The Song Notes

Total Page:16

File Type:pdf, Size:1020Kb

The Song Notes Seaman’s Hymn, 1998 Abbots Bromley Horn Dance, 2017 Christmas Bells at Sea, 2014 Gaudete/Courante, 2001 The Olde Yeare Now Away Is Fled, 2001 Kasletila, 2002 Will Ye No Come Back Again, 2003 Nevijska Koleda, 2007 Rocky Road to Dublin, 2012 Jovano, Jovanke, 2007 from the Revels Stage Padstow Drinking Song, 2002 It Was My Father’s Custom, 2014 Travelling People, 1996 Lisa Lân, 2015 We Have Fed Our Sea, 1999 Calon Lân, 2015 Here’s a Health to the Company, 1999 David of the White Rock, 2015 Bring Us in Good Ale, 2010 Praetorius Dances, 2006 The Fields of Acadie, 2000 Traveller’s Prayer, 2011 Lament for Limerick, 2001 Dona Nobis Pacem, 2018 Bonhomme, Bonhomme, 2004 Yggdrasil, 2018 Eun Dans Kanet/Choukom Dei, 1996 Tonnaroti, 2017 Le Semeur, 1996 Sankt Staffan’s Visa, 2018 Poiché in Van, 1999 Mngogaja Leta/The Shortest Day, 2007 My Heartly Service, 2003 The Kings, 2006 Lord of the Dance Revels engages today’s audiences in theatrical and musical experiences that bring the world’s cultural traditions to life. the ong otes Revels is a registered trademark of Revels, Inc. Revels Records is a division of Revels, Inc., a non-profit, tax-exempt organization. Revels, Inc. is based in Cambridge, MA with sister companies in Lebanon, NH; Washington, DC; S N Houston, TX; Boulder, CO; Santa Barbara, CA; Oakland, CA; Portland, OR; and Tacoma, WA. ℗ and © 2019 Revels, Inc. When it came time for Jack to retire he tapped 1. Seaman’s Hymn n the beginning (1998 Sea Revels) I David Coffin, an extraordinary singer and s s It’s only fitting there wa Jack Lang taff who musician, to take over as song leader. For s v to put this song created Revel and gal anized decades David has been the face of The as track one. The s s first voice you hear audience with hi command, Christmas Revels. He is first on the stage to is Jack Langstaff, welcome the audience, to quickly teach the the founder of Revels, my mentor, songs that they will later sing together with and the voice in my ear whenever I sing on the the chorus and to set the intimate tone of the Revels stage. The bass voice is none other than the late Lou Killen. Set to a Welsh hymn tune conversation between performer and audience by Burt Lloyd. that is the hallmark of a Revels celebration. 2. Christmas Bells at Sea (2014 Victorian For regular Revels attendees and past Revels) Arthur Sullivan (1842–1900) 3. The Olde Yeare Now Away Is Fled A gem from a Victorian Revels with my (2001 Elizabethan Revels) Traditional English performers this recording is a magic carpet long-time friend and Revels Music Director, One of the joys of being on the Revels stage is pianist Megan Henderson. that can transport you back to favorite the opportunity to perform with many other moments in past shows complete with the My daughter’s favorite, hence her painting. singers and instrumentalists. This version of atmospheric rustlings and excitement of a live We spent many hours developing the song Henry VIII’s “Greensleeves” is presented with during daily car rides to school and to the the inimitable New Zealand soprano, Jayne audience. Here is David solo, leading chorus and audience, but here also are wonderful theater. I include this even though there’s Tankersley. It also proves that I can walk across pairings with guest performers and many examples of his virtuosic recorder playing not a studio recording version because there’s the stage while playing the recorder on the nothing like singing for a live audience. last verse. to mention the deployment of his arsenal of exotic wind instruments. For newcomers to 4. Will Ye No Come Back Again Revels this is a recording that reveals something of the panoramic width of our Revels (2003 Scottish Revels) Traditional Scottish programming. From British sea songs to Balkan harmonies, from lament to love song, I love the sound of 1,200 audience members from Limerick to Louisiana, David is your tour guide. singing on the chorus; it’s a heady experience to sing with so many people. This version of Revels is pleased to offer these candid recordings as a tribute to the song is taken from the singing of Ewan MacColl and arranged by George Emlen. I David’s many valued contributions to Revels these past 40 years improvise the whistle part on the last verse. and to honor, as he puts it, “The role that Jack built.” 