Leaves of Grass
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
'Koanga' and Its Libretto William Randel Music & Letters, Vol. 52, No
'Koanga' and Its Libretto William Randel Music & Letters, Vol. 52, No. 2. (Apr., 1971), pp. 141-156. Stable URL: http://links.jstor.org/sici?sici=0027-4224%28197104%2952%3A2%3C141%3A%27AIL%3E2.0.CO%3B2-B Music & Letters is currently published by Oxford University Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/oup.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sat Sep 22 12:08:38 2007 'KOANGA' AND ITS LIBRETTO FREDERICKDELIUS arrived in the United States in 1884, four years after 'The Grandissimes' was issued as a book, following its serial run in Scribner's Monthh. -
Walt Whitman (1819-1892)
Whitman 1 Walt Whitman (1819-1892) 2 Section headings and information Poems 6 “In Cabin’d Ships at Sea” 7 “We Two, How Long We Were Foole’d” 8 “These I Singing in Spring” 9 “France, the 18th Year of These States” 10 “Year of Meteors (1859-1860)” 11 “Song for All Seas, All Ships” 12 “Gods” 13 “Beat! Beat! Drums!” 14 “Vigil Strange I Kept on the Field one Night” 15 “A March in the Ranks Hard-Prest, and the Road Unknown” 16 “O Captain! My Captain!” 17 “Unnamed Lands” 18 “Warble for Lilac-Time” 19 “Vocalism” 20 “Miracles” 21 “An Old Man’s Thought of School” 22 “Thou Orb Aloft Full-Dazzling” 23 “To a Locomotive in Winter” 24 “O Magnet-South” 25 “Years of the Modern” Source: Leaves of Grass. Sculley Bradley and Harold W. Blodgett, ed. NY: W.W. Norton & Company, 1973. Print. Note: For the IOC, copies of the poems will contain no information other than the title, the poem’s text, and line numbers. Whitman 2 Leaves of Grass, 1881, section headings for those poems within this packet WW: Walt Whitman LG: Leaves of Grass MS: manuscript “Inscriptions” First became a group title for the opening nine poems of LG 1871. In LG 1881 the group was increased to the present twenty-four poems, of which one was new. “Children of Adam” In two of his notes toward poems WW set forth his ideas for this group. One reads: “A strong of Poems (short, etc.), embodying the amative love of woman—the same as Live Oak Leaves do the passion of friendship for man.” (MS unlocated, N and F, 169, No. -
Whitman's Urban Kaleidoscope
Comunicação & Cultura, n.º 9, 2010, pp. 111-122 Whitman’s urban kaleidoscope Lara Duarte * Walt Whitman lived in the New York area for more than half his life, so it is perhaps not surprising that he should have declared his intention to chant urban life at the very outset of Leaves of Grass. “This is the City and I am one of its Citizens,” 1 he proclaims in the first untitled poem of the 1855 edition, later to become known as “Song of Myself,” thus laying the foundation stone of his reputation as the first American poet to celebrate the city. Most of the Poet’s life was spent in urban environments. In addition to the forty-two years he lived in and around New York, a further ten were spent in Washington D.C., where he moved in 1862, before settling in Camden, New Jersey, for the last twenty years of his life. Little wonder then that cityscapes and vignettes of urban scenes feature prominently in Whitman’s poetry and prose. In “City of Orgies” (PP 279), written in 1860, the Poet, who looked to the city as the future of American democracy, boasts “City whom that I have lived and sung in your midst will one day make you illustrious” and in the eleven lines of the poem “Broadway,” penned towards the end of his life (1888), he portrays the heady excitement of the rushed comings and goings of “hurrying human tides” and “endless sliding, mincing, shuffling feet,” which he considers to be “like the parti-colored world itself” (PP 624). -
18 E<'MPOSED: J.903 at Grez FIRST PERFORMANCE: Essen
