Charles Ives, 129 Songs. Critical Commentaries

Total Page:16

File Type:pdf, Size:1020Kb

Charles Ives, 129 Songs. Critical Commentaries Cri tic al Com me n tar ie s f o r C h a r l e s I v e s 1 2 9 S O N G S Edited by H. Wiley Hitchcock To accompany Music of the United States of America • Volume 12 Recent Researches in American Music • Volume 46 Published for the American Musicological Society by A-R Editions, Inc., Middleton, Wisconsin Copyright © 2004 American Musicological Society Typography by Ron Wiecki P r e f a c e The Charles Ives Society commissioned the critical edition of 129 Songs by Ives in 1990. Accepted in 1993 for inclusion as a volume of the American Musicological Society’s series Music of the United States of America "MUSA#, 129 Songs was published in the summer of 2004 as MUSA Volume 12. The critical commentaries of the edition were prepared according to the Ives Society’s exceptionally generous editorial guidelines, resulting in very detailed and lengthy commentaries. These were considered unnecessarily elaborate for the published MUSA volume; instead, that includes briefer critical $reports,% the report for each song being abstracted from its corresponding critical commentary. Hard copies of the complete critical commentaries herein are deposited for on-site study in the music libraries of Yale University and the University of Michigan, the Music Research Division of the New York Public Library of the Performing Arts at Lincoln Center, and the Music Division of the Library of Congress; they will also be available for viewing and downloading on the Ives Society and MUSA websites. Here, preceding the critical commentaries are explanatory excerpts from the $Apparatus% of the MUSA vol- ume, slightly revised as necessary. &N.B. Pages 18, 38, 58, 84, 146, 228, and 256 are intentionally blank.' Table 1 below reproduces the 129 songs in the order in which they appear in the MUSA volume "and the critical commentaries to follow here#. Table 1 129 Songs, Ordered Chronologically 1. Slow March "p. 1# 2. A Song(For Anything "p. 2# a. Hear My Prayer, O Lord b. When the waves softly sigh c. Yale, Farewell! 3. At Parting "p. 4# 4. Abide with me "p. 6# 5. When stars are in the quiet skies "p. 8# 6. Nature’s Way "p. 10# 7. Mirage "p. 11# 8. Canon "p. 12# 9. Song for Harvest Season "p. 14# 10. Waltz "p. 17# 11. The Circus Band "p. 19# 12. A Night Song "p. 21# 13. A Christmas Carol "p. 22# 14. Rosamunde "p. 23# 15. Night of Frost in May "p. 25# 16. Songs my mother taught me "p. 27# 17. Amphion "p. 29# 18. My Native Land "p. 31# 19. A Son of a Gambolier "p. 34# 20. K)ren "p. 36# 21. The World’s Wanderers "p. 39# 129 Songs: Notes & Commentaries ii 22. The South Wind / Die Lotosblume "p. 40# 23. A Night Thought "p. 43# 24. Marie "p. 44# 25. An Old Flame "p. 46# 26. In the Alley "p. 48# 27. I travelled among unknown men "p. 50# 28. Dreams "p. 52# 29. Qu’il m’irait bien "p. 54# 30. Memories "p. 56# a. Very Pleasant b. Rather Sad 31. There is a lane "p. 59# 32. Feldeinsamkeit / In Summer Fields "p. 60# 33. Ich grolle nicht / I’ll not complain "p. 63# 34. Chanson de Florian "p. 66# 35. Naught that country needeth "p. 68# 36. Forward into Light "p. 72# 37. Rough Wind "p. 76# 38. Harpalus "p. 78# 39. Evidence "p. 80# 40. Tarrant Moss "p. 82# 41. Slugging a Vampire "p. 85# 42. The Waiting Soul "p. 87# 43. Flag Song "p. 89# 44. Where the eagle cannot see "p. 90# 45. Omens and Oracles "p. 92# 46. Allegro "p. 95# 47. Romanzo "di Central Park# "p. 96# 