DOCSLIB.ORG

The Soldier's Tale

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Soldier's Tale STRAVINSKY The Soldier’s Tale (Complete) Tianwa Yang, Violin Fred Child, Narrator Jared McGuire, The Soldier Jeff Biehl, The Devil Virginia Arts Festival Chamber Players JoAnn Falletta Igor Igor Stravinsky (1882-1971) and Charles-Ferdinand Ramuz (1878-1947) STRAVINSKY The Soldier’s Tale (1882-1971) Igor Stravinsky was the son of a distinguished bass in The Firebird with a red flag, was soon succeeded by The Soldier’s Tale soloist at the Mariinsky Theatre in St Petersburg, creator distaste for the new regime and the decision not to return of important rôles in new operas by Tchaikovsky and to Russia. Text by Charles-Ferdinand Ramuz (1878-1947) Rimsky-Korsakov. He was born, the third of four sons, at In 1934 Stravinsky had taken out French citizenship English version by Michael Flanders and Kitty Black, revised by Pamela Berlin Oranienbaum on the Gulf of Finland in the summer of but five years later, with war imminent in Europe, he 1882. In childhood his ability in music did not seem moved to the United States, where he had already enjoyed Part I Part II exceptional, but he was able to study privately with considerable success. The death of his first wife allowed 1 Introduction: The Soldier’s March 1:52 # The Soldier’s March (reprise) – Rimsky-Korsakov, who became a particularly important him to marry a woman with whom he had enjoyed a long 2 Soldier: This isn’t a bad place to stop... 0:55 Narrator: Down a hot and dusty road... 1:42 influence after the death of Stravinsky’s strong-minded earlier association and the couple settled in Hollywood, $ Narrator: Now he comes to another land... 2:29 father in 1902. He completed a degree in law in 1905, where the climate seemed congenial. Income from his Scene 1 % Royal March 2:39 3 Airs by a Stream 2:27 ^ Narrator: They gave the word married in the following year and increasingly devoted compositions was at last safeguarded by his association 4 Devil: Give me your fiddle... 3:55 for the band to play... 4:49 himself to music. Stravinsky’s first significant success with the publishers Boosey and Hawkes in 1945, the year 5 The Soldier’s March (reprise) 1:39 & The Little Concert 2:55 came when the impresario Diaghilev, a distant relative on of his naturalisation as an American citizen. 1951 saw the 6 Narrator: Hurray, here we are!... 2:26 * Narrator: There on her bed the Princess lies... 0:18 his mother’s side of the family, commissioned from him completion and first performance of the English opera The the ballet The Firebird, first performed in Paris in 1910. Rake’s Progress, a work that marked the final height of his Scene 2 Three Dances 7 Pastorale 2:46 ( Tango 2:11 This was followed by the very Russian Petrushka in 1911 neo- classicism. The last period of his life brought a 8 Narrator: The Soldier looks up... 1:57 ) Valse 1:59 for the Diaghilev Ballets russes, with which he was now change to serialism, the technique of composition 9 Pastorale (reprise) 0:40 ¡ Ragtime 2:16 closely associated, leading, in 1913, to the notorious first developed by Arnold Schoenberg, a fellow-exile in 0 Narrator: He took the book and began to read... 2:23 performance of The Rite of Spring, first staged, like the California with whom he had never chosen to associate. In ™ Narrator: The Soldier holds the Princess close... 0:18 preceding ballets, in Paris. Although collaboration with 1962 he made a triumphant return to Russia for a series of Scene 3 £ The Devil’s Dance 1:23 ! Airs by a Stream – ¢ Narrator: The Devil’s exhausted... 0:10 Diaghilev was limited during the war, when Stravinsky concerts in celebration of his eightieth birthday. Among his Narrator: Just to stretch out on the grass... 4:06 ∞ The Little Chorale 0:38 lived principally in Switzerland, it was resumed with the final compositions are the Requiem Canticles of 1965-6, @ Airs by a Stream (reprise) 0:45 § The Devil’s Song – ballet Pulcinella in 1920, marking the composer’s which follow his Requiem Introitus for the death of the poet Devil: All right! I shall have to wait... 0:40 association with neo-classicism. The collaboration with T.S. Eliot, but prefigure his own death, which took place in ¶ Grand Chorale – Narrator: Diaghilev ended with what the latter described as a New York in April 1971. He was buried in the cemetery on You must not seek to add to what you have... 3:23 • Narrator: I have everything... 