Sample Excerpt.MMSW

Total Page:16

File Type:pdf, Size:1020Kb

Sample Excerpt.MMSW Fable Us! The Musical Book and Lyrics By P.K. Silverson Music By Gary Sironen SAMPLE EXCERPT Contact: Paul Silberberg Writing as P.K. Silverson [email protected] © 2010, 2016. All Rights Reserved 1. FABLE US! INTRODUCTION (The Greek Chorus enters around a towering urn decorated with the fourteen gods of Olympus. The heavenly mountain rises majestically behind the urn.) GREEK CHORUS (sings) EFPROSDEKTOS! WELCOME FRIEND. BACK TO HELLAS LET'S ATTEND. FUN TOGETHER WE INTEND. IT'S ALL GREEK TO US! JOIN US WHEN THE WORLD WAS NEW. WHEN BRONZE TURNED TO IRON TRUE. WE WILL SHOW IT ALL TO YOU! IT'S ALL GREEK TO US. IT'S ALL GREEK TO US WHEN OUR GODS ARE LAUGHING. DIONYSUS' MERRY AND WE DRINK ALL DAY. IT'S ALL GREEK TO US 'TIL GREAT ZEUS GETS ANGRY. WE'RE GONE IN A FLASH WHEN HE GETS THAT WAY. WE INVENTED HISTORY, MEDICINE, PHILOSOPHY. WE PUT THE HIP IN HYPOCRISY. IT'S ALL GREEK TO US. WE MADE CIVILIZATION, CITY STATES AND THE NATION. WE COULD USE A VACATION. IT'S ALL GREEK TO US! IT'S ALL GREEK TO US WHEN OUR TYRANTS ARE DOTING. EACH STATE THEN REBUTS BUT IT'S ALL THE SAME. IT'S ALL GREEK TO US WITH OUR WAY OF VOTING, THEN WE LOOK FOR SOMEONE ELSE TO TAKE THE BLAME. TWELVE GODS RULE OUR GRECIAN SCENE ON OLYMPUS THEY CONVENE. DIMITRIS Sound Off! (A spotlight highlights each god on the urn as they're named.) ALEXANDRA Mighty Zeus is number one. 2. GEORGI Aphrodite, love's sweet fun. CHLOE God of War fierce Ares is. COSMO Athena's wisdom heralds bliss. OTIS Huntress Artemis never wrong. KARA Apollo both of sun and song. ALEXANDRA Bold Poseidon rules the seas. GEORGI Demeter's harvest sure to please. CHLOE Hermes knows his merchandise. COSMO Hera makes the family nice. OTIS Hestia by hearth beguiles ALEXANDRA Dionysus brings us smiles. DIMITRIS (sings) THERE YOU HAVE IT, THAT'S ALL TWELVE. GREEK CHORUS BUT THAT'S NOT ALL. DIMITRIS WHAT'S THE FUSS? GREEK CHORUS IT'S ALL GREEK TO US! DIMITRIS (sings) FINE. LET'S DO MORE... GEORGI Hephaestus formed heavy metal. 3. CHLOE The Underworld's where Hades settled. GREEK CHORUS (sings) TWELVE GODS RULE OUR GRECIAN SCENE ON OLYMPUS THEY CONVENE. COUNT THEM ALL, YOU'LL GET FOURTEEN. IT'S ALL GREEK TO US. WE INVENTED TRAGEDY, DRAMA PLAYS AND COMEDY. ANY SHOW YOU WANT TO SEE, IT'S ALL GREEK TO US. OPA! ACT 1 SCENE 1 The Road To Lydia (The Chorus Men adjust their tunics as the Women adjust their peploses to assume the garb of traveling merchants on the road to the market.) GREEK CHORUS (Continued) (sings) IT'S ALL GREEK TO US, ORACLES EXPLAINING. WE DON'T DISCOUNT THEM BUT THERE'S NO PRETENSE. IT'S ALL GREEK TO US THOUGH WE'RE NOT COMPLAINING. WE JUST LOOK TO SOMEONE ELSE TO MAKE SOME SENSE. ALEXANDRA I've heard there's a man who tells it like it is. CHLOE You must be talking about Aesop. KARA What an imagination. He must be so handsome. OTIS Word has it he's on his way to join the court of Croesus right now. KARA What I wouldn't give to meet a man like Aesop. He knows so much! The Gods themselves must be jealous. 