From the Dean of the School of Improv"], ''[[The New York Times]]''. Retrieved December 9, 2017: "I recently spoke with the 83-year-old improvising pianist Cecil Taylor for about five hours over two days. One day was at his three-story home in Fort Greene, Brooklyn, where he has lived since 1983.... Raised in Corona, Queens, he started out as a Harlem jam-session musician in the early 1950s and talks with intense loyalty about a line of particularly New York-identified piano players: Fats Waller, Teddy Wilson, Thelonious Monk, Mary Lou Williams, Mal Waldron, John Hicks."</ref> As an only child to a middle-class family, Taylor's mother Almeda Ragland Taylor encouraged him to play music at an early age. He began playing piano at age six and went on to study at the [[New York College of Music]] and [[New England Conservatory]] in [[Boston]]. At the New England Conservatory, Taylor majored in popular music arrangement. During his time there, he also became familiar with contemporary European [[art music]]. [[Béla Bartók|Bela Bartók]] and [[Karlheinz Stockhausen]] notably influenced his music.<ref name=":0">{{Cite book|title=Jazz: the Basics|last=Meeder|first=Christopher|page=150}}</ref>

In 1955, Taylor moved back to New York City from Boston. He formed a quartet with soprano saxophonist [[Steve Lacy (saxophonist)|Steve Lacy]], bassist [[Buell Neidlinger]], and drummer [[Denis Charles|Dennis Charles]].<ref name=":0" /> Taylor's first recording, ''[[Jazz Advance]]'', featured Lacy and was released in 1956.<ref>{{cite web|url=https://www.theguardian.com/music/2008/jul/11/jazz.johnfordham|title=CD: Cecil Taylor, Jazz Advance|last=Fordham|first=John|date=July 10, 2008|website=The Guardian|language=en|access-date=April 6, 2018}}</ref> The recording is described by [[Richard Cook (journalist)|Richard Cook]] and [[Brian Morton (Scottish writer)|Brian Morton]] in the ''Penguin Guide to Jazz'': "While there are still many nods to conventional [[post-bop]] form in this set, it already points to the freedoms in which the pianist would later immerse himself."<ref>{{Cite book|title=The Penguin jazz guide : the history of the music in the 1,001 best albums|last=Morton|first=Brian|date=2011|publisher=Penguin|others=Cook, Richard|isbn=978-0-14-195900-9|location=London|oclc=759581884}}</ref> Taylor's quartet featuring Lacy also appeared at the 1957 [[Newport Jazz Festival]], which was made into the album ''[[At Newport (Cecil Taylor and Gigi Gryce album)|At Newport]]''.<ref>{{cite web|url=https://www.theguardian.com/music/2002/sep/20/jazz.artsfeatures1|title=CD: Gigi Gryce/Donald Byrd/Cecil Taylor, At Newport|last=Fordham|first=John|date=September 20, 2002|website=The Guardian|language=en|access-date=April 6, 2018}}</ref> Taylor collaborated with saxophonist [[John Coltrane]] in 1958 on ''[[Stereo Drive]]'', now available as ''Coltrane Time''.<ref>{{cite web|url=https://www.allmusic.com/album/coltrane-time-mw0000652601|title=Coltrane Time – John Coltrane|website=AllMusic|access-date=April 6, 2018}}</ref>

== 1950s and early 1960s ==
Throughout the 1950s and 1960s, Taylor's music grew more complex and moved away from existing jazz styles. Gigs were often hard to come by, and club owners found that Taylor's approach of playing long pieces tended to impede business.<ref>{{cite book|title=Four Lives in the Bebop Business|author=Spellman, A. B.|publisher=[[Limelight Editions]]|year=1985|isbn=0-87910-042-7|orig-year=1966}}</ref> His 1959 [[LP record]] ''[[Looking Ahead!]]'' showcased his innovation as a creator as compared to the jazz mainstream. Unlike others at the time, Taylor utilized virtuosic techniques and made swift stylistic shifts from phrase to phrase. These qualities, among others, still remained notable distinctions of his music for the rest of his life.<ref>{{Cite book|title=Jazz: the Basics|last=Meeder|first=Christopher|page=151}}</ref>

Landmark recordings, such as ''[[Unit Structures]]'' (1966), also appeared. Within the [[Cecil Taylor Unit]] (a distinction that was often used at performances and recordings between 1962 and 2006 for a shifting group of sidemen), musicians were able to develop new forms of conversational interplay. In the early 1960s, an uncredited [[Albert Ayler]] worked with Taylor, jamming and appearing on at least one recording, ''Four'', which was unreleased until appearing on the 2004 Ayler [[box set]] ''[[Holy Ghost: Rare & Unissued Recordings (1962–70)]]''.<ref>{{cite web|url=https://www.allmusic.com/album/holy-ghost-rare-unissued-recordings-1962-70-mw0000718294|title=Holy Ghost: Rare & Unissued Recordings 1962–1970|website=AllMusic|access-date=April 6, 2018}}</ref>

By 1961, Taylor was working regularly with alto saxophonist [[Jimmy Lyons]], who would become one of his most important and consistent collaborators. Taylor, Lyons, and drummer [[Sunny Murray]] (and later [[Andrew Cyrille]]) formed the core personnel of the [[Cecil Taylor Unit]], Taylor's primary ensemble until Lyons' death in 1986. Lyons' playing, strongly influenced by jazz icon [[Charlie Parker]], retained a strong [[blues]] sensibility and helped keep Taylor's increasingly [[Avant-garde music|avant garde music]] tethered to the jazz tradition.<ref name="Kelsey">{{cite web|url=http://allmusic.com/artist/jimmy-lyons-p7010/biography|title=Jimmy Lyons – Biography|author=Kelsey, Chris|website=AllMusic|access-date=March 27, 2012|author-link=Chris Kelsey}}</ref>

== Late 1960s and 1970s ==
Taylor began to perform solo concerts in the latter half of the 1960s. The first known recorded solo performance was "Carmen With Rings" (59 minutes) in [[De Doelen]] concert hall in [[Rotterdam]] on July 1, 1967. Two days earlier, Taylor had played the same composition in the [[Amsterdam Concertgebouw]]. Many of his later concerts were released on album and include ''[[Indent (album)|Indent]]'' (1973), side one of ''[[Spring of Two Blue J's|Spring of Two Blue-J's]]'' (1973), ''[[Silent Tongues]]'' (1974), ''[[Garden (album)|Garden]]'' (1982), ''[[For Olim]]'' (1987), ''[[Erzulie Maketh Scent]]'' (1989), and ''[[The Tree of Life (Cecil Taylor album)|The Tree of Life]]'' (1998).<ref>[http://kathleen.frederator.com/post/5406913931/cecil-taylor-unit-spring-of-two-blue-js Cecil Taylor Unit Spring of Two Blue-J's @ kathleen.frederator Tumblr] {{webarchive|url=https://web.archive.org/web/20160604111959/http://kathleen.frederator.com/post/5406913931/cecil-taylor-unit-spring-of-two-blue-js|date=June 4, 2016}}</ref> He began to garner critical and popular acclaim, playing for [[Jimmy Carter]] on the [[White House]] Lawn,<ref>{{Cite news|url=https://jazztimes.com/features/george-wein-a-great-day-in-washington/|title=George Wein: A Great Day in Washington |last=Chinen|first=Nate|work=[[JazzTimes]]|access-date=April 6, 2018|language=en-US}}</ref> lecturing as an [[artist-in-residence]] at universities, and eventually being awarded a [[Guggenheim Fellowship]] in 1973.<ref>{{cite web|url=https://www.gf.org/fellows/all-fellows/cecil-p-taylor/|title=Cecil P. Taylor|website=GF.org|access-date=April 6, 2018}}</ref>

In 1976, Taylor directed a production of [[Adrienne Kennedy]]'s ''[[A Rat's Mass]]'' at [[La MaMa Experimental Theatre Club]] in the [[East Village, Manhattan|East Village of Manhattan]]. His production combined the original script with a chorus of orchestrated voices used as instruments. [[Jimmy Lyons]], [[Rashid Bakr (musician)|Rashid Bakr]], [[Andy Bey]], [[Karen Borca]], [[David S. Ware]] and [[Raphe Malik]] performed in the production as the Cecil Taylor Unit, among other musicians and actors.<ref>La MaMa Archives Digital Collections. [http://catalog.lamama.org/index.php/Detail/Occurrence/Show/occurrence_id/1586 "Production: ''Rat's Mass, A'' (1976)". Accessed August 8, 2018.] {{Webarchive|url=https://web.archive.org/web/20180517082108/http://catalog.lamama.org/index.php/Detail/Occurrence/Show/occurrence_id/1586 |date=May 17, 2018 }}</ref>