48. Berceuse "p. 98# 49. Du alte Mutter / My dear old mother "p. 100# 50. The Children’s Hour "p. 102# 51. El*gie "p. 103# 52. Ilmenau / Over all the treetops "p. 105# 53. Weil’ auf mir / Eyes so dark "p. 107# 54. Walking "p. 109# 55. Those Evening Bells "p. 111# 56. The Light That Is Felt "p. 113# 57. The Cage "p. 115# 58. The World’s Highway "p. 117# 59. Spring Song "p. 119# 60. Soliloquy "p. 121# 61. Autumn "p. 123# 62. Tolerance "p. 126# 63. A Farewell to Land "p. 128# 64. Mists "p. 130# 65. Religion "p. 132# 66. Requiem "p. 134# 67. Vote for Names! Names! Names! "p. 136# 68. The Camp Meeting "p. 138# 69. His Exaltation "p. 141# 70. Watchman! "p. 144# 71. The New River "p. 147# 72. The See’r "p. 149# 73. December "p. 151# 74. Like a Sick Eagle "p. 155# 129 Songs: Notes & Commentaries iii 75. Luck and Work "p. 158# 76. Lincoln, the Great Commoner "p. 160# 77. Old Home Day "p. 164# 78. General William Booth Enters into Heaven "p. 167# 79. Thoreau "p. 174# 80. Swimmers "p. 177# 81. At the River "p. 181# 82. The Innate "p. 184# 83. In Flanders Fields "p. 187# 84. He Is There! "p. 190# 85. They Are There! "p. 193# 86. The Things Our Fathers Loved "p. 196# 87. Tom Sails Away "p. 198# 88. To Edith "p. 202# 89. Down East "p. 204# 90. Serenity "p. 206# 91. Cradle Song "p. 207# 92. Afterglow "p. 209# 93. The Collection "p. 212# 94. Grantchester "p. 213# 95. La Fede "p. 215# 96. August "p. 216# 97. September "p. 218# 98. On the Counter "p. 221# 99. Maple Leaves "p. 223# 100. Charlie Rutlage "p. 225# 101. At Sea "p. 229# 102. Hymn "p. 231# 103. Remembrance "p. 234# 104. The $Incantation% "p. 236# 105. The Last Reader "p. 239# 106. The Housatonic at Stockbridge "p. 241# 107. The Indians "p. 245# 108. West London "p. 2470 109. Two Slants "Christian and Pagan# "p. 249# a. Duty b. Vita 110. Walt Whitman "p. 253# 111. The Rainbow "So May It Be!# "p. 257# 112. Majority "p. 260# 113. Premonitions "p. 265# 114. Nov. 2, 1920 "An Election# "p. 267# 115. The Side Show "p. 272# 116. $1, 2, 3% "p. 274# 117. Paracelsus "p. 275# 118. Ann Street "p. 278# 119. Immortality "p. 281# 120. Two Little Flowers "p. 283# 121. The Greatest Man "p. 285# 122. Resolution "p. 287# 123. Disclosure "p. 288# 124. The White Gulls "p. 289# 125. Evening "p. 291# 126. Aeschylus and Sophocles "p. 292# 127. On the Antipodes "p. 294# 129 Songs: Notes & Commentaries iv & Addenda' 128. Song without words &I' "p. 296# 129. Song without words &II' "p. 297# Table 2 is a list of the 129 Songs ordered alphabetically by title. Following the title of each is its ordinal number "as in Table 1# and the page number beginning its critical commen- tary. Table 2 129 Songs, Listed Alphabetically By Title (Numbers following title = number of song in this edition / page number beginning its critical commentary) Abide with me "4 / p. 6# Aeschylus and Sophocles "126 / p. 292# Afterglow "92 / p. 209# Allegro "46 / p. 95# Amphion "17 / p. 29# Ann Street "118 / p. 278# At Parting "3 / p. 4# At Sea "101 / p. 229# At the River "81 / p. 181# August "96 / p. 216# Autumn "61 / p. 123# Berceuse "48 / p. 98# Cage, The "57 / p. 115# Camp Meeting, The "68 / p. 138# Canon "8 / p. 12# Chanson de Florian "34 / p. 66# Charlie Rutlage "100 / p. 225# Children’s Hour, The "50 / p. 102# Christmas Carol, A "13 / p. 19# Circus Band "11 / p. 19# Collection, The "93 / p. 212# Cradle Song "91 / p. 207# December "73 / p. 151# Disclosure "123 / p. 288# Down East "89 / p. 204# Dreams "28 / p. 52# Du alte Mutter / My dear old mother "49 / p. 100# Duty "see Two Slants# Election, An "see Nov. 2, 1920# El*gie "51 / p. 103# Evening "125 / p. 291# Evidence "39 / p. 80# Eyes so dark "see Weil’ auf mir# Farewell to Land, A "63 / p. 128# Fede, La "95 / p. 215# Feldeinsamkeit / In Summer Fields "32 / p. 60# Flag Song "43 / p. 89# Forward into Light "36 / p. 72# General William Booth Enters into Heaven "78 / p. 167# Grantchester "94 / p. 213# Greatest Man, The "121 / p. 285# Harpalus "38 / p. 78# 129 Songs: Notes & Commentaries v He Is There! "84 / p. 190# His Exaltation "69 / p. 141# Housatonic at Stockbridge, The "106 / p. 241# Hymn "102 / p. 231# I travelled among unknown men "27 / p. 50# Ich grolle nicht / I’ll not complain "33 / p. 63# I’ll not complain "see Ich grolle nicht# Ilmenau / Over all the treetops "52 / p. 105# Immortality "119 / p. 281# In Flanders Fields "83 / p. 187# In Summer Fields "see Feldeinsamkeit# In the Alley "26 / p. 48# $Incantation,% The "104 / p. 236# Indians, The "107 / p. 245# Innate, The "82 / p. 184# K)ren "20 / p. 36# Last Reader, The "105 / p. 239# Light That Is Felt, The "56 / p. 113# Like a Sick Eagle "74 / p. 155# Lincoln, the Great Commoner "76 / p. 160# Lotosblume, Die "see The South Wind# Luck and Work "75 / p. 158# Majority "112 / p. 260# Maple Leaves "99 / p. 223# Marie "24 / p. 44# Memories "30 / p. 56# a. Very Pleasant b. Very Sad Mirage "7 / p. 11# Mists "64 / p. 130# My Native Land "18 / p. 31# Nature’s Way "6 / p. 10# Naught that country needeth "35 / p. 68# New River, The "71 / p. 147# Night of Frost in May "15 / p. 25# Night Song, A "12 / p. 21# Night Thought, A "23 / p. 43# Nov. 2, 1920 "An Election# "114 / p.
Recommended publications
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • Myfanwy Mynyddog (Richard Davies), Joseph Parry
    CANTABILE – THE LONDON QUARTET THE GREAT BRITISH A CAPPELLA SONGBOOK EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED PETERS EDITION LTD A member of the Edition Peters Group FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK CCantabileantabile AAnthologynthology LLAYOUT.inddAYOUT.indd 1 110/8/20120/8/2012 1:06:361:06:36 PPMM Cantabile − The London Quartet is managed by artist management A Foggy Day. Music and Lyrics by George Gershwin and Ira Gershwin. Arranged by Cantabile − The London Quartet. © 1937 (renewed) Chappell & Co Inc, USA. This arrangement © 2012 Chappell & Co Inc, USA. Warner/Chappell North America Ltd, London W6 8BS. Reproduced by permission of Faber Music Ltd. All Rights Reserved. Pomp and Circumstance by Edward Elgar. Words © 2012 by Margarete and Julian Forsyth. Lullaby (‘Hush Macushla’) by Cantabile − The London Quartet. © Copyright 2012 by Cantabile − The London Quartet. All other arrangements in this collection © Copyright 2012 by Cantabile − The London Quartet. Peters Edition Limited 2−6 Baches Street London N1 6DN Tel: +44 (0)20 7553 4000 Fax: +44 (0)20 7490 4921 Email: [email protected] Internet: www.editionpeters.com CCantabileantabile AAnthologynthology LLAYOUT.inddAYOUT.indd 2 110/8/20120/8/2012 1:07:041:07:04 PPMM CONTENTS Foreword . 4 Vorwort . 5 About the Songs . 6 Über die Stücke . 8 Pastime with Good Company King Henry VIII of England . 11 Greensleeves Traditional English . 14 Oranges and Lemons Traditional English . 22 Myfanwy Mynyddog (Richard Davies), Joseph Parry . 30 Danny Boy, ‘I Would be True’ Traditional Irish (Londonderry Air) Frederic E. Weatherly, Howard Walter . 35 A Man’s a Man for A’ That Traditional Scottish / Robert Burns (‘Lady McIntosh’s Reel’) .
