Curated Playlist: Exploring the Music of Jan Gerarad Palm
Central Artist - Jan Gerarad Palm
October 24, 2024
Jan Gerard Palm, born in Curaçao in 1831, was a renowned composer, pianist, and conductor who significantly influenced Caribbean music. Born into a family with musical inclinations, he was self-taught and influenced by classical European forms like the sonata, waltz, and polka. Palm held the position of Kapelmeester at various churches in Curaçao and led multiple orchestras, shaping local performances of European classical music and original compositions that blended Western and Caribbean elements. His compositions, including dance, mazurka, waltz, and religious music, often merged classical techniques with Afro-Caribbean rhythms, giving his music a unique character. Palm's work played a pivotal role in formalizing and popularizing Curaçaoan classical music, bridging European classical traditions with local musical heritage. His legacy continues to influence classical and popular music in the Caribbean.
Jan Gerard Palm's waltzes are celebrated for their unique blend of European classical forms with Caribbean rhythmic influences, reflecting both the elegance of European ballroom music and the vibrant, syncopated energy of Caribbean culture. Jan Gerard Palm’s waltzes capture an intriguing blend of European Romanticism and Caribbean spirit. His dynamic contrasts, melodic emphasis, rhythmic accents, and incorporation of local influences create a distinctive style that celebrates both classical sophistication and regional vibrancy.
Edgar Palm, the great-grandson of Jan Gerard Palm and the son of Rudolph Palm, is the first person on the playlist. He received instruction from his father and grew up surrounded by people who enjoyed Curaçao's salon music. He started taking over his father's role as organist when he was eleven years old. He had piano concerts while studying mechanical engineering in the Netherlands. He maintained this work-life balance throughout his career. In his honor, the Edgar Palm Music Academy was established in Curaçao. The final track on this playlist, Bouquet, a waltz from Edgar's album Memories of Curaçao in the Golden Caribbean, is a very calm and somber tune. The piano, bass, and cuatro are the primary instruments.
Jan Gerard Palm's grandson, Rudolph Palm, learned to play various instruments from his grandfather. Palm was a composer of Los Dispuestos, Curaçao's citizen guard orchestra, and flutist. His son and daughter were the most talented. Palm wrote the song for the playlist, composed like a Slovak tango.“Por Qué?” by Rudolf Palm shares with Jan Gerard Palm’s music a blend of Caribbean and European classical influences, dance rhythms, and expressive melodic lines, making them part of a shared musical heritage of Curaçao.
Joseph Sickman Corsen, a Cuban composer, was a poet and musician who conducted orchestras and directed bands. He was a virtuoso on the piano and held his first piano recital at 13. Corsen was an editor of the influential periodical Notas y Letros and wrote the poem Atardi, which was later set to music by Jacobo Palm. Like Jan Gerard Palm, Corsen sought to preserve the integrity of Cuban classical music. The piece chosen for this playlist is a Mazurka, with heavy accents on the second and third beats and a simple ring-play-type sound before becoming more complex. Both Joseph Sickman Corsen’s Mazurka “Celina” and Jan Gerard Palm’s music exemplify a synthesis of European classical forms with Caribbean musical influences, combining romantic expressiveness, dynamic variation, and danceable rhythms to create a unique Curaçaoan sound that is both elegant and vibrant.
Saumell, known as the father of Cuban contradanza, created music that, like Palm’s, fused classical European dance forms with Caribbean syncopation. His pieces also exhibit the dynamic ebb and flow typical of Romantic music and maintain an emphasis on clear, memorable melodies within a danceable structure, akin to Palm’s waltzes. Both composers use dynamic contrasts to add emotional depth and to accentuate rhythmic pulses, bringing a balance between lively and reflective sections.
Robert Rojer, the great-great-grandson of Jan Gerard Palm, was introduced to music by his grandfather, Jacobo Palm, and grew up immersed in Curaçao’s classical salon music, often playing the works of his great-grandfather. While studying medicine in the Netherlands, Rojer also pursued music. He became a specialist in internal medicine and a professor at the University of Groningen. Alongside his medical career, he continued composing and performing. The selected piece for this playlist is Paso Real, a waltz for two pianos that blends Caribbean rhythms with salon music, using the piano’s natural percussive sound instead of additional instruments.
