DOCSLIB.ORG

Download Booklet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Booklet WHITHER MUST I WANDER? Three Shakespeare Songs, Op.6 Roger Quilter (1877-1953) i ENGLISH SONGS BY VAUGHAN WILLIAMS, Come away, Death [2.36] o O Mistress mine [1.29] FINZI & QUILTER p Blow, blow, thou Winter Wind [2.33] a Silent Noon (From The House of Life) Ralph Vaughan Williams [4.06] Songs of Travel Ralph Vaughan Williams (1872-1958) s Linden Lea Ralph Vaughan Williams [2.32] 1 The Vagabond [3.04] d Blackmwore by the Stour Ralph Vaughan Williams [2.03] 2 Let Beauty Awake [1.38] Total timings: [65.09] 3 The Roadside Fire [2.19] 4 Youth and Love [3.27] 5 In Dreams [2.51] DAVID JOHN PIKE BARITONE 6 The Infinite Shining Heavens [2.15] ISABELLE TRÜB PIANO 7 Whither must I wander? [3.34] www.signumrecords.com 8 Bright is the ring of words [1.40] 9 I have trod the upward and the downward slope [1.41] From Five Mystical Songs Ralph Vaughan Williams Life’s Journey Home 0 I got me flowers [2.36] ‘For my part, I travel not to go anywhere, but to go. I travel for When Fernand Weides, Director of Luxembourg’s q Love bade me welcome [5.36] travel’s sake. The great affair is to move; to feel the needs and radio 100,7, invited me to record a song cycle, hitches of our life more nearly; to come down off this featherbed w The Call [2.13] of civilisation and find the globe granite underfoot and strewn we had in mind one of the masterpieces by Let us garlands bring, Op.18 Gerald Finzi (1901-1956) with cutting flints.’ Schubert or Schumann that are treasured in the e Come away, come away, death [4.08] German-speaking world and beyond. On reflection Robert Louis Stevenson, however, and as a Canadian-British baritone in r Who is Silvia? [1.28] Travels with a Donkey in the Cévennes, 1879 my adopted Luxembourg, I was drawn to put t Fear no more the heat o’ the sun [6.24] Cover Image - Lighthouse at Rattray Head, Aberdeenshire, our own mark on repertoire that is well known y O Mistress Mine [2.09] built by David Alan Stevenson, 1895. in English-speaking parts of the world u It was a lover and his lass [2.47] Photograph by Sébastien Grébille but performed less frequently elsewhere. What - 3 - better place to start than with Ralph Vaughan took him well beyond the coast of Scotland Vaughan Williams’ Five Mystical Songs are songs offer manic contrast with ‘It was a lover Williams whose works paved the road from on an astonishingly adventurous, bohemian settings of poems from George Herbert’s and his lass’ presenting a frivolous, if slightly the previous English parlour song tradition to and artistically-inspiring odyssey. He first celebrated collection The Temple. The five naughty tonic of optimism to end the cycle. a mature art song culture. sought broader horizons in continental Europe, songs are normally performed by baritone, Quilter’s Three Shakespeare Songs include lighter most famously by canoe (An Inland Voyage, choir and orchestra; however, for this recording, interpretations of ‘Come away, Death’ and Vaughan Williams’ works, from hymns to his 1878) and donkey (Travels with a Donkey in the we have selected three which are well suited ‘O Mistress mine’ which have also become grand symphonies and of course, the songs Cévennes, 1879) through France and Belgium, to piano and solo voice. ‘I got me Flowers’ and favorites of the English songbook. which we have chosen for this recording, distill where he was to meet his future American wife ‘The Call’ are superb examples of Vaughan the British countryside into a quintessential, and step children. It was to join his new found Williams’ ability to elaborate simple tunes, To round out our programme we come back luxuriant and nostalgic musical form. His Songs family that he started a westward path first to plainsong and hymns into moving messages to Vaughan Williams, starting with ‘Silent of Travel, which have found their permanent New York, then to San Francisco. Ultimately, of faith and mysticism. Herbert himself wrote Noon’, taken from his House of Life cycle by place in the English songbook, and which are and quite remarkably, he ventured further to that music was ‘not a science only, but a divine Rosetti. This song transports me to the even referred to by some as the British Samoa, where he was to spend the rest of his voice’, a view that Vaughan Williams and many English countryside in June, high on the downs Winterreise, were an obvious point of departure life, revered by the islands’ natives. His Songs of us share. ‘Love bade me welcome’, through its overlooking the shires, poppies nodding in for us. The songs are settings from Robert of Travel, a collection of poems written over his rhapsodic mystical romanticism, demonstrates fresh corn fields, slumbering with my girl. A