4. CHLOE You wouldn't know Aesop if he was right in front of you. KARA Oh, I'd recognize him if I saw him. I'm sure he's as strong as his inspiration with a gleam in his cunning eyes. (Spyros, a roguishly handsome young man, strides purposefully toward the group carrying a small lidded basket.) ALEXANDRA Well, that looks like your dream boy now! CHLOE Don't miss your chance because you're too shy. Talk to him. SPYROS Kalimeru, ladies and gentlemen. ALEXANDRA Or, he could talk to you. (Alexandra nudges Kara toward Spyros. Dimitris watches with disapproval.) KARA Beautiful day, isn't it? SPYROS Couldn't be better. The world may not be perfect, but when the gods placed you in it, they came as close as they could get. KARA Oh, my! ALEXANDRA Oh, my. OTIS Oh brother. Come on. We have to get to market. KARA You go. I'll catch up. DIMITRIS I don't think that's such a wise idea, girl. (The Chorus moves on leaving Kara and Dimitris behind with Spyros.) 5. SPYROS I wouldn't mind going out of my way to see this young lady safely home. DIMITRIS I'm sure you wouldn't. How stupid do you think we are? (A tied sack slung over his back, Aesop hobbles toward the group on his crutch. He stops to watch the exchange.) SPYROS I didn't mean any offense, friend. DIMITRIS My friends don't speak to young ladies so boldly. I would think a world renowned story-teller such as yourself would have better manners. SPYROS Story-teller? There has to be some mistake. KARA Oh, Aesop, don't be so modest. We know you're on your way to join the king's court. I wouldn't mind showing you the way. AESOP So you're the famous Aesop! Good to meet you, sir! (He offers his hand. Confused, Spyros accepts it.) SPYROS But I'm not... AESOP Oh, no need to be so modest! KARA No need at all! DIMITRIS That's enough, young lady! AESOP You know, Aesop. Your current predicament puts me very much in mind of a story I heard once a long, long time ago. I think it was one of yours. SPYROS I don't have any stories! 6. DIMITRIS I suggest you mind your own business, grandpa. I'll deal with Aesop appropriately. AESOP All right. If you don't want to hear a good story... SPYROS Oh, no. We want to hear it. We're all very eager to hear it. AESOP I don't want to impose. SPYROS Please impose! KARA Why don't you tell it, Aesop? SPYROS Let's humor the old man. AESOP You're very kind. DIMITRIS Just get on with it. AESOP Have you heard the story of the wolf in sheep's clothing? KARA Of course. Everyone has. SPYROS I haven't. AESOP Really? How amazing. I was sure you made it up while tending your master's sheep on Samos. SPYROS I've never been to Sa... (He glances at Kara. She frowns.) SPYROS (Continued) I love a good story. Tell it to us, please? AESOP How can I resist when you've been so gracious? 7. (As a shepherd, Cosmo leads three members of the Greek Chorus dressed as sheep onto the road. Chloe breaks away, frolicking enthusiastically around Spyros. Lurking near the back, Georgi is a hungry wolf watching the flock.) AESOP (Continued) It seems a wolf had been lurking near a flock of sheep for days. (Aesop breaks away to chastise Chloe.) AESOP (Continued) Less frolic, more grazing, please. CHLOE Bah! I mean... baaaa! (Reluctantly, Chloe allows Cosmo to herd her back to the flock.) AESOP Because of the shepherd, the wolf was becoming desperately hungry. (A sheepskin sails toward the wolf. Georgi snatches it.) AESOP (Continued) Then, he found a discarded sheepskin and slipped it on... (Cosmo herds the sheep around Georgi.) AESOP (Continued) ... Which fooled the shepherd into shutting the hungry wolf in with the flock when night fell. But because the shepherd was hungry, too... (Cosmo seizes Georgi by the sheepskin. Terrified, Georgi sinks to his knees.) AESOP (Continued) ... he grabbed the first animal he came to for his dinner. When he found he'd seized a wolf, he killed it on the spot. (Cosmo slashes Georgi who falls. Cosmo drags him off. The sheep follow. Dimitris eyes Spyros menacingly.) 