    [Show full text]
  • The John and Anna Gillespie Papers an Inventory of Holdings at the American Music Research Center
    The John and Anna Gillespie papers An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The John and Anna Gillespie papers Descriptive summary ID COU-AMRC-37 Title John and Anna Gillespie papers Date(s) Creator(s) Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 48 linear feet Scope and Contents Papers of John E. "Jack" Gillespie (1921—2003), Professor of music, University of California at Santa Barbara, author, musicologist and organist, including more than five thousand pieces of photocopied sheet music collected by Dr. Gillespie and his wife Anna Gillespie, used for researching their Bibliography of Nineteenth Century American Piano Music. Administrative Information Arrangement Sheet music arranged alphabetically by composer and then by title Access Open Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], John and Anna Gillespie papers, University of Colorado, Boulder Index Terms Access points related to this collection: Corporate names American Music Research Center - Page 2 - The John and Anna Gillespie papers Detailed Description Bibliography of Nineteenth-Century American Piano Music Music for Solo Piano Box Folder 1 1 Alden-Ambrose 1 2 Anderson-Ayers 1 3 Baerman-Barnes 2 1 Homer N. Bartlett 2 2 Homer N. Bartlett 2 3 W.K. Bassford 2 4 H.H. Amy Beach 3 1 John Beach-Arthur Bergh 3 2 Blind Tom 3 3 Arthur Bird-Henry R.
    [Show full text]
  • June 1902) Winton J
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1902 Volume 20, Number 06 (June 1902) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 20, Number 06 (June 1902)." , (1902). https://digitalcommons.gardner-webb.edu/etude/471 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE PUBLISHER OF THE ETVDE WILL SUPPLY ANYTHING IN MUSIC. 11^ VPl\W4-»* _ The Sw»d Volume ol ••The Cmet In Mmk" mil be rmdy to «'»!' >* Apnl "* WORK m VOLUME .. 5KI55 nETUDE I, Clic.pl". Oodard. and Sohytte. II. Chamlnade. J^ ^ Sthumann and Mosz- Q. Smith. A. M. Foerater. and Oeo. W. W|enin«ki. VI. kowski (Schumann occupies 75 pages). • Kelley» Wm. Berger, and Deahm. and Fd. Sehnett. VII. It. W. O. B. Klein. VIII, Saint-Saens, Paderewski, Q Y Bn|ch Max yogrich. IX. (llazounov, Balakirev, the Waltz Strau ’ M g Forces in the X. Review ol the Coum a. a Wholes The Place ol Bach nr Development; Influence ol the Folks Song, etc.
