November 16, 1947 283Rd Concert

Total Page:16

File Type:pdf, Size:1020Kb

November 16, 1947 283Rd Concert 283rd Conqert National bALLEijY of art Washington, D. Ci Sunday, November l6j 1947 8:00 P .M. In The East Garden Court NATIONAL GaLLERY ORCHESTRA RICHARD BALES, Conductor Assisted by PAUL CHiJIDLER HIRE, Speaker Programme Henry Purcell Suite from the Dramatic Music (Arranged by John Barbirolli) Overture to "The Gordian Knot Untied" Menuetto from "The Virtuous Wife" Andantino from "King Arthur" Allegretto giocoso from "Abdelazer" Lament from "Dido and Aeneas" Allegro from "King Arthur" Franz Josef Haydn Symphony No.97 in C Major, "Le Midi" Adagio-Allegro Adagio Menuetto Allegro con spirito INTERMISSION William Bergsma "Paul Bunyan" Suite (1937) The suite is concerned with the colossal figure of Paul Bunyan, legendary giant who symbolizes the opening of the frontier of the Northwest Territory. "Dance of the Blue Ox" depicts Paul’s favorite pet, Babe, who stood forty ax-handles high and whose footprints made the Great Lakes. The other movements are "Country Dance", and "Night over the Logging Camps" leading to a closing section representing the fulfilment of Paul’s pioneer work. (First performance in Washington) Virgil Thomson "The Plow that Broke the Plains"(1935) Concert performance of the film music score with narrative text by Pare Lorentz PAUL CiUNDLER HUME, Speaker 1. Prologue ............. Speaker Prelude .............. Orchestra 2. Grass ................ Speaker Pastorale ............ Orchestra 3. Cattle ............ Speaker Cowboy Sengs ......... Orchestra 4. Homesteader .......... Speaker Warn:: ng .............. Speaker War and Tractor ..... Speaker Blues (Speculation) .. Orchestra 5. Drought ............. Speaker Orchestra 6. Devestation .......... Speaker Orchestra (First performance in Washington) (This concert is presented through the courtesy of the Trans­ cription and Royalty Fund, American Federation of Musicians, Local 161, A.F. of L.).
Recommended publications
  • Pleasures of the Imagination
    Cambridge University Press 0521824273 - The Cambridge Companion to John Dryden - Edited by Steven N. Zwicker Excerpt More information 1 PLEASURES OF THE IMAGINATION © Cambridge University Press www.cambridge.org Cambridge University Press 0521824273 - The Cambridge Companion to John Dryden - Edited by Steven N. Zwicker Excerpt More information 1 STEVEN N. ZWICKER Composing a literary life: introduction John Dryden has come down to us through the exemplary practices of liter- ary editing: a large number of uniform volumes, learnedly prefaced, packed with history and explanatory notes. Who first thought of The Works of John Dryden? Not, I think, the poet himself. During his long writing life Dryden showed little interest in collecting or revising his work; neither he nor appar- ently anyone else kept his manuscripts; and Dryden seldom wrote of, or even seems to have imagined, a coherent and progressive literary career of the kind that was often on Spenser’s or Milton’s mind. Of course, the idea of collected works would have been obvious to Dryden from the humanist editions of classical authors, from The Works of Ben Jonson or the Shakespeare folios, or from collected editions even closer to hand – Cowley, Cleveland, and Suckling. Dryden himself contributed an elegy to John Oldham’s Remains, and he knew too of the CEuvres of Corneille and Racine. His shrewd pub- lisher Jacob Tonson made an effort at such collection in the 1690s, but the sustained impulse to collect “the works” began after Dryden’s death, first with Tonson’s various compilations of poems and plays, then at the end of the eighteenth century with Edmond Malone’s edition of Dryden’s prose.
    [Show full text]
  • Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
    METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.