8. DIMITRIS Bad luck for the wolf, indeed. AESOP Yes, but we learn from their encounter that appearances can be deceiving. KARA Sounds just like one of Aesop's famous fables. AESOP In that case, it's a good thing I happen to be Aesop. KARA You're Aesop? Then who's he? SPYROS I'm an assistant in the king's kitchen. See? (He opens the basket lid to show vegetables from the market.) AESOP Like I said, appearances can be deceiving. DIMITRIS See how foolish you've been? Now let's be off to the market. Come along, girl. (He leads Kara away.) SPYROS Boy, am I lucky you came along. AESOP Does this kind of thing happen to you often? SPYROS Often enough... and not often enough, if you know what I mean. AESOP I don't think I want to know what you mean, young man. SPYROS I'm Spyros. It would my pleasure and my honor to escort you to our court, Master Aesop. AESOP It's equally my honor to be escorted, as one is judged by the company they keep. 9. SPYROS I've heard that one. It's from The Farmer and the Stork, isn't it? AESOP Right you are, my new friend. SPYROS I have a feeling things are going to get very interesting with you around, Master Aesop. Our court philosophers are in for a rare treat. AESOP That's always the hope, my new friend. But one should never count their chickens before they've hatched. Let's not keep our good king waiting. (Spyros leads Aesop down the road followed by the Greek Chorus.) GREEK CHORUS (sings) LYDIA IS JUST AHEAD. WEAVING FABLES FOR YOUR HEAD, HERE'S OLD AESOP.
Recommended publications
  • Verdi Falstaff
    Table of Opera 101: Getting Ready for the Opera 4 A Brief History of Western Opera 6 Philadelphia’s Academy of Music 8 Broad Street: Avenue of the Arts Con9tOperae Etiquette 101 nts 10 Why I Like Opera by Taylor Baggs Relating Opera to History: The Culture Connection 11 Giuseppe Verdi: Hero of Italy 12 Verdi Timeline 13 Make Your Own Timeline 14 Game: Falstaff Crossword Puzzle 16 Bard of Stratford – William Shakespeare 18 All the World’s a Stage: The Globe Theatre Falstaff: Libretto and Production Information 20 Falstaff Synopsis 22 Meet the Artists 23 Introducing Soprano Christine Goerke 24 Falstaff LIBRETTO Behind the Scenes: Careers in the Arts 65 Game: Connect the Opera Terms 66 So You Want to Sing Like an Opera Singer! 68 The Highs and Lows of the Operatic Voice 70 Life in the Opera Chorus: Julie-Ann Whitely 71 The Subtle Art of Costume Design Lessons 72 Conflicts and Loves in Falstaff 73 Review of Philadelphia’s First Falstaff 74 2006-2007 Season Subscriptions Glossary 75 State Standards 79 State Standards Met 80 A Brief History of 4 Western Opera Theatrical performances that use music, song Music was changing, too. and dance to tell a story can be found in many Composers abandoned the ornate cultures. Opera is just one example of music drama. Baroque style of music and began Claudio Monteverdi In its 400-year history opera has been shaped by the to write less complicated music 1567-1643 times in which it was created and tells us much that expressed the character’s thoughts and feelings about those who participated in the art form as writers, more believably.