Louis Stevenson’s collection of poems by the eclectic lifetime, evoke sentimental memories of that transcendence and conveys the essence more luxuriant evocation of the English same name, recounting the literal and allegorical things very Scottish therefore, but also need of the Christian message like few other works. countryside is hard to imagine. The ever popular experience of the vagabond’s adventures, to be heard in the enigmatic context of the ‘Linden Lea’ and more jovial ‘Blackmwore by trials, disappointments, joys and resolve. They South Pacific, with its own infinite shining Gerald Finzi’s Let us garlands bring is an obvious the Stour’ are ‘Dorset’ songs, although therefore easily evoke reflections of our own lives. heavens, and where Stevenson likely pondered accompaniment to the Vaughan Williams songs, contrivances, inasmuch as they were the some regrets, but also the satisfaction of not least because Finzi dedicated them product of two gentleman scholars at Key to Stevenson’s life journey was his rejection having found his new home. Stevenson’s life to his great mentor on the occasion of his Cambridge. They anticipate the nostalgic of the rather sensible option of completing his story resonates with me, having myself 70th birthday. This year marks the 70th themes of homeward journeys in the engineering studies at Edinburgh University taken up a musical vocation after following anniversary of that dedication at the National Songs of Travel, and are early examples and taking up the family lighthouse building a more conventional path, and, after having Gallery. In war-torn London, the tolling bells of of Vaughan Williams’ fascination with and business (the cover of this booklet shows left the familiarities of my origins, found ‘Come away death’ and the equally sombre eventual invaluable efforts to preserve the Rattray Head, built by Robert Louis’ cousin, comfort and satisfaction as a foreigner and elegiac but accepting ‘Fear no more the English folk tradition. David Alan Stevenson in 1895). Instead, he amongst warmly welcoming natives in my heat o’ the sun’ must have been particularly began his extraordinary life of letters, and travel newly adopted homeland. moving for that first audience. The remaining By David John Pike, Kingston, Canada, 12 October 2012. - 4 - - 5 - Vaughan Williams, Quilter and Finzi of Elwes survives in the British Library. Perhaps one of his most popular pieces ever since. compositions and indeed, after the death of a key difference between the two composers Settings of William Barnes were followed by Vaughan Williams’ close friend Gustav Holst in Ralph Vaughan Williams and Roger Quilter was the extent to which Vaughan Williams settings of Dante Gabriel Rossetti, including a 1934, Vaughan Williams, in his turn, included were born five years apart, in 1872 and 1877 became imbued with the spirit of English cycle entitled The House of Life, which included Finzi in the circle of friends on whom he tried respectively, and died five years apart, in 1958 folksong whereas Quilter’s roots lay closer to ‘Silent Noon’, and a cantata Willow Wood. out his major new compositions. lt was therefore and 1953. They were thus contemporaries. the mainstream German artsong. His attention then moved on to the poetry natural that Finzi wanted to mark his friend’s However, though they knew each other and of Robert Louis Stevenson and the cycle Songs 70th birthday by dedicating a new work to occasionally corresponded, they were not close Once he left college, Vaughan Williams spent of Travel quickly established itself as a major him, his cycle of Shakespeare songs Let us friends. They both had similar well-to-do family time in Berlin studying with Max Bruch in work in the vocal repertoire. Vaughan Williams’ garlands bring. Finzi wrote to the composer’s backgrounds, the one deriving money through 1897-98 and on his return set about establishing next inspiration was Walt Whitman, whose first wife Adeline telling her of his intention his mother from the well-established Wedgwood himself as a composer. Apart from the Five words he set in Toward the Unknown Region which she warmly welcomed, though she china business, the other from stockbroking Mystical Songs which were written in 1911, the for chorus and orchestra (1907), and then the requested the omission of any reference to in the City of London, but as composers they songs on this disc were written in the period work which put Vaughan Williams’ name firmly her husband’s age in the dedication which were very different. Quilter went in 1896 to 1901-1904 when he was gradually finding his on the English musical map, A Sea Symphony reads ‘For Ralph Vaughan Williams on his study at the Conservatory at Frankfurt and individual voice.