5. Rocky Road to Dublin (2012 Immigration 7. Travelling People (1996 Spring Revels) 9. Here’s a Health to the Company Revels. This is the one song I desperately wanted Revels) Traditional Irish/Text D.K. Gavan (19th c.) Ewan MacColl (1915–1989) (1999 Sea Revels) Traditional Irish to include on this recording. Huge thank you to This has got to be the wordiest song I have ever I had forgotten that I sang this piece in segments Another rousing sing-along popular at Michael Kolowich for finding it. Paula Plum is learned. Another one for the audience to join in throughout the show. Huge thank you to my Revels Pub Sings. Come join us! reciting the poetry with the accompanying fiddle. on so I can at least grab a breath. engineer, Gerry Putnam, for literally piecing it Thanks to the Acadian band Barachois for their back together. I really wanted to include this even beautiful accompaniment. And yes, that’s a pump before he said, “It is such a quintessential David organ we brought on stage. Coffin song and performance!” This was from an outdoor performance at the deCordova Museum 12. Lament for Limerick and Sculpture Park in Lincoln, Ma. (Spring Immigration Revels 2001) I don’t often get a chance to play an Irish Aire on stage and have loved this tune for a long time. A cast member commented rather generously, “It was like a clinic on ornamentation every show.” The late Evan Harlan is playing accordion. 10. Bring Us in Good Ale (2010 Ghosts of 6. Padstow Drinking Song (2002 Spring Haddon Hall Revels) Traditional English Revels) Traditional English Perusing photos of the 2010 show I saw a With John Roberts and Tony Barrand, who are few that were clearly of me singing, but couldn’t two of the most distinctively stylistic singers recall what song it was. The archival video you will ever hear. I credit them with my pursuit revealed the answer. of the art of phrasing. A good old pub song where we share the verses. Just listen to the 11. The Fields of audience joining in! Acadie (Spring Acadian Revels 2000) Set to the traditional 13. Bonhomme, Bonhomme (2004 French s s s 8. We Have Fed Our Sea “When Coffin ing a ea chantey (1999 Sea Revels) tune of “The Lakes of Canadian Revels) Traditional Canadian s s s music by Peter Bellamy (1944–1991), Pontchartrain,” Revels The Revels children’s chorus is an essential you can almo t mell the alt air arranged by Tom Gibney (1948–2005) Artistic Director, Patrick part of every Revels production. Though and hear the wind in the rigging.’’ From Rudyard Kipling’s poem “The Song of the Swanson, wrote these I am often charged with giving instrumental Dead.” David Jones, Jamie Jaffe, and I worked lyrics telling Longfellow’s support, sometimes I get to sing with them — WBUR-FM, THE ARTERY very hard on this song to give it the gravitas it classic story of Evangeline too. Mostly I snack on their food backstage. so deserves. for our Spring Acadian (All of these kids are now older than me.) 14. Eun Dans Kanet/ 17. My Heartly Service (The Plough Song, the previous 10 years, I still hear his voice run over by the Mass Ave. bus one winter when Choukom Dei 2003 Scottish Revels) Anonymous when singing this song. When I first sang it, it rolled out of my car, but still it plays on. (1996 Breton Revels) I felt compelled to include this song if for no the audience started to get up and leave the Traditional Breton/L. other reason than to demonstrate that I can theatre. It took me a while to realize they just Ropart and G. Philippe actually memorize a five-minute song. With many wanted to be sure they made it to the hallway John Fleagle sang references to plough parts, farmhands, and an to dance. Dance THEN!! oxen team, thank goodness Jayne Tankersley and played instruments Can you name the year of this recording? had to learn the words as well. In the background in many Revels shows. clue: Listen to the Morris Men. (Email you can occasionally hear the plough man and I had the honor of - your answers to [email protected] for his farmhands working on stage. Unfortunately, performing with him frequently before he was the door prize.) taken from us in 1999. John had an enormous no real oxen were allowed in Sanders Theatre. influence on my musicianship; he belongs on 20. Abbots Bromley Horn Dance (2017) 18. The Kings (2006 German Revels) Peter this project. Traditional English Cornelius (1824–1874), arr. Brian Holmes (1946–) In the summer of 1980, my soon to be step 22. Kasletila 15. Le Semeur (1996 Breton Revels) You can hear Jack Langstaff sing this on a - - - (2002 Georgian Revels) mother, Randy Coffin, played Lisle Kulbach’s 2000 Victorian Revels recording. If you Traditional Georgian arr. George Emlen version of this piece on the original Christmas listen to both versions I think you can hear This is a dance song from Guria in southwestern This is a beautiful traditional Breton tune Revels recording.