2:01 macabre present, Oedipus Rex, with a text by Cocteau, the island of San Michele in Venice, his grave near that of ª Triumphal March of the Devil 2:19 intended to mark the twentieth anniversary of Diaghilev’s Diaghilev, whose percipience had launched his career career as an impresario in 1927. sixty years before. Stravinsky has been compared to his near The war years, between 1914 and 1918, brought contemporary Picasso, the painter who provided decor for inevitable difficulties, accentuated after the revolution of Pulcinella and who, through a long career, was to show 1917 and the consequent loss of property in Russia and mastery of a number of different styles. Stravinsky’s income. The year brought sorrow at the death of his earlier music was essentially Russian in inspiration, beloved governess Bertushka (Bertha Essert), who had followed by a style of composition derived largely from the for him taken the place of a mother, and then, in August, eighteenth century, interspersed with musical excursions of his brother Guri on the Romanian front. His wife was ill, in other directions. His neo-classicism coincided with the her illness the original reason for residence in beginning of a career that was now international. The Switzerland, and there were four children to care for. It initial enthusiasm for the Russian revolution of 1917 that was in these circumstances that Stravinsky turned to the had led even Diaghilev to replace the crown and sceptre idea of composing a theatrical work on a small scale, something portable and compendious. In this he A soldier returns to his village from the war. The and finally offering him the contents of the other’s old throat. The Devil and the curtain fall, as the Soldier starts collaborated with the Swiss writer Charles-Ferdinand Soldier’s March is heard 1, as the Narrator starts the tale, knapsack, including the fiddle, which is now silent when to play his Little Concert &. Ramuz and his friend, the painter and designer René- the rhythm of the words matching the marching step of the Soldier tries to play it !. The curtain rises again to reveal the Princess lying on Victor Auberjonois, creating Histoire du soldat (The the score, telling of the journey, for a few days’ leave. The The third scene, the scene of the book, brings again a bed *. The Soldier comes in and starts to play. The Soldier’s Tale), derived from the collection of Russian curtain rises on a scene by the bank of a stream 2. Here the music by the river bank. The Devil has gone and the Princess, now cured, leaves her bed and before the stories made by Afanasyev that had already served as a the Soldier stops, sits down and searches through his Soldier throws the violin away, returning to his desk, lowered curtain dances the Tango (, Valse ) and source for the burlesque in song and dance, Renard. knapsack from which he takes a medallion, cartridges, a where he seizes the book and tears it into pieces @. Ragtime ¡. The curtain rises again on the Soldier with the There was further collaboration with Georges and Ludmila mirror, a picture of his sweetheart and a cheap fiddle. The second part starts with the Soldier’s march Princess in his arms, while the Devil, in his own person, Pitoeff, who were to dance the rôles of the Devil and the Now he tunes the fiddle, which always needs tuning, and resumed #, as he tramps on, now without his possessions, crawls in, seeking to snatch the violin ™. The Soldier Princess, and invaluable assistance from Ernest starts to play 3. The curtain is briefly lowered, to rise seeking another country. He rests in an inn $, where a plays and the Devil, bewitched, is forced to dance £, Ansermet, who conducted the first performances. The again for the appearance of the Devil, in the guise of a fellow soldier tells him of the royal proclamation offering falling exhausted. They drag him away and return, piece had its première in Lausanne, with two actors for little old man with a butterfly net, who hides and watches, the hand of the King’s daughter, his only child, to the man embracing ¢, to the sound of the Little Chorale ∞. The the dramatic rôles of the Soldier and the Devil and a before coming forward, approaching the Soldier from who can cure her. He resolves to try his luck. The Royal Devil is not defeated, and is prepared to wait for the speaker recruited from the University. The whole behind and placing his hand on his shoulder. The Devil March takes him to the palace %, where the Devil now Soldier to cross the frontier into his territory §. With the production was only made possible by the generous demands the Soldier’s fiddle, offering a magic book in appears as a virtuoso violinist. The Narrator tells of the Grand Chorale the Narrator warns of the danger of financial support of Werner Reinhart, to whom the Histoire exchange 4.