    [Show full text]
  • Yankee Doodles: the Music and Politics of Charles Ives
    !1 Yankee Doodles: The Music and Politics of Charles Ives A thesis presented by Jacob Tilton Presented to The Department of Music and The Department of Government in partial fulfillment of the requirements for the degree with honors of Bachelor of Arts Harvard College March 2019 !2 TABLE OF CONTENTS AUTHOR’S NOTE 3 INTRODUCTION 5 CH. I: IVES’S “YANKEE” PSYCHE & POLITICS 17 Democracy & Memory 18 “The Majority” 21 “Essays Before a Sonata,” Dogma, and Transcendentalism 31 Race, Ragtime, and Musical Borrowing 38 War, Patriotism, Alienation, and Neurasthenia 40 Puritan Versus “Yankee” in Relation to Ives 45 America’s Emasculation 47 Concluding Notes 53 CH. II: A MUSICAL STUDY OF IVES’S THREE PLACES IN NEW ENGLAND 57 The "St. Gaudens" in Boston Common 58 Putnam’s Camp 64 The Housatonic at Stockbridge 71 Political, Social, and Philosophical Implications and Questions 74 CONCLUSION, DISCUSSION, AND PERSONAL INTERVENTION 83 BIBLIOGRAPHY 91 APPENDIX I: Facsimile of the Original Manuscript of “Emasculating America” 106 APPENDIX II: Books on Ives’s Shelf & Authors He Cites 116 !3 AUTHOR’S NOTE I have lived in Canton, Connecticut, a town on the border of Hartford and Litchfield counties, and in the liminal zone of rural and suburban realms, for my entire life. If it weren’t for this upbringing and constant travels around all parts of New England, from the urban to the most rural, this project would not exist. An oft-overlooked place of culture, tradition, heritage, and pride, the communities, people, and landscapes of this region are unique and have formed who I consider myself to be today.
    [Show full text]
  • General Rules of the Eisteddfod
    Rhestr Testunau – English Version GENERAL RULES OF THE EISTEDDFOD Please note, the Rules stated below are relevant to every Eisteddfod – Local, Regional and National. Where a clarification of the Rules is necessary, the Welsh language version of the Rules shall be used as the basis for the decision. 1. Language policy The Eisteddfod aims to promote Welsh culture and to protect the Welsh Language. Welsh is the official language of the Eisteddfod. All creative works and competitions must be in Welsh except where noted otherwise for a particular competition. i Where there is no call for knowledge of the Welsh language the competitions are open to any member of the Urdd born in Wales, or any person who has a parent that were born in Wales, or any person living in Wales immediately before the festival or any person who can speak or write in Welsh. Words used in any work must be in Welsh. ii Recitation / Action Song / Dramatic Presentation / Theatre An exception may be made to use another language when there is a need to put part of the work into context. However, over - use of another language will not be permitted. iii Disco/Hip Hop/Street Dancing / Creative Dancing Music with Welsh language vocals or instrumental music only, should be used as an accompaniment. 2. Only full members of Urdd Gobaith Cymru may compete in Local, County/Regional and National Eisteddfodau. No one shall be considered a full member unless the membership fee has been paid and a Membership Card and number have been received for the year 2014/15.
    [Show full text]
  • A Special Catalogue of the Musical Material in the University of Illinois Library
    A Special Catalogue of tfec !v , ;\h icn^ h the University of Illinois Ubrarj mic 1 !: K/V ut>ji\'.<ji«- J J JU .NO EE J.,.UMI AJtV THE UNIVERSITY OF ILLINOIS LIBRARY A SPECIAL CATALOGUE OF THE MUSICAL MATERIAL IN THE UNIVERSITY OF ILLINOIS LIBRARY BY DELLA GRACE CORDELL THESIS FOR THE DEGREE OF BACHELOR OF MUSIC IN MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1918 Itns UNIVERSITY OF ILLINOIS June 13 19^8 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Delia Grace Qqx.gL.61L. entitled A Special Catalogue of the Musical .Material in the University of Illinois Library. IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE of Bachelor of Music HEAD OF DEPARTMENT OF Director, School of Music i. Table of Contents. Theoretical music. Introduction. I. History 1. II. General theory 13. III. Theory of music education, and instruction 26. IV. Philosophy and esthetics 42. V. Criticism and essays 43. VI. Periodicals 45. Practical music. I. Voice 47. II. Sacred 72. III. Piano ?6. IV. Violin S3. V. Organ 88. VI. Ensemble 108. VII. Orchestral 127. Index 140. Digitized by the Internet Archive in 2013 http://archive.org/details/specialcatalogueOOuniv S Introduction. In making this special catalogue of the music material in the University of Illinois Library, the object in view was a classifi- cation of the music and musical books from the standpoint of the music student in order that the material be made more accessible to those wishing to use it. The mu3ic material is arranged on the shelves according to the library Dewey Decimal classification system by means of which all books are classified under ten main divisions.
