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Jan Brokken - The Music of the Netherlands Antilles: Why Eleven Antilleans Knelt before Chopins Heart

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The Music of the Netherlands Antilles: Why Eleven Antilleans Knelt before Chopins Heart: summary, description and annotation

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The Music of the Netherlands Antilles: Why Eleven Antilleans Knelt before Chopins Heart is not your usual musical scholarship. In October 1999, eleven Antilleans attended the service held to commemorate the 150th anniversary of Frdric Chopins death. This service, held in the Warsaw church where the composers heart is kept in an urn, was an opportunity for these Antilleans to express their debt of gratitude to Chopin, whose influence is central to Antillean music history. Press coverage of this event caused Dutch novelist and author Jan Brokken (b. 1949) to start writing this book, based on notes he took while living on Curaao from 1993 to 2002.
Anyone hoping to discover an overlooked chapter of Caribbean music and music history will be amply rewarded with this Dutch-Caribbean perspective on the pan-Caribbean process of creolization. On Curaao, the history and legacy of slavery shaped culture and music, affecting all the New World. Brokkens portraits of prominent Dutch Antillean composers are interspersed with cultural and music history. He puts the Dutch Caribbeans contributions into a broader context by also examining the nineteenth-century works by pianist Louis Moreau Gottschalk from New Orleans and Manuel Saumell from Cuba. Brokken explores the African component of Dutch-Antillean musicexamining the history of the rhythm and music known as tamb as well as American jazz pianist Chick Coreas fascination with the tumba rhythm from Curaao. The book ends with a discussion of how recent Dutch-Caribbean adaptations of European dance forms have shifted from a classical approach to contemporary forms of Latin jazz.