Load more

Recommended publications
  • Focus 2020 Pioneering Women Composers of the 20Th Century
    Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers.
    [Show full text]
  • The Curtis Institute of Music Roberto Díaz, President
    The Curtis Institute of Music Roberto Díaz, President This concert will be available online for free streaming 2008–09 Student Recital Series and download on Thursday, February 19. The Edith L. and Robert Prostkoff Memorial Concert Series Visit www.instantencore.com/curtis after 12 noon and enter this download code in the upper-right corner of the webpage: Feb09CTour Forty-Fourth Student Recital: Curtis On Tour Click “Go” and follow the instructions on the screen to save music Wednesday, February 18 at 8 p.m. Field Concert Hall onto your computer. Divertimento for Violin and Piano Igor Stravinsky Next Student Recital Sinfonia (1882–1971) Friday, February 20 at 8 p.m. Danses suisses 20/21: The Curtis Contemporary Music Ensemble— Scherzo Second Viennese School, Program III Pas de deux: Adagio—Variation—Coda Field Concert Hall Josef Špaček, violin Kuok-man Lio, piano Berg Sieben frühe Lieder Amanda Majeski, soprano Three Pieces for Clarinet Solo Stravinsky Mikael Eliasen, piano Yao Guang Zhai, clarinet String Quartet, Op. 3 From the Rubáiyát of Omar Khayyám David Ludwig Joel Link, violin (world premiere) (b. 1972) Bryan A. Lee, violin Secrets of Creation Milena Pajaro-van de Stadt, viola Turning of Time Camden Shaw, cello Labor of Life Floating Particles Schoenberg Das Buch der hängenden Gärten, Op. 15 Carpe Diem Charlotte Dobbs, soprano Allison Sanders, mezzo-soprano David Moody, piano Yao Guang Zhai, clarinet William Short, bassoon Phantasy, Op. 47 Christopher Stingle, trumpet Elizabeth Fayette, violin Ryan Seay, trombone Pallavi Mahidhara, piano Benjamin Folk, percussion Josef Špaček, violin Programs are subject to change. Harold Hall Robinson, double bass Call the Recital Hotline, 215-893-5261, for the most up-to-date information.
    [Show full text]
  • The Fruits of Our Labors!
    ISSUED 6 TIMES PER YEAR JANUARY & FEBRUARY 2010 VOLUME 38 ~ ISSUE 6 The WYSU & Mill Creek MetroParks Partnership: The Fruits of our Labors! During the past three WYSU To view images of the tree plant- on-air fund drives, members who ing site, as well as some examples contributed to WYSU at the $120 of the kinds of trees planted, please ‘Supporter’ level could choose to have visit this website: http://tinyurl.com/ a tree planted in their honor in Mill WYSUMetroParktrees Creek MetroParks as their thank-you So far, by virtue of the WYSU gift. community partnership with Mill The first group of such tree plant- Creek MetroParks and our special ings took place in autumn 2009 at tree planting premium, WYSU lis- the Mill Creek Preserve, located on teners have been responsible for the Western Reserve and Tippecanoe planting of 182 trees in Mill Creek Roads. The types of trees planted for MetroParks! this initial planting included: black Thank you for supporting walnut, serviceberry, black tupelo, WYSU—and our local environment. shagbark hickory, black oak, white pine, sweet birch, black cherry, crabapple, red maple, sugar maple, swamp white oak, and persimmon. These species were chosen because of their ability to provide wildlife habitat and supply food in the form of fruit, nuts, and berries. WYSU would like to thank everyone who elected to “go green” with their premium selection, thereby helping us preserve one of the last wild places in Mahoning County. Yours is a gift that will last a lifetime! WYSU’s 12th note 88.5 MHz, 90.1 MHz, 97.5 MHz Program Listings 2010 January & February MON TUES WED THURS FRI SAT SUN Mid.