== 1980s, 1990s, and the Feel Trio ==
Following Lyons' death in 1986, Taylor formed the Feel Trio in the late 1980s with [[William Parker (musician)|William Parker]] on bass and [[Tony Oxley]] on drums. The group can be heard on ''[[Celebrated Blazons]]'', ''[[Looking (Berlin Version) The Feel Trio]]'' and the 10-disc set ''[[2 Ts for a Lovely T]]''.<ref>{{cite web|url=https://www.allmusic.com/album/celebrated-blazons-mw0000695744|title=Celebrated Blazons|website=AllMusic|access-date=April 6, 2018}}</ref><ref>{{cite web|url=https://www.allmusic.com/album/looking-berlin-version-the-feel-trio-mw0000910547|title=Looking (Berlin Version) The Feel Trio – The Feel Trio {{!}} Songs, Reviews, Credits |website=AllMusic|access-date=April 6, 2018}}</ref><ref>{{cite web|url=https://www.theguardian.com/music/2002/sep/20/jazz.artsfeatures2|title=CD: Cecil Taylor Feel Trio, 2 Ts For A Lovely T|last=Fordham|first=John|date=September 20, 2002|website=The Guardian|language=en|access-date=April 6, 2018}}</ref> Compared to his prior groups with Lyons, the Feel Trio had a more abstract approach, tethered less to jazz tradition and more aligned with the ethos of European [[free improvisation]]. He also performed with larger ensembles and [[big band]] projects.

Taylor's extended residence in [[Berlin]] in 1988 was documented by the German label [[FMP (Free Music Production)|FMP]], resulting in a [[box set]] of performances in duet and trio with a large number of European free improvisors, including Oxley, [[Derek Bailey (guitarist)|Derek Bailey]], [[Evan Parker]], [[Han Bennink]], [[Tristan Honsinger]], [[Louis Moholo]], and [[Paul Lovens]]. Most of his later recordings have been released on European labels, with the exception of ''[[Momentum Space (album)|Momentum Space]]'' (a meeting with [[Dewey Redman]] and [[Elvin Jones]]) on [[Verve Records|Verve]]/Gitanes. The classical label [[Bridge Records|Bridge]] released his 1998 [[Library of Congress]] performance ''Algonquin'', a duet with violinist [[Mat Maneri]].<ref>{{cite web|url=https://www.allmusic.com/album/cecil-taylor-algonquin-mw0000468021|title=Cecil Taylor: Algonquin – Cecil Taylor {{!}} Songs, Reviews, Credits |website=AllMusic|access-date=April 6, 2018}}</ref>

Taylor continued to perform for capacity audiences around the world with live concerts, usually playing his favored instrument, a [[Bösendorfer]] piano featuring nine extra lower-register keys. In 1987, he toured England with Australian pianist [[Roger Woodward]], presenting recitals on which Woodward played solo works by [[Iannis Xenakis|Xenakis]], [[Toru Takemitsu|Takemitsu]], and [[Morton Feldman|Feldman]], followed by Taylor, also playing solo.<ref>{{cite news |last=Gill |first=Dominic |date=November 26, 1987 |title=Woodward, Taylor / Adrian Boult Hall, Birmingham |url=http://www.rogerwoodward.com/images/PDF/Woodward_Taylor_Dominic_Gill.pdf |work=The Financial Times |location=London |access-date=October 22, 2020}}</ref> A [[Documentary film|documentary]] on Taylor, entitled [https://web.archive.org/web/20080924143425/http://www.chrisfelver.com/films/taylor.html ''All the Notes''], was released on [[DVD]] in 2006 by director [[Chris Felver]]. Taylor was also featured in a 1981 documentary film entitled ''[[Imagine the Sound]]'', in which he discusses and performs his music, poetry, and dance.<ref>{{cite web|url=https://www.gardinermuseum.on.ca/event/documentary-screening-imagine-sound-1981/|title=Documentary Screening: Imagine the Sound|publisher=Gardiner Museum|access-date=April 6, 2018}}</ref> In 1993, he was awarded a [[MacArthur Fellows Program|MacArthur Fellowship]].<ref>{{cite web|url=https://www.macfound.org/fellows/class/july-1991/|title=Class of 1991 – MacArthur Foundation|website=MacArthur Foundation|language=en|access-date=April 6, 2018}}</ref><ref>{{Cite news|url=https://www.washingtonpost.com/archive/lifestyle/1981/05/26/the-jazz-man/017ef919-a140-4499-b391-35116692a9a9/|title=The Jazz Man|last=West|first=Hollie I.|date=May 26, 1981|newspaper=[[The Washington Post]]|access-date=April 6, 2018|language=en-US|issn=0190-8286}}</ref>

== 2000s ==
[[File:Cecil Taylor DSC0029.jpg|thumb|Cecil Taylor, Buffalo, New York]]

Taylor recorded sparingly in the 2000s, but continued to perform with his own ensembles (the Cecil Taylor Ensemble and the Cecil Taylor Big Band) and with other musicians such as [[Joe Locke (musician)|Joe Locke]], [[Max Roach]], and [[Amiri Baraka]].<ref>[http://jazzinsidemagazine.com/Members/sweetpeasuzie/cecil-taylor-and-amiri-baraka-perform-in-barcelona/ Taylor Baraka Duo] {{webarchive |url=https://web.archive.org/web/20161104040345/http://jazzinsidemagazine.com/Members/sweetpeasuzie/cecil-taylor-and-amiri-baraka-perform-in-barcelona/ |date=November 4, 2016 }}</ref>  In 2004, the Cecil Taylor Big Band at the [[Iridium Jazz Club]] was nominated a best performance of 2004 by [[All About Jazz]].<ref name=AAJ>{{cite journal |page=10 |title=Best Performances 2004 |last=Big Band |year=2004 |publisher=All About Jazz Press}}</ref> The Cecil Taylor Trio was nominated for the same at the [[Highline Ballroom]] in 2009.<ref name=AAJ09>{{cite journal |page=10 |title=Best Performances 2009 |last=Cecil Taylor Trio|year=2009 |publisher=All About Jazz Press}}</ref> The trio consisted of Taylor, Albey Balgochian, and [[Jackson Krall]]. In 2010, Triple Point Records released a deluxe [[limited-edition]] double [[LP record|LP]] titled ''[[Ailanthus/Altissima: Bilateral Dimensions of 2 Root Songs]]'', a set of duos with Taylor's longtime collaborator [[Tony Oxley]] that was recorded live at the [[Village Vanguard]].<ref>{{cite web|url=https://www.discogs.com/Cecil-Taylor-Tony-Oxley-Ailanthus-Altissima-Bilateral-Dimensions-Of-2-Root-Songs/release/2392711|title=Cecil Taylor & Tony Oxley – Ailanthus / Altissima: Bilateral Dimensions Of 2 Root Songs|website=Discogs|language=en|access-date=April 6, 2018}}</ref>

In 2013, he was awarded the [[Kyoto Prize in Arts and Philosophy|Kyoto Prize]] for Music.<ref name=Guardian_obit>{{cite news |url=https://www.theguardian.com/music/2018/apr/06/cecil-taylor-free-jazz-pioneer-dies-age-89-new-york-pianist-avant-garde |title=Cecil Taylor, free jazz pioneer, dies age 89 |first=Laura |last=Snapes |newspaper=The Guardian |date=April 6, 2018 |access-date=April 7, 2018 }}</ref> He was described as "An Innovative Jazz Musician Who Has Fully Explored the Possibilities of Piano Improvisation".<ref name="Kyoto">{{cite web|url=http://www.kyotoprize.org/en/laureates/cecil_taylor/|title=Cecil Taylor|publisher=[[Kyoto Prize]]|access-date=April 7, 2018}}</ref> In 2014, his career and 85th birthday were honored at the [[Painted Bride Art Center]] in [[Philadelphia]] with the tribute concert event "Celebrating Cecil".<ref>Simon, Ray, [http://www.epgn.com/arts-culture/music/7008-24699747-out-jazz-great-celebrated-at-local-festival "Out jazz great celebrated at local festival"] {{webarchive|url=https://web.archive.org/web/20160828234219/http://www.epgn.com/arts-culture/music/7008-24699747-out-jazz-great-celebrated-at-local-festival|date=August 28, 2016}} ''[[Philadelphia Gay News]]'', March 6, 2014. Retrieved October 19, 2014.</ref> In 2016, Taylor received a retrospective at the [[Whitney Museum of American Art]] entitled "Open Plan: Cecil Taylor".<ref>[http://whitney.org/Exhibitions/OpenPlanCecilTaylor "Open Plan: Cecil Taylor"]. Whitney Museum of American Art. Retrieved January 9, 2017.</ref>