Load more

Recommended publications
  • Canções E Modinhas: a Lecture Recital of Brazilian Art Song Repertoire Marcía Porter, Soprano and Lynn Kompass, Piano
    Canções e modinhas: A lecture recital of Brazilian art song repertoire Marcía Porter, soprano and Lynn Kompass, piano As the wealth of possibilities continues to expand for students to study the vocal music and cultures of other countries, it has become increasingly important for voice teachers and coaches to augment their knowledge of repertoire from these various other non-traditional classical music cultures. I first became interested in Brazilian art song repertoire while pursuing my doctorate at the University of Michigan. One of my degree recitals included Ernani Braga’s Cinco canções nordestinas do folclore brasileiro (Five songs of northeastern Brazilian folklore), a group of songs based on Afro-Brazilian folk melodies and themes. Since 2002, I have been studying and researching classical Brazilian song literature and have programmed the music of Brazilian composers on nearly every recital since my days at the University of Michigan; several recitals have been entirely of Brazilian music. My love for the music and culture resulted in my first trip to Brazil in 2003. I have traveled there since then, most recently as a Fulbright Scholar and Visiting Professor at the Universidade de São Paulo. There is an abundance of Brazilian art song repertoire generally unknown in the United States. The music reflects the influence of several cultures, among them African, European, and Amerindian. A recorded history of Brazil’s rich music tradition can be traced back to the sixteenth-century colonial period. However, prior to colonization, the Amerindians who populated Brazil had their own tradition, which included music used in rituals and in other aspects of life.
    [Show full text]
  • VAUGHAN WILLIAMS His Broadcasting Career Covers Both Radio and Television
    557643bk VW US 16/8/05 5:02 pm Page 5 8.557643 Iain Burnside Songs of Travel (Words by Robert Louis Stevenson) 24:03 1 The Vagabond 3:24 The English Song Series • 14 DDD Iain Burnside enjoys a unique reputation as pianist and broadcaster, forged through his commitment to the song 2 Let Beauty awake 1:57 repertoire and his collaborations with leading international singers, including Dame Margaret Price, Susan Chilcott, 3 The Roadside Fire 2:17 Galina Gorchakova, Adrianne Pieczonka, Amanda Roocroft, Yvonne Kenny and Susan Bickley; David Daniels, 4 John Mark Ainsley, Mark Padmore and Bryn Terfel. He has also worked with some outstanding younger singers, Youth and Love 3:34 including Lisa Milne, Sally Matthews, Sarah Connolly; William Dazeley, Roderick Williams and Jonathan Lemalu. 5 In Dreams 2:18 VAUGHAN WILLIAMS His broadcasting career covers both radio and television. He continues to present BBC Radio 3’s Voices programme, 6 The Infinite Shining Heavens 2:15 and has recently been honoured with a Sony Radio Award. His innovative programming led to highly acclaimed 7 Whither must I wander? 4:14 recordings comprising songs by Schoenberg with Sarah Connolly and Roderick Williams, Debussy with Lisa Milne 8 Songs of Travel and Susan Bickley, and Copland with Susan Chilcott. His television involvement includes the Cardiff Singer of the Bright is the ring of words 2:10 World, Leeds International Piano Competition and BBC Young Musician of the Year. He has devised concert series 9 I have trod the upward and the downward slope 1:54 The House of Life • Four poems by Fredegond Shove for a number of organizations, among them the acclaimed Century Songs for the Bath Festival and The Crucible, Sheffield, the International Song Recital Series at London’s South Bank Centre, and the Finzi Friends’ triennial The House of Life (Words by Dante Gabriel Rossetti) 26:27 festival of English Song in Ludlow.