    [Show full text]
  • Musicweb International December 2020 NAXOS RELEASES: LATE
    NAXOS RELEASES: LATE 2020 By Brian Wilson It may be that I’ve been particularly somnolent recently, but a particularly fruitful series of Naxos releases in late 2020 has made me take notice of what I’ve been missing earlier this year, so I’ve included some of them, too. Index [page numbers in brackets] ALYABIEV Piano Trios (+ GLINKA, RUBINSTEIN: Russian Piano Trios 1) [5] Corelli’s Band: Violin Sonatas by Corelli and followers [2] FREDERICK II (Frederick The Great): Flute Sonatas [4] GERSHWIN Concerto in F (+ PISTON Symphony No.5, etc.) [11] GLINKA Trio pathétique (see ALYABIEV) [5] GOMPPER Cello Concerto, Double Bass Concerto, Moonburst [15] Michael HAYDN Missa Sancti Nicolai Tolentini; Vesperæ [5] HUMPERDINCK Music for the Stage [7] KORNGOLD Suite, Op.23; Piano Quintet [10] Laudario di Cortona excerpts (see PÄRT) [13] NOVÁK V Tatrách (In the Tatra Mountains); Lady Godiva; O věčné touze (Eternal Longing) [8] - Jihočeská suita (‘South Bohemian Suite’); Toman a lesní panna (‘Toman and the Wood Nymph’) [9] PÄRT And I heard a voice…, etc. ( … and … with SHAW, WOLFE, Laudario di Cortona) [13] PISTON Symphony No.5 (see GERSHWIN) [11] RUBINSTEIN Piano Trio (see ALYABIEV) [5] RUTTER Anthems, Hymns and Gloria for Brass Band [12] SCHMITT La Tragédie de Salomé, etc. [8] SCHUMANN Robert and Clara Music for violin and piano [6] VILLA-LOBOS Complete Symphonies [9] WALTON Piano Quintet and other Chamber Works with Violin and Piano [11] WEINBERG Clarinet Concerto; Clarinet Sonata; Chamber Symphony No.4 [12] WIDOR Organ Symphonies 4 (Nos. 8 and 10) [7] * The Art of Classical Guitar Transcription Christophe Dejour [15] Carmina predulcia (C15 Songbook) [1] Christmas Concertos [2] Heaven Full of Stars (contemporary choral) [13] Stille Nacht: Christmas Carols for Guitar [14] *** Carmina predulcia (‘very sweet songs’) is a recording of music from the fifteenth-century Schedelschen Liederbuch (Schedel Songbook).
    [Show full text]
  • Program Book Final 1-16-15.Pdf
    4 5 7 BUFFALO PHILHARMONIC ORCHESTRA TABLE OF CONTENTS | JANUARY 24 – FEBRUARY 15, 2015 BPO Board of Trustees/BPO Foundation Board of Directors 11 BPO Musician Roster 15 Happy Birthday Mozart! 17 M&T Bank Classics Series January 24 & 25 Alan Parsons Live Project 25 BPO Rocks January 30 Ben Vereen 27 BPO Pops January 31 Russian Diversion 29 M&T Bank Classics Series February 7 & 8 Steve Lippia and Sinatra 35 BPO Pops February 13 & 14 A Very Beary Valentine 39 BPO Kids February 15 Corporate Sponsorships 41 Spotlight on Sponsor 42 Meet a Musician 44 Annual Fund 47 Patron Information 57 CONTACT VoIP phone service powered by BPO Administrative Offices (716) 885-0331 Development Office (716) 885-0331 Ext. 420 BPO Administrative Fax Line (716) 885-9372 Subscription Sales Office (716) 885-9371 Box Office (716) 885-5000 Group Sales Office (716) 885-5001 Box Office Fax Line (716) 885-5064 Kleinhans Music Hall (716) 883-3560 Buffalo Philharmonic Orchestra | 499 Franklin Street, Buffalo, NY 14202 www.bpo.org | [email protected] Kleinhan's Music Hall | 3 Symphony Circle, Buffalo, NY 14201 www.kleinhansbuffalo.org 9 MESSAGE FROM BOARD CHAIR Dear Patrons, Last month witnessed an especially proud moment for the Buffalo Philharmonic Orchestra: the release of its “Built For Buffalo” CD. For several years, we’ve presented pieces commissioned by the best modern composers for our talented musicians, continuing the BPO’s tradition of contributing to classical music’s future. In 1946, the BPO made the premiere recording of the Shostakovich Leningrad Symphony. Music director Lukas Foss was also a renowned composer who regularly programmed world premieres of the works of himself and his contemporaries.