In 2008, Taylor performed with [[Pauline Oliveros]] at the [[Experimental Media and Performing Arts Center|Curtis R Priem Experimental Media and Performing Arts Center]] at [[Rensselaer Polytechnic Institute]]. The concert was recorded and is available on a DVD which also features a 75-minute video of a Taylor poetry recital entitled ''Floating Gardens: The Poetry Of Cecil Taylor''.<ref>{{cite web |url=https://empac.rpi.edu/publications/cecil-pauline-solo-duo-poetry |title=Solo – Duo – Poetry: Cecil Taylor + Pauline Oliveros |website=EMPAC.rpi.edu |access-date=June 20, 2020}}</ref><ref>{{cite web |url=https://www.thewire.co.uk/news/50587/empac-offers-free-dvd-of-cecil-taylor-and-pauline-oliveros-performing-in-2008 |title=EMPAC offers free DVD of Cecil Taylor and Pauline Oliveros live in 2008 |website=TheWire.co.uk |date=June 20, 2020 |access-date=June 20, 2020}}</ref> Taylor, along with dancer [[Min Tanaka]], was the subject of [[Amiel Courtin-Wilson]]'s 2016 documentary film ''The Silent Eye''.<ref>{{cite news|url=http://www.smh.com.au/entertainment/movies/bold-new-projects-for-amiel-courtinwilson-and-more-australian-film-news-20160412-go4d59.html |title=Bold new projects for Amiel Courtin-Wilson and more Australian film news|first=Gary|last=Maddox|newspaper=[[Sydney Morning Herald]]|date= April 12, 2016|access-date= August 2, 2017}}</ref>

== Ballet and dance ==
In addition to piano, Taylor was always interested in ballet and dance. His mother, who died while he was young, was a dancer and played the piano and violin. Taylor once said: "I try to imitate on the piano the leaps in space a dancer makes."<ref>{{Cite book|title=Four lives in the bebop business|last=Spellman|first=A. B.|date=1966|publisher=[[Limelight Editions]]|isbn=0-87910-042-7|edition=1st Limelight|location=New York|page=42|oclc=11469891}}</ref> He collaborated with dancer [[Dianne McIntyre]] from the mid 1970s to the early 1980s.<ref>"Interview with Dianne McIntyre," MGZTC 3-2252 [sound cassette] reel 6, New York Public Library Performing Arts Research Collections, 2000</ref> In 1979, he composed and played the music for a 12-minute ballet, "Tetra Stomp: Eatin' Rain in Space", featuring [[Mikhail Baryshnikov]] and [[Heather Watts]].<ref>{{Cite book|title=Miles, Ornette, Cecil: jazz beyond jazz|last=Mandel|first=Howard|date=2008|publisher=[[Routledge]]|isbn=978-0-415-96714-3|location=New York|page=204|oclc=173749173}}</ref>

== Poetry ==
Taylor was a poet, and cited [[Robert Duncan (poet)|Robert Duncan]], [[Charles Olson]], and [[Amiri Baraka]] as major influences.<ref>[http://wings.buffalo.edu/epc/authors/funkhouser/ceciltaylor.html "being matter ignited..."] {{webarchive|url=https://web.archive.org/web/20160401085739/http://wings.buffalo.edu/epc/authors/funkhouser/ceciltaylor.html|date=April 1, 2016}} Interview with Cecil Taylor by Chris Funkhouser, published in ''[[Hambone (magazine)|Hambone]]'', No. 12 ([[Nathaniel Mackey]], editor).</ref> He often integrated his poems into his musical performances, and they frequently appear in the [[liner notes]] of his albums. The album ''[[Chinampas (album)|Chinampas]]'', released by [[Leo Records]] in 1987, is a recording of Taylor reciting several of his poems while accompanying himself on percussion.<ref>{{cite web|url=https://www.allmusic.com/album/chinampas-mw0000106106|title=Chinampas|website=AllMusic|access-date=April 6, 2018}}</ref> His poetry was likened to his music primarily by the ways in which Taylor alters and transforms material both linguistic and musical.<ref>{{Citation |title=Cecil Taylor - Chinampas Album Reviews, Songs & More {{!}} AllMusic |url=https://www.allmusic.com/album/chinampas-mw0000106106 |access-date=2024-02-10 |language=en}}</ref>

== Musical style and legacy ==
According to Steven Block, [[free jazz]] originated with Taylor's performances at the [[Five Spot Café|Five Spot Cafe]] in 1957 and with [[Ornette Coleman]] in 1959.<ref>Block, Steven, "Pitch-Class Transformation in Free Jazz", ''[[Music Theory Spectrum]]'', Vol. 12, No. 2 (Autumn 1990), pp. 181–202. Published by [[University of California Press]] on behalf of the [[Society for Music Theory]].</ref> In 1964, Taylor co-founded the [[Jazz Composers Guild]] to enhance opportunities for [[avant-garde jazz]] musicians.<ref name="Walden">Walden, Daniel, "Black Music and Cultural Nationalism: The Maturation of Archie Shepp", ''[[Negro American Literature Forum]]'', Vol. 5, No. 4 (Winter 1971), pp. 150–154. Published by [[St. Louis University]].</ref>

Taylor's style and methods have been described as "[[Constructivism (art)|constructivist]]".<ref>Review by Robert Palmer, "''Indent'' by Cecil Taylor", ''The Black Perspective in Music'', Vol. 2, No. 1 (Spring 1974), pp. 94–95.</ref> Despite [[Scott Yanow]]'s warning regarding Taylor's "forbidding music" ("Suffice it to say that Cecil Taylor's music is not for everyone"), he praises Taylor's "remarkable technique and endurance", and his "advanced", "radical", "original", and uncompromising "musical vision".<ref name="Yanow" />

This musical vision is a large part of Taylor's legacy:
{{blockquote|Playing with Taylor I began to be liberated from thinking about chords. I'd been imitating John Coltrane unsuccessfully and because of that I was really chord conscious.|[[Archie Shepp]], quoted in [[Amiri Baraka|LeRoi Jones]], album liner notes for ''Four for Trane'' (Impulse A-71, 1964)|source=}}

== Personal life and death ==
Taylor moved to [[Fort Greene, Brooklyn]], in 1983.<ref name=NYT2012 /> He died at his Brooklyn residence on April 5, 2018, at the age of 89.<ref>{{Cite news|url=https://www.npr.org/sections/therecord/2018/04/06/535064217/cecil-taylor-jazz-icon-of-the-avant-garde-dies-at-89|title=Cecil Taylor, Jazz Icon Of The Avant-Garde, Dies At 89|last=Vitale|first=Tom|date=April 6, 2018|work=NPR|access-date=April 6, 2018|language=en}}</ref><ref>{{cite news|url=https://pitchfork.com/news/cecil-taylor-dead-at-89/|title=Cecil Taylor Dead at 89 |website=[[Pitchfork (website)|Pitchfork]]|first=Evan |last=Minsker| language=en|date=April 6, 2018|access-date=April 6, 2018}}</ref> At the time of his death, Taylor was working on an autobiography and future concerts, among other projects.<ref name="Cecil Taylor Website">{{cite web|url=http://www.ceciltaylor-art.com/component/content/article/1-merchandise/1-biography|title=Biography|website=Cecil Taylor official website|archive-url=https://web.archive.org/web/20110912011216/http://www.ceciltaylor-art.com/component/content/article/1-merchandise/1-biography|archive-date=September 12, 2011}}</ref>

== Discography ==
{{Main|Cecil Taylor discography}}

== References ==
{{Reflist}}

== External links ==
{{Wikiquote}}
{{Commons category}}
* {{AllMusic}}
* {{Bandcamp}}
* {{Discogs artist}}
* {{MusicBrainz artist}}