18 III. SEA D.?IFT e<'MPOSED: J.903 a t Grez FIRST PERFORMANCE: Essen, . Germany, 1906, George Witt, Conductor TEXT: excerpts of Walt Whitman's Sea Drift FORCES REQUIRED: Baritone solo, SSAATTBB Chorus and Orchestra Arthur Hutchings comp1ents: Most critics think Sea Drift to be the most perfect among Delius's aajor work~ •••••• several reasons could be given f or the perfection of sea Drift, apart from the plain one ~~at Delius rarely wrote at so consistent a level of inspiration ••••• . First we notice that Delius never bent a text to his musical purposes in .so masterly a way; his decision sometimes to let the baritone solo, sometimes the chorus, advance the story, at other places to make the chorus echo the soloist or just give emotional or · atmospheric background, is made wi~~ uncanny judgment of the right t imes or places for one type of approach; none of the d evices is overworked. The pathos of hucan bereavement, s ~ lized in the seagull's bereavement, could well have been expressed by this particular composer by means of orchestra or choir, separately or together, but one cannot now think o f so poignant .a medium as the baritone vo i ce crying above , within and around the chorus and orchestra.! Philip Heseltine calls it a lyrical utterance, a dramatic work in whose nrsic "we seem to hear the very quintessence of all the sorrow and unrest that man can feel because of h:ve. "2 He continues: It is the veritable drarta of l ove and death, an image of the mystery of separation. -
Delius-Liner-Notes-Koanga.Pdf
SBLX-3808 14 1-.Angel Koanga in America response: Keary's libretto was denigrated through an optical machine, in order to phere. Only the principals and a few first recording by Frank Corsaro and Delius' music highly praised. Yet get opaque darknesses and multiple color supernumeraries, representing the priest of the composer's "American" opera alack, alas, and sad to say, Miss Kemble's schemes. This process enabled us to create and his retinue, were visible during the On March 2, 1884, the ocean liner "fortune of an opera" was not to be, In the surreal, even occultish landscape sur wedding ceremony. Koanga and Palmyra "Gallia" departed Liverpool bound for fact, "Koanga" was not co be again until rounding Koanga's flight from his white scrolled hand in hand between the three America. Two weeks and a stormy crossing its American premiere in 1970, where masters, and the ensuing Voodoo rites. scrimmed areas on stage, their wander DELIUS later, she docked in New York harbor. Keary's gaucheries (revised from a revi As in the later "Village Romeo;· three ings sharply outlined by the imaginative With not a single celebrity aboard, the sion) still proliferated, while Delius, scrims served as projection surfaces - a Miss Porcher's use of side lighting. A few arrival passed unnoticed by the press but Wagner cum spiritual, utterly captivated. front, rear, and middle distance scrim - steps taken by the lovers, and the skies, for a brief item concerning George Payn More than a decade after "Koanga's" ini which could be flown in and out as the waters, the land itself c'.1anged magi KOANGA ter, the "Gallia's" bar-keep. -
Second Person in Walt Whitman╎s •Œas I Ebb╎d with the Ocean Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Iowa Research Online Volume 35 Number 2 ( 2017) pps. 153-173 Following You: Second Person in Walt Whitman’s “As I Ebb’d with the Ocean of Life” Marion K. McInnes DePauw University ISSN 0737-0679 (Print) ISSN 2153-3695 (Online) Copyright © 2017 Marion K. McInnes Recommended Citation McInnes, Marion K. "Following You: Second Person in Walt Whitman’s “As I Ebb’d with the Ocean of Life”." Walt Whitman Quarterly Review 35 (2017), 153-173. https://doi.org/10.13008/ 0737-0679.2276 This Essay is brought to you for free and open access by Iowa Research Online. It has been accepted for inclusion in Walt Whitman Quarterly Review by an authorized administrator of Iowa