    [Show full text]
  • Mélodie French Art Song Recital; Wednesday, April 28, 2021
    UCM Music Presents UCM Music Presents MÉLODIE FRENCH ART SONG RECITAL Dr. Stella D. Roden and Students MÉLODIE FRENCH ART SONG RECITAL Dr. Stella D. Roden and Students Hart Recital Hall Cynthia Groff, piano Hart Recital Hall Cynthia Groff, piano Wednesday, April 28, 2021 Denise Robinson, piano Wednesday, April 28, 2021 Denise Robinson, piano 7:00 p.m. 7:00 p.m. In consideration of the performers, other audience members, and the live recording of this concert, please In consideration of the performers, other audience members, and the live recording of this concert, please silence all devices before the performance. Parents are expected to be responsible for their children's behavior. silence all devices before the performance. Parents are expected to be responsible for their children's behavior. Le Charme Ernest Chausson (1855-1899) Le Charme Ernest Chausson (1855-1899) Lucas Henley, baritone Lucas Henley, baritone Les cygnes Reynaldo Hahn (1874-1947) Les cygnes Reynaldo Hahn (1874-1947) Anna Sanderson, soprano Anna Sanderson, soprano Lydia Gabriel Fauré (1845-1924) Lydia Gabriel Fauré (1845-1924) Alex Scharfenberg, tenor Alex Scharfenberg, tenor Ici-bas! Claude Debussy (1862-1918) Ici-bas! Claude Debussy (1862-1918) Gabrielle Moore, soprano Gabrielle Moore, soprano Fleur desséchée Pauline García Viardot (1821-1910) Fleur desséchée Pauline García Viardot (1821-1910) Janie Turner, soprano Janie Turner, soprano Le lever de la lune Camille Saint-Saëns (1835-1921) Le lever de la lune Camille Saint-Saëns (1835-1921) Nikolas Baumert, baritone Nikolas Baumert, baritone continued on reverse continued on reverse Become a Concert Insider! Text the word “concerts” to 660-248-0496 Become a Concert Insider! Text the word “concerts” to 660-248-0496 or visit ucmmusic.com to sign up for news about upcoming events.
    [Show full text]
  • Melding Music and Poetry: Teaching German Art Song to English-Speaking College Students
    International Journal for Cross-Disciplinary Subjects in Education (IJCDSE), Special Issue Volume 4 Issue 1, 2014 Melding Music and Poetry: Teaching German Art Song to English-Speaking College Students Leslie Jones Southeast Missouri State University, United States of America Abstract The study of German Art Song is a critical examined, for it plays a vital role in this partnership. component of classical vocal music education. For our purposes here, we will use an art song by Undergraduate college students learn to perform Robert Schumann (1810-1856) to illustrate a songs in German, French, and Italian, as well as possible path to this goal. Our sample for this their native English. However, for many students, examination is ADer frohe Wandersmann@ (Opus 77, this becomes an exercise in memorizing random No. 1). disjointed syllables and perhaps a few key words. Much of the depth of the interpretation is then lost, 2. Musical Mechanics both to the student and to the audience. This paper offers an alternative approach, incorporating literary aspects of learning a song in German along with the strictly musical aspects. These musical aspects, such as pitches, rhythms, and musical phrases, are enhanced by knowledge of historical Figure 1. Beginning of song context, poetic form, rhyme, and interpretive possibilities. Together, a much more complete and First, the meter and basic rhythmic structure is meaningful performance is possible. examined. The metrical marking of Ac@ (common time, or 4/4) is equivalent to four beats per measure 1. Introduction (the structure of the beats), and the rhythm (how those beats are divided and distributed in the Art song literature is a rich treasure, and these are measure) overlies that steady beat.
    [Show full text]
  • PROGRAM NOTES by Phillip Huscher
    PROGRAM NOTES by Phillip Huscher Ralph Vaughan Williams – Symphony No. 5 in D Major Born October 12, 1872, Gloucestershire, England. Died August 26, 1958, London, England. Symphony No. 5 in D Major Vaughan Williams made his first sketches for this symphony in 1936, began composition in earnest in 1938, completed the work early in 1943, and made minor revisions in 1951. The first performance was given on June 24, 1943, at a Promenade Concert in Royal Albert Hall, with the composer conducting the London Philharmonic. The score calls for two flutes and piccolo, two oboes and english horn, two clarinets, two bassoons, two horns, two trumpets, three trombones, timpani, and strings. Performance time is approximately forty-two minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Vaughan Williams’s Fifth Symphony were given at Orchestra Hall on March 22 and 23, 1945, with Désiré Defauw conducting. Our most recent subscription concert performances were given on April 16, 17, and 18, 1987, with Leonard Slatkin conducting. Very early in the twentieth century, Ralph Vaughan Williams began to attract attention as a composer of tuneful songs. But, he eventually declared himself a symphonist, and over the next few years—the time of La mer, Pierrot lunaire, and The Rite of Spring—that tendency alone branded him as old-fashioned. His first significant large-scale work, the Fantasia on a Theme of Thomas Tallis, composed in 1910, is indebted to the music of his sixteenth-century predecessor and to the great English tradition. His entire upbringing was steeped in tradition—he was related both to the pottery Wedgwoods and Charles Darwin.
