The American folk music revival began during the 1940s and peaked in popularity in the mid-1960s. Its roots went earlier, and performers like Josh White, Burl Ives, Woody Guthrie, Lead Belly, Big Bill Broonzy, Richard Dyer-Bennet, Oscar Brand, Jean Ritchie, John Jacob Niles, Susan Reed, Paul Robeson, Bessie Smith, Ma Rainey and Cisco Houston had enjoyed a limited general popularity in the 1930s and 1940s. The revival brought forward styles of American folk music that had in earlier times contributed to the development of country and western, blues, jazz, and rock and roll music.
[I]t is interesting to consider that had it not been for the explicit political sympathies of the Weavers and other folk singers or, another way of looking at it, the hysterical anti-communism of the Cold War, folk music would very likely have entered mainstream American culture in even greater force in the early 1950s, perhaps making the second wave of the revival nearly a decade later [i.e., in the 1960s] redundant.[6]
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The Kingston Trio, a group originating on the West Coast, were directly inspired by the Weavers in their style and presentation and covered some of the Weavers' material, which was predominantly traditional. The Kingston Trio avoided overtly political or protest songs and cultivated a clean-cut collegiate persona. They were discovered while playing at a college club called the Cracked Pot by Frank Werber, who became their manager and secured them a deal with Capitol Records. Their first hit was a rewritten rendition of an old-time folk murder ballad, "Tom Dooley", which had been sung at Lead Belly's funeral concert. This went gold in 1958 and sold more than three million copies. The success of the album and the single earned the Kingston Trio a Grammy award for Best Country & Western Performance at the awards' inaugural ceremony in 1959. At the time, no folk-music category existed in the Grammy's scheme. The next year, largely as a result of The Kingston Trio album and "Tom Dooley",[8] the National Academy of Recording Arts and Sciences instituted a folk category and the Trio won the first Grammy Award for Best Ethnic or Traditional Folk Recording for its second studio album At Large. At one point, The Kingston Trio had four records at the same time among the top 10 selling albums for five consecutive weeks in November and December 1959 according to Billboard magazine's "Top LPs" chart, a record unmatched for more than 50 years[9][10][11][12][13][14] and noted at the time by a cover story in Life magazine. The huge commercial success of the Kingston Trio, whose recordings between 1958 and 1961 earned more than $25 million for Capitol records[15] or about $220 million in 2021 dollars,[16] spawned a host of groups that were similar in some respects like the Brothers Four, Peter, Paul and Mary, The Limeliters, The Chad Mitchell Trio, The New Christy Minstrels, and more. As noted by critic Bruce Eder in the All Music Guide, the popularity of the commercialized version of folk music represented by these groups emboldened record companies to sign, record, and promote artists with more traditionalist and political sensibilities.[17]
The Kingston Trio's popularity would be followed by that of Joan Baez, whose debut album Joan Baez reached the top ten in late 1960 and remained on the Billboard charts for over two years. Baez's early albums contained mostly traditional material, such as the Scottish ballad "Mary Hamilton", as well as many covers of melancholy tunes that had appeared in Harry Smith's Anthology of American Folk Music, such as "The Wagoner's Lad" and "The Butcher Boy". She did not try to imitate the singing style of her source material, however, but used a rich soprano with vibrato. Her popularity (and that of the folk revival itself) would place Baez on the cover of Time magazine in November 1962. Unlike the Kingston Trio, Baez was openly political, and as the civil rights movement gathered steam, she aligned herself with Pete Seeger, Guthrie and others. Baez was one of the singers with Seeger, Josh White, Peter, Paul and Mary, and Bob Dylan who appeared at Martin Luther King's 1963 March on Washington and sang "We Shall Overcome", a song that had been introduced by People's Songs. Harry Belafonte was also present on that occasion, as was Odetta, whom Martin Luther King introduced as "the queen of folk music" when she sang "Oh, Freedom". (Odetta Sings Folk Songs was one of 1963's best-selling folk albums). Also on hand were the SNCC Freedom Singers, the personnel of which went on to form Sweet Honey in the Rock.
Artists like the Carter Family, Robert Johnson, Blind Lemon Jefferson, Clarence Ashley, Buell Kazee, Uncle Dave Macon, Mississippi John Hurt, and the Stanley Brothers, as well as Jimmie Rodgers, the Reverend Gary Davis, and Bill Monroe came to have something more than a regional or ethnic reputation. The revival turned up a tremendous wealth and diversity of music and put it out through radio shows and record stores.