    [Show full text]
  • HAYDN À L'anglaise
    HAYDN à l’anglaise NI6174 CAFO MOZART Caf€ Mozart Proprietor Derek McCulloch Emma Kirkby soprano Rogers Covey-Crump tenor Emma Kirkby soprano Rogers Covey-Crump tenor Jenny Thomas flute Ian Gammie guitar Alastair Ross square piano Jenny Thomas flute Ian Gammie guitar Alastair Ross square piano Derek McCulloch proprietor Instruments: Four-keyed flute: Rudolph Tutz, Innsbruck 2003, after August Grenser, c1790 Guitar: Nick Blishen, 2001; copy of Lacote, c1820 Square piano: William Southwell, London c1798. Restored by Andrew Lancaster, 2008 Tuning & maintenance: Edmund Pickering Tuning: a’=430; Vallotti Recorded June 7th-9th 2011 in Rycote Chapel nr Thame, Oxfordshire Sound engineer: Anthony Philpot. Producer: Dr Derek McCulloch Music edited and arranged by Ian Gammie & Derek McCulloch Source material: Bodleian Library, Oxford, UK Bodleian Libraries UNIVERSITY OF OXFORD © 2012 Caf€ Mozart Enterprises 64 Frances Rd Windsor SL4 3AJ [email protected] HAYDN à l’anglaise Cover picture: Derek McCulloch (©2012) after George Dance (1794) Haydn’s songs as edited by William Shield Graphics: Rod Lord (www.rodlord.com) ‘Ballads’ adapted from his instrumental music by Samuel Arnold Dedicated to the memory of Roy Thomas († February 2011) Rondos on his Canzonettas by Thomas Haigh Alastair Ross started his musical career as HAYDN à l’anglaise Organ Scholar in New College, Oxford in Caf€ Mozart Proprietor Derek McCulloch the 1960s. In the intervening years he has (a) Emma Kirkby soprano [1,2,3,6,8,10,14,15,17,19,20] established himself as one of the country’s (b) Rogers Covey-Crump tenor [1,2,4,7,9,10,11,13,14,15,18,19,20] foremost continuo players and as a solo (c) Jenny Thomas flute [2,7,8,9,10,13,14,15,19] harpsichordist with a particular affection for (d) Ian Gammie guitar [2,6,7,8,9,10,11,14,15,17,18,19,20] JS Bach.
    [Show full text]
  • Navigating, Coping & Cashing In
    The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings.
    [Show full text]
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • |What to Expect from L'elisir D'amore
    | WHAT TO EXPECT FROM L’ELISIR D’AMORE AN ANCIENT LEGEND, A POTION OF QUESTIONABLE ORIGIN, AND THE WORK: a single tear: sometimes that’s all you need to live happily ever after. When L’ELISIR D’AMORE Gaetano Donizetti and Felice Romani—among the most famous Italian An opera in two acts, sung in Italian composers and librettists of their day, respectively—joined forces in 1832 Music by Gaetano Donizetti to adapt a French comic opera for the Italian stage, the result was nothing Libretto by Felice Romani short of magical. An effervescent mixture of tender young love, unforget- Based on the opera Le Philtre table characters, and some of the most delightful music ever written, L’Eli s ir (The Potion) by Eugène Scribe and d’Amore (The Elixir of Love) quickly became the most popular opera in Italy. Daniel-François-Esprit Auber Donizetti’s comic masterpiece arrived at the Metropolitan Opera in 1904, First performed May 12, 1832, at the and many of the world’s most famous musicians have since brought the opera Teatro alla Cannobiana, Milan, Italy to life on the Met’s stage. Today, Bartlett Sher’s vibrant production conjures the rustic Italian countryside within the opulence of the opera house, while PRODUCTION Catherine Zuber’s colorful costumes add a dash of zesty wit. Toss in a feisty Domingo Hindoyan, Conductor female lead, an earnest and lovesick young man, a military braggart, and an Bartlett Sher, Production ebullient charlatan, and the result is a delectable concoction of plot twists, Michael Yeargan, Set Designer sparkling humor, and exhilarating music that will make you laugh, cheer, Catherine Zuber, Costume Designer and maybe even fall in love.