    [Show full text]
  • You Can Get There from Here Get There
    YOU CAN GET THERE FROM HERE FACILITIES MASTER PLAN 2010 - 2020 Acknowledgements Howard Community College embarked on an exciting year-long campus master planning process to establish a framework for the orderly development of all capital improvements that support the mission, vision, values, and strategic initiatives of the College. The successful master planning process included a comprehensive look at the physical environment of the campus and how that environment helps the College succeed in its educational mission. The campus master planning initiative provided an exciting opportunity for the entire community to participate in shaping a critical aspect of the College's future. The Facilities Master Plan was prepared with support and input from the College, including the Board of Trustees, the College’s faculty, staff and students, and a Steering Committee. The consultant team acknowledges this important input, with many thanks to the following: Board of Trustees T. James Truby, Chair Katherine K. Rensin, Vice Chair Roberta E. Dillow Kevin J. Doyle Mary S. Esmond Patrick L. Huddie, Ph.D. Mr. Louis G. Hutt, Jr., Esq., C.P.A. Kathleen B. Hetherington, Ed.D., Secretary-Treasurer Steering Committee Roberta E. Dillow, Board of Trustees Kathleen B. Hetherington, Ed.D., President Lynn Coleman, Vice President of Administration and Finance Thomas Glaser, Vice President of Information Technology Cindy Peterka, Ph.D., Vice President of Student Services Ronald Roberson, Vice President of Academic Affairs Shelly Bilello, Capital Programs Administrator
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1965-1966
    TANGLEWOOD Festival of Contemporary American Music August 14, 15, 16, 17, 18, 1966 Sponsored by the Berkshire Music Center In Cooperation with the Fromm Music Foundation I " STMVINSKY tt.VlOW agon vam 7/re Boston Symphony SCHULLER 7 STUDIES ox THEMES of PAUL KLEE BOSTON SYMPHONY ORCHESTRA/ERICH lEINSDORf under Leinsdorf Leinsdorf expresses with great power the vivid colors of Schuller's Seven Studies on Themes of Paul Kiee and, in the same album, Stravinsky's ballet music from Agon. Forthe majorsinging roles in Menotti's dramatic cantata, The Death of the Bishop of Brindisi. Leinsdorf astutely selected George London, and Lili Chookasian, of whom the Chicago Daily Tribune has written, "Her voice has the Boston symphony ecich teinsooof / luminous tonal sheath that makes listening luxurious. menotti Also hear Chookasian in this same album, in songs from the death op the Bishop op BRSndlSI Schbnberg's Gurre-Lieder. In Dynagroove sound. Qeonoe ionoon • tilt choolusun s<:b6notec,/ou*«*--l(eoeo. sooq of the wooo-6ove ac^acm rca Victor fa @ The most trusted name in sound ^V V BERKSHIRE MUSIC CENTER ERICH LeinsDORF, Director Joseph Silverstein, Chairman of the Faculty Aaron Copland, Chairman of the Faculty Emeritus Louis Speyer, Assistant Director Victor Babin, Chairman of the Tanglewood Institute Harry J. Kraut, Administrator FESTIVAL of CONTEMPORARY AMERICAN MUSIC presented in cooperation with THE FROMM MUSIC FOUNDATION Paul Fromm, President Alexander Schneider, Associate Director FELLOWSHIP PROGRAM Contemporary Music Activities Gunther Schuller, Head Roger Sessions, George Rochberg, and Donald Martino, Guest Teachers Paul Zukofsky, Fromm Teaching Fellow James Whitaker, Chief Coordinator Viola C Aliferis, Assistant Administrator The Berkshire Music Center is maintained for advanced study in music sponsored by the BOSTON SYMPHONY ORCHESTRA Erich Leinsdorf, Music Director Thomas D.
