The Road Goes Ever on by Donald Swann and Other Works of Adventure

Total Page:16

File Type:pdf, Size:1020Kb

The Road Goes Ever on by Donald Swann and Other Works of Adventure Utah State University DigitalCommons@USU The Caine College of the Arts Music Program All Music Department Programs Archives 5-2-2017 Senior Recital- Benjamin Krutsch: The Road Goes Ever On by Donald Swann and other works of adventure Benjamin Krutsch Follow this and additional works at: https://digitalcommons.usu.edu/music_programs Part of the Music Commons Recommended Citation Krutsch, Benjamin, "Senior Recital- Benjamin Krutsch: The Road Goes Ever On by Donald Swann and other works of adventure" (2017). All Music Department Programs. 11. https://digitalcommons.usu.edu/music_programs/11 This Student Recital is brought to you for free and open access by the The Caine College of the Arts Music Program Archives at DigitalCommons@USU. It has been accepted for inclusion in All Music Department Programs by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. 51Y j#¸ 4,Y o`N y2#P6R 6EÉ jiY1 - The Road Goes Ever On by Donald Swann and other works of adventure Benjamin Krutsch, tenor with Dallas Heaton, piano Tuesday, May 2, 2017 7:00 PM St. John’s Episcopal Church Logan, Utah j#¸ y~B 9r#È 1} 2iR2%È ,T o1E 1} 2`N y4% @ 1`BtÈ 41E ,T xr%5$ iU - @ 7`N2# x`N`V8 r$6R 5^ 2ÈP 5^ -PROGRAM- from Die schöne Müllerin ..................................................... Franz Schubert Das Wandern (1797 – 1828) Wohin? Halt! What’s Next? ............................................................................ Andrew Lippa from Big Fish: A New Broadway Musical (b. 1964) with Brad Summers, baritone L'invitation au voyage ............................................................. Henry Duparc (1848 – 1933) -INTERMISSION- The Road Goes Ever On ......................................................... Donald Swann I. The Road Goes Ever On (1923 – 1994) II. Upon the Hearth the Fire is Red* III. In the Willow-meads of Tasarinan IV. In Western Lands V. Namárië* VI. I Sit Beside the Fire and Think* VII. Errantry *with Chantry Olsen, guitar 5% tt$7Y`B`Ct ˆ s9N5 z71U8a y2#P7Rb% ,T @ tj%¸6R8 s`N`Û Á The Beautiful Girl of the Mill Die schöne Müllerin Translated by Celia Sgroi by Wilhelm Müller Wandering Das Wandern Wandering is the miller’s joy, Das Wandern ist des Müllers Lust, Wandering! Das Wandern! A man isn’t much of a miller, Das muß ein schlechter Müller sein, If he doesn’t think of wandering, Dem niemals fiel das Wandern ein, Wandering! Das Wandern. We learned it from the stream, Vom Wasser haben wir's gelernt, The stream! Vom Wasser! It doesn’t rest by day or night, Das hat nicht Rast bei Tag und Nacht, And only thinks of wandering, Ist stets auf Wanderschaft bedacht, The stream! Das Wasser. We also see it in the mill wheels, Das sehn wir auch den Rädern ab, The mill wheels! Den Rädern! They’d rather not stand still at all Die gar nicht gerne stille stehn, and don’t tire of turning all day, Die sich mein Tag nicht müde drehn, the mill wheels! Die Räder. Even the millstones, as heavy as Die Steine selbst, so schwer sie sind, they are, Die Steine! The millstones! Sie tanzen mit den muntern Reihn They take part in the merry dance Und wollen gar noch schneller sein, And would go faster if they could, Die Steine. The millstones! Oh wandering, wandering, O Wandern, Wandern, meine Lust, my passion, O Wandern! Oh wandering! Herr Meister und Frau Meisterin, Master and Mistress Miller, Laßt mich in Frieden weiterziehn Give me your leave to go in peace, Und wandern. And wander! j#¸yY t~B 1} x`N 5% e7`V`V2t^ 1} y2#P6R ,T 38% 35$ t~B q3D À Wohin? Whither? Ich hört' ein Bächlein rauschen I heard a little brook rushing Wohl aus dem Felsenquell, From its source in the rocky spring, Hinab zum Tale rauschen Bubbling down to the valley So frisch und wunderhell. So clean and wonderfully bright. Ich weiß nicht, wie mir wurde, I don’t know what came over me, Nicht, wer den Rat mir gab, Or who advised me to act, Ich mußte auch hinunter I just had to go down with it, Mit meinem Wanderstab. Carrying my walking staff. Hinunter und immer weiter Downward, still further and further, Und immer dem Bache nach, Always following the brook, Und immer frischer rauschte And the stream bubbled ever more briskly Und immer heller der Bach. And became ever clearer and brighter. Ist das denn meine Straße? Is this my path, then? O Bächlein, sprich, wohin? Oh brook, tell me, whither? Du hast mit deinem Rauschen You have