Wim Statius Muller, often referred to as the "Chopin of Curaçao," was a classical composer and pianist who studied under Jacobo Palm, the grandson of Jan Gerard Palm. He attended the Juilliard School of Music and later taught at Ohio State University. From 1960 to 1995, Muller worked as an analyst for Dutch counterintelligence, focusing on communist countries' policies. Like Jan Gerard Palm, Muller was inspired by the traditional music of Curaçao and the Caribbean, blending these sounds with the influence of Chopin. He performed many of Jan Gerard’s compositions and preserved a collection of the elder Palm’s works, which he shared for a concert featuring Jan’s music. In 2012, Queen Beatrix awarded Muller the Silver Carnation for his efforts in preserving Curaçao’s classical music. The selected song, Nostalgia, is a Curaçaoan waltz originally written for piano but arranged for a piano trio. This piece, stylized for concert performance rather than dancing, combines classical sounds with a Caribbean rhythmic feel.
References
Palm Music Foundation. (2023, January 25). “Por Que?” of Rudolf Palm played by Wim Statius Muller (piano) and Oswald Specht (tenor) [Video]. YouTube. https://www.youtube.com/watch?v=CgD7q_yXP1g
Cyrille Ferrier. (2017, March 4). Five waltzes by Jan Gerard Palm (1831-1906) [Video]. YouTube. https://www.youtube.com/
watch?v=zOJ1CCGDwaI
Antillean Music Gallery. (2021, June 20). “Bouquet” by Edgar Palm - Curaçao Waltz [Video]. YouTube. https://www.youtube.com/watch?v=Tqj9kzJ44rc
Palm Music Foundation. (2022, December 25). Mazurka “Celina” of Joseph Sickman Corsen (Curaçao, 1853-1911) [Video].
Curated Playlist: Exploring the Music of Ludovic Lamothe
Central Artist - Ludovic Lamothe
Description- This blog explores the artistic and musical aspects of Haiti, with a particular focus on pianist and composer Ludovic Lamothe (1882-1953). The playlist features Haitian art music, composed with classical techniques and rhythmic flare from Haitian folk songs. Lamothe, raised in Port-au-Prince, studied piano and music at the Paris Conservatory before returning to Haiti. His compositions were influenced by Chopin, a favorite of his, and incorporated local traditions like carnival songs, meringue, and Haitian Vodou music. His Carnival Meringue song, "Nibo", is now considered a "Liberation Anthem" for the withdrawal of Americans from Haiti. The piano composition La Dangereuse showcases Lamothe's pianistic skill, with a gentle, flowing feel. Ludovic Lamothe’s legacy helped with elevating Haitian music to the concert stage. The playlist highlights the love for Haiti and the resistance against the American occupation.
The first song in this playlist will be "Sobo" by Ludovic Lamothe it is a unique blend of Haitian folk traditions and European classical forms, featuring rhythmic intensity and melodic structures from Haitian Vodou music. Named after the Vodou spirit "Sobo," the piece reflects Lamothe's interest in incorporating spiritual and cultural narratives.The composition features a rhythmic drive, intricate harmonies, fluid transitions, and emotional depth. It mirrors ceremonial drumming and showcases Lamothe's talent in making it a nationalistic homage to Haiti and a piece of art in the Western classical canon.
The second song that will be reviewed in this playlist is “Carte Blanche” which was originally written by Jeanty for piano. This arrangement was adapted by Julio Racine for violin and piano.Occide Jeanty, a Haitian musician, was a composer, trumpeter, pianist, and music director. Born in 1860, he was appointed to the National Palace's Military Music Corps in 1885. Jeanty retired from the military in 1915 and later became the National Guard conductor until his death in 1936. He infused Dessalines' spirit into his compositions, often containing culturally coded information against US occupation forces. Jeanty also used folk music to keep the meringue alive. Jeanty and Ludovic Lamothe combined Haitian folk elements with European classical forms, using traditional Haitian rhythms and melodies. Their compositions, like "Carte Blanche" and "Sobo," effectively convey Haiti's spirit and history through classical techniques, resulting in powerful and evocative performances.