Recommended publications
  • Haddon Hall's Poems
    HADDON HALL’S POEMS NINETEENTH CENTURY SENTIMENTS DAVID TRUTT Copyright © David Trutt 2007 All rights reserved. Haddon Hall’s Dorothy Vernon - The Story Of The Legend was published in 2006. The following people were very helpful during the formation of this book: Sandra Trutt provided much needed help and support. Kendra Spear digitized various engravings. Alastair Scrivener pointed out the use of the Haddon Hall illustration for the poem In The Olden Time. His Buxton bookshop has been the source of many hard-to-find books on Derbyshire and its environs. Revised October 2010: Pages 4, 6, 124 to reflect that the author of “A Legend of Haddon Hall” was John James Robert Manners 7th Duke of Rutland, and not as indicated, John Henry Manners 5th Duke of Rutland, his father. Both were alive in 1850 when English Ballads and Other Poems was published. Published by David Trutt Los Angeles, California USA [email protected] CONTENTS 3 Contents 3 Introduction 7 The Seven Foresters Of Chatsworth (1822) Allan Cunningham 11 The King Of The Peak, A Derbyshire Tale (1822) Allan Cunningham 21 The King Of The Peak, A Romance (1823) William Bennet 25 Haddon Hall, A Poetical Sketch (1823) John Holland 27 Haddon Hall, Bijou (1828) H. B. (Mary Hudson Balmanno) 37 Haddon Hall At The Present Day (1841) Benjamin Fenton 40 Haddon Hall Before 1840 Henry Alford (1836) 49 Henry Glassford Bell (1832) 50 Delta (David Moir) (1834) 52 George Bayldon (1838) 54 F. R. C. (1831) 55 Haddon, Reliquary (1863) Llewellynn Jewitt 56 The Elopement Door (1869) William Kingston Sawyer 57 Visiting Chatsworth and Haddon Hall (1860) E.
    [Show full text]
  • W. S. Gilbert & a Classic in Humour
    W. S. GILBERT A MID-VICTORIAN ARISTOPHANES BY EDITH HAMILTON & THE ENGLISH ARISTOPHANES BY WALTER SICHEL & A CLASSIC IN HUMOUR BY MAX BEERBOHM Edited 2011 by David Trutt Los Angeles, California, USA email: [email protected] Web Site: www.haddon-hall.com 2 INTRODUCTION Included herein are two lengthy essays which seek to relate the Victorian comic playwright W. S. Gilbert to the Greek comic poet Aristophanes. Aristophanes lived from about 450 BC to 385 BC, mostly under the shadow of the Peloponnesian War between Greece and Sparta, which eventually led to the downfall of Greece. He was the most celebrated writer of what is known as Old Comedy and the only one whose plays have survived in more than fragmentary form. Aristophanes is credited with writing at least forty plays, of which eleven have survived to the present. One critic states that “Savoy opera captures some of Aristophanes’ mingling of topsy- turvy fantasy and tripping rhythm. But in sheer poetic invention Aristophanes’ lacks a real successor.” This critic considers Aristophanes a master satirist, but the two authors, Edith Hamilton and Walter Sichel make a distinction between satire and irony. They claim that the plays of Aristophanes and Gilbert were displays of masterful irony; further they claim that in this genre Gilbert is on the same high level as Aristophanes. As Sichel writes, “Both Aristophanes and Gilbert were pure ironists. Direct satire maps out the country which it invades, but irony is always on the confines of ambiguous territory. As we survey its inhabitants they seem to be in perpetual somersaults — and yet they are always standing on their feet.” AND “That is Gilbert’s irony.