    [Show full text]
  • Greek Perspectives on Cyrus and His Conquests Greek Perspectives on Cyrus and His Conquests
    GREEK PERSPECTIVES ON CYRUS AND HIS CONQUESTS GREEK PERSPECTIVES ON CYRUS AND HIS CONQUESTS By STEPHEN CLOTHIER, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University ill Copyright by Stephen Clothier, September 1997 MASTER OF ARTS (1997) McMaster University (Classics) Hamilton, Ontario TITLE: Greek Perspectives on Cyrus and his Conquests AUTHOR: Stephen Clothier, B.A. (McMaster University) SUPERVISOR: Dr. Peter Kingston NUMBER OF PAGES: v, 100 II Abstract The aim of this paper is to examine the figure of Cyrus II of Persia, as it appears in The Histories of Herodotus and Xenophon's Cyropaedia. The author's primary concern is the historical background of the narratives, rather than their literary aspects. An attempt will be made to relate the various episodes in the Greek works to the cuneiform evidence, which is quite substantial with respect to the capture of Babylon. An examination ofthe cuneiform evidence (in translation) will form the main topic ofthe first chapter. Chapter Two will focus on the Herodotean account of Cyrus, which is the most important one to survive from the Classical world. Although the presence of various heroic motifs render substantial portions of the narrative questionable, these will nevertheless be examined in the light of the many parallels that have been found for them in the Near East and Greece itself. Also, an attempt will be made to uncover the historical truths that are quite possibly hidden beneath the mythic fa~ade. Moreover, in the pursuit of reliable traditions, the differences and similanties between the Greek accounts and the cuneiform records will be noted.
    [Show full text]
  • Political Memory in and After the Persian Empire Persian the After and Memory in Political
    POLITICAL IN MEMORY AND AFTER THE PERSIAN EMPIRE At its height, the Persian Empire stretched from India to Libya, uniting the entire Near East under the rule of a single Great King for the rst time in history. Many groups in the area had long-lived traditions of indigenous kingship, but these were either abolished or adapted to t the new frame of universal Persian rule. is book explores the ways in which people from Rome, Egypt, Babylonia, Israel, and Iran interacted with kingship in the Persian Empire and how they remembered and reshaped their own indigenous traditions in response to these experiences. e contributors are Björn Anderson, Seth A. Bledsoe, Henry P. Colburn, Geert POLITICAL MEMORY De Breucker, Benedikt Eckhardt, Kiyan Foroutan, Lisbeth S. Fried, Olaf E. Kaper, Alesandr V. Makhlaiuk, Christine Mitchell, John P. Nielsen, Eduard Rung, Jason M. Silverman, Květa Smoláriková, R. J. van der Spek, Caroline Waerzeggers, IN AND AFTER THE Melanie Wasmuth, and Ian Douglas Wilson. JASON M. SILVERMAN is a postdoctoral researcher in the Faculty of eology PERSIAN EMPIRE at the University of Helsinki. He is the author of Persepolis and Jerusalem: Iranian In uence on the Apocalyptic Hermeneutic (T&T Clark) and the editor of Opening Heaven’s Floodgates: e Genesis Flood Narrative, Its Context and Reception (Gorgias). CAROLINE WAERZEGGERS is Associate Professor of Assyriology at Leiden University. She is the author of Marduk-rēmanni: Local Networks and Imperial Politics in Achaemenid Babylonia (Peeters) and e Ezida Temple of Borsippa: Priesthood, Cult, Archives (Nederlands Instituut voor het Nabije Oosten). Ancient Near East Monographs Monografías sobre el Antiguo Cercano Oriente Society of Biblical Literature Centro de Estudios de Historia del Antiguo Oriente (UCA) Edited by Waerzeggers Electronic open access edition (ISBN 978-0-88414-089-4) available at Silverman Jason M.