{{Cecil Taylor|state=collapsed}}
{{Authority control}}

{{DEFAULTSORT:Taylor, Cecil}}
[[Category:1929 births]]
[[Category:2018 deaths]]
[[Category:African-American jazz pianists]]
[[Category:African-American poets]]
[[Category:American poets]]
[[Category:Antioch College faculty]]
[[Category:MacArthur Fellows]]
[[Category:Musicians from Queens, New York]]
[[Category:Writers from Brooklyn]]
[[Category:Free jazz pianists]]
[[Category:Kyoto laureates in Arts and Philosophy]]
[[Category:New York College of Music alumni]]
[[Category:New England Conservatory alumni]]
[[Category:Freedom Records artists]]
[[Category:Prestige Records artists]]
[[Category:Enja Records artists]]
[[Category:Blue Note Records artists]]
[[Category:Candid Records artists]]
[[Category:Avant-garde jazz pianists]]
[[Category:Cadence Jazz Records artists]]
[[Category:20th-century American pianists]]
[[Category:Jazz musicians from New York (state)]]
[[Category:People from Fort Greene, Brooklyn]]
[[Category:Black Lion Records artists]]
[[Category:Leo Records artists]]
[[Category:FMP/Free Music Production artists]]
[[Category:20th-century American male musicians]]
[[Category:Intakt Records artists]]
[[Category:20th-century African-American musicians]]
[[Category:21st-century African-American people]]
[[Category:American male jazz pianists]]
[[Category:Jazz Composer's Orchestra members]]
[[Category:DownBeat Jazz Hall of Fame members]]
[[Category:NEA Jazz Masters]]

Richard Williams (musician)

2025-04-25T12:38:58Z

192.0.183.78: /* Biography */Spell "flugelhorn" correctly.

{{Other people|Richard Williams|Richard Williams (disambiguation){{!}}Richard Williams}}
{{Infobox musical artist
| name = Richard Williams
| image =
| alt =
| caption = Williams in 1960
| background = non_vocal_instrumentalist
| birth_name = Richard Gene Williams
| birth_date = {{Birth date|1931|05|04}}
| birth_place = [[Galveston, Texas]], U.S.
| death_date = {{Death date and age|1985|11|04|1931|05|04}}
| death_place = [[Jamaica, Queens]], New York, U.S.
| genre = [[Jazz]]
| occupation = Musician
| instrument = [[Trumpet]]
| years_active = 
| label = [[Candid Records]]
| associated_acts =
}}

'''Richard Gene Williams''' (May 4, 1931 – November 4, 1985) was an American [[jazz]] trumpeter.

==Biography==
Williams was born in [[Galveston]], [[Texas]], and played tenor saxophone early in his life before picking up trumpet as a teenager. He played in local Texas bands and attended [[Wiley College]], where he majored in music. After serving in the [[U.S. Air Force|Air Force]] from 1952 to 1956, he toured Europe with [[Lionel Hampton]], and upon his return took a master's degree at the [[Manhattan School of Music]].

Williams played with [[Charles Mingus]] at the [[Newport Jazz Festival]] in 1959, and recorded with Mingus starting in that year. He recorded his only session as a leader, ''New Horn in Town'' (1960) for [[Candid Records]], and featuring [[Reggie Workman]], [[Leo Wright]], [[Richard Wyands]], and [[Bobby Thomas (musician)|Bobby Thomas]]. Williams was a sideman on many releases for [[Blue Note Records|Blue Note]], [[Impulse!]], [[Prestige Records|New Jazz]], [[Riverside Records|Riverside]], and [[Atlantic Records|Atlantic]] in the 1960s. Among the musicians he worked with, apart from Mingus, are [[Oliver Nelson]], [[Grant Green]], [[Lou Donaldson]], [[Yusef Lateef]], [[Gigi Gryce]], and [[Duke Jordan]] and the [[big band]]s of [[Duke Ellington]], [[Gil Evans]], [[Thad Jones]] and [[Mel Lewis]], [[Sam Rivers (jazz musician)|Sam Rivers]] and [[Clark Terry]].

He also found work on [[Broadway theatre|Broadway]] in pit orchestras, in particular the premiere productions of ''[[The Me Nobody Knows]]'' and ''[[The Wiz]]''. He appears on the original Broadway cast recordings of both musicals. Williams also led bands under his own leadership, playing in New York jazz clubs such as Sweet Basil, the Village Vanguard, and Gerald's. In addition to jazz trumpet, Williams also performed with classical orchestras, playing piccolo trumpet and flugelhorn.

Williams died on November 4, 1985, from [[kidney cancer]] in his Jamaica, New York home, at the age of 54.<ref>{{cite book |url={{Google books|eTysFVY-i7UC|page=384|plainurl=yes}} |title=Trumpet Kings: The Players Who Shaped the Sound of Jazz Trumpet |first=Scott |last=Yanow |author-link=Scott Yanow |year=2001 |publisher=[[Backbeat Books]] |page=384 |isbn=978-0879306403}}</ref>

==Discography==
===As leader===
* ''[[New Horn in Town]]'' ([[Candid Records|Candid]], 1960)

===As sideman===
'''With [[Ahmed Abdul-Malik]]'''
* ''[[Sounds of Africa]]'' (New Jazz, 1961)
'''With [[Mose Allison]]'''
* ''[[Hello There, Universe]]'' (Atlantic, 1970)
'''With [[Jaki Byard]]'''
* ''[[Out Front!]]'' (Prestige, 1964)
'''With [[Eddie "Lockjaw" Davis]]'''
* ''[[Trane Whistle]]'' (Prestige, 1960)
'''With [[Booker Ervin]]'''
* ''[[Cookin' (Booker Ervin album)|Cookin']]'' (Savoy, 1960)
* ''[[The In Between (Booker Ervin album)|The In Between]]'' (Blue Note, 1968)
'''With [[Bill Evans]] and [[George Russell (composer)|George Russell]]'''
* ''[[Living Time]]'' (Columbia, 1972)
'''With [[Red Garland]]'''
* ''[[Soul Burnin']]'' (Prestige, 1960)
* ''[[Rediscovered Masters]]'' (Prestige, 1977)
'''With [[Gigi Gryce]]'''
* ''[[Saying Somethin'!]]'' (New Jazz, 1960)
* ''[[The Hap'nin's]]'' (New Jazz, 1960)
* ''[[The Rat Race Blues]]'' (New Jazz, 1960)
* ''[[Reminiscin']]'' (Mercury, 1960)
* ''[[Doin' the Gigi]]'' (Uptown, 2011)
'''With [[Slide Hampton]]'''
* ''[[Sister Salvation]]'' (Atlantic, 1960)
* ''[[Somethin' Sanctified]]'' (Atlantic, 1960)
* ''[[Drum Suite (Slide Hampton album)|Drum Suite]]'' (Epic, 1962)
* ''[[Exodus (Slide Hampton album)|Exodus]]'' (Philips, 1962 [1964])
'''With [[John Handy]]'''
* ''[[In the Vernacular]]'' (Roulette, 1958)
'''With [[Noah Howard]]'''
* ''[[Red Star (album)|Red Star]]'' (Boxholder, 2001)
'''With [[Sam Jones (musician)|Sam Jones]]'''
*''[[Something New (Sam Jones album)|Something New]]'' (Interplay, 1979)
'''With [[Duke Jordan]]'''
* ''[[Duke's Delight]]'' (SteepleChase, 1975)
'''With [[Rahsaan Roland Kirk]]'''
* ''[[The Roland Kirk Quartet Meets the Benny Golson Orchestra]]'' (Mercury, 1964)
* ''[[Left & Right (album)|Left & Right]]'' (Atlantic, 1968)
* ''[[Other Folks' Music]]'' (Atlantic 1976)
'''With [[Yusef Lateef]]'''
* ''[[The Centaur and the Phoenix]]'' (Riverside, 1960)
* ''[[Jazz 'Round the World]]'' (Impulse!, 1963)
* ''[[Live at Pep's]]'' (Impulse! 1964)
'''With [[Les McCann]]'''
* ''[[Comment (album)|Comment]]'' (Atlantic, 1970)
'''With [[Jack McDuff]]'''
* ''[[The Fourth Dimension (Jack McDuff album)|The Fourth Dimension]]'' (Cadet, 1974)
'''With [[Charles McPherson (musician)|Charles McPherson]]'''
* ''[[Today's Man (album)|Today's Man]]'' (Mainstream, 1973)
'''With [[Carmen McRae]]'''
* ''[[Something to Swing About]]'' (Kapp, 1959)
'''With [[Charles Mingus]]'''
* ''[[Mingus Dynasty]]'' (Columbia 1959)
* ''[[Pre-Bird|Pre-Bird (Mingus Revisited)]]'' (Mercury 1961)
* ''[[The Complete Town Hall Concert]]'' (Blue Note, 1962 [1994])
* ''[[The Black Saint and the Sinner Lady]]'' (Impulse!, 1963)
* ''[[Mingus Mingus Mingus Mingus Mingus]]'' (Impulse!, 1963)
'''With [[Mingus Dynasty]]'''
* ''[[Reincarnation]]'' (Soul Note, SN1042, 1982)
'''With [[Oliver Nelson]]'''
* ''[[Screamin' the Blues]]'' (New Jazz, NJ 8243, 1960)
'''With [[John Patton (musician)|John Patton]]'''
* ''[[The Way I Feel (John Patton album)|The Way I Feel]]'' (Blue Note 1964)
;With [[Hilton Ruiz]]
*''[[Excition]]'' (SteepleChase, 1977)
*''[[Steppin' Into Beauty]]'' (SteepleChase, 1977 [1982])
'''With [[Jimmy Smith (musician)|Jimmy Smith]]'''
* ''[[Hoochie Coochie Man (Jimmy Smith album)|Hoochie Coochie Man]]'' (Verve, 1966)
'''With [[The Thad Jones/Mel Lewis Orchestra]]'''
* ''[[Presenting Thad Jones/Mel Lewis and the Jazz Orchestra]]'' (Solid State, 1966)
* ''[[Presenting Joe Williams and Thad Jones/Mel Lewis, The Jazz Orchestra]]'' (Solid State, 1966)
* ''[[Live at the Village Vanguard (The Thad Jones/Mel Lewis Orchestra album)|Live at the Village Vanguard]]'' (Solid State, 1967)
* ''[[The Big Band Sound of Thad Jones / Mel Lewis Featuring Miss Ruth Brown]]'' (Solid State, 1968)
* ''[[Monday Night]]'' (Solid State, 1968)
* ''[[Central Park North (The Thad Jones / Mel Lewis Orchestra album)|Central Park North]]'' (Solid State, 1969)
'''With [[Charles Tolliver]]'''
* ''[[Music Inc.]]'' (Strata-East, 1971)
* ''[[Impact (1975 Charles Tolliver album)|Impact]]'' (Strata-East, 1975)
'''With [[Randy Weston]]'''
* ''[[Uhuru Afrika]]'' (Roulette, 1960)
'''With [[Leo Wright]]'''
* ''[[Blues Shout]]'' (Atlantic, 1960)
'''With [[Max Roach]]'''
* ''[[It's Time (Max Roach album)|It's Time]]'' (Impulse!, 1962)