    [Show full text]
  • Vaughan Williams
    VAUGHAN WILLIAMS The Lark Ascending Suite of Six Short Pieces The Solent Fantasia Jennifer Pike, Violin Sina Kloke, Piano Chamber Orchestra of New York Salvatore Di Vittorio Ralph Vaughan Williams (1872-1958): The Lark Ascending a flinty, tenebrous theme for the soloist is succeeded by an He rises and begins to round, The Solent · Fantasia for Piano and Orchestra · Suite of Six Short Pieces orchestral statement of a chorale-like melody. The rest of He drops the silver chain of sound, the work offers variants upon these initial ideas, which are Of many links without a break, rigorously developed. Various contrasting sections, In chirrup, whistle, slur and shake. Vaughan Williams’ earliest compositions, which date from The opening phrase of The Solent held a deep significance including a scherzo-like passage, are heralded by rhetorical 1895, when he left the Royal College of Music, to 1908, for the composer, who returned to it several times throughout statements from the soloist before the coda recalls the For singing till his heaven fills, the year he went to Paris to study with Ravel, reveal a his long creative life. Near the start of A Sea Symphony chorale-like theme in a virtuosic manner. ’Tis love of earth that he instils, young creative artist attempting to establish his own (begun in the same year The Solent was written), it appears Vaughan Williams’ mastery of the piano is evident in And ever winging up and up, personal musical language. He withdrew or destroyed imposingly to the line ‘And on its limitless, heaving breast, the this Fantasia and in the concerto he wrote for the Our valley is his golden cup many works from that period, with the notable exception ships’.
    [Show full text]
  • Directed by Kendall Campbell, Burton Community Church Spring, 1990?
    Nov. 12, 1989 - Directed by Kendall Campbell, Burton Community Church Spring, 1990? (no info found) Nov. 18, 1990 – Directed by Jerry McGee, Vashon Lutheran Church Two Madrigals, “Since I First Saw Your Face” & “Musik Dein Ganz Lieblich Kunst” American Folk Songs – “Gentle Lena Clare” & “Misty Morning” “I’ll Sail Upon the Dog Star”, “Whither Must I Wander?” & “Simple Gifts” – G. Koch “Benedictus” by Camille Saint-Saens “Thanks to the Pail”, “The Singer” & “Under the Sea” – M. Ericksen Songs of the Sea – “Just As the Tide Was Flowing” & “High Barbary” April 27, 1991 – Directed by Jerry McGee, LDS Church Concerto Grosso Op. 6 Nr. 1 by G. F. Handel Missa Solemnis in B Flat Major by F.J. Haydn (Kalmus) Dec. 8, 1991 – Directed by Jerry McGee, LDS Church Vesperare Solemnes De Confessore by W.A. Mozart, Kalmus April 12, 1992 – Directed by Jerry McGee, Vashon Island Theater Frostiana, Seven Country Songs, music by Randall Thompson American Spirituals, arr. Harry T. Burleigh Swing Low, arr. G. Alan Smith Wondrous Cool, arr. J. Brahms Phantom of the Opera Choral Medley Dec. 6, 1992 – Directed by Jerry McGee, SJV Church Mass in G by F. Schubert, Schirmer edition Gloria by A. Vivaldi, Kalmus edition April 25, 1993 – Directed by Jerry McGee, McMurray School Come To Me, O My Love by Allan Robert Petker Lavender’s Blue, arr. Gordon Langford The Owl & the Pussycat, arr. Robert Chilcott Give Me a Good Digestion, Lord, arr. Ferguson Turkey In the Straw, arr. Alice Parker Home Is a Special Kind of Feeling by John Rutter, Hinshaw Music Basketball! A Court Jest by Bayne Dobbins Two Chorales from Sørlandet by Bjarne SlØgedal Amazing Grace, arr.