Ethnic folk music from other countries also had a boom during the American folk revival. The most successful ethnic performers of the revival were the Greenwich Village folksingers, the Clancy Brothers and Tommy Makem, whom Billboard magazine listed as the eleventh best-selling folk musicians in the United States.[20] The group, which consisted of Paddy Clancy, Tom Clancy, Liam Clancy, and Tommy Makem, predominantly sang English-language, Irish folk songs, as well as an occasional song in Irish Gaelic. Paddy Clancy also started and ran the folk-music label Tradition Records, which produced Odetta's first solo LP and initially brought Carolyn Hester to national prominence.[21] Pete Seeger played the banjo on their Grammy-nominated 1961 album, A Spontaneous Performance Recording,[22][23] and Bob Dylan later cited the group as a major influence on him.[24] The Clancy Brothers and Tommy Makem also sparked a folk-music boom in Ireland in the mid-1960s, illustrating the world-wide effects of the American folk-music revival.[25][26][27][28][29]
The commercially oriented folk-music revival as it existed in coffee houses, concert halls, radio, and TV was predominantly an English-language phenomenon, though many of the major pop-folk groups, such as the Kingston Trio, Peter, Paul and Mary, The Chad Mitchell Trio, The Limeliters, The Brothers Four, The Highwaymen, and others, featured songs in Spanish (often from Mexico), Polynesian languages, Russian, French, and other languages in their recordings and performances. These groups also sang many English-language songs of foreign origin.
After Bob Dylan began to record with a rocking rhythm section and electric instruments in 1965 (see Electric Dylan controversy), many other still-young folk artists followed suit. Meanwhile, bands like The Lovin' Spoonful and the Byrds, whose individual members often had a background in the folk-revival coffee-house scene, were getting recording contracts with folk-tinged music played with a rock-band line-up. Before long, the public appetite for the more acoustic music of the folk revival began to wane.
By the late 1960s, the scene had returned to being more of a lower-key, aficionado phenomenon, although sizable annual acoustic-music festivals were established in many parts of North America during this period. The acoustic music coffee-house scene survived at a reduced scale. Through the luminary young singer-songwriters of the 1960s, the American folk-music revival has influenced songwriting and musical styles throughout the world.
Thursday, October 30, 2008, at 8:00 p.m. -Marc-Andr Hamelin, Piano
Marc-Andr Hamelin performs his only New York recital of the season, a program of Berg's Sonata, Op. 1; Chopin's Sonata No. 2 in B flat Minor, Op. 35; and Alkan's Concerto for Solo Piano, Op. 39, Nos. 8-10, as part of the season's PianoForte series.
Marc-Andr Hamelin's startlingly original blend of musicianship and virtuosity has earned him legendary status as a true avatar of the piano. Long known for his matchless exploration of unfamiliar pianistic terrain, Mr. Hamelin is now recognized worldwide for the originality and technical brilliance of his performances of the classic repertoire. Mr. Hamelin's summer included appearances in Norway at the Risr Chamber Music Festival, where he performed a duo recital with pianist Leif Ove Andsnes, Schubert lieder with bass-baritone Thomas Quasthoff, and music of Antheil with violinist Christian Tetzlaff, in addition to solo performances.
Mr. Hamelin's 2008-2009 season includes a return recital at London's Wigmore Hall and recitals in Belgium, Switzerland, Germany, Italy, Spain, and Turkey. Orchestral engagements include appearances with the Montreal, Saint Louis, Seattle, New Jersey, and North Carolina symphony orchestras. In Europe he returns to Finland to the Helsinki Philharmonic and the Lahti Symphony, and debuts with the La Scala Philharmonic, led by Valery Gergiev. Mr. Hamelin also embarks on a tour of Asia and Australia for concerts with the Singapore Symphony and Gunther Herbig, the Malaysian Philharmonic with Osmo Vanska, and the Melbourne Symphony led by Oleg Caetani. He finishes with a pair of recitals in Hong Kong. Mr. Hamelin also tours with the Takcs String Quartet, performing the Schumann Piano Quintet at venues in the U.S., Canada, Spain, and England. In March 2009 the Pro Musica Society of Montreal marks its 60th anniversary season celebrating the art of Marc-Andr Hamelin. In a week of concerts Mr. Hamelin collaborates with violinist Lara St. John, the Leipzig String Quartet, soprano Karina Gauvin, and Les Violins du Roy with Bernard Labadie, and finishes with a solo recital.
Under exclusive contract with Hyperion Records, his recent disc Marc-Andr Hamelin in a state of jazz was released in May 2008 to outstanding acclaim; the recording features works by Alexis Weissenberg, Nikolai Kapustin, George Antheil, and Friedrich Gulda - all through-composed works in the jazz idiom. In addition, Hamelin has recorded over 35 CDs for Hyperion, including concertos by Alkan, Bernstein, Bolcom, Busoni, Korngold, Joseph Marx, Rubinstein, Scharwenka, and Shostakovich, and works for solo piano by Alkan, Catoire, Grainger, Medtner, Reger, Roslavets, and Rzewski, as well as brilliantly received performances of Haydn, Schumann, Brahms, Liszt and Albeniz.
Hamelin was recently presented with a rarely bestowed lifetime achievement prize, the German Record Critics' Award (Preis der deutschen Schallplattenkritik). Marc-Andr Hamelin was made an Officer of the Order of Canada in 2003 and a Chevalier de l'Ordre du Qubec in 2004; he is also a member of the Royal Society of Canada.
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