Research Online. For more information, please contact [email protected]. WWQR VOL. 35 NO.2 (FALL 2017) FOLLOWING YOU: SECOND PERSON IN WALT WHITMAN’S “AS I EBB’D WITH THE OCEAN OF LIFE” MARION K. MCINNES Yes my brother I know, The rest might not, but I have treasur’d every note, For more than once dimly down to the beach gliding, Silent, avoiding the moonbeams, blending myself with the shadows, Recalling now the obscure shapes, the echoes, the sounds and sights after their sorts, The white arms out in the breakers tirelessly tossing, I, with bare feet, a child, the wind wafting my hair, Listen’d long and long. Listen’d to keep, to sing, now translating the notes, Following you my brother. —Whitman, “Out of the Cradle Endlessly Rocking”1 1 One of the most important rhetorical strategies that Walt Whitman picks up from the Bible and from the oratory of sermons is surely the use of the second-person “you.” “Thou shalt not kill,” “Thou shalt not covet,” say the Old Testament Commandments, reaching across the page and up through the ages to instruct their readers. -
Musical Offering
HAWKES POCKET SCORES Available for the first time MUSICAL OFFERING BY J. S. BACH EDITED BY HANS GAL J. S. Bach's creative achievements during the last decade of his life are distinguished by the extraordinary concentration with which he explored once more all the technical and formal possibilities of contrapuntal style, with the result of a perfection and richness of polyphonic design unequalled in all music. Among his great works of this period, the " Musical Offering " is the most colourful and immediately appealing. PRICE £J- NET. The H.P.S. edition, as well as a wide selection of classical works, has the largest number of successful, contemporary compositions which are heard throughout the world at concerts, on the radio, and on recordings. Most recent additions to the catalogue include: J. S. BACH BOHUSLAV MARTINI! 101, The Art of Fugue 6/- 68, Symphony No. 4 1$/- BELABARTOK 69, Symphony No. , l5/- 668, Viola Concerto 9/- OTHMAR SCHOECK 678, Concerto for Horn & ERNEST BLOCH String Orchestra 3/6 7o, Concerto Symphonique 20/- RICHARD STRAUSS ALEXANDER BORODIN 667, Four Last Songs 8/- 673, Prince Igor, Overture 6/- 662, Second Horn Concerto 8/- 677, Symphonie fur Blaser 2 r/- Ts;:r s^;,o, , ?r 64, Variationngs on a Them44e of5 / 666' <~antata 4/- Frank Bridge 7/- 6.0, Capriccio 8/- ' 66^, Divertimento 9/- AARON COPLAND 630, Octet for Wind Instr. 72, Billy the Kid 1 $/- (Revised 19^2 version) s/- 676, An Outdoor Overture $/- 6^2, Persephone 11/- 671, Quartet for Piano & Str. 5/- 672, Symphonies of Wind Instr. 675, Sextet £J- (Revised 1947 version) s/- Obtainable at all Music Dealers or direct from the Publishers. -
Leaves of Grass
Leaves of Grass by Walt Whitman AN ELECTRONIC CLASSICS SERIES PUBLICATION Leaves of Grass by Walt Whitman is a publication of The Electronic Classics Series. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any pur- pose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. Leaves of Grass by Walt Whitman, The Electronic Clas- sics Series, Jim Manis, Editor, PSU-Hazleton, Hazleton, PA 18202 is a Portable Document File produced as part of an ongoing publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Jim Manis is a faculty member of the English Depart- ment of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pages are not copyrighted within the United States; however, the fonts used may be. Cover Design: Jim Manis; image: Walt Whitman, age 37, frontispiece to Leaves of Grass, Fulton St., Brooklyn, N.Y., steel engraving by Samuel Hollyer from a lost da- guerreotype by Gabriel Harrison. Copyright © 2007 - 2013 The Pennsylvania State University is an equal opportunity university. Walt Whitman Contents LEAVES OF GRASS ............................................................... 13 BOOK I. INSCRIPTIONS..................................................... 14 One’s-Self I Sing .......................................................................................... 14 As I Ponder’d in Silence............................................................................... -