    [Show full text]
  • PROGRAM NOTES Henry Purcell
    PROGRAM NOTES by Phillip Huscher Henry Purcell - Suite from King Arthur Born sometime in 1659, place unknown. Died November 21, 1695, London, England. Suite from King Arthur Purcell composed his semi-opera King Arthur, with texts by John Dryden, in 1691. The first performance was given at the Dorset Garden Theatre in London in May of that year. The orchestra for this suite of instrumental excerpts consists of two oboes and english horn, two trumpets, timpani, and strings, with continuo provided by bassoon and harpsichord. Performance time is approximately twenty minutes. The Chicago Symphony Orchestra has performed music from Purcell's King Arthur (Trumpet Tune, "Ye blust'ring brethren of the skies," with Charles W. Clark as soloist, and Grand Dance: Chaconne) only once previously, on subscription concerts at the Auditorium Theatre on December 13 and 14, 1901, with Theodore Thomas conducting. Henry Purcell is the one composer who lived and worked before J. S. Bach who has found a place in the symphonic repertory. The Chicago Symphony played Purcell's music as early as 1901, when it programmed three selections from King Arthur on the first of its new "historical" programs designed to "illustrate the development of the orchestra and its literature, from the earliest times down to the present day." Purcell still stands at the very beginning of the modern orchestra's repertory, although he is best known to today's audiences for the cameo appearance his music makes in Benjamin Britten's twentieth- century classic, the Young Person's Guide to the Orchestra. Purcell is regularly described as the finest English composer before Edward Elgar, if not as the greatest English composer of all.
    [Show full text]
  • Durham E-Theses
    Durham E-Theses Studies in the heroic drama of John Dryden Blyth, Michael Graham How to cite: Blyth, Michael Graham (1978) Studies in the heroic drama of John Dryden, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8000/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Studies in the Heroic Drama of John Dryden Thesis submitted to the University of Durham for the degree of Ph.D. by Michael Graham Blyth The copyright of this thesis rests with the author No quotation from it should be published without his prior written consent and information derived from it should be acknowledged 2rsity of Durham Tiber 1978 Acknowledgements My sincere thanks go to the following for their invaluable assistance: Dr. Ray Selden, Durham University English Department, who has given a great deal of his time and critical energy to supervising my work in all stages of its development; Mr.
    [Show full text]
  • Downloaded for Personal Non-Commercial Research Or Study, Without Prior Permission Or Charge
    SouthamptoUNIVERSITY OF n University of Southampton Research Repository ePrints Soton Copyright Notice Copyright and IMoral Rights for this chapter are retained by the copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This chapter cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. the content must not be changed in any way or sold commercially in any format or medium without the formal permission of the rights holder. When referring to this work state full bibliographic details including the author of the chapter, title of the chapter, editor of the book , title of the book, publisher, place of publication, year of publication, page numbers of the chapter Author of the chapter Andrew Pinnock Title of the chapter King Arthur expos'd: a lesson in anatomy Edrtor/s Curtis Price Title of the book Purcell Studies ISBN 0521441749 Publisher Cambridge University Press Place of publication Cambridge, UK Year of publication 1995 Chapter/Page numbers 243-256 n King Arthur tx.^osd'. a lesson in anatomy ANDREW PINNOCK We must admit that they are dead. .They have in no case been adopted into the professional repertory, and it is not likely that they will ever appeal to the professional mind - at any rate in their own country. On that dispiriting note Edward J. Dent concluded Foundations of English Opera sixty-five years ago.' And not much has happened since to prove him wrong: more student revivals; elaborate professional performances of The Fairy Queen in Aix-en-Provence, Lisbon more recently; but still in Great Britain no sign of a fully staged professional production faithful to the letter or even to the spirit of 1690s semi-opera.
    [Show full text]
  • The Faerie Queene Study Guide
    The Faerie Queene Study Guide © 2018 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary The Faerie Queene is a long epic poem that begins and ends with Christian affirmations. In it, Edmund Spenser draws on both Christian and classical themes, integrating the two traditions with references to contemporary politics and religion. The poem begins with a representation of holiness in book 1, and the Mutabilitie Cantos (first printed with the poem in 1609 after Spenser’s death) conclude with a prayer. Book 1 is identified as the Legend of the Knight of the Red Cross (or Saint George) in canto 2, verses 11-12. Red Cross, as an individual, is the Protestant Everyman, but as Saint George, historically England’s patron saint, he also represents the collective people of England. He is a pilgrim who hopes to achieve the virtue holiness, and for the reader his adventures illustrate the path to holiness. Red Cross’s overarching quest, as an individual, is to behold a vision of the New Jerusalem, but he also is engaged in a holy quest involving the lady Una, who represents the one true faith. To liberate Una’s parents, the king and queen, Adam and Eve, Red Cross must slay the dragon, who holds them prisoner. The dragon represents sin, the Spanish Armada, and the Beast of the Apocalypse, and when Red Cross defeats the dragon he is in effect restoring Eden.