completely captivated me Mir ganz berauscht den Sinn. With your flowing. Was sag ich denn vom Rauschen? What can I say about the rushing? Das kann kein Rauschen sein: That can’t be an ordinary sound. Es singen wohl die Nixen It must be the nixies singing Tief unten ihren Reihn. Deep under their stream. Laß singen, Gesell, laß rauschen Sing on, friend, keep rushing, Und wandre fröhlich nach! And travel gladly along. Es gehn ja Mühlenräder There are mill wheels moving In jedem klaren Bach. In every clear stream. Halt! Stop! Eine Mühle seh ich blinken I see a mill glinting Aus den Erlen heraus, From among the elder trees, Durch Rauschen und Singen The rushing and singing Bricht Rädergebraus. Are pierced by the roar of wheels. Ei willkommen, ei willkommen, Ah welcome, ah welcome, Süßer Mühlengesang! Sweet song of the mill! Und das Haus, wie so traulich! And the house, how cozy! Und die Fenster, wie blank! And the windows, how shiny! Und die Sonne, wie helle And the sun, how brightly Vom Himmel sie scheint! It glows in the sky! Ei, Bächlein, liebes Bächlein, Oh brook, dear brook, War es also gemeint? Was this destined for me? 9yY w7v%1jØ @ 85& d5%8$ @ 2~N6 ,T `Û`N6U e6T81 qY'5^1Rp What’s Next? [Will:] Words by Andrew Lippa Edward Bloom, how did you swim through danger in the world? [Will:] What was in the heart that beats inside you? First things first: We're in this prison cell. Were you simply wetter than the ordinary average Have to find a way to break out, man or was it just your fins and scales to guide find another place to stake out. you to... Look around. Be sure we aren't seen. What's Next? Slowly check the door before we're spotted. Were we spotted? [Edward:] We start the car. I know you've been a secret double agent, but we can turn the page into another kind of tale. [Will:] What's next? Let's go. The door is just our first opponent, so step out of your state of shock, [Edward:] we only need to pick this lock. We hit the road. [Edward:] [Will:] No need! What's next? [Will:] [Edward:] "What's next?" is all anyone needs to begin. We find the river. "What's next?" has been a friend to you. What's next to do? [Will:] What's next? One word and then suddenly one more again. What's next? Just like a pen writing a perfect tale. [Edward:] Out the door, and pray the coast is clear. I don't know! Noses to the ground before we're spotted. We were spotted! [Will:] And who do we see at the river to greet you? So now, we face the ultimate decision: Everyone there at the river to meet you. Relinquish our control as we surrender up the Everyone you ever knew, ever spoke of fight. waiting for you to arrive. Or else, we say hello to the collision, just do our job and do it well. Now can you see Karl by the tree in the distance? [Edward:] Amos arrives with his usual flair. Or better yet: Let's run like hell! Zacky and Don, gathered 'round, cheering on. [Will:] Yes, even the witch is there. What's next?" is all anyone needs to begin. She is there! "What's next?" has been a friend to you. What's next to do? What's next?" is all anyone needs to begin. "What's next?" has been a friend to you. One word and then suddenly one more again. What's next to do? Just like that pen writing a perfect tale. Only one dad only inspiring one son. [Edward:] Edward, you're done Will, look! My old Chevy! writing your perfect tale. Telling the perfect tale. It was a perfect tale. 1T yiE `C q6RezR1 1j#L 27`VÓt W 9yY 1T yyYj2 wÈ L'invitation au voyage The Invitation to the Voyage by Charles Baudelaire Translated by EL Mon enfant, ma sœur, My child, my sister, Songe à la douceur Think of the rapture D'aller là-bas vivre ensemble, Of living together there! Aimer à loisir, Of loving at will, Aimer et mourir Of loving till death, Au pays qui te ressemble. In the land that is like you! Les soleils mouillés The misty sunlight De ces ciels brouillés Of those cloudy skies Pour mon esprit ont les charmes Has for my spirit the charms, Si mystérieux So mysterious, De tes traîtres yeux, Of your treacherous eyes, Brillant à travers leurs larmes. Shining brightly through their tears. Là, tout n'est qu'ordre et beauté, There all is order and beauty, Luxe, calme et volupté. Luxury, peace, and pleasure. Vois sur ces canaux See on the canals Dormir ces vaisseaux Those vessels sleeping. Dont l'humeur est vagabonde; Their mood is adventurous; C'est pour assouvir It's to satisfy Ton moindre désir Your slightest desire Qu'ils viennent du bout du monde. That they come from the ends of the earth.