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THE MUSIC OF THE
NETHERLANDS ANTILLES
Anton L Allahar and Shona N Jackson Series Editors The Music of the - photo 1
Anton L. Allahar and Shona N. Jackson
Series Editors
The Music of the
Netherlands Antilles
Why Eleven Antilleans Knelt before Chopins Heart
JAN BROKKEN
TRANSLATED BY SCOTT ROLLINS
wwwupressstatemsus The University Press of Mississippi is a member of the - photo 2
www.upress.state.ms.us
The University Press of Mississippi is a member
of the Association of American University Presses.
The publisher gratefully acknowledges the support
of the Dutch Foundation for Literature.
Waarom elf Antillianen knielden voor het hart van Chopin copyright 2005 by Jan - photo 3
Waarom elf Antillianen knielden voor het hart van Chopin
copyright 2005 by Jan Brokken
Originally published by Uitgeverij Atlas Contact,
Amsterdam
English translation copyright 2015
by University Press of Mississippi
All rights reserved
Manufactured in the United States of America
First English printing 2015
Library of Congress Cataloging-in-Publication Data
Brokken, Jan, 1949 author.
[Waarom elf Antillianen knielden voor het hart van Chopin. English]
The music of the Netherland Antilles : why eleven Antilleans knelt
before Chopins heart / Jan Brokken ; translated by Scott Rollins.
pages cm. (Caribbean studies series)
Originally published: Waarom elf Antillianen knielden voor het hart
van Chopin / Jan Brokken. Amsterdam : Uitgeverij Atlas Contact,
?2005.
Includes bibliographical references and index.
ISBN 978-1-62846-185-5 (hardback) ISBN 978-1-62846-186-2 (ebook)
1. MusicNetherlands AntillesHistory and criticism. I. Rollins,
Scott, 1952 translator. II. Title.
ML207.N48B7613 2015
780.972986dc23
2014017809
British Library Cataloging-in-Publication Data available
Chopins death was not the end,
but just the beginning.
Frederic Bastet
Solo: Brothers, let me sing
Chorus: Yes, give me a chance
Solo: Sing in our own rhythm
Chorus: Yes give me a chance
Text from a Dutch Caribbean tamb*
CONTENTS
TRANSLATORS NOTE
An explanatory note beforehand: In Dutch the word Antillean is commonly used to refer to the inhabitants of the former Dutch island possessions in the CaribbeanCuraao, Aruba, Bonaire, St. Eustasius, Saba, and St. Martin. In a broader sense it can refer to someone from the Caribbean like it does in Spanish and French. The translator has opted to use Dutch Antillean to denote something specific to those islands.
Picture 4
There is a glossary at the end of the book defining some terms unique to Curaao and the Caribbean. Words found in the glossary are marked by asterisks (*).
THE MUSIC OF THE
NETHERLANDS ANTILLES
1
A Polish Prelude
The news made it into the Sddeutsche Zeitung, even if it were only in the back pages, as a miscellaneous item above the featured articles. It was printed with a frame around it to draw the readers attention to the bizarre nature of its content.
A Reuters correspondent had attended the mass held in the Church of the Holy Cross in Warsaw on the October 17, 1999, to commemorate the 150th anniversary of the death of Chopin. It had been a bitterly cold day and the invited guests, who filled the first seven rows, were not at all mournful about how briefly the service lasted: the church floor felt like a sheet of ice.
To be sure, Chopin is buried in Paris, at the Pre-Lachaise cemetery, but in accordance with his last will and testament his heart was removed from his chest and brought back to Poland. The composer wanted to make it clear, once and for all and beyond his grave, that deep within he had always remained a Pole, even though he had left for Vienna and Paris as a nineteen-year-old, never to set foot again in his native land in protest of the Russian occupation. To make his exile complete, his body found its final resting place in French soil, under a handful of Polish earth that friends had given to him on the day of his departure from Warsaw. Chopins mortal remains would never leave Pre-Lachaise again, apart from that one hollow muscle, the most symbolic of all the organs.
Behind the sincere patriotic sentiments expressed in his last will and testament there lurked another reason, more gruesome to the point of morbidity. Chopin suffered from the fear of being buried alive, a phobia he had adopted from his father. In his thirty-ninth year, gravely ill and paralyzed with pain, he sensed that death was approaching. A few weeks before his passing he had requested Doctor Cruveilhier to perform an autopsy on his body immediately after being declared dead, and to cut the heart out of his chest. To remove any doubt whatsoever about an apparent death he also had put in his will that the lid to the casket could only be closed once his body had been embalmed. This measure took up so much time the composer could only be buried thirteen days after his death.
His carefully preserved heartwhich, according to the doctor, was even worse off than his lungs that were ravaged by tuberculosiswas indeed brought to Warsaw and placed in the Church of the Holy Cross, enclosed in an urn which would survive the churchs near total destruction almost a century later. In the final year of World War II bombs obliterated the chancel, nave, and a large part of the towers, but Chopins heart remained unscathed.
After the reconstruction of the church, the urn was given a prominent place, in a niche near the altar. It was there the Bishop of Warsaw celebrated the mass on October 17, 1999. Besides his being every bit a Pole, Chopin had remained a fervent Catholic, receiving the proper sort of commemoration: with prayers, incense, liturgical hymns, and the sounds of the organ.
Another ceremony that honored the composer in equal measure was held a week after the mass, some fifty kilometers to the west of Warsaw at Zelazowa Wola, the country estate where Fryderyk Franciszek had been born. Six pianists took turns performing every one of Chopins compositions for solo piano, in the house where his French father had given lessons to the children of Count Skarbek, and in the salon where Fryderyk had crawled across the floor, possibly even over to the piano. Candlelight recalled the atmosphere of those bygone days, and the listeners often found themselves looking outside, at the thick snowflakes falling on the paths and fields of the country estate, covering up the visible traces of this modern age, and at the farmhouse, diagonally behind the stately home, where Chopins crib had stood. The Reuters correspondent had also covered this commemorative concert.
Despite the bitter cold, some six hundred admirers of the composer attended the mass in the Church of the Holy Cross, he wrote. After the sober ceremony some two hundred of those present undertook the pilgrimage to Zelazowa Wola, letting themselves be quietly transported in the company of Chopins spirit to quiet reverie of three days of round-robin performances by six pianists of his polonaises, nocturnes, waltzes, mazurkas, scherzos, and ballads. Naturally there were quite a few Poles among those present, a few Germans and French, and the three inescapable Americans who never miss a commemoration, no matter whose it may be. Furthermore, eleven Antilleans knelt before the urn with the heart, in the Church of the Holy Cross, the majority of whom came down with severe colds in Zelawowa Wola, since they did not want to miss a single concert. No one from the organizing committee could explain the presence of this substantial delegation from the Caribbean.
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