    [Show full text]
  • King Arthur Or the British Worthy
    King Arthur or the British Worthy Drama in five acts Music by Henry Purcell Play by John Dryden Premiere: Dorset Garden Theatre, London, June 1691 *************** Program note by Martin Pearlman John Dryden's King Arthur did not originally include music. He first wrote the play in 1684 to celebrate the twenty-fifth anniversary of the restoration of the British monarchy and to honor the king, Charles II. Dryden tells us that it "was often practis'd before Him at Whitehal," but Charles died before the first public performance could take place, and the premiere had to be postponed. Following Charles' death, there was an insurrection which led to the execution of the Duke of Monmouth. Dryden now had on his hands a wholly unusable play, one which allegorically eulogized a dead king and a disgraced duke. The play lay dormant for several years, until 1691, when he decided to resurrect it with radical revisions. He had "to alter the first Design," so as "not to offend the present Times, nor a Government which has hitherto protected me." As it turned out, the timing was auspicious. King William was then in Flanders leading the Grand Alliance against the French, while in Dryden's play, King Arthur, the legendary ancestor of British monarchs, was fighting off the Saxons. The parallel was close enough, and the play came to a close with an extended patriotic masque: Venus is prepared to leave her Cyprian groves to come live on this "fairest isle," while Honor sings the praises of St. George, the patron saint of Britain.
    [Show full text]
  • Ballad Opera in England: Its Songs, Contributors, and Influence
    BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music.
    [Show full text]
  • I'w Ddefnyddio (M V Llyfrcell '(N Ung
    LOUIS GRABU AND HIS OPERA ALBION AND ALBANIUS Bryan Douglas White Submitted in fulfilment of the requirement for the degree of Doctor of Philosophy at the University of Wales, Bangor November 1999 Two Volumes: Volume I I'W DDEFNYDDIO (M V LLYFRCELL '(N UNG TO BE CO3U1TED IN THE LRARYP.LV Summary Albion and Albanius and its composer, Louis Grabu, have been unjustly dismissed by musical scholars. This thesis seeks to redress that injustice. A documentary biography of Grabu is provided, and a discussion of the inception of Albion and Albanius, detailing the role of each of its creators. The opera is subjected to a thorough examination, including a discussion of: 1) the relationship between the 1685 libretto and the 1687 score; 2) its large- scale structure and tonal plan; 3) and its vocal and instrumental writing. These studies reveal that Grabu, in composing the music, Dryden, in writing the libretto, and Betterton, in designing staging, drew upon specific models from Lully's Phaêton (1683). Furthermore, it is shown that Grabu drew upon a thorough knowledge of Lully's other operas: not only the general compositional features and structures, but also specific movements. There is, in addition, evidence suggesting that Grabu borrowed musical ideas and techniques from Purcell's Dido and Aeneas. Information regarding the opera's performance is gathered from the score and developed through comparison with contemporary practices. In particular, the similarities between Grabu's score and those of Lully printed by Ballard suggest that Grabu wrote for an ensemble modelled on that of the Paris Opéra. The dance and staging elements of the opera are examined in the light of information about, and illustrations from, English and especially French productions (particularly the drawings of Berain).