Delius (1862-1934)
BRITISH ORCHESTRAL MUSIC (Including Orchestral Poems, Suites, Serenades, Variations, Rhapsodies, Concerto Overtures etc) A Discography of CDs & LPs Prepared by Michael Herman Frederick Delius (1862-1934) Born in Bradford to German parents. His family had not destined him for a musical career but due to the persuasion of Edvard Grieg his father allowed him to attend the Leipzig Conservatory where he was a pupil of Hans Sitt and Carl Reinecke. His true musical education, however, came from his exposure to the music of African-American workers in Florida as well as the influences of Grieg, Wagner and the French impressionists. His Concertos and other pieces in classical forms are not his typical works and he is best known for his nature-inspired short orchestral works. He also wrote operas that have yielded orchestral preludes and intermezzos in his most characteristic style. Sir Thomas Beecham was his great champion both during Delius’ lifetime and after his death. Air and Dance for String Orchestra (1915) Norman Del Mar/Bournemouth Symphony Orchestra ( + Elgar: Serenade for Strings, Vaughan Williams: Concerto Grosso and Warlock: Serenade) EMI CDM 565130-2 (1994) (original LP release: HMV ASD 2351) (1968) Vernon Handley/London Philharmonic Orchestra ( + Summer Evening, On Hearing the First Cuckoo in Spring, Summer Night on the River, Vaughan Williams: The Wasps Overture and Serenade to Music) CHANDOS CHAN 10174 (2004) (original CD release: CHANDOS CHAN 8330) (1985) Richard Hickox/Northern Sinfonia ( + Summer Evening, Winter Night, On Hearing the First Cuckoo in Spring, Summer Night on the River, A Song Before Sunrise, La Calinda, Hassan – Intermezzo and Serenade, Fennimore and Gerda – Intermezzo and Irmelin – Prelude) EMI BRITISH COMPOSERS CDM 5 65067 2 (1994) (original CD release: EMI CDC 7 47610 2) (1986) David Lloyd-Jones/English Northern Philharmonia ( + Bridge: Cherry Ripe, Sally in our Alley, Sir Roger de Coverley), Haydn Wood: Fantasy-Concerto, Ireland: The Holy Boy, Vaughan Williams: Charterhouse Suite, Elgar: Sospiri, Warlock: Serenade, G. -
Music for a Time of War
MUSIC FOR A TIME OF WAR THE OREGON SYMPHONY CARLOS KALMAR Charles Ives (1874-1954) Charles Ives some of their most open and expansive works. 1 The Unanswered Question (1906, rev. c. 1930-1935) 5. 44 The Unanswered Question Jeffrey Work, Trumpet During the US Civil War, Whitman served as a nurse where he wit- harles Ives penned “The Unanswered Question” in 1906 for a soli- nessed the horror of battlefield hospitals. In The Wound-Dresser, for John Adams (b. 1947) Ctary probing trumpet, four quarrelsome woodwinds and only a baritone and orchestra, Adams memorializes the experience in a hushed 2 The Wound-Dresser (1989) 20. 18 Sanford Sylvan, Baritone small complement of strings. There is something quintessentially and dignified manner. It was composed in 1989, the year after Adams’ Jun Iwasaki, Violin American about the notion of addressing the meaning of existence in father died. The composer had watched his mother care for her husband under five minutes. But no one has accused it of being any the less for for several years, and during the same period he’d seen friends suffer Benjamin Britten (1913-1976) its economy of scale, and Ives’ innovations are still with us. and die of AIDS. He says “The Wound-Dresser is the most intimate, most Sinfonia da Requiem, Op. 20 (1940) 3 Lacrymosa (Andante ben misurato) 8. 34 Stasis is a problem for composers – like watching musical paint dry – graphic and most profoundly affecting evocation of the act of nursing 4 Dies Irae (Allegro con fuoco) 4. 53 so how to reveal timelessness? Ives devises a hushed, glacially revolving the sick and dying that I know of… It strikes me as a statement about 5 Requiem Aeternam (Andante molto tranquillo) 5. -