    [Show full text]
  • Aesop's Fables II with Jim West Study Guide
    presents AESOP’S FABLES Starring Jim West Study Guide AESOP, the Father of the Fable (approx. 620-560 BC) Aesop was born a slave in either Egypt or Turkey (historians are not sure) and found favor at the court of King Croesus (King of Lydia, an ancient kingdom in West Asia Minor). Aesop told stories about animals because people, and kings in particular, didn=t like to see themselves being foolish. However, we can all laugh and learn watching animals make the same mistakes as ourselves. In fact, King Croesus freed him because he liked his stories so much. As a free man, Aesop eventually settled in Greece. The first written record of the fables dates from 300 A.D. Aesop himself never wrote his stories down. The first English publication came in 1484 and in 1593 the fables were published in Japanese! People the world over have known and loved Aesop and his fables for a long time. BEFORE THE SHOW Exercise #1 The harpsichord was the forerunner of the piano. When its key is struck, a little quill plucks the string. No matter how hard you hit the keyboard, the sound is always the same. With the invention of the piano in the 18th century, when the key is struck, a felt hammer strikes the string and thus you can play loudly or softly. It was originally called a pianoforte, which means Asoft-loud@ in Italian. In the section, THE TORTOISE AND THE HARE, a piano will be heard playing a short Scarlatti sonata followed by the sound of a harpsichord playing the same piece.
    [Show full text]
  • Croesus and the Lydian Navy*
    ANNALISA PARADISO Croesus and the Lydian Navy* An anecdote related by Herodotus in his Lydian logos seems to interpret in a dramatized way the relation of Lydia with the sea. The historian reports that Croesus planned to build ships in order to attack the Greeks of the isles in front of Asia Minor. When all was ready for shipbuilding, Bias of Priene (or Pittacus of Mytilene) came to Sardis. The king asked him for any news concerning Greece and the Sage answered that the people of the isles were buying up ten thousand horses, intending to make an expedition against him. Taking that for true, Croesus said he wished the gods would inspire the islanders to do that, to attack on horse- back the sons of the Lydians. And the other replied that the king seemed to pray eagerly to catch the islanders riding on the mainland, but what else did he think the people of the isles were praying for, as soon as they heard he was going to build a navy, than to catch the Lydians on the sea, and so to take vengeance on him for the Greeks of the mainland whom he had enslaved? The king was pleased with this answer, understood its meaning, and stopped shipbuilding. Then he signed a pact of guest-friendship (ξεινίη) with the Ionians inhabiting the islands1. The story dramatizes information which seems to be historical, concerning the accord signed by Croesus with the Ionian islands. This agreement, involving diplomatic hospitality rather than military alliance, is explained as a turning point in the aggressive policy adopted by the Mermnads, and especially by Croesus, towards the Greeks.
    [Show full text]
  • Tuesday, February 6, 2018 | 7:30 P.M. | Recital Hall
    DOCTOR OF MUSICAL ARTS SOLO RECITAL André Chiang, baritone Richard Blumenthal, piano “Endlich, wird mein Joch” from BWV 56 Johann Sebastian Bach (1685-1750) “Gott, sei mir gnädig” from Paulus Felix Mendelssohn (1809-1847) Selections from Vier ernste Gesänge Johannes Brahms “Denn es gehet dem Menschen” (1833-1897) “Ich wandte mich und sahe an” “O Tod, wie bitter bist du” “Wenn ich mit Menschen” INTERMISSION “Rivolgete a lui lo sguardo” from Così fan tutte Wolfgang Amadeus Mozart (1756-1791) Selections from Le bestiaire Francis Poulenc “Le dromadaire” (1899-1963) “La chèvre du Thibet” “La sauterelle” “Le dauphin” “L’écrevisse” “La carpe” Selections from Evidence of Things Not Seen Ned Rorem “A Glimpse” (b. 1923) “Dear, though the night” “He thinks upon his death” This recital is given in partial fulfillment of the requirements of the Doctor of Musical Arts degree. André Chiang is from the Studio of Dennis Jesse. Tuesday, February 6, 2018 | 7:30 p.m. | Recital Hall DOCTOR OF MUSICAL ARTS SOLO RECITAL PROGRAM NOTES: Ich will dem Kreuzstab gerne tragen BWV 56 (I will the cross-staff gladly carry) is a solo cantata for bass written by Johann Sebastian Bach, and its first performance occured in Leipzig on October 27th, 1726. The cantata is composed of five parts: Aria, Recitativo, Aria, Recitativo, and Choral. Notably, the author of the cantata is unknown, but the text actually corresponds to the Scripture lesson for the 19th Sunday after Trinity which was when the cantata was first performed;1 and within the instrumental parts and the vocal score, an “X” is used instead of the word Kreuz in Kreuzstab, literally using a cross to shorthand for the word cross.2 Endlich, wird mein Joch is the second aria in the cantata and is performed with bass voice, solo oboe, and basso continuo.