    [Show full text]
  • This Album Presents American Piano Music from the Later Part of the Nineteenth Century to the Beginning of the Twentieth
    EDWARD MacDOWELL and Company New World Records 80206 This album presents American piano music from the later part of the nineteenth century to the beginning of the twentieth. Chronologically it ranges from John Knowles Paine’s Fuga Giocosa, published in 1884, to Henry F. Gilbert’s Mazurka, published in 1902. The majority are from the nineties, a time of great prosperity and self-satisfaction in a nation of philanthropists and “philanthropied,” as a writer characterized it in The New York Times. Though the styles are quite different, there are similarities among the composers themselves. All were pianists or organists or both, all went to Europe for musical training, and all dabbled in the classical forms. If their compatriots earlier in the nineteenth century wrote quantities of ballads, waltzes, galops, marches, polkas, and variations on popular songs (New World Records 80257-2, The Wind Demon), the present group was more likely to write songs (self-consciously referred to as “art songs”) and pieces with abstract titles like prelude, fugue, sonata, trio, quartet, and concerto. There are exceptions. MacDowell’s formal works include two piano concertos, four piano sonatas, and orchestra and piano suites, but he is perhaps best known for his shorter character pieces and nature sketches for piano, such as Fireside Tales and New England Idyls (both completed in 1902). Ethelbert Nevin was essentially a composer of songs and shorter piano pieces, most of them souvenirs of his travels, but he, too, worked in the forms that had become most prestigious in his generation. The central reason for the shift away from dance-inspired and entertainment pieces to formal compositions was that American wealth created a culture that created a musical establishment.
    [Show full text]
  • THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
    1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour.
    [Show full text]
  • This Is a Great Band, and I Had a Great Time” Bob Weir, Grateful Dead Founding Member (Guitar/Vocalist)
    “This is a great band, and I had a great time” Bob Weir, Grateful Dead founding member (guitar/vocalist) “Inspired and accomplished musical discourse at such a deep and serious level: I had no problem at all believing that this was what the Grateful Dead sounded like 40 years ago.” David Gans, Grateful Dead Hour “I've always been impressed by DSO, but the other night I thought they'd taken it to a new level. It was some of the best Grateful Dead music I've heard in the past 20 years, and that covers some ground. Somehow, Jeff Mattson manages to play Jerry's parts perfectly in the spirit, but without any sense of being imitative. And boy, does the band pick up on this energy. Big fun!” Dennis McNally, Grateful Dead publicist & biographer 1980 – 1995; Author “A Long Strange Trip: The History of the Grateful Dead” “As one who is classically trained, I actually always thought that DSO was very cool, treating Grateful Dead music as repertoire- much as I've tried to do in my various bands.” Phil Lesh, Grateful Dead founding member (bass/vocals) “Playing with Dark Star Orchestra is something that feels just exactly like it felt when I was playing with the Grateful Dead.” Donna Jean Godchaux, Grateful Dead vocalist, frequent DSO guest “There are moments where I can close my eyes and go back 30 years and have it be every bit as rewarding and satisfying. Dark Star is an amazingly legitimate representation of the Dead.” Dan Healy, Grateful Dead sound engineer 1966 -1994 “Thank you for a real good time.” Jon Fishman, Phish drummer after sitting in with DSO “The Dark Star Orchestra re-creates Grateful Dead shows with a flashback-inducing meticulousness.” The New Yorker “...recreates the Dead concert experience with uncanny verisimilitude.
    [Show full text]