By C. S. Fuqua
Within the overdue Sixties and early Nineteen Seventies, mythical artists like Aretha Franklin, the Rolling Stones, Willie Nelson and Bob Dylan traveled to North Alabama to checklist with the Muscle Shoals Rhythm part, often referred to as the Swampers. yet Alabama hasn't simply attracted musical stars with its talent--it additionally has a historical past of constructing stars of its personal. sign up for writer and musician C.S. Fuqua as he showcases the breadth of Alabama's musical expertise in the course of the profiles and tales of its ancient performers and innovators. From the "father of the blues," W.C. convenient, to Hank Williams, the originator of contemporary state track, to folks song hero Odetta and everybody in among, this can be an unheard of compendium of Alabama's groundbreaking tune makers.
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Extra info for Alabama Musicians: Musical Heritage from the Heart of Dixie
In 1745 Voltaire and Rameau had produced Le temple de la gloire, an opera-ballet, to celebrate a military victory; in 1779 Fran~ois Andre Danican Philidor had written his Carmen saeculare, an oratorio in praise of civic virtue, and six years later the essayist NicolasBricaire de la Dixmerie had called for concert works 'in which would be recalled certain events glorious to the nation and dear to its memory'. 17 In a more general way, the direct and accessible style of mid-century opera comique proved a helpful point of reference for the composers of revolutionary hymns; indeed, the tune of Dalayrac's Hymne aIa Iiberti, also known as 'Veillons au salut de l'Empire' ( 1792), was originally composed for his opera Renaud d'Ast ( 1787).
From Spontini's La vestale ( 1807) and Weber's Der Freischiit::.. (1821), Bellini's Norma and Meyerbeer's Robert le diable of 1831, Donizetti's Lucia di Lammermoor and Halevy's Lajuive of 1835, to Wagner's Tannhiiuser (1845) and Lohengrin (1850) , opera was the talk of German towns as much as of Paris, Vienna, Naples or Milan, where Bellini, Donizetti and Meyerbeer held sway. Characteristically, too, nearly all the new works retained some form of le merveilleux - some element of magic, the supernatural or at the very least an inexplicable psychological occurrence.
In late 1835 censorship was restored, and in 1840 the conservative Fran<;ois Guizot was installed as prime minister, a clear signal of the government's resolve to squash dissent. Middle-class supporters of the workers' cause, including Beranger and Liszt, now tended to keep their political opinions to themselves. In February 1848 a coalition of students, workers and the middle class overthrew the government and established a republic that promised to take seriously the problems of hunger and unemployment that had been hidden under the surface of Louis-Philippe's elegant Paris.