==References==
{{Reflist}}

==External links==
*{{AllMusic |class=artist |id=richard-gene-williams-mn0000727557}}
*{{Discogs artist|43786-Richard-Williams|Richard Williams}}

{{Authority control}}

{{DEFAULTSORT:Williams, Richard}}
[[Category:1931 births]]
[[Category:1985 deaths]]
[[Category:Musicians from Galveston, Texas]]
[[Category:American jazz trumpeters]]
[[Category:American male trumpeters]]
[[Category:Candid Records artists]]
[[Category:Wiley University alumni]]
[[Category:20th-century American trumpeters]]
[[Category:Jazz musicians from Texas]]
[[Category:20th-century American male musicians]]
[[Category:American male jazz musicians]]
[[Category:Mingus Dynasty (band) members]]
[[Category:The Thad Jones/Mel Lewis Orchestra members]]
[[Category:Deaths from kidney cancer in the United States]]

The Book of the Hanging Gardens

2024-09-13T03:54:24Z

192.0.183.78: /* Biographical and cultural context */Fix grammar

{{Italic title}}
{{Infobox musical composition
| name = ''The Book of the Hanging Gardens''
| composer = [[Arnold Schoenberg]]
| image = Arnold schönberg man ray.jpg
| caption = Portrait of Arnold Schoenberg by [[Man Ray]], 1927
| native_name = {{lang|de|Das Buch der hängenden Gärten}}
| opus = 15
| genre = [[Song cycle]]
| style = [[Free atonality]]
| text = ''The Book of the Hanging Gardens'' by [[Stefan George]]
| language = German
| composed = 1908–1909
| duration = about 30 minutes
| movements = 15 songs
| scoring = Soprano and piano
| premiere_date = {{Start date|1910|01|14|df=y}}
| premiere_location = Vienna
| premiere_performers = Martha Winternitz-Dorda (soprano) Etta Werndorf (piano)
}}

'''''The Book of the Hanging Gardens''''' (German: '''''{{lang|de|Das Buch der hängenden Gärten}}'''''), [[Opus number|Op.]] 15, is a fifteen-part [[song cycle]] composed by [[Arnold Schoenberg]] between 1908 and 1909, setting poems of [[Stefan George]]. George's poems, also under the same title, track the failed love affair of two adolescent youths in a garden, ending with the woman's departure and the disintegration of the garden. The song cycle is set for solo voice and piano. The ''Book of the Hanging Gardens'' breaks away from conventional musical order through its usage of [[atonality]].

The piece was premiered by Austrian singer Martha Winternitz-Dorda and pianist Etta Werndorf on January 14, 1910, in Vienna.

==Biographical and cultural context==
''The Book of the Hanging Gardens'' served as the start to the atonal period in Schoenberg's music. Atonal compositions, referred to as "pantonal" by Schoenberg,<ref>{{Cite book|title=Music Theory and Analysis in the Writings of Arnold Schoenberg (1874–1951) |last=Dudeque|first=Norton|date=2005|publisher=Ashgate|isbn=0754641392|location=Aldershot, Hants, England|pages=116|oclc=60715162}}</ref> typically contain features such as a lack of central [[tonality]], pervading [[Harmony|harmonic]] [[Consonance and dissonance|dissonance]] rather than consonance, and a general absence of traditional [[Melody|melodic]] progressions. This period of atonality became commonly associated with the [[Expressionist music|expressionist]] movement, despite the fact that Schoenberg rarely referred to the term "expressionism" in his writings.{{Citation needed|date=January 2019}} Whether or not he wanted to be associated with the movement, Schoenberg expresses an unambiguous positivity with his discovery of this new style in a program note for the 1910 first performance of ''The Book of the Hanging Gardens'':

{{quote|With the [Stefan] George songs I have for the first time succeeded in approaching an ideal of expression and form which has been in my mind for many years. Until now I lacked the strength and confidence to make it a reality. I am being forced in this direction ... not because my invention or technique is inadequate, but [because] I am obeying an inner compulsion, which is ''stronger than any upbringing''. I am obeying the formative process which, being the one natural to me, is stronger than my artistic education.<ref>{{harvnb|Reich|1971|loc=48}}; also quoted in {{harvnb|Brown|1994|loc=53}}.</ref>}}
Schoenberg's [[libretto]] transcends the tragic love poems of George and becomes a deeper reflection of Schoenberg's mood during this period when viewing his personal life. The poems tell of a love affair gone awry without explicitly stating the cause of its demise. In 1908, Schoenberg's wife Mathilde left him and their two children for [[Richard Gerstl]], a painter with whom Schoenberg was a close friend and for whom Mathilde often modeled. She returned to the family from her flight with Gerstl eventually, but not before Schoenberg discovered the poems of George and began drawing inspiration from them.