    [Show full text]
  • STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
    STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT By ©2016 Olivia Needham Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________________ Chairperson: Paul Laird ________________________________________ Véronique Mathieu ________________________________________ Bryan Haaheim ________________________________________ Philip Kramp ________________________________________ Jerel Hilding Date Defended: 04/15/2016 The Dissertation Committee for Olivia Needham certifies that this is the approved version of the following dissertation: STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT ________________________________________ Chairperson: Paul Laird Date Approved: 04/15/2016 ii ABSTRACT This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing. iii Igor Stravinsky (1882-1971) was born in Oranienbaum (now Lomonosov) in Russia near St.
    [Show full text]
  • The Rite Signs: Semiotic Readings One Hundred Years On
    AVANT, Vol. VII, No. 1/2016 ISSN: 2082-6710 avant.edu.pl/en DOI: 10.26913/70102016.0111.0001 The Rite Signs: Semiotic Readings One Hundred Years On Nicholas P. McKay Canterbury Christ Church University School of Music and Performing Arts nicholas.mckay- @- canterbury.ac.uk Abstract One hundred years on from the infamous premiere of The Rite of Spring, Stravinsky’s epoch-defining ballet continues to evoke controversy and contention in both musicological and performance circles. Even to call it a ballet is to overlook, or compound, its problematic identity. Throughout its life span, most audiences will have encountered, valorised and identified the work as a landmark of orchestral musical modernism heard primarily, perhaps even exclusively, in concert halls and on audio recordings with not a dancer, theatre stage or set in sight. Still to this day it thus remains one of music’s more remarkable split person- alities: bifurcated along formalist and contextualist lines by Stravinsky’s ret⁠rospective and opportunistic assertion that he had written “un oeuvre architectonique et non anecdotique.” Keywords: ballet; music; semiotics; Stravinsky; The Rite of Spring. One hundred years on from the infamous premiere of The Rite of Spring, Stravinsky’s epoch-defining ballet continues to evoke controversy and contention in both musicological and performance circles. Even to call it a ballet is to overlook, or compound, its problematic identity. Throughout its life span, most audiences will have encountered, valorised and identified the work as a landmark of orchestral musical modernism heard primarily, perhaps even exclusively, in concert halls and on audio recordings with not a dancer, theatre stage or set in sight.
    [Show full text]
  • RECORDED RICHTER Compiled by Ateş TANIN
    RECORDED RICHTER Compiled by Ateş TANIN Previous Update: February 7, 2017 This Update: February 12, 2017 New entries (or acquisitions) for this update are marked with [N] and corrections with [C]. The following is a list of recorded recitals and concerts by the late maestro that are in my collection and all others I am aware of. It is mostly indebted to Alex Malow who has been very helpful in sharing with me his extensive knowledge of recorded material and his website for video items at http://www.therichteracolyte.org/ contain more detailed information than this list.. I also hope for this list to get more accurate and complete as I hear from other collectors of one of the greatest pianists of our era. Since a discography by Paul Geffen http://www.trovar.com/str/ is already available on the net for multiple commercial issues of the same performances, I have only listed for all such cases one format of issue of the best versions of what I happened to have or would be happy to have. Thus the main aim of the list is towards items that have not been generally available along with their dates and locations. Details of Richter CDs and DVDs issued by DOREMI are at http://www.doremi.com/richter.html . Please contact me by e-mail:[email protected] LOGO: (CD) = Compact Disc; (SACD) = Super Audio Compact Disc; (BD) = Blu-Ray Disc; (LD) = NTSC Laserdisc; (LP) = LP record; (78) = 78 rpm record; (VHS) = Video Cassette; ** = I have the original issue ; * = I have a CD-R or DVD-R of the original issue.