    [Show full text]
  • Precious Nonsense
    Precious Nonsense NEWSLETTER OF THE MIDWESTERN GILBERT AND SULLIVAN SOCIETY October 1992 -- Issue 35 -------------------------- If such symptoms you find In your body or head, They're not easy to quell-- You may make up your mind You are better in bed, For you're not at all well! Well, S/A Cole bummed it again. She noticed in the conclusion of the last Nosnense she said a lot of things would happen, barring any disasters. She should stop saying that, because, when she does, she invariably gets disasters. This summer has probably been the most busy, and the most annoying summer of her life, and she is only now starting to go through the boxes of things to put in the Nonsense. In August, every expensive thing she owned that started with a "C" broke (the computer lost its memory, the cat got sick, and the car needed a bypass operation) except her CD player (which had broken in June), and by the time they were all fixed, she broke. She started September off by getting the flu, and has only now seemed to have shaken it. But so much for excuses. We'll certainly try to do better in the future. In the meantime, she still has to go through the responses to the Big Quiz and the drawing from the returned address corrections, and there are no Iolanthe analyses this time around, but the Big Quiz answers are here, along with what has gone on in G&S lately, and what is expected to happen, plus Carol Cole's report of what took place at the Annual Outing.
    [Show full text]
  • Social Discourse in the Savoy Theatre's
    SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M.
    [Show full text]
  • GILBERT and SULLIVAN: Part 1
    GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were.
    [Show full text]
  • Front Matter
    Cambridge University Press 978-0-521-88849-3 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information The Cambridge Companion to Gilbert and Sullivan Memorable melodies and fanciful worlds – the comic operas of Gilbert and Sullivan remain as popular today as when they were first performed. This Companion provides a timely guide to the history and development of the collaboration between the two men, including a fresh examination of the many myths and half-truths surrounding their relationship. Written by an international team of specialists, the volume features a personal account from film director Mike Leigh on his connection with the Savoy operas and the creation of his film Topsy-Turvy. Starting with the early history of the operatic stage in Britain, the Companion places the operas in their theatrical and musical context, investigating the amateur performing tradition, providing new perspectives on the famous patter songs and analysing their dramatic and operatic potential. Perfect for enthusiasts, performers and students of Gilbert and Sullivan’s enduring work, the book examines their legacy and looks forward to the future. David Eden is a former Chairman of the Sir Arthur Sullivan Society and is currently editor of its Magazine. Meinhard Saremba is a freelance author, translator and broadcaster. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88849-3 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-88849-3 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information The Cambridge Companion to GILBERT AND SULLIVAN ...........
    [Show full text]
  • Front Matter
    Cambridge University Press 978-0-521-71659-8 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information The Cambridge Companion to Gilbert and Sullivan Memorable melodies and fanciful worlds – the comic operas of Gilbert and Sullivan remain as popular today as when they were first performed. This Companion provides a timely guide to the history and development of the collaboration between the two men, including a fresh examination of the many myths and half-truths surrounding their relationship. Written by an international team of specialists, the volume features a personal account from film director Mike Leigh on his connection with the Savoy operas and the creation of his film Topsy-Turvy. Starting with the early history of the operatic stage in Britain, the Companion places the operas in their theatrical and musical context, investigating the amateur performing tradition, providing new perspectives on the famous patter songs and analysing their dramatic and operatic potential. Perfect for enthusiasts, performers and students of Gilbert and Sullivan’s enduring work, the book examines their legacy and looks forward to the future. David Eden is a former Chairman of the Sir Arthur Sullivan Society and is currently editor of its Magazine. Meinhard Saremba is a freelance author, translator and broadcaster. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-71659-8 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-71659-8 - The Cambridge Companion to Gilbert and Sullivan Edited by David Eden and Meinhard Saremba Frontmatter More information The Cambridge Companion to GILBERT AND SULLIVAN ...........
    [Show full text]
  • Haddon Hall, an Original Light English Opera, in Three Acts
    THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES M1503 .S9h9 H3 MUSIC LIBRARY UNIVERSITY OF N C AT CHAPEL MILL 00010982591 Th- h ,• h ,,h MUSIC LIBRARY This book is due at the »»» Qn last the date stamped under "Date Due." If not on hold, it may be renewed by bringing it to the library. E RETURNED DUE D^JE RETURNED ._-. J . '*' ltf k tfADDON HALL WRITTEN BY SYDNEY GRUNDY. COMPOSED BY ARTHUR S ULLIVAN. Vocal Score (complete) . Price, net 12s. 6d. CHAPPELL & CO., Ltd., 50, NEW BOND ST., LONDON, W. 1. AND SYDNEY. FOR THE COUNTRIES OF NORTH AMERICA: CHAPPELL—HARMS Inc., 185, Madison Ave., NEW YORK. All Rights under the Copyright Act, 1911, and the International Copyright Conventions are reserved. Applications for the right of performing the above Opera, including the use of band parts, must be made to Miss Bridget D'Oyly Carte, No. 1 Savoy Hill, London, W.C.2. " J COPYRIGHT, MDCCCXCII, BV CHAPPELL & CO. rBlNTSD IN ENGLAND. I m-- gin ©riflinal Jfijjfti (Enjglislt ©pra, /TV THREE ACTS, ENTITLED HADDON HALL - WRITTEN BY SYDNEY QRUNDY. COMPOSED BY A RTHUR SULLIVAN * . it > ARRANGED FROM THE FULL SCORE BV KING HALL. Vocal Score (complete) Price, net 12s. 6d. CHAPPELL & CO,, Ltd,, 50, NEW BOND ST., LONDON, W.l. AND SYDNEY. All Rights under the Copyright Act, 1911, and the International Copyright Conventions are resen-ed. Applications for the right of performing the above Opera, including the use of band parts, must be made to Bridget D'Oyly Carte, No.
