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The Historic New Orleans Collection and the Louisiana Philharmonic Orchestra recently presented “Envisioning Louisiana, ” an evening of music and history and the seventh installment of their annual series Musical Louisiana: America’s Cultural Heritage. Dedicated to the study of Louisiana’s contributions to the world of classical music, the award-winning Musical Louisiana program also provides educational materials to more than 2,000 fourth-and eighth-grade teachers in public and private schools across the state. The concert, held January 23 at Saint Louis Cathedral, was designed to complement Seeking the Unknown: Natural History Observations in Louisiana, 1698-1840, The Collections newest exhibition (see story on p. 2). “Envisioning Louisiana" celebrated the rich natural history of Louisiana and explored how composers have depicted the state and its people through music. The program included pieces by Jean-Baptiste Lully (selections from the ballethe temple de la paix), Antonin Dvorak (selections from Symphony No. 9 in e minor, op. 95: From the New World), and Michel Corrette (selections from thee oncerto comique “Les sauvages et la Furstemberg”). The following article is excerpted from WRC Director Alfred E. Lemmons introductory essay featured in the concert program.
LPO-THNOC concert celebrates Louisiana's heritage through music
he people, places, flora, and fauna of Louisiana have attracted the artistic attention of many composers, both American and foreign. In the territory’s early days, the musical depiction of Louisiana was part of a larger trend that had its roots in the wake of the discovery of the New World; Europeans were thirsty for information about the land and its peoples. Writers, musicians, scientists, linguists, and artists immediately worked to satisfy the public’s curiosity. In some instances, the depictions of the New World were pure fantasy; at other times, they were accurate. Music was no exception.
Native Americans made appearances in the great court spectacles of the 16th and 17th centuries. In 1527 Spain’s Charles
V	was entertained by Aztec dancers and musicians; in 1550 the French king, Henry II, and his queen consort, Catherine de Medici, were treated to a similar demonstration by Native Americans from Brazil and by Frenchmen dressed as Native Americans. In 1608 the Balletdes Indiens (by an unknown composer), the first known stage work to depict Native Americans, was performed at the French court of Henry IV. French composer Jean-Baptiste Lully was particularly inspired by Native Americans, incorporating them into several of his works, including L’Alcidiane (1658), Ballet des muses (1666), Le temple de la paix (1685), and Le triomphe de I''amour (1681).
As the 17th century came to a close, two major events led to a renewed interest in the New World, one that continued to thrive in the 18th century. First, in 1682 France claimed the Louisiana Territory. Ten years later, Europe celebrated the bicentennial of Columbus’s discovery of the New World. In the 1720s France eagerly awaited scientific treasures from
10 Volume XXX, Number 1 —Winter 2013