Julio Racine, a Haitian musician, is a transgenerational figure who has dedicated his life to promoting the music and culture of Haiti. His compositions are influenced by folk music, with a focus on rhythmic aspects of local Haitian music. Racine believes Haitian music is fundamentally characterized by its emphasis on rhythm, with most instruments being monophonic. The song Sonate Vodou Jazz, a classical piece influenced by Vodou music and jazz, is chosen for this playlist. Written for flute and piano but transcribed for violin and piano, it is highly technical and has a variety of contrasts. The violin's use in the first movement of the composition adds eloquence and playfulness to the song. Ludovic Lamothe and Racine are renowned for their unique blend of European classical tradition and Haitian folk music. They skillfully incorporate Vodou rhythms and Haitian spirit into classical forms, bringing the cultural richness of Haiti to the concert stage. Racine's "Sonate Vodou Jazz" is a modern extension of Lamothe's innovative blending of traditions.
Werner Jaegerhuber, born in Haiti in 1900, studied at a prestigious German conservatory before returning to Haiti in 1937 to escape World War II. He shared the same ideology with Ludovic Lamonthe, who recognized the rejection of Haitian Vodou culture and local traditions. Jaegerhuber aimed to integrate Haitian culture and folk music into his own music, believing that blending classical music with folklore rhythms would allow the music to gain recognition and approval. His chosen song, Erzulie Malade, is a ritualistic and mystical piece, combining flute, piano, and euphonium. The song is hypnotic and sets the mood for someone to seek help with deep-rooted pain. The melodic pattern has a hauntingly mournful mood, contrasting hope withdarkness. This piece, like those of Lamonthe,demonstratesthe fusion of classical music with Haitian folklore, creating a new art form that liberates Haitian musicians.
Franz Casséus (1915–1993) is widely regarded as the "Father of Haitian Classical Guitar" and is acknowledged as the leading force in the creation of classical guitar music in Haiti.According to legend,the drums are used in these ceremonies at night to call ghosts. The composition is divided into three sections, each of which is linked by a recurring rhythmic pattern that mimics the sound of drums. The guitar is a difficult instrument since it requires a lot of talent to play harmony, melody, and an ostinato, or repetitive rhythm, all at once. Like Ludovic Lamothe, Casséus combines Haitian cultural practices with classical music. Both composers incorporate emotional depth and cultural narrative into their pieces by drawing from the rich tapestry of Haitian cultural elements. Although the piano is frequently the main instrument in Lamothe's works, Casséus uses the guitar to generate a similar sense of spirituality and connection to Haitian culture. "Dance of the Hounsies" is a wonderful continuation of Lamothe's legacy since it shows a common dedication to appreciating and maintaining Haiti's musical tradition within classical frameworks.
The playlist then moves on to Carmen Brouard. She was a Canadian-Haitian pianist, composer, and music instructor. Brouard is another composer that uses Haitian Vodou culture in her works, similar to Ludovic. This genre uses instrumental sounds to evoke feelings and visuals, as well as to stimulate creative thought. Baron Lacroix is a divinity in Vodou. This was inspired by a performance that is believed to be a Vodou ritual including historical and cultural figures who have conflicting political and religious views. Piano virtuosity is needed for this tune. It seems to have the sound of a single piano accompanied by an orchestra. This arrangement captures the turmoil and injustice that Haiti has gone through.
Renowned composer Justin Elie and Ludovic Lamothe got together and started touring important towns to perform. When they brought the méringue back together, it became a "national symbol" and a way to protest the US presence. Elie draws inspiration from Vodou's work in some of his pieces, such as Cléopâtre. In order to spread awareness of Haitian culture, Elie's wife Lily also performed with them in recitals of his pieces. Legende Creole, one of his early compositions, was written for piano and violin. The violin's high register describes a group of individuals being ripped from their natural surroundings and feeling lost in another, and the piece is theatrical and slightly emotional. A conversational mood is created by the instruments' call and response exchange.