==Structure==

Although the 15 poems do not necessarily describe a story or follow a linear development, the general subjects can be grouped as follows: a description of the paradise (poems 1 and 2), the paths that the lover takes to reach his beloved (poems 3–5), his passions (poems 6–9), the peak of the time together (poems 10–13), premonition (poem 14), and finally, love dies away and Eden is no more (poem 15).<ref name="michigan">{{cite web|title=Program Notes & Translations (for Sept. 15, 1999)|url=https://www.wmich.edu/mus-history/millennium/notescountdown/notes1.html|website=Notes Countdown|publisher=University of Michigan|access-date=1 September 2016}}</ref>

:{| class="wikitable"
!
!First line of each poem (Original German)<ref name="center">{{cite web|title=15 Gedichte aus ''Das Buch der hängenden Gärten'' von Stefan George für eine Singstimme und Klavier Op. 15 (1907–1909)|url=https://www.schoenberg.at/index.php/en/joomla-license-3/15-gedichte-aus-rdas-buch-der-haengenden-gaertenl-op-15-1908-1909|publisher=Arnold Schönberg Center|location=Austria|language=en,de|access-date=18 February 2024|author=Charles Stratford|date=27 June 2023}}</ref>
!Approximate English translation
|----
|1
|''Unterm Schutz von dichten Blättergründen''
|Under the shade of thick leaves
|----
|2
|''Hain in diesen Paradiesen''
|Groves in this paradise
|----
|3
|''Als Neuling trat ich ein in dein Gehege''
|As a novice, I entered your enclosure
|----
|4
|''Da meine Lippen reglos sind und brennen''
|Because my lips are motionless and burning
|----
|5
|''Saget mir auf welchem Pfade''
|Tell me on which paths
|----
|6
|''Jedem Werke bin ich fürder tot''
|To everything else I am henceforth dead
|----
|7
|''Angst und Hoffen wechselnd sich beklemmen''
|Fear and hope alternately oppress me
|----
|8
|''Wenn ich heut nicht deinen Leib berühre''
|If I today do not touch your body
|----
|9
|''Streng ist uns das Glück und spröde''
|Strictness to us is happiness, and brittle
|----
|10
|''Das schöne Beet betracht ich mir im Harren''
|I looked at the beautiful [flower] bed while waiting
|----
|11
|''Als wir hinter dem beblümten Tore''
|As we behind the flowered gates
|----
|12
|''Wenn sich bei heilger Ruh in tiefen Matten''
|If it with sacred rest in deep mats
|----
|13
|''Du lehnest wider eine Silberweide''
|You lean against a white willow
|----
|14
|''Sprich nicht mehr von dem Laub''
|Say no more of the foliage
|----
|15
|''Wir bevölkerten die abend-düstern Lauben''
|We occupied the night-gloomy arcades
|----
|}

==Critical reception==
Upon its initial debut in 1910, ''The Book of the Hanging Gardens'' was not critically acclaimed or accepted in mainstream culture. ''Hanging Gardens''{{'}} complete lack of tonality was initially disdained. Although a limited number of his works, including ''The Book of the Hanging Gardens'', had been played in Paris since 1910, there was little attention from the French press for Schoenberg's music in general.<ref name="Medicis">{{harvnb|Médicis|2005|loc=576}}</ref> The reviews received elsewhere were usually scathing. One ''New York Times'' reviewer in 1913 went so far as to call Schoenberg "A musical anarchist who upset all of Europe."{{sfn|Huneker|1913}}

Deemed the [[Second Viennese School]], Schoenberg and his students [[Anton Webern]] and [[Alban Berg]] helped to make ''Hanging Gardens'' and works like it more acceptable.<ref name="Schorske">{{harvnb|Schorske|1979|loc=344–364}}</ref> By the 1920s, a radical shift had occurred in the French reception of Schoenberg, his ''Hanging Gardens'', and atonality in general. "For progressives, he became an important composer whose atonal works constituted a legitimate form of artistic expression."<ref name="Medicis" />

==Critical analysis==
Alan Lessem analyzes the ''Book of the Hanging Gardens'' in his book ''Music and Text in the Works of Arnold Schoenberg''. However, how to interpret the work remains debated. Lessem maintained that the meaning of the song cycles lay in the words, and one critic finds his proposed relation of words and music fits ''Hanging Gardens'' better than the other songs treated in his book, and speculates that this may be because the theory was originally inspired by this cycle.{{sfn|Evans|1980|loc=36}} Lessem treats each interval as a symbol: "[[Cell (music)|cell]] ''a'' provides material for the expression of poignant anticipations of love, cell ''b'' of frustrated yearnings" ...the structure of [the] cycle may, viewed as a whole, give the impression of progression through time, but this is only an illusion. The various songs give only related aspects of a total, irredeemable present."{{sfn|Lessem|1979|loc=42, 58}}

Moods are conveyed though harmony, texture, tempo, and declamation. The 'inner meaning,' if in fact there is to be found, is the music itself, which Lessem already described in great detail.{{sfn|Puffett|1981|loc=405}}

Anne Marie de Zeeuw has examined in detail the "three against four" rhythm of the composition's opening and its manifestation elsewhere in the work.{{sfn|de Zeeuw|1993}}

==The garden as a metaphor==
As argued in Schorske's groundbreaking study of Viennese society, the ''Book of the Hanging Gardens'' uses the image of the garden as a [[metaphor]] of the destruction of traditional musical form. The garden portrayed in George's poem, which Schoenberg puts to music, represent the highly organized traditional music Schoenberg broke away from. [[Baroque garden|Baroque geometric gardens]] made popular during the [[Gardens of the French Renaissance|Renaissance]] were seen as an "extension of architecture over nature." So too did the old order of music represent all that was authority and stable. The destruction of the garden parallels the use of rationality to break away from the old forms of music.<ref name="Schorske" />

==References==
{{Reflist}}

===Sources===
{{div col|colwidth=45em}}
* {{cite journal|last=Brown|first=Julie|date=March 1994|title=Schoenberg's Early Wagnerisms: Atonality and the Redemption of Ahasuerus|journal=Cambridge Opera Journal|volume=6|number=1|pages=51–80}}
* {{cite journal|jstor=763966|doi=10.2307/763966|last=de Zeeuw|first=Anne Marie|title=A Numerical Metaphor in a Schoenberg Song, Op. 15, No. XI|journal=[[The Journal of Musicology]]|year=1993|volume=11|issue=3|pages=396–410}}
* {{cite journal|last=Evans|first=Richard|date=March 1980|title=[Review of Lessem 1979]|journal=[[Tempo (journal)|Tempo]]|number=132|pages=35–36}}
* {{cite news|last=Huneker|first=James|author-link=James Huneker|date=19 January 1913|title=Schoenberg, Musical Anarchist Who Has Upset Europe|newspaper=[[The New York Times]]|department=Magazine section part 5|page=SM9}}
* {{cite book|last=Lessem|first=Alan Philip|date=1979|title=Music and Text in the Works of Arnold Schoenberg: The Critical Years, 1908–1922|series=Studies in Musicology 8|location=Ann Arbor|publisher=[[University of Michigan Press|University of Michigan Research Press]]|isbn=0-8357-0994-9|postscript=none}} (cloth); {{ISBN|0-8357-0995-7}} (pbk).
* {{cite journal|last=Médicis|first=François de|date=2005|title=Darius Milhaud and the Debate on Polytonality in the French Press of the 1920s|journal=[[Music & Letters]]|volume=86|number=4|pages=573–591}}
* {{cite journal|last=Puffett|first=Derrick|date=July–October 1981|title=[Review of Lessem 1979]|journal=[[Music & Letters]]|volume=62|number=3|pages=404–406}}
* {{cite book|last=Reich|first=Willi|date=1971|title=Schoenberg: A Critical Biography|translator=Leo Black|location=London; New York|publisher=Longman; Praeger|isbn=0-582-12753-X}} Reprinted 1981, New York: Da Capo Press. {{ISBN|0-306-76104-1}}
* {{cite book|last=Schorske|first=Carl|author-link=Carl Emil Schorske|date=1979|title=Fin-de-siècle Vienna: Politics and Culture|title-link=Fin-de-siècle Vienna|edition=1st|location=New York; London|publisher=Knopf; Weidenfeld and Nicolson|isbn=0-394-50596-4}}
{{div col end}}

