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A day in the tropics), was performed at one of Gottschalk's "monster concerts" with an orchestra of over 600 players, inspired by Berlioz's similar performance venues. [1] The manuscript survived in Havana until 1932, when it was stolen, only to reappear in a New York Public Library in the 1950s. [ 2 ]
Gottschalk also utilized the Bamboula theme as a melody in his Symphony No. 1: A Night in the Tropics. A melody from Gottschalk's Souvenirs d'Andalousie (Memories of Andalusia) forms the basis of a highly popular 20th century piece "Malagueña" by Ernesto Lecuona. Many of his compositions were destroyed after his death, or are lost.
One Night in the Tropics was filmed from August 26 through September 30, 1940 under the working titles Riviera, Caribbean Nights, Caribbean Holiday, and Moonlight in the Tropics. [2] With music by Jerome Kern and Dorothy Fields, it was originally planned for production in 1936 with a different cast but temporarily shelved due to financial ...
Louis Moreau Gottschalk (1829–1869), American composer of 2 symphonies: Symphonie romantique "A Night in the Tropics" and "À Montevideo" Anton Rubinstein (1829–1894), Russian composer of 6 symphonies; Hans Bronsart von Schellendorff (1830–1913), German composer of 2 symphonies (both lost)
Moon Night: 1958: 11–14: Sovershishasja: Accomplished: 1965–66: Symphony cycle 15–16: In Amorem Et Vivificantem: In Love and Giving Life: 1974: The symphonies are meant to be together 17: America: 1974: 18–23: Byst: Was: 1976–1980: Symphony cycle [note 1] 24: Adzhimushkaj: 1983: Adzhimushkaj is a World War II battle site, and is also ...
[1] Years later the novel was re-adapted for the film One Night in the Tropics (1940), and the same Kern and Fields score was used. [2] The film was widely regarded as a flop, although it marked the movie debut of Abbott and Costello. [3]
In addition, Louis Moreau Gottschalk's first symphony, La nuit des tropiques (lit. "Night of the Tropics") (1860) was influenced by the composer's studies in Cuba. [14] Gottschalk uses the tresillo variant cinquillo extensively. With Gottschalk, we see the beginning of serious treatment of Afro-Caribbean rhythmic elements in New World art music.
New Orleans native Louis Moreau Gottschalk's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand. [58]: 125 In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant cinquillo appears extensively. [69]