    [Show full text]
  • The Christmas Revels in Celebration of the Winter Solstice
    Washington Revels 30th annual The Christmas Revels in celebration of the winter solstice December 8–9 and 14–16, 2012 gw lisner auditorium, washington, dc Washington Revels presents the 30th annual production of In Celebration of the Winter Solstice Traditional and Early Music, Dance and Drama of Britain and Europe Featuring With Piffaro, The Renaissance Band Mark Jaster as The Fool The Washington Revels Brass Sabrina Mandell, Joan The Haddon Hall Wassailers Oran Sandel, Sir John Manners The Bakewell Teens The Manners Family The Derbyshire Children Morgan Duncan, Sir John Henry Cutting Edge Sword Dancers Katrina Van Duyn, Lady Kathleen Foggy Bottom Morris Men Mattias Lundberg, Charles Mira Cohen, Ursula 3 Roberta Gasbarre, Artistic and Stage Director Elizabeth Fulford Miller, Music Director Greg Magee, Production Manager Water for the It is expressly forbidden to use photographic or 2012 Christmas Revels sound equipment in the auditorium. Unauthorized persons found using such equipment in the theater provided by will be asked to leave. Revels® is a registered service Drink More Water. mark of Revels, Inc. of Watertown, Massachusetts, and is used by permission. drinkmorewater.com About Revels What is Revels? A nonprofit cultural institution in the Greater Washington area for almost 30 years, Washington Revels creates community celebrations and other events based on traditional music, dance, and drama, and from different times and cultures. Revels programs involve adults and children, professionals and nonprofessionals, and opportunities for audience participation. By engaging audiences as participants in traditional material, Revels seeks to provide a sense of the comfort and the joy that people can obtain from community celebrations that reflect universal themes.
    [Show full text]
  • Iolanthe & Orpheus in the Underworld (March 2004)
    TheGilbert & Sullivan Society of Edinburgh presents Iolanthe or The Peer And The Peri Libretto By Music By W.S. Gilbert Arthur Sullivan and Orpheus In The Underworld By J. Offenbach Director Alan Borthwick Musical Director David Lyle Assistant Director Liz Landsman CHARITY NUMBER: SC027486 http://www.edgas.org/ W e l c o m e ood evening, Ladies and Gentlemen, and a warm welcome to the King's Theatre and to our week of musical extravaganza. GTwo complete shows on alternate nights! Whether you are settling down to a 'spell' in Fairyland with Iolanthe, or getting ready to party the night away with Orpheus in Hades, you are certainly in for a musical treat. After our resounding success with Ruddygore in 2003, we decided that a double production would be appropriate in 2004. Consequently, after a year of very hard work under our talented production team, we have both shows in one week at the King's. Alongside our rehearsals, Society members have been busy with our programme of concerts in aid of good causes, and these are tak- ing us from Stranraer to Dunkeld this season, with many places in between. 2003 drew to a close with the huge success of our Usher Hall concert with the Band of HM Royal Marines in aid of the King George's Fund for Sailors, and we hope to join the Band there again in November 2004. By that time, we will also be well into rehearsals for our next production, The Yeomen of the Guard, due at the King's in March 2005.