Recommended publications
  • MASTER BOOK 3+3 NEW 6/10/07 2:58 PM Page 2
    120860bk Joyce:MASTER BOOK 3+3 NEW 6/10/07 2:58 PM Page 2 1. I’m Going To See You Today 2:16 7. Mad About The Boy 5:08 12. The Music’s Message 3:05 16. Folk Song (A Song Of The Weather) (Joyce Grenfell–Richard Addinsell) (Noël Coward) (Joyce Grenfell–Richard Addinsell) 1:29 With Richard Addinsell, piano With Mantovani & His Orchestra; Orchestra conducted by William Blezard (Michael Flanders-Donald Swann) HMV B 9295, 0EA 9899-5 introduced by Noël Coward 13. Understanding Mother 3:10 With piano Recorded 17 September 1942 Noël Coward Programme #4, (Joyce Grenfell) 17. Shirley’s Girl Friend 4:46 Towers of London, 1947–48 2. There Is Nothing New To Tell You 3:29 14. Three Brothers 2:57 (Joyce Grenfell) (Joyce Grenfell–Richard Addinsell) 8. Children Of The Ritz 3:59 (Joyce Grenfell–Richard Addinsell) 18. Hostess; Farewell 3:03 With Richard Addinsell, piano (Noël Coward) Orchestra conducted by William Blezard (Joyce Grenfell–Richard Addinsell) HMV B 9295, 0EA 9900-1 With Mantovani & His Orchestra Orchestra conducted by William Blezard Recorded 3 September 1942 Noël Coward Programme #12, 15. Palais Dancers 3:13 Towers of London, 1947–48 (Joyce Grenfell–Richard Addinsell) Tracks 12–18 from 3. Useful And Acceptable Gifts Orchestra conducted by William Blezard Joyce Grenfell Requests the Pleasure (An Institute Lecture Demonstration) 3:05 9. We Must All Be Very Kind To Auntie Philips BBL 7004; recorded 1954 From The Little Revue Jessie 3:28 (Joyce Grenfell) (Noël Coward) All selections recorded in London • Tracks 5–9 previously unissued commercially HMV B 8930, 0EA 7852-1 With Mantovani & His Orchestra Transfers and Production: David Lennick • Digital Restoration:Alan Bunting Recorded 11 May 1939 (3:04) Noël Coward Programme #13, Original records from the collections of David Lennick and CBC Radio, Toronto 4.
    [Show full text]
  • The Roots of Middle-Earth: William Morris's Influence Upon J. R. R. Tolkien
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2007 The Roots of Middle-Earth: William Morris's Influence upon J. R. R. Tolkien Kelvin Lee Massey University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Massey, Kelvin Lee, "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " PhD diss., University of Tennessee, 2007. https://trace.tennessee.edu/utk_graddiss/238 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. David F. Goslee, Major Professor We have read this dissertation and recommend its acceptance: Thomas Heffernan, Michael Lofaro, Robert Bast Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled “The Roots of Middle-earth: William Morris’s Influence upon J.
