Two articles which I wrote for Liberty Fund are up in their Banned Books Week series, which runs all through October. My articles are on Caron de Beaumarchais’s two well-known “Figaro” plays, both of which got him in trouble with the censors.
Take a look at the rest of the articles if you have time; there’s a lot of interesting material.
Liberty Fund is running a month-long series of articles in honor of Banned Books Week. One of my contributions is now online, on “Beaumarchais and The Barber of Seville.”
My article on The Marriage of Figaro should show up later this month.
The second edition of Tomorrow’s Songs Today, my history of filk music, is now available as a free download. A new chapter covers events since 2015, and the appendices have been updated to list conventions and awards up to the present. The existing chapters have been lightly revised. Many links that broke over the past eight years are fixed.
In my Liberty Fund article on Mozart’s The Marriage of Figaro, I made an error. Relying on what others wrote, I said:
When he [Beaumarchais] wrote The Marriage of Figaro, Louis XVI banned it for three years. The King supposedly said, “For this play not to be a danger, the Bastille would have to be torn down first.” Eight years later, it was, and the French aristocracy came crashing down with it.
It’s a good thing I used the word “supposedly.” I suspected a problem today when I got Lever’s biography of Beaumarchais and found a different version of the remark: “This is detestable and will never be performed; the Bastille would have to be destroyed for the performance of this play not to be of dangerous inconsequence.” “Dangerous inconsequence” is a weird phrase, so I looked up the original French and found it on Wikipedia: “La représentation ne pourrait qu’être une inconséquence fâcheuse, sauf si la Bastille était détruite.”
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My latest history article for Liberty Fund is Beethoven and Napoleon: Clash of the Titans. I hope you enjoy it.
It’s been thirty years since the disastrous events near Waco, Texas. In the nineties I read and reviewed five books related to them; I’ll link to them at the end of this review. Jeff Guinn’s Waco: David Koresh, the Branch Davidians, and a Legacy of Rage is a new addition to the literature.
The first third of the book, except for a short introductory chapter, is about the history of the Branch Davidians before the ATF raid. Much of what it covers predates Vernon Wayne Howell’s taking leadership and assuming the name David Koresh. This is an important area for anyone studying the matter in detail, but I was more interested in information about the ATF raid, the subsequent siege, and the final assault on the buildings. Getting through the material about the Adventists and the earlier leaders of the group was an effort for me.
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My latest article for the Online Library of Liberty, “Wagner and Nazism,” looks at Richard Wagner’s muddled political philosophy. The Nazis made him a cultural icon, and in some ways you can see why, but it would be unfair to call him a proto-Nazi. His music should stand or fall on its own merits. This article looks into some of the complexities.
Here’s my latest for the Online Library of Liberty: “The Politics of Music Under Louis XIV.” Under Louis, successful art was art which he liked, by people he liked. In music, that meant Jean-Baptiste Lully, who got monopoly privileges from the king.
There are lots of famous German and Italian composers from that period, but French composers who weren’t Lully didn’t have much of a chance. Lully finally killed himself by conducting too vigorously.
I’ve got a new article up on the Liberty Fund website: “Bach’s Ode to Caffeine.” Johann Sebastian Bach’s cantata, “Schweigt stille, plaudert nicht,” more often known in English as the “Coffee Cantata,” was likely first performed at Zimmermann’s Coffeehouse, where he was a regular performer. It’s a miniature comic opera in which a father wages a one-man War on Coffee.
If you’d like to hear the cantata, I highly recommend this performance on YouTube:
The word “Fascism,” as it’s too often abused in political discourse, has come to mean nothing more precise than “bad.” There are clearer words for governments that exercise improper power, such as “authoritarian” and “totalitarian.” Fascism is supposed to denote a certain kind of authoritarian system. Writers need to exercise precision when using the word, rather than tossing it around as a general insult.
In its original sense, the word comes from the Fascist Party of Italy and refers to Italy’s government under Benito Mussolini before and during World War II. It’s used more broadly to indicate governments that follow policies similar to Fascist Italy or people who (allegedly) support those policies. Just what are those policies?
The best place to start is with Mussolini’s own words. The History Guide provides some key writings by Mussolini. The page is in English; my Italian isn’t up to any serious reading. Near the beginning we find the most important point:
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