    [Show full text]
  • Playbill Editor Sue Ricket Caldwell Performers Patricia Combs Reagan Murdock Taylor Rawley Amy Selby Julius Young Pianist: Jeanne Dayton Sasaki 3 Mr
    Artistic & Stage Director: Ralph MacPhail, Jr. Music Director: Jeffrey Jones-Ragona Worley Barton Theater at Brentwood Christian School Austin, Texas March 7 and 8, 2020 The Production Team Ralph MacPhail, Jr. Jeffrey Jones-Ragona (Artistic & Stage Director) (Music Director) is Professor of Theatre began working with GSA emeritus, Bridgewater in 1994 as Music Director College, Virginia, where for H.M.S. Pinafore, and he taught and directed for received the first of several 33 years. He has directed eighteen summer B. Iden Payne nominations. In 2003, productions and all seven of the March he received the B. Iden Payne Award for mid-season shows for Gilbert & Sullivan Outstanding Musical Direction for The Austin, which appointed him Artistic Pirates of Penzance, and was named to Director in 2005 and named him to their GSA’s Hall of Fame in 2011. Jeffrey regularly Hall of Fame in 2011. “Rafe” enjoys his performs with La Follia Baroque Orchestra busy retirement, much of it devoted to and the Texas Early Music Project, and G&S: directing, researching, collecting, is a featured soloist with the Texas Bach writing, editing, and speaking hither and Festival and Local Opera Local Artists yon. He and his wife Alice recently moved (LOLA). He is Director of Music for the three blocks in Bridgewater to a cottage in Cathedral of Saint Mary and a co-founder the retirement community there, and they of Celtic Christmas at the Cathedral. This treasure their Austin friendships! is Jeffrey’s 31st production with the Society. Bill Hatcher Andy Heilveil (Production Manager) (Stage Manager) has been a member of has worked on the sets GSA since 1985 and the GSA Production Manager and props for Gilbert & since 2009.
    [Show full text]
  • Sir Arthur Sullivan Songs Tennyson Shakespeare Burns • Scott Byron • Shelley Eichendorff Hugo • Gilbert
    SIR ARTHUR SULLIVAN Songs TENNYSON SHAKESPEARE BURNS • SCOTT BYRON • SHELLEY EICHENDORFF HUGO • GILBERT MARY BEVAN • BEN JOHNSON • ASHLEY RICHES • DaVID OWEN NORRIS soprano tenor bass-baritone piano Sir Arthur Sullivan, c.1885 Arthur Sir Peter Joslin / ArenaPAL Sir Arthur Sullivan (1842 – 1900) Songs COMPACT DISC ONE Five Shakespeare Songs (1863 – 64) 13:41 Words by William Shakespeare (1564 – 1616) 1 Sigh no more, ladies (dedicated to Sims Reeves)* 2:39 Risoluto 2 Orpheus with his lute (dedicated to Louisa Crampton)† 3:37 Allegro moderato 3 O mistress mine (dedicated to Charles Santley)‡ 2:06 Allegretto 4 The Willow Song (dedicated to Mme Sainton-Dolby)† 2:55 Andante 5 Rosalind (dedicated to W.H. Cummings)* 2:23 Andante non troppo lento 3 6 Love laid his sleepless head (1874)† 2:57 from incidental music to The Merry Wives of Windsor Words by Algernon Charles Swinburne (1837 – 1909) Dedicated to his friend, the Honourable Eliot Yorke Andante 7 Nel ciel seren (1871)* 3:56 (Venetian Serenade) from incidental music to The Merchant of Venice Words by Francesco Rizzelli (dates unknown) Andante con moto 8 Where the bee sucks (1861)† 1:49 from incidental music to The Tempest Words by William Shakespeare Allegro vivace e gioioso 4 9 I wish to tune my quivering lyre (1868)‡ 6:38 Ode Words by Anacreon (c. 582 – c. 485 BC) Translated by George Gordon, Lord Byron (1788 – 1824) Composed for Charles Santley Allegro moderato e maestoso – Tranquillo – Animato. Tempo I – Quasi recitativo – Tranquillo – Andante – Allegro. Tempo I – Tempo I. Moderato 10 Sweet Day (1864)† 3:26 Words altered from George Herbert (1593 – 1633) Dedicated to Mrs Goldschmidt [Jenny Lind] Andante tranquillo 11 Arabian Love Song (1866)* 2:35 Words by Percy Bysshe Shelley (1792 – 1822) Dedicated to Frederic Clay Allegretto – Lento – Tempo I 5 12 Birds in the Night (1869)† 4:00 A Lullaby Tune from the comic opera Cox and Box (1866) New words by Lionel H.
    [Show full text]