==Further reading==
{{div col|colwidth=45em}}
* Dick, Marcel (1990). "An Introduction to Arnold Schoenberg's ''The Book of Hanging Gardens'', op. 15". In ''Studies in the Schoenbergian Movement in Vienna and the United States: Essays in Honor of Marcel Dick'', edited by Anne Trenkamp and John G. Suess, 235–239. Lewiston, New York: Mellen Press. {{ISBN|0-88946-449-9}}
* Domek, Richard C. (Fall 1979). "Some Aspects of Organization in Schoenberg's Book of the Hanging Gardens, opus 15". ''College Music Symposium'' 19, no. 2: 111–128.
* [[Albrecht Dümling|Dümling, Albrecht]] (1981). ''Die fremden Klänge der hängenden Gärten. Die offentliche Einsamkeit der Neuen Musik am Beispiel von A. Schoenberg und Stefan George''. Munich: Kindler. {{ISBN|3-463-00829-7}}
* Dümling, Albrecht (1995). "Öffentliche Einsamkeit: Atonalität und Krise der Subjektivität in Schönbergs op. 15". In ''Stil oder Gedanke? Zur Schönberg-Rezeption in Amerika und Europa'', edited by Stefan Litwin and Klaus Velten. Saarbrücken: Pfau-Verlag.
* Dümling, Albrecht (1997): "Public Loneliness: Atonality and the Crisis of Subjectivity in Schönberg's Opus 15". In: ''Schönberg and Kandinsky. An Historic Encounter'', edited by [[Konrad Boehmer]], 101-138. Amsterdam: Harwood Academic Publishers. {{ISBN|90-5702-047-5}}
* Schäfer, Thomas (1994). "Wortmusik/Tonmusik: Ein Beitrag zur Wagner-Rezeption von Arnold Schönberg und Stefan George". ''[[Die Musikforschung]]'' 47, no. 3:252–273.
* Smith, Glenn Edward (1973). ''Schoenberg's 'Book of the Hanging Gardens': An Analysis''. DMA diss. Bloomington: Indiana University, 1973.
{{div col end}}

==External links==
*{{IMSLP|work=Das Buch der hängenden Gärten, Op.15 (Schoenberg, Arnold)|cname=''The Book of the Hanging Gardens''}}
*[http://www.zeno.org/nid/2000481018X ''{{Lang|de|Das Buch der hängenden Gärten}}''] in Stefan George: ''{{Lang|de|Die Bücher der Hirten- und Preisgedichte, der Sagen und Sänge und der hängenden Gärten}}''. Complete works, vol. 3, Berlin 1930

{{Arnold Schoenberg}}
{{Portal bar|Classical music}}
{{Authority control}}

{{DEFAULTSORT:Book Of The Hanging Gardens, The}}
[[Category:Atonal compositions by Arnold Schoenberg]]
[[Category:Song cycles by Arnold Schoenberg]]
[[Category:1909 compositions]]
[[Category:Classical song cycles in German]]
[[Category:Musical settings of poems by Stefan George]]

Transportation in Hamilton, Ontario

2023-10-03T18:14:15Z

192.0.183.78: /* Air */Fix spelling and grammar.

{{Short description|Transportation infrastructure located in Hamilton, Ontario}}
[[Image:Canadian Warplane Heritage Museum Exterior 1.jpg|260px|thumb|right|The [[Canadian Warplane Heritage Museum]].]]
Transport in [[Hamilton, Ontario]] consists of a variety of modes.

==Air==
[[Image:Westjet Boeing 737.jpg|thumb|250px|A departing [[WestJet]] Boeing 737-800]]
[[Hamilton/John C. Munro International Airport|John C. Munro Hamilton International Airport]], located on the tip of [[Hamilton Mountain]] at [[Mount Hope, Hamilton, Ontario|Mount Hope]] in the former [[Glanbrook|Glanbrook Township]], is the busiest air cargo hub in Canada. [[WestJet]], for several years up until 2010 used the [[airport]] as their primary point of access to Southern Ontario over the more expensive [[Toronto Pearson International Airport]]. The airport is a major lower-cost alternative to [[Toronto Pearson International Airport|Pearson]] for [[cargo airline|cargo air service]]. It is also home to the [[Canadian Warplane Heritage Museum]].<ref name=Airport>Invest in Hamilton, Economic Development Review 2005, Wednesday, 28 June 2006, "John C. Munro Hamilton International Airport Highlights." Page H14</ref> Currently the Airport needs 10 km2 of new employment land to handle its growth for the next 25 years; farmland around the airport is the best option available. A report by ''Hemson Consulting''<ref name=HEMSON>{{cite web| title = Hemson Consulting Ltd.| url=http://www.hemson.com/| access-date = 2008-01-25}}</ref> says the city will need greenfields the size of the [[Royal Botanical Gardens, Ontario|Royal Botanical Gardens]] on which to locate businesses that will generate an estimated 59,000 jobs by 2031. [[Aerotropolis]], a proposed 10.5 km2 industrial park at Highway 6 and 403, has been a hotly debated issue at [[Hamilton City Hall]] for years. Opponents feel the city needs to do more investigation about the cost to taxpayers before embarking on the project.<ref name=Airport2>{{cite news | last = McacIntyre| first = Nicole| title = Airport land 'key to future'| publisher = The Hamilton Spectator| date = 2007-01-30}}</ref>

==Rail==
[[Image:Go Train 044.jpg|thumb|right|200px|A GO Train F59PH.]]
[[Canadian National Railways]] (CN) serves Hamilton for lifting and setting off [[traffic]] for the Rail America (Southern Ontario Railway Shortline), but as heavy industry declined and the preferred mode of [[transportation]] changed to road, the number of branch lines and feeder tracks has declined dramatically. Until the early 1970s, the [[Toronto, Hamilton and Buffalo Railway]] offered passenger service. Since the late 1980s, [[GO Transit]] has offered sporadic passenger train service from its [[James Street (Hamilton, Ontario)|James Street North]] station. In the late 1990s, GO Transit operations were consolidated at the refurbished [[Art Deco]] building on [[Hunter Street (Hamilton, Ontario)|Hunter Street]] which formerly served the Toronto, Hamilton and Buffalo service. GO trains and [[buses]] serve a [[population]] of six million in an 8,000 km2 area (3,000 sq.mi.) radiating from [[Downtown Toronto|Downtown]] [[Toronto]] to [[Hamilton, Ontario|Hamilton]] and [[Guelph]] in the west; [[Orangeville, Ontario|Orangeville]], [[Barrie]], and [[Beaverton, Ontario|Beaverton]] to the north; and [[Port Perry, Ontario|Port Perry]], [[Oshawa]], and [[Newcastle, Ontario|Newcastle]] in the east. The buses extend GO's service as far as over 100 km (about 60 miles) from Downtown Toronto. GO connects with every municipal transit system in the Greater Toronto and Hamilton areas, including the [[Toronto Transit Commission]] (TTC). The TH&B station retains its name today, at the GO Transit network located in the heart of Hamilton's downtown core. The nearest [[Via Rail]] Canada station is at [[Aldershot GO Station]] in west [[Burlington, Ontario|Burlington]].

==Bus==
[[Image:Hamilton Street Railway Ontario Bus 8907.jpg|thumb|right|200px|[[Hamilton Street Railway]] Bus, corner of [[King Street (Hamilton, Ontario)|King]] & [[James Street (Hamilton, Ontario)|James Streets]]]]
Hamilton has good bus connections with cities in southern Ontario. [[GO Transit]] offers frequent and reliable express bus service to Toronto, now from [[Hamilton GO Centre]] and formerly from ''Rebecca Street''.

Within the city, the [[Hamilton Street Railway]] offers good service in the lower city (especially on east-west routes), reduced service on the Mountain and skeletal service outside the old city of Hamilton (except for [[Dundas, Ontario|Dundas]], which is served about as well as the Mountain). The name is a legacy of the days when the majority of public transit vehicles were [[streetcars]]; the present-day Hamilton Street Railway is in fact built around bus services. [[Burlington Transit]] also serves Burlington via [[York Boulevard (Hamilton, Ontario)|York Boulevard]] and the former [[Highway 2 (Ontario)|Highway 2]], and HSR connects downtown Burlington under the [[Burlington Skyway Bridge]].

