This is the fifth blog post in a projected series reviewing The Legacy of Elise Hall: Contemporary Perspectives on Gender and the Saxophone, edited by Kurt Bertels and Adrianne Honnold, published by Leuven University Press, 2024.
This post focuses on the fourth chapter, or the second of two chapters in Part II labelled Critical Organology & Social Identity. This chapter, Instruments Telling History: Engaging Elise Hall through the Saxophone, is by Sarah McDonie.
Resource consulted for this review:
William H. Street’s 1983 Doctoral Dissertation, Elise Boyer Hall, America’s First Female Concert Saxophonist: Her Life as a Performing Artist, Pioneer of Concert Repertory for Saxophone and Patroness of the Arts.
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It’s July. Let’s have some fun.
NASA World Saxophone Conference
9:00 am Main Auditorium
Séance and Interview with Elise Hall’s Evette and Schaeffer Saxophone
SW: “Thanks for coming. As you all know, Elise Hall’s Evette and Schaeffer alto saxophone is a missing artifact, whereabouts unknown. We are gathered here today to use mystical ways of knowing and being to call forth the co-creator of Elise Hall’s career—her saxophone. Please join hands in a circle around the empty chair.”
Attendees shuffle into place.
SW: “Last night I dreamt I was talking to the saxophone and its name was Eve. Let us chant.”
Group: “EVE, EVE, EVE…”
A shimmering image of a vintage saxophone appears, resting comfortably on the back of the chair.
SW: “Thanks for agreeing to this interview. I really appreciate getting some of your time; I know you have a busy schedule.”
Eve:
SW: “Is your name Eve?”
Eve:
SW: “Ah, I guess I’ll just call you Alto Sax.”
Alto Sax:
SW: “According to Street, you had some extensive repair work done in 1921. The bill was for $73.50, which seems high when the cost of a new Conn saxophone was around $90. Was this the result of an accident? Or was Elise Hall the kind of person to spare no expense when it came to your upkeep?”
AS:
SW: “Do you remember being examined by Adolph Sax, Jr. when he visited Boston in 1909?”
AS:
SW: “What strength of reed did Elise use?”
AS:
SW: “The Choral varié—what do you really think?”
AS:
SW: “Maybe this is too one-sided. Do you have any questions for me? I wouldn’t want to trample on your agency.”
AS:
SW: “For a co-creator, you don’t have much to say.”
Séance Participant: “We should have tried contacting Georges Longy.”
***
Do inanimate objects have their own agency?
Are inanimate objects co-creators in the artistic process?
I suggest not.
***
If this one gave you the giggles, let me know!
And best wishes for some summer fun.
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