    [Show full text]
  • Recorded Gilels
    RECORDED GILELS Including Non-commercial & Unpublished Items Compiled by Ateş TANIN Previous Update: September 1, 2015 This Update: January 8, 2017 New entries (or acquisitions) for this update are marked with [N] and corrections with [C] . The following is a list of recorded recitals and concerts by Emil Gilels, with one reference listing to each commercial release that are in my collection and all others that I am aware of. Your comments, additions and corrections would be much appreciated. Please contact me by e-mail: [email protected] . Details of Gilels CDs issued by DOREMI are at http://www.doremi.com/gilels.html . LOGO: (CD) = Compact Disc; (SACD) = Super Audio Compact Disc; (LD) = NTSC Laserdisc; (BD) = Blu-Ray Disc; (LP) = LP record; (78) = 78 rpm record; (VHS) = Video Cassette; ** = I have the original issue ; * = I have a CD-R or DVD-R of the original issue. (PTA) = I have a privately taped audio copy; (PTV) = I have a privately taped video copy ABSIL Concerto for Piano and Orchestra No.1, Op.30 29/5/1938 - Brussels - Live - excerpt CYPRESS CYP1102 (DVD) ALBENIZ Navarra 6/1/1954 - Moscow - Live - DOREMI DHR-7795 (CD)** Navarra [Arranged for Two Pianos] 1941 - Moscow - Flier - (PTV) Rumores de la Caleta (Malaguena) from Recuerdos de Viaje, Op.71/6 23/2/1957 - Moscow - Live - DOREMI DHR-7795 (CD)** [C] ALYABIEV Piano Quintet in E-flat 1949 - Moscow - Beethoven Q. - DG 00289 479 4651 (24CD)** Piano Trio in a 1&5/11/1948 - Moscow - Tsyganov/Shirinsky - DOREMI DHR-7755 (CD)** Sonata in e for Violin and Piano 12/1950 - Moscow - Tsyganov - DOREMI DHR-7755 (CD)** BABAJANIAN Heroic Ballade for Piano and Orchestra 14/5/1953 - Moscow - Live - USSR State S.O./Kondrashin - MELODIYA CD 10 02243 (50CD)** [N] BABAYEV, A.
    [Show full text]
  • A Symphonic Psalm, After a Drama by René Morax King David
    ELLIOT JONES MUSIC DIRECTOR A Symphonic Psalm, after a drama by René Morax Music by Arthur Honegger (1892-1955) Please silence all cellular phones and other electronic devices King David PART I 1. Introduction (Orchestra & Narrator) 2. The song of David, the shepherd: God shall be my shepherd kind. 3. Psalm: All praise to him, the Lord of glory, the everlasting God my helper. 4. Fanfare and entry of Goliath 5. Song of victory: David is great, the Philistines overthrown. Chosen of God is he. 6. Psalm: In the Lord I put my faith, I put my trust. 7. Psalm: O had I wings like a dove, then I would fly away and be at rest. 8. Song of the prophets: Man that is born of a woman lives but a little while. 9. Psalm: Pity me Lord, for I am weak. 10. Saul’s camp 11. Psalm: God, the Lord shall be my light and my salvation. What cause have I to fear? 12. Incantation of the Witch of Endor 13. March of the Philistines 14. The lament of Gilboa: Ah! Weep for Saul. 1 PART II ORCHESTRA 15. Song of the daughters of Israel: Sister, oh sing thy song! Never has God forsaken us. 16. The dance before the ark: Mighty God be with us, O splendor of the morn. FLUTE and PICCOLO CELLO Alexander Lipay, Paula Redinger Anne Gratz INTERMISSION OBOE and ENGLISH HORN BASS PART III Marquise Demaree Dylan DeRobertis 17. Song: Now my voice in song up-soaring shall loud proclaim my king afar. 18.
    [Show full text]
  • The American Stravinsky
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries.
    [Show full text]
  • The Changing Reputation and Legacy of John Powell (1882-1963)
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2012 “The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963) Karen Adam Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/2692 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Karen Adam 2012 All Rights Reserved “The Nonmusical Message Will Endure With It:” The Changing Reputation and Legacy of John Powell (1882-1963) A thesis submitted in partial fulfillment of the degree of Master of Arts at Virginia Commonwealth University. by Karen Elizabeth Adam Bachelor of Arts, University of Richmond, 2006 Director: Dr. John T. Kneebone Associate Professor, Virginia Commonwealth University Department of History Virginia Commonwealth University Richmond, Virginia May 2012 Thanks I may have completed this project over several months, but it is the result of a lifetime of accumulated knowledge and experiences. Citations throughout the thesis acknowledge my debt to the scholars and works that came before me. The rest of this page contains my most sincere and heartfelt gratitude toward all others, most particularly to: My Lord and Savior, whose love and grace are sufficient and boundless, and through whom all things are possible. My parents, for listening to everything with patience, insight, and love, and for doing much to encourage me to persevere.
    [Show full text]