    [Show full text]
  • British Roots
    Thursday 12 December 2019 7.30–9.30pm Barbican LSO SEASON CONCERT BRITISH ROOTS Tippett Concerto for Double String Orchestra Elgar Sea Pictures Interval PAPPANO Vaughan Williams Symphony No 4 Sir Antonio Pappano conductor Karen Cargill mezzo-soprano Supported by LSO Friends Broadcast live on BBC Radio 3 6pm Barbican LSO Platforms: Guildhall Artists Vaughan Williams Phantasy Quintet Howells Rhapsodic Quintet Portorius Quartet Welcome News On Our Blog Thank you to our media partners: BBC Radio 3, LSO STRING EXPERIENCE SCHEME BELA BARTÓK AND who broadcast the performance live, and THE MIRACULOUS MANDARIN Classic FM, who have recommended the We are delighted to appoint 14 players to concert to their listeners. We also extend this year’s LSO String Experience cohort. Against a turbulent political background, sincere thanks to the LSO Friends for their Since 1992, the scheme has been enabling Bartók wrote his pantomime-ballet The important support of this concert; we are young string players from London’s music Miraculous Mandarin, which a German delighted to have so many Friends and conservatoires to gain experience playing in music journal reported caused ‘waves of supporters in the audience tonight. rehearsals and concerts with the LSO. They moral outrage’ to ‘engulf the city’ when it will join the Orchestra on stage for concerts premiered in Cologne. Ahead of tonight’s performance, the in the New Year. Guildhall School’s Portorius Quartet gave elcome to this evening’s LSO a recital of music by Vaughan Williams WHAT’S NEXT FOR OUR 2018/19 concert at the Barbican. It is a and Howells on the Barbican stage.
    [Show full text]
  • RVW Final Feb 06 21/2/06 12:44 PM Page 1
    RVW Final Feb 06 21/2/06 12:44 PM Page 1 Journal of the No.35 February 2006 In this issue... James Day on Englishness page 3 RVWSociety Tony Williams on Whitman page 7 Simona Pakenham writes for the Journal To all Members: page 11 Em Marshall on Holst Can you help? page 14 Six pages of CD and DVD reviews Our f irst r ecording v enture – the rar e songs of Vaughan Williams – has r eached a Page 22 critical point such that we no w need at least 100 members to each support us with a £100 subscription. Could you help us? and more . The project The rare songs will fill two CDs. We begin with Songs from the Operas and this includes ten songs from Hugh the Drover, arranged by the composer for voice and piano. These are world premiere recordings in this arrangement and are all quite lo vely. Our second CD covers the CHAIRMAN Early Years and includes man y songs ne ver previously recorded. These two CDs will be Stephen Connock MBE recorded in 2006-07 and issued separately thereafter. 65 Marathon House 200 Marylebone Road There is much wonderful music here, so rare and yet of such quality!The overall project will London NW1 5PL cost around £25,000 using the f inest singers and state of the art recording. We do not want Tel: 01728 454820 to compromise on quality – thus our need for members’support to drive the project forward. Fax: 01728 454873 [email protected] The Subscriptions’ benefits Both CDs will cost over £25,000.
