F. The Elegy in Opera and Symphony In Nature’s Mirror Gluck: Orfeo ed Euridice (1762), Opening and Elysian Fields scene Filmed at the Baroque Theater of Cesky Krumlov Castle. Bejun Mehta (Orfeo). Collegium 1704, Vaclav Lucks, conductor. — https://youtu.be/5mTydAUQyYg?t=242 — https://youtu.be/5mTydAUQyYg?t=2150 The story of Orpheus was the subject of so many early operas because he was the first musician, and as another version of the basic pastoral myth of death and rebirth. Christoph Willibald Gluck (1714–87) wrote a version that differed from its predecessors in several important respects. It opens with a scene of mourning; Eurydice is already dead. And also unlike other versions, when Orpheus goes down to Hades to look for her, they send him up to the Elysian Fields, where she is living in altogether better surroundings: a pastoral version of bliss. This production I shall show is filmed in a baroque theater, and although many scenes are set backstage or under it, these two offer something close to an original baroque production.

Mahler: Das Lied von der Erde (1909), mvt. 6, opening and closing. Carolyn Watkinson, BBC Philharmonic, Kurt Sanderling (conductor) — https://youtu.be/idRevTkIPts?t=2071 (Christa Ludwig with — Bernstein; no titles; more about him than her!) Gustav Mahler (1860–1911) completed this great song-symphony in 1909, between his eighth and ninth symphonies. It sets six texts from The Chinese Flute, ostensibly translated from the ancient Chinese by Hans Bethge. Much of the music is deliberately Asian in sound, but the emotion of its final movement especially—the long dying farewell to earth and its beauties—is a distilled product of late European Romanticism, heart-breaking in its loveliness.

All the major artworks, together with the quoted texts, are available on my new website: http://www.brunyate.com/naturemirror/ Class 3: The Pastoral Elegy September 26, 2017 A. Et in Arcadia Ego 13. Poussin: The Funeral of Phocion (1648, Paris Louvre) How do artists address death and grieving? How do we think about 14. Ruisdael: Jewish Cemetery (c.1654, Dresden) them ourselves? Is it a consolation to think in terms of the cycles of 15. Constable: Cenotaph, Sir Joshua Reynolds (1833–36, London NG) nature, with such metaphors as autumn or evening? 16. Manet: The Funeral (1867, NY Metropolitan) 17. Bocklin: The Island of the Dead (1880, Basel) 01. Guercino: Et in Arcadia Ego (c.1620, Rome) 18. Yeats: The Swinford Funeral (1918, Walters) 02. Poussin: Et in Arcadia Ego (1638, Paris Louvre) E. Serenade: the Arts of Evening B. Stoke Poges Closing the first half of the class, the first two movements of the A group of paintings sharing similar imagery, all of which have to do Serenade for Tenor, Horn, and Strings (1943) by Benjamin Britten with the church at Stoke Poges, the original site of the Elegy Written (1913–76). The singer is Mark Padmore and the horn player Stephen in a Country Churchyard (1751) by Thomas Gray (1716–71)—and Bell. The first poem, “The day’s grown old” by Charles Cotton the site of his monument shown on the cover of this pamphlet. (1630–87), will be illustrated by pastoral scenes… 03. Gainsborough: Landscape with Cottage and Church (1771, Yale) 19. Claude: Pastoral Study (c.1648, NY Metropolitan) 04. Constable: A Church in the Trees (c.1800, Yale) 20. Gainsborough: Landscape with Cattle (c.1773, Yale) 05. Constable: Churchyard on a Hill (1833, London BM) 06. Churchyard: Stoke Poges Church (c.1840, Yale) …and the second movement, “The splendour falls on castle walls” 07. Tanner: Gray's Elegy (London, V&A) by Tennyson (1809–92), will be illustrated by a series of sketches 08. Hayes: Gray's Elegy, first stanza (Saatchi Gallery) that JMW Turner made of the castle of Ehrenbreitstein in 1841: 21. Turner: Bright Stone of Honour (1835, private collection) C. A Poetical Interlude 22–24. Turner: Ehrenbreitstein, water color sketches (1841) Since poetry plays a significant part in this course, we shall spend a few moments considering what Thomas Gray might have written, and how it shows the rightness of what he did write. Artists’ Full Names and Dates: Arnold Böcklin (1827–1901), Pieter Brueghel (1525–69), Thomas Churchyard (1798–1865), Claude

Gellée, aka. Claude Lorrain (1604–82), John Constable (1776–1837), D. An Elegiac Gallery Thomas Gainsborough (1827–88), Édouard Manet (1832–83), Jean- Depending on time, a gallery of paintings from the 16th century to François Millet (1814–75), Nicolas Poussin (1594–1665), Sir Peter the 20th. The first four depict autumn or evening or both, without Paul Rubens (1577–1640), Jacob van Ruisdael (1628–92), Robin any explicit reference to elegy… Tanner (1904–88), Joseph Mallord William Turner (1775–1851), Jack Butler Yeats (1871–1957). 09. Brueghel: November, the return of the herd (1565, Vienna) 10. Rubens: Autumn Landscape, Het Steen (1636, London NG) 11. Claude: Pastoral Landscape(c.1639, NY Metropolitan) 12. Millet: Haystacks, Autumn (c.1874, NY Metropolitan) …but the remainder all contain a funeral or a tomb, using a wide variety of imagery to address their point: