tag:blogger.com,1999:blog-65024458212694554312024-03-12T21:44:37.497-07:00Classical Break Somer Valley FM's classical music show.Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.comBlogger259125tag:blogger.com,1999:blog-6502445821269455431.post-21994428690300267922017-10-26T14:34:00.001-07:002017-10-26T14:42:35.462-07:00END OF AN ERA<span style="font-size: large;">Classical Break has had its final airing.</span><br />
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<i>After 9 years of weekly programmes, Mike and Rupert have ceased the Classical Break strand on Somer Valley FM.</i><br />
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Thanks to those of you who have remained loyal listeners. We hope you've enjoyed our take on what makes "Classical Music".<br />
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Many thanks also to Dom and Luke at Somer Valley FM for all their support and encouragement for our productions over the years.<br />
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<i>For the time being you will still be able to listen to recordings of past editions of the Classical Break on the www.somervalleyfm.co.uk website and read the scripts on this blog.</i><br />
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We continue to produce two shows each month on Frome FM 96.6fm and online at<a href="http://frome.fm/programmes/music/classical-hour/"> <span style="color: red;"><b>www.frome.fm</b></span></a><br />
under the titles, "Performance" and "Classical Analysis".<br />
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-9505958693846063482017-08-08T02:37:00.002-07:002017-08-08T02:37:29.626-07:006 August 2017 The Agony & The Ecstasy Soundtrack<b>The Agony and The Ecstasy<o:p></o:p></b><br />
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This programme is repeated from July 2013.<br />
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<b>Signature Tune:<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Path of The Beloved</i> from the Suite <i style="mso-bidi-font-style: normal;">Rakastava (Op14),</i> Sibelius</b></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">This is Classical Break, on Somer Valley FM. Today’s programme consists of music from the 1965 feature film, </span><i>The Agony and The Ecstasy</i><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">. This Hollywood epic, Directed by Carol Reed and starring Charlton Heston, and Rex Harrison, Diane Cilento and Aldofo Celi, may seem an odd place in which to find music for a classical music-slot, but in fact the score of the main part of the picture, by Alex North and Alexander Courage, is a fascinating attempt to meld music of the renaissance with a Respighi-like pictorialism that suits fully a cinemascope keeping, the vivid colours and vibrant imagery of a film from the mid-‘60s.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Alex North was the second most nominated film composer In Hollywood and received an honorary award In recognition of his brilliant artistry.<span style="mso-spacerun: yes;"> </span>He provided music for films As various as <i style="mso-bidi-font-style: normal;">Spartacus, Who's afraid of Virginia Woolf, A Streetcar Named Desire, Dragonslayer </i>and <i style="mso-bidi-font-style: normal;">Good Morning Vietnam.<span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">He was nominated for an Oscar for <i style="mso-bidi-font-style: normal;">The Agony and The Ecstasy</i> in 1966.<span style="mso-spacerun: yes;"> </span>In this film, location-work and studio-shot scenes are beautifully lit, a world of rich vestures and palaces, glinting armour and weaponry, bright banners and desolate, smoking scenes of military defeat, all captured in their gentility and horror. In dark interior scenes of chapel and tavern or in front of the vibrant, living frescoes of art and theocratic politics, there glowers the gaunt, paint-spattered figure of Michelangelo Buonarotti – the driven artist forced by Papal commission to break the habit of a lifetime and paint a ceiling with ‘<i style="mso-bidi-font-style: normal;">appropriate designs’</i>. The warrior-Pope, Julius the 2nd suffers, too: <i style="mso-bidi-font-style: normal;">“Michelangelo, when will you make an end!”</i> - <i style="mso-bidi-font-style: normal;">“When I am finished!”</i> and there is a danger that between showing that the Pope is driven also, in his case, to hold together the Catholic Church in a country of duchies and Europe beyond, and that Michelangelo has to suffer and be impossible with authority to paint like one inspired, the film earns another title, <i style="mso-bidi-font-style: normal;">“The Mahogany and The Hickory - Or How The Sistine Chapel Gained A Ceiling (In The End)”.<o:p></o:p></i></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Nevertheless, there is the score, in whose brilliance and half-tones the story of transcendent Art is most truly told through the use of Romantic organ and bells, brash handling of brass and side-drums, bucolic, courtly and agonized use of woodwind in weak register, moments of veil-like expectancy or surge at height and plod de profundis of strings. Snatches from mediaeval pipe-music, a martial galliard here, pastiche of consort- or choral music there, a Shostakovich-like angularity and lacerating implacability of line, chantlike melody and chromaticism that both hark back to Cesar Franck through the Gregorian Respighi; leading motives to represent characters or states of mind are also heard, a common thing in film-scores: with an incredibly wide range of musical influences, Alex North and his assistant, Alexander Courage, wrote a masterpiece expressive of the suffering and isolation of the true artist.<span style="mso-spacerun: yes;"> </span>Here is the first cue: a scene in a precipitous marble quarry, <i style="mso-bidi-font-style: normal;">The Mountains of Carrara.<o:p></o:p></i></span></div>
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<b>Track One: The Mountains of Carrara</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">The second cue accompanies pastoral scenes (two piping oboes – <i style="mso-bidi-font-style: normal;">oboes d’amour</i> – and cor anglais in imitational <i style="mso-bidi-font-style: normal;">piffero</i> style) suddenly broken in on by skirmish:<span style="mso-spacerun: yes;"> </span>relentlessly rhythmical cavalry pursue infantry into a maize-crop – slaughter ensues; by far the most of the music occurs to denote victory - the leader of the cavalry is soon revealed to be Julius the 2nd as he takes off his helmet and assumes his calot and white mantle.<span style="mso-spacerun: yes;"> </span>Here occurs the in fact anachronistic reference to a galliard, <i style="mso-bidi-font-style: normal;">‘La Bataille’, </i>from the <i style="mso-bidi-font-style: normal;">Danserye </i>of Tielman Susato.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;">The Warrior-Pope.<o:p></o:p></i></div>
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<b>Track Two: The Warrior Pope</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">The Florentine family, the Medici, have been Buonarotti’s longest-serving patrons. Cardinal Giovanni de Medici and the Contessina De Medici, his sister, have won Buonarotti a commission to build Julius’s tomb; now, the Pope wishes the artist to paint images of the twelve apostles on the ceiling of the Sistine Chapel. Buonarotti is a sculptor, and has scruples... So the adventure begins. </span><i style="font-family: timesnewromanpsmt, sans-serif; text-align: justify;">The Medicis</i><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;"> – a pastiche consort flute-and-strings number written by Alexander Courage - the flute closely attended by imitational figures.</span><br />
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<b>Track Three: The Medici</b><br />
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">In deep, brooding music, combining the Gregorian influence with that of what sounds like the Fifth Symphony slow movement of Shostakovich, work begins on scaffolding high in the vaults of the roof of the decayed chapel:<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Sketch of The Apostles</i>. <span style="mso-spacerun: yes;"> </span>New plaster is smoothed on. Outlines are laid.<span style="mso-spacerun: yes;"> </span>Paint is applied...<o:p></o:p></span></div>
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<b>Track Four: The Sketch of The Apostles</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">The Artist is dissatisfied with his commission. The faces of ordinary persons make the best faces for Apostles; nothing formal will do. <i style="mso-bidi-font-style: normal;">Sketch Destroyed</i> accompanies strokes of an adze and a flung bucket of red paint...<o:p></o:p></span></div>
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<b>Track Five: Sketch Destroyed</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Having fled and been pursued into the mountains of Carrara, Buonarotti has a vision of God and Adam in the clouds at dawn... There is a growling sonority to the quiet grandeur that, mollified, becomes alternately ethereal and more full-throated and ends terse, staggering, brazen and percussive...<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;">Genesis</i><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">!<o:p></o:p></span></div>
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<b>Track Six: Genesis</b><br />
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<span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">Having successfully presented plans to the literally embattled pope... there follows </span><i style="font-family: timesnewromanpsmt, sans-serif; text-align: justify;">The Return to The Sistine Chapel</i><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">. Now, more than 300 figures must be painted, including seven OT prophets, five sybils, nine stories from Genesis, portraits of the great figures in Christ’s lineage and four scenes from the OT.</span><br />
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<b>Track Seven: The Sistine Chapel</b><br />
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">All begins with the quietly anxious cue, <i style="mso-bidi-font-style: normal;">Painting</i>!<o:p></o:p></span></div>
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<b>Track Eight: Painting</b><br />
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<span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">Hours of working to all hours with toxic paint inches from his face, lack of rest and forgetting meals, and the necessity of shouting or sighing, “</span><i style="font-family: timesnewromanpsmt, sans-serif; text-align: justify;">When I am finished</i><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">,” or disputing </span><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;"> </span><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">aesthetics and morals with cardinals brought in to witness progress, lead to </span><i style="font-family: timesnewromanpsmt, sans-serif; text-align: justify;">The Agony</i><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">, as Buonarotti working on alone at night by the light of a candle-stub suffers loss of sight, attempts to move down the scaffolding, falls clutching onto a rope and is swiftly let down onto the floor of the chapel, unconscious and in a fever. The music follows this quickly growing disaster with highly effective use of instrumentation, the growling bassoon particularly sinister.</span><br />
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<b>Track Nine: The Agony</b><br />
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Michelangelo recovers in the care of the Contessina de Medici. This is another of Alexander Courage’s contribution, another consort-piece, like a pavane. <i style="mso-bidi-font-style: normal;">Michelangelo’s Recovery</i>.<o:p></o:p></span></div>
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<b>Track Ten: Michelangelo’s Recovery</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Again, haunted by the Susato <i style="mso-bidi-font-style: normal;">