    [Show full text]
  • A Walt Whitman Sampler LEON BOTSTEIN, Conductor
    Wednesday Evening, October 17, 2018, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents A Walt Whitman Sampler LEON BOTSTEIN, Conductor OTHMAR SCHOECK Trommelschläge, Op. 26 BARD FESTIVAL CHORALE JAMES BAGWELL, Director KURT WEILL Four Walt Whitman Songs Beat! Beat! Drums! Oh Captain! My Captain! Come up from the Fields, Father Dirge for Two Veterans EDWARD NELSON, Baritone FRANZ SCHREKER Vom ewigen Leben (From Eternal Life) ANGEL BLUE, Soprano Intermission RALPH VAUGHAN A Sea Symphony (Symphony No. 1) WILLIAMS I. A Song for All Seas, All Ships II. On the Beach at Night Alone III. The Waves IV. The Explorers ANGEL BLUE, Soprano EDWARD NELSON, Baritone BARD FESTIVAL CHORALE JAMES BAGWELL, Director This performance is dedicated to the memory of Susana Meyer, long-time artistic consultant of the American Symphony Orchestra, respected colleague and friend. This evening’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission. This program has been made possible due in part to the Kurt Weill Foundation for Music, Inc., New York, NY. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Whitman and Democracy comprehend the English of Shakespeare by Leon Botstein or even Jane Austen without some reflection. (Indeed, even the space Among the most arguably difficult of between one generation and the next literary enterprises is the art of transla- can be daunting.) But this is because tion. Vladimir Nabokov was obsessed language is a living thing. There is a about the matter; his complicated and decided family resemblance over time controversial views on the processes of within a language, but the differences transferring the sensibilities evoked by in usage and meaning and in rhetoric one language to another have them- and significance are always developing.
    [Show full text]
  • Performing Chinese Contemporary Art Song
    Performing Chinese Contemporary Art Song: A Portfolio of Recordings and Exegesis Qing (Lily) Chang Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Elder Conservatorium of Music Faculty of Arts The University of Adelaide July 2017 Table of contents Abstract Declaration Acknowledgements List of tables and figures Part A: Sound recordings Contents of CD 1 Contents of CD 2 Contents of CD 3 Contents of CD 4 Part B: Exegesis Introduction Chapter 1 Historical context 1.1 History of Chinese art song 1.2 Definitions of Chinese contemporary art song Chapter 2 Performing Chinese contemporary art song 2.1 Singing Chinese contemporary art song 2.2 Vocal techniques for performing Chinese contemporary art song 2.3 Various vocal styles for performing Chinese contemporary art song 2.4 Techniques for staging presentations of Chinese contemporary art song i Chapter 3 Exploring how to interpret ornamentations 3.1 Types of frequently used ornaments and their use in Chinese contemporary art song 3.2 How to use ornamentation to match the four tones of Chinese pronunciation Chapter 4 Four case studies 4.1 The Hunchback of Notre Dame by Shang Deyi 4.2 I Love This Land by Lu Zaiyi 4.3 Lullaby by Shi Guangnan 4.4 Autumn, Pamir, How Beautiful My Hometown Is! by Zheng Qiufeng Conclusion References Appendices Appendix A: Romanized Chinese and English translations of 56 Chinese contemporary art songs Appendix B: Text of commentary for 56 Chinese contemporary art songs Appendix C: Performing Chinese contemporary art song: Scores of repertoire for examination Appendix D: University of Adelaide Ethics Approval Number H-2014-184 ii NOTE: 4 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library.
    [Show full text]
  • Musical Theatre – Comedy/Upbeat/Ballad Pop Folk
    Voice Musical Theatre – Comedy/Upbeat/Ballad A selection from modern musicals, Broadway shows or movies. Choreography and costumes are encouraged in Musical Theatre classes. No cabaret selections are permitted. Pop A selection from pop hits repertoire. Choreography and costumes are encouraged in Musical Theatre classes. No cabaret selections are permitted. Folk Song Traditional songs, Spirituals or Ballads where the original composer is unknown. Arrangements are permitted and may be sung in the original language or English translation. Art Song Art songs may be sung in Italian, French, German, English or any of the other languages found in the classical song repertoire. Original languages are encouraged and preferred, particularly at the intermediate and senior levels, however, as previously stated, English translations may be performed. Opera Any aria from the operatic repertoire may be performed for this category. The aria must be sung in the original language and performance of any recitative passage preceding the aria is optional. Oratorio Any aria from the oratorio repertoire may be performed for this category. The aria must be sung in the original language and performance of any recitative passage preceding the aria is optional. Sacred Solo / Oratorio A solo section from a cantata or other similar work or composer of a sacred work. Additional Repertoire Occasionally students will be working on more than one composition from the same category; the Additional Repertoire category provides an opportunity for the competitor to enter a composition that duplicates one of the other categories. e.g. the competitor may enter two popular works; one in the popular category and the other popular selection in the Additional Repertoire class.
    [Show full text]