Page 192

wasn’t that she just started creating a codified language. It came out of her works that she made through the years. In terms of the score, I think Cowell was actually in jail when Martha was choreographing Deep Song. If you look up Henry Cowell, I think he went to jail on a “morals” charge. But the original score was actually done while he was in jail. The score that we ended up using, I’m not even sure where it came from, whether it was something that was already written by him at an earlier time, but it wasn’t the original so it wasn’t created for this dance particularly. You were asking about the score, regarding whether or not it was live. It has been played live, but it would have to be a prepared piano; they have to actually prepare the strings in the piano to be muted. A musician actually stands and plucks the piano strings, so it’s not the easiest thing to play. But yes, it can be played live and it had been played live many times. Lea Clay Did Martha prefer using recordings instead of live music? Terese Capucilli No, Martha always preferred live music, until you can’t afford it. You are required to afford a piano for live music. We used to have live orchestras, and it’s just very expensive. But when Martha first started out, everything was live. She traveled with a whole group. Every artist speaks for his or her time and Martha was no different in that, but she was quite vital to the way that people looked at dance, because dance was not in any way depicted in this way until Martha basically broke this mold that was classical ballet. And like I said, up until the late 1930s, there were no men in the company, so as you saw in Steps in the Street, which had an impact with a large group of women, she used to do groups with thirty-five women.

192

Esferas—Issue Two  

Esferas is an undergraduate student and alumni initiative from New York University’s Department of Spanish and Portuguese. We are a peer-re...

Advertisement