==Highways and expressways==
[[Image:Hamilton Apr 25 2006.jpg|right|200px|thumb|Hamilton facing east, ''Main Street West'' overlaps [[Highway 403 (Ontario)|Highway 403]]]]
[[Image:Burlington Bay James N. Allan Skyway.jpg|200px|thumb|[[Burlington Bay James N. Allan Skyway]] Bridge section.]]
[[File:Red Hill Valley Parkway under construction.jpg|200px|thumb|The [[Red Hill Valley Parkway]] under construction in May 2005. Officially opened for traffic November 17, 2007.]]
''The following controlled access [[highways]] and [[Limited-access road|expressways]] serve [[Hamilton, Ontario]]:''

* [[Image:Ontario QEW.svg|30px]][[Queen Elizabeth Way]], north Hamilton and [[Stoney Creek, Ontario|Stoney Creek]]
* [[Image:Ontario 403.png|30px]][[Highway 403 (Ontario)|Highway 403]], [[Ancaster, Ontario|Ancaster]] and west Hamilton
* [[Image:Ontario 2.png|30px]][[Highway 2 (Ontario)|Highway 2]], various streets, including [[York Boulevard (Hamilton, Ontario)|York Boulevard]] and [[Dundurn Street (Hamilton, Ontario)|Dundurn Street]].
* [[Image:Ontario 5.png|30px]][[Highway 5 (Ontario)|Highway 5]], decommissioned in 1997 by the [[Ontario Government]]. Currently runs from Highway 6 at Clappison's Corners, north.
* [[Image:Ontario 6.png|30px]][[Highway 6 (Ontario)|Highway 6]], [[Flamborough, Ontario|Flamborough]], Hamilton and [[Glanbrook]], including access to [[Hamilton/John C. Munro International Airport|John C. Munro Hamilton International Airport]]
* [[Image:Ontario 8.png|30px]][[Highway 8 (Ontario)|Highway 8]], [[Dundas, Ontario|Dundas]] (Cootes Drive), Hamilton and Stoney Creek
* [[Image:Ontario 20.png|30px]][[Highway 20 (Ontario)|Highway 20]], East Hamilton
* [[Highway 53 (Ontario)|Highway 53]], [[Rymal Road (Hamilton, Ontario)|Rymal Road]], Hamilton
* [[Lincoln M. Alexander Parkway]], ‘The LINC,' Mountain
* [[Red Hill Valley Parkway]], Joins the LINC with the QEW, East Hamilton
* [[Burlington Street (Hamilton)|Burlington Street]] (upper deck), north Hamilton

==City streets==
All of the old city of Hamilton is on a broken great grid pattern, with major north-south streets spaced approximately one half-mile apart and major east-west streets generally spaced six tenths of a mile apart - thus enclosing 160 acre concessions. Great grid streets on the Mountain bear the name of their lower city counterparts with the prefix "Upper" except for Garth Street, which would be Upper [[Dundurn Street (Hamilton, Ontario)|Dundurn Street]] if the pattern held.

East-west streets on the central and east Mountain are pretty regular, while those in the lower city (especially major ones) and west Mountain are very irregular. [[King Street (Hamilton, Ontario)|King]] and [[Main Street (Hamilton, Ontario)|Main Streets]] run approximately parallel to one another though they intersect at [[The Delta (Hamilton, Ontario)|The Delta]]. They are usually one-way streets in opposite directions, so they are best conceptualized as a single very wide boulevard and are envied by other Ontario cities for their usually efficient flow of traffic.

However, some contend that the very efficiency that makes driving easy discourages pedestrian street life and hurts downtown businesses. Streets that have recently converted from one-way to two-way, like [[James Street (Hamilton, Ontario)|James Street North]], have enjoyed a resurgence in local business, reinvestment in buildings, and improving economic activity.

''Mountain Accesses in the city of Hamilton include the following:'' <ref name=Bank>{{cite web|title=Fast Facts from Hamilton's Past |url=http://www.myhamilton.ca/myhamilton/LibraryServices/Localhistory/Fast+Facts.htm |access-date=2008-01-25 |archive-url=https://web.archive.org/web/20070929083215/http://www.myhamilton.ca/myhamilton/LibraryServices/Localhistory/Fast+Facts.htm |archive-date=2007-09-29 |url-status=dead }}</ref>

*Beckett’s Drive ([[Queen Street (Hamilton, Ontario)|Queen Street]] Access)
*Claremont Access
*[[Highway 403 (Ontario)|Highway 403]]
*[[Highway 20 (Ontario)|Highway 20]]
*James Street Access
*Jolley Cut, named after [[James Jolley]], (1813–1892), saddler, harnessmaker, politician who funded construction of the Jolley Cut.<ref name=HAMBIO1>{{cite book|title=Dictionary of Hamilton Biography (Vol I, 1791-1875)|first=Thomas Melville |last=Bailey|publisher=W.L. Griffin Ltd|year=1981}}</ref>
*Kenilworth Access
*[[Sherman Access (Hamilton, Ontario)|Sherman Access]]
*[[Upper Centennial Parkway (Hamilton, Ontario)|Upper Centennial Parkway]]
 
{{wide image|Projectskyway.jpg|1200px|Panoramic view of [[Burlington Bay James N. Allan Skyway]] Bridge near [[Beach Boulevard (Hamilton, Ontario)|Beach Boulevard]].}}

==Bridges==
There are 389 Bridges and culverts in Hamilton including 25 bridges being built for the [[Red Hill Valley Parkway]]. Total Replacement value is more than $350-million. Hamilton has the second largest number of municipal bridges in Ontario. Up to $6-million is spent annually on bridge projects.

22-point inspections (including the deck, hand railings, expansion joints, approaches and substructure) are conducted every two years by engineering firms. The ''Mary Street'' bridge is closed to vehicle traffic and will become a pedestrian bridge once a [[Ferguson Avenue (Hamilton, Ontario)|Ferguson Avenue]] bridge is completed. The ''Ray Street'' pedestrian bridge north of [[Hunter Street (Hamilton, Ontario)|Hunter Street]] was closed after an inspection.

As of 8 January 2007, [[Dundurn Street (Hamilton, Ontario)|Dundurn Street South]] is closed between [[Main Street (Hamilton, Ontario)|Main Street West]] and ''Hill Street'' until the end of June 2007 while [[Canadian Pacific Railway]] replaces the bridge nearest [[Main Street (Hamilton, Ontario)|Main Street]]. The city of Hamilton and CPR are splitting the $2.2-million cost.<ref name=CPRbridge>{{cite news | last = Burman| first = John| title = Bridge bottleneck| pages = A10| publisher = The Hamilton Spectator| date = 2007-01-08}}</ref> On June 27, 2007, One half of the [[Aberdeen Avenue (Hamilton, Ontario)|Aberdeen Avenue]] bridge over ''Highway 403'' was closed for emergency repairs because a hole appeared in the deck.<ref name=ABbridge>{{cite news | title = Year In Review| pages = A6| publisher = The Hamilton Spectator| date = 2007-12-29}}</ref>

On July 25, 2008, a newly constructed bridge opened up on Ferguson Avenue North, just north of Barton Street East, to ''Simcoe Street East''. This part of Ferguson was separated by [[Canadian National Railway|CN]] railway tracks and better connects the downtown to Hamilton's waterfront. The $4.6 million construction project began in November 2006 and includes one lane of traffic in each direction, bicycle lanes and [[sidewalks]]. This project is also in line with Hamilton’s recently adopted ''Transportation Master Plan'' which emphasizes enhanced cycling and walking facilities and an efficient road network to support [[economic development]]. This construction project received federal funding through the [[Fuel taxes in Canada|Federal Gas Tax Fund]].<ref name=FERGBRIDGE>{{cite web| title = Government of Canada: "New Ferguson Avenue Bridge Opens in Hamilton." (www.infrastructure.gc.ca) | url=http://www.infrastructure.gc.ca/ip-pi/gas-essence_tax/news-nouvelles/2008/20080725hamilton_e.shtml| access-date = 2008-08-23}} {{Dead link|date=October 2010|bot=H3llBot}}</ref><ref name=FERGBRIDGEA>{{cite web| title = "Ferguson Avenue Bridge Opens Today." (www.thespec.com) | url=http://www.thespec.com/News/Local/article/409011| access-date = 2008-08-23}}</ref><ref name=FERGBRIDGEB>{{cite web | title =Daily Commercial News & Construction Record: "Hamilton’s new Ferguson Avenue Bridge opens." (www.dcnonl.com) | url =http://www.dcnonl.com/article/id29598 | access-date =2008-08-23 | archive-url =https://web.archive.org/web/20100214125057/http://dcnonl.com/article/id29598 | archive-date =2010-02-14 | url-status =dead }}</ref>

==See also==
* [[Hamilton Street Railway]]
* [[Metrolinx]]

==References==

{{reflist|2}}

==Further reading==
* {{cite book |title=Hamilton: A People's History |first=Bill |last=Freeman |date=14 October 2006 |isbn=9781550289367 |publisher=James Lorimer & Company |chapter=Chapter 3: The Railroad Town (1840 – 1865)}}

==External links==
{{Commons category|Transport in Hamilton, Ontario}}

* [http://home.cc.umanitoba.ca/~wyatt/alltime/hamilton-on.html All-Time List of Canadian Transit Systems - Hamilton, Ontario] 2008-01-25

{{Hamilton}}

[[Category:Transport in Hamilton, Ontario|*]]