REVERBERATING REFLECTIONS of WHITMAN: a DARK ROMANTIC REVEALED DISSERTATION Presented to the Graduate Council of the University
3-iq REVERBERATING REFLECTIONS OF WHITMAN: A DARK ROMANTIC REVEALED DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Lisa Kirkpatrick Lundy, B.A. Denton, Texas August, 1999 Lundy, Lisa A. Kirkpatrick, Reverberating Reflections of Whitman: A Dark Romantic Revealed. Doctor of Philosophy (English), August, 1999, 146 pp. Works cited, 150 entries. Walt Whitman has long been celebrated as a Romantic writer who celebrates the self, reveres Nature, claims unity in all things, and sings praises to humanity. However, some of what Whitman has to say has been overlooked. Whitman often questioned the goodness of humanity. He recognized evil in various shapes. He pondered death and the imperturbability of Nature to human death. He exhibited nightmarish imagery in some of his works and gory violence in others. While Whitman has long been called a celebratory poet, he is nevertheless also in part a writer of the Dark Romantic. Instead of always presenting the universe as an orderly, harmonious system, and perpetuating his vision of the self—one of order, harmony, and complexity of detail—his tendency is toward blackness, toward the "mind-gloom" of a movement that became an evident outgrowth of American Romanticism. Whitman's earlier works are, as Reynolds claims, "scarred with suffering" (53). Because of three periods in Whitman's life, he is in fact a Dark Romantic. As a young school teacher, Whitman suffered the humiliation of low pay, little respect, no privacy, and at some point a tragic crisis that reverberates throughout much of his literature on and about education and authority figures. -
Indianapolis Symphony Orchestra Discography
INDIANAPOLIS SYMPHONY ORCHESTRA DISCOGRAPHY 2012 Music of Antonin Dvořák Telarc Jun Märkl, Conductor TEL-32927-02 Zuill Bailey, Cello Concerto in B Minor for Cello and Orchestra, Op. 104 Zuill Bailey, Cello The Water Goblin, Op. 107 In Nature’s Realm, Op. 91 2008 A Christmas Greeting from Raymond Leppard Raymond Leppard, Conductor Elizabeth Futral, Soprano Carolina Castells, Soprano Julie Grindle, Mezzo-Soprano Alan Bennett, Tenor Adam Ewing, Baritone Kenneth Pereira, Baritone Robert Danforth, Horn Apollo’s Voice, Chamber Chorus Compilation of favorites from ISO’s annual Classical Christmas concerts ELGAR A Christmas Greeting, Op. 52 RAFF Lullaby from Octet for Strings, Op. 176 Elizabeth Futral, Soprano Arr. Leppard Past Three O’Clock: A Sequence of Carols Elizabeth Futral, Soprano GRAINGER The Sussex Mummer’s Carol Robert Danforth, Horn CORNELIUS A Child’s Christmas Elizabeth Futral, Soprano Arr. Leppard Angelus ad Virgenem Adam Ewing, Baritone Arr. Leppard Tomorrow Shall Be My Dancing Day Kenneth Pereira, Baritone MONTEVERDI Currite populi: In Praise of St. Nicholas Alan Bennett, Tenor Arr. Leppard Fantasia on Old Words and Tunes for Christmas Carolina Castells, Soprano Julie Grindle, Mezzo-Soprano 2006 Mozart Piano Concertos 9 & 25, Rondo K. 386 Onyx Classics Raymond Leppard, Conductor Onyx 4013 Pascal Rogé, Piano Piano Concerto No. 9 in E-flat Major, K. 271 (“Jeunehomme”) Piano Concerto No. 25 in C Major, K. 503 Rondo in A Major for Piano & Orchestra, K. 386 2004 Yuletide Celebration (Volume One) Jack Everly, Conductor Sandi Patty, Soprano Daniel Rodriguez, Tenor Benjamin Brecher, Tenor Scott Tucker, Tenor Chad Freeburg, Tenor Don Peslis, Tenor Kathy Hacker, Soprano Jerry Hacker, Tenor Philip Palermo, Violin Compilation of favorites from ISO’s Holiday production, Yuletide Celebration Arr.