    [Show full text]
  • The Vocal Duets of G. F. Handel and His Italian Contemporaries (C. 1706–1724)
    The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706–1724) Ivan Ćurković The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706–1724) Ivan Ćurković The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706–1724) About the Author Ivan Ćurković teaches musicology at the University of Zagreb (Academy of Music). He studied musicology, comparative literature and Hungarian studies in Zagreb and received his Ph.D. at the Musicology Department of Heidelberg University. His research interests are dramatic vocal genres of the first half of the 18th century with particular emphasis on the works of G. F. Handel and his contemporaries. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. This work is published under the Creative Commons license 4.0 (CC BY-SA 4.0). The online version of this publication is freely available on the ebook-platform of the Heidelberg University Library heiBOOKS http://books.ub.uni-heidelberg.de/heibooks (open access). urn: urn:nbn:de:bsz:16-heibooks-book-290-2 doi: https://doi.org/10.11588/heibooks.290.386 Text © 2017, Ivan Ćurković Layout: Lana Grahek, Zagreb Music engraver: Dario Poljak, Zagreb Proofreader: Claire Holfelder, Speyer Cover image: © The British Library Board. (Bononcini, Giovanni. 1722. Griselda. An Opera as It Was Perform’d at the King’s Theatre for the Royal Academy. London: I. Walsh and Ino. and Ioseph Hare. Shelfmark H.321.b. p.
    [Show full text]
  • Croesus and Delphi , Greek, Roman and Byzantine Studies, 25:3 (1984) P.209
    PARKE, H. W., Croesus and Delphi , Greek, Roman and Byzantine Studies, 25:3 (1984) p.209 Croesus and Delphi H W Parke T WAS IN 1939 that I first essayed this subject in print, and in I 1956, when Dr Wormell and I dealt with the Delphic oracle on a larger scale, this particular section was not greatly altered. 1 Now, more than forty years since my first attempt, I try to go into some aspects of the subject in greater detail, and follow up some problems at which I merely hinted. The impulse to do so now is immediately occasioned by work which I have recently done on the Greek Sibyls, but some of the ideas have been in mind for long, and it is only the convergence of various lines of research that suggested the hypoth­ eses which I now offer. I When Herodotus visited Delphi in the 440's B.C., the most impres­ sive collection of dedications there were those presented about a century earlier by Croesus, king of Lydia. Also, the Delphians had an elaborate tale to tell of the king's dealings with the Pythian Apollo. Everything points to the conclusion that no one had previously de­ scribed these objects in writing nor recorded their story. So it was appropriate for Herodotus to undertake the task and make them the climax of his account of the kings of Lydia. This, rather than as part of the history of Delphi, is the aspect from which they are treated in the first book. As Herodotus listed them, Croesus' dedications con­ sisted of: (1) A lion of pure gold weighing ten talents (ca 600 lb.), standing on four half-bricks of pure gold each weighing two and a half talents (ca 150 lb.), which surmounted a pyramidal heap of 113 half-bricks of white gold (i.e.
    [Show full text]