    [Show full text]
  • PURCELL COLLECTION Opera, Albion and Albanius, Which Was Set to Music EXTENSIVE LINER NOTES by the Spanish Composer Luis Grabu and Performed in 1685
    PURCELL COLLECTION opera, Albion and Albanius, which was set to music EXTENSIVE LINER NOTES by the Spanish composer Luis Grabu and performed in 1685. Six years later, after the Glorious Revolution had stripped Dryden of the CD1+2 Laureateship, and poverty had forced him once ‘King Arthur’: Purcell’s Music and Dryden’s Play again to write for the public stage, he dusted off John Dryden called King Arthur ‘A dramatick the old play, altered its original political message, opera’, a proud and idiosyncratic subtitle which and sent it to Purcell, whose music he had come to has caused much confusion. It has been said admire, especially the brilliantly successful semi‐ unfairly that this work is neither dramatic nor an opera Dioclesian (1690). opera. To be sure it is not like a real opera, nor could it be easily turned into one. King Arthur is How much revision the play required is unknown, very much a play, a tragi‐comedy which happens to since the original version does not survive, but include some exceptionally fine music. During the Dryden implies major surgery: ‘… not to offend the Restoration, the term ‘opera’ was used to describe present Times, nor a Government which has any stage work with elaborate scenic effects, and hitherto protected me, I have been oblig’d…to did not necessarily mean an all‐sung music drama. alter the first Design, and take away so many The original 1691 production of King Arthur, Beauties from the Writing’. Besides trimming for though it included flying chariots and trap‐door political reasons, he also had to satisfy his new effects, was modest compared to other similar collaborator: ‘the Numbers of Poetry and Vocal works.
    [Show full text]
  • Purcell King Arthur Semi-Staged Performance Tuesday 3 October 2017 7Pm, Hall
    Purcell King Arthur semi-staged performance Tuesday 3 October 2017 7pm, Hall Academy of Ancient Music AAM Choir Richard Egarr director/harpsichord Daisy Evans stage director Jake Wiltshire lighting director Thomas Lamers dramaturg Ray Fearon narrator Louise Alder soprano Mhairi Lawson soprano Reginald Mobley countertenor Charles Daniels tenor Ivan Ludlow baritone Ashley Riches bass-baritone Marco Borggreve Marco Rosie Purdie assistant stage director Jocelyn Bundy stage manager Hannah Walmsley assistant stage manager There will be one interval of 20 minutes after Part 1 Part of Barbican Presents 2017–18 Part of Academy of Ancient Music 2017–18 Generously supported by the Geoffrey C Hughes Charitable Trust as part of the AAM Purcell Opera Cycle Confectionery and merchandise including organic ice cream, quality chocolate, nuts and nibbles are available from the sales points in our foyers. Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight marks the second instalment in a directly to a modern audience in the Brexit three-year series of semi-stagings of Purcell era. The subject of national identity – works, co-produced by the Barbican and central to King Arthur – has never seemed Academy of Ancient Music. Following a more pertinent. hugely successful Fairy Queen last season, AAM Music Director Richard Egarr and This piece contains some of Purcell’s stage director Daisy Evans once again most visit and beautiful music – including combine in this realisation of Purcell’s the celebrated aria ‘Fairest isle’ – and King Arthur.
    [Show full text]
  • Enlightenment Allegory: Adapting The
    ENLIGHTENMENT ALLEGORY: ADAPTING THE ALLEGORICAL FORM IN BRITISH LITERATURE, 1660-1750 By JASON GULYA A dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Literatures in English Written under the direction of Michael McKeon and approved by _______________________________________ _______________________________________ _______________________________________ _______________________________________ New Brunswick, New Jersey October, 2016 ABSTRACT OF THE DISSERTATION Enlightenment Allegory: Adapting the Allegorical Form in British Literature, 1660-1750 By JASON GULYA Dissertation Director: Michael McKeon Allegory is a literary form that teaches through misdirection, telling its readers it is about one thing while actually being about another. It encourages readers to interpret figuratively for religious, political, or moral meanings rather then look only at the narrative’s literal meaning. Enlightenment Allegory argues that the period from about 1660 to about 1750 is especially important for the history of allegory. During this period, allegory adapted to many of the historical and cultural changes accompanying the British Enlightenment—including the increasing authority of empirical epistemology, the gradual spread of secular thinking, and the growing expectation for semiotic transparency. The project’s main argument is that eighteenth-century writers responded to these changes by modalizing the allegorical genre, meaning that they separated the previously indivisible literary form into its components and used those components apart from their original overarching structure. This process of modalization resulted in the coexistence of generic and modal allegory, with some writers approaching it as a self- ii contained, continuous genre and others as a mode that could be used selectively and discontinuously.
    [Show full text]