    [Show full text]
  • Croydon Friends Newsletter
    CROYDON FRIENDS NEWSLETTER January 2016 Dear Friends, Our newsletter this month gathers together news of Friends sent in on Christmas cards or in letters and emails, which reflect our Meeting as a family community It also reflects our lives within the Quaker world, within our community, our Area Meeting, and our Religious Society as a whole. Gillian Turner “My grace is sufficient for thee”, 2 Corinthians 12:9 At this time of year, we are encouraged to believe that in order to achieve happiness and peace we should draw up a list of New Year’s Resolutions. As if by magic we will become fitter and stronger, more intelligent, give up a creeping sugar addiction, be much nicer and more helpful to Ffriends and family etc. Each year I find the list easier and easier to compile as one “benefit” of the ageing process seems to be a heightened awareness of my shortcomings. When designing advertising campaigns, the toxic bombs of guilt and shame are sometimes used in order to encourage our mostly fruitless attempts at so-called self-improvement. Businesses know that resolutions made at this time of year invariably lead to the need to buy goods and services which purport to help us to achieve our targets. Exercise bikes, subscriptions to improving publications, gym memberships and cosmetics are often marketed as the means to realise our dreams. Of course, thinking about a few, well-chosen, specific and achievable ideas by which to either increase self-esteem and/or help our fellows is no bad thing and can be done at any time of the year, without the purchase of items which will end up in the back of a cupboard or drawer.
    [Show full text]
  • The Road Goes Ever On
    The Road Goes Ever On for SATB Chorus a capella Commissioned by the University of California Alumni Chorus for the University of California Choral Ensembles in memory of Ronni Kordell Gravitz J.R.R. Tolkien Gwyneth Walker Slowly p b 4 Ó q Œ‰j= §º , j , j Soprano 4 œ œ nœ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ The road goes e - ver on and on downp from the door where it be - gan. Now b 4 ∑ ∑ j , j Alto 4 & œ œ œ œ œ œ œ œ œ down from the door where it be - gan. Nowp b 4 ∑ ∑ Ó Œ‰ Tenor 4 Jœ V π Now 4 Bass ? b 4 w w w Mmm, Slowly b 4 Ó q = §ºŒ‰j , j , j 4 œ œ nœ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j Piano for reahearsal only 4 ∑ ∑ Ó Œ‰œ ? b 4 w w w poco accel. 4 F cresc. j b , , œ S. œ œ œ œ œ œ nJœ œ œ œ œ œ œ œ nJœ J & far a - head the Road has gone, and I must fol - low, if I can,F pur - b cresc. j , j j , j A. œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ far a - head the Road has gone, and I must fol - low, if I can, purF - b cresc. œ œ , œ œ , T. œ œ œ œ œ J Jœ œ œ œ œ œ J Jœ V far a - head the Road has gone, andp I must fol - low, if I can, purF - , cresc.
    [Show full text]
  • The Celeblain of Celeborn and Galadriel
    Volume 9 Number 2 Article 5 6-15-1982 The Celeblain of Celeborn and Galadriel Janice Johnson Southern Illinois University Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Johnson, Janice (1982) "The Celeblain of Celeborn and Galadriel," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 9 : No. 2 , Article 5. Available at: https://dc.swosu.edu/mythlore/vol9/iss2/5 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Reviews the history of Galadriel and Celeborn as revealed in unpublished materials as well as The Lord of the Rings, The Silmarillion, Tolkien’s Letters, and Unfinished alesT , and examines variations and inconsistencies. Additional Keywords Tolkien, J.R.R.—Characters—Celeborn; Tolkien, J.R.R.—Characters—Galadriel; Patrick Wynne This article is available in Mythlore: A Journal of J.R.R.
    [Show full text]
  • Setting Tolkien HPMS
    SETTING TOLKIEN: EXPLORING MIDDLE-EARTH THROUGH MUSIC COMPOSITION By Jessica G. Spiars An Honors Project submitted to the University of Indianapolis Ron and Laura Strain Honors College in partial fulfillment of the requirements for a Baccalaureate degree “with distinction.” Written under the direction of Dr. John Berners. March 21, 2017. Approved by: __________________________________________________________________ Dr. John Berners, Faculty Advisor ______________________________________________________________ Dr. James Williams, Interim Executive Director, Ron and Laura Strain Honors College ______________________________________________________________________ First Reader ______________________________________________________________________ Second Reader i Abstract The poetic texts in J.R.R. Tolkien's The Lord of the Rings have provided a wealth of resources to writers and composers since their publishing. Varying in style, character, and idea, these poems and songs offer an inside look of the Middle Earth that Tolkien carefully crafted. Intending to set several of these texts to original music, I studied the life and influences of Tolkien, with the goal of producing a well-developed and thought-out product. My studies covered cultures of both our world and Middle-Earth, including Anglo-Saxon, Finnish, and Welsh. After extensive reading of biographies, analyses, essays, and articles, I developed a cohesive perception of Tolkien's subcreation and chose my texts. With distinctly separate characteristics, my compositions each depict
    [Show full text]
  • Download Book List
    WORKS OF J.R.R. TOLKIEN For a list of books in order of publication: tolkiensociety.org/author/books-by-tolkien Availability for each title is noted: JHLS = available in the physical collection of the Jackson/Hinds Library System (book or DVD) Hoopla = free eBooks & eAudios available with your library card & pin # (visit jhlibrary.org/ebooks for more info) TALES OF MIDDLE-EARTH 1937 The Hobbit (JHLS, hoopla eBook & eAudio – dramatized BBC radio series) [from tolkienestate.com] “When J.R.R. Tolkien wrote ‘The Hobbit’, he had already been writing works set in what came to be called Middle-earth for fifteen years,” and when “its success led the publisher to request that the author write a sequel, or at least another book about hobbits...exploring Bilbo’s world, and telling more about hobbits, and delving into the few loose ends left over at the end of Bilbo’s adventure led him to create the companion volume, the work by which he is best known: ‘The Lord of the Rings.’” 1977 Adapted into animated film (The Hobbit – JHLS) 2012-2014 Adapted into 3 motion-picture films: The Hobbit: An Unexpected Journey (JHLS) The Hobbit: The Desolation of Smaug (JHLS) The Hobbit: The Battle of the Five Armies (JHLS) 1954-1955 The Lord of the Rings - Began as a sequel to “The Hobbit”, but eventually developed into a much larger work, written in stages between 1937 and 1949. - Initially intended by Tolkien to be one volume of a two-volume set along with “The Silmarillion,” but this idea was dismissed by his publisher.
    [Show full text]
  • Donald Swann Including Songs by Sydney Carter Sing Round the Year 18 CAROLS SELECTED and COMPOSED by Donald Swann Including Songs by Sydney Carter
    Sing round the year 18 CAROLS SELECTED AND COMPOSED BY Donald Swann including songs by Sydney Carter Sing round the year 18 CAROLS SELECTED AND COMPOSED BY Donald Swann including songs by Sydney Carter P 1968 Move Records move.com.au onald Swann will forever be popularly known as the musical half of the comic song writing duo Flanders & Swann; but the quintessential Englishness of that satiric output belies his exoticD roots – Donald’s middle name, Ibrahím, is a clue. Donald was born in Llanelli on 30 Sept 1923 into a family of amateur musicians, both parents refugees from the Russian Revolution. His upbringing was one of Russian folk song and four-hand piano reductions of the Russian and European Romantics. Donald Swann and Michael Flanders had been performing their own songs at cast read-throughs and private parties for some years often, as they would say “at the drop of a hat”; they gradually honed their material as a double-act. Their show, titled AT THE DROP OF A HAT, opened on 31st December 1956 and was an overnight success. A sequel, AT THE DROP OF ANOTHER HAT, opened at Theatre Royal, Haymarket in London October 1963 for a long run before reverting to its previous title for performances in Australia, New Zealand and Hong Kong. Over the next few years Donald compiled and performed hundreds of concerts; sometimes solo or often with different performers picked to explore the variety of his output. EXPLORATIONS ONE, with Sydney Carter, concentrated on words and music in a folk idiom. The show was later expanded, with the addition of Jeremy Taylor, into AN EVENING WITH CARTER, TAYLOR & SWANN which took folk music into mainstream theatres.
    [Show full text]
  • From Under Mountains to Beyond Stars: the Process of Riddling in Leofric's the Exeter Book and the Hobbit
    Volume 14 Number 1 Article 2 Fall 10-15-1987 From Under Mountains to Beyond Stars: The Process of Riddling in Leofric's The Exeter Book and The Hobbit Christopher L. Couch Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Couch, Christopher L. (1987) "From Under Mountains to Beyond Stars: The Process of Riddling in Leofric's The Exeter Book and The Hobbit," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 1 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol14/iss1/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Compares the nature and function of the riddles in The Hobbit with their source in such Anglo-Saxon riddles as those collected in The Exeter Book, which were meant to provide spiritual instruction as well as mental exercise and a dose of humor.
    [Show full text]
  • Animal Songsbestiaries in English, French, & German
    Acknowledgments I have had the pleasure of counting John Moriarty Websites: Animal Songs Bestiaries in English, French, & German among my friends for nearly 40 years and wish to Stephen Swanson, baritone thank him for his help in preparing this recording. www.stephenswansonbaritone.com One of the joys of working for a major research David Gompper, piano institution is having colleagues who are willing http://davidgompper.com/ and able to help when my personal expertise will not suffice. Thanks to Downing Thomas for his Producer: Stephen Swanson translations of the Renard poems in this booklet. Recording Engineer: Bruce Gigax —Stephen Swanson Assistant Engineer: Reed Wheeler Recording Location: Audio Recording Ciardi, John, An Alphabestiary, Philadelphia, Studio, Bentleyville, Ohio J. B. Lippincott, 1966. Recording Dates: August 2-4, 2011 Gompper, David, The Animals, Iowa City, Liner Notes: Marilyn Swanson Edzart Music Publications, 2009. Illustrations © 2012 by Claudia McGehee Ravel, Maurice, Songs, 1896-1914, Funded in part by a grant from edited by Arbie Orenstein, New York, Dover, 1990. the Arts & Humanities Initiative Reger, Max, Sämtliche Werke, Band 33, edited by at The University of Iowa, Fritz Stein, Wiesbaden, Breitkopf & Härtel, 1959. The University of Iowa School of Music, The Songs of Michael Flanders & Donald Swann, and The University of Iowa College of London, Elm Tree Books and St George’s Press, 1977. Liberal Arts and Sciences www.albanyrecords.com TROY1365 albany records u.s. 915 broadway, albany, ny 12207 tel: 518.436.8814 fax: 518.436.0643 albany records u.k. box 137, kendal, cumbria la8 0xd tel: 01539 824008 © 2012 albany records made in the usa ddd waRning: cOpyrighT subsisTs in all Recordings issued undeR This label.
    [Show full text]
  • J.R.R. Tolkien and the Music of Middle Earth
    Channels: Where Disciplines Meet Volume 2 Number 1 Fall 2017 Article 6 December 2017 J.R.R. Tolkien and the Music of Middle Earth Emily Sulka Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/channels Part of the English Language and Literature Commons, and the Musicology Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Sulka, Emily (2017) "J.R.R. Tolkien and the Music of Middle Earth," Channels: Where Disciplines Meet: Vol. 2 : No. 1 , Article 6. DOI: 10.15385/jch.2017.2.1.6 Available at: https://digitalcommons.cedarville.edu/channels/vol2/iss1/6 J.R.R. Tolkien and the Music of Middle Earth Abstract Often referred to as “the Father of Modern Fantasy,” J.R.R. Tolkien wrote the Lord of the Rings trilogy between 1937 and 1949. Selling millions of copies each year, the Lord of the Rings is one of the bestselling books to date, and between the four books, six movies have been produced in an effort to relay the story of Middle Earth. However, movies do not stand alone as the only other art based off the trilogy.
    [Show full text]
  • Flanders and Swann
    FLANDERS AND SWANN On the 25th April we were treated to an interesting talk and musical extravaganza from Kevin Varty on the work and music of Michael Flanders and Donald Swann. The talk whilst giving the history of the duo, concentrated on the music and lyrics and demonstrated the different types of songs they were known for by playing some including I’m a Gnu and The Gasman Cometh. It was surprising how topical these songs still are! Flanders and Swann met early in life when they both attended Westminster school. This is where they started their collaboration on a school revue called “Go To It”, Flanders wrote the lyrics whilst Swann wrote the music. When they left school they went their separate ways until they met again after the war in Oxford. By this time Michael had contracted polio and was using a wheelchair. They started to perform their own songs at private parties and to small audiences and were persuaded to open their own revue on New Year’s Eve in 1956 at the New Lindsey, a small theatre in Notting Hill. They called the show ‘At the Drop of a Hat’ - a musical revue that had no scenery, two grey curtains, a piano, a man in a wheelchair and a cast that had hired their suits from Moss Bros. This format was the one they were to continue to use until they stopped performing together in 1967. At the Drop of a Hat was so successful that three weeks later it transferred to the Fortune Theatre in the West End where it ran for 759 performances and was followed by another revue At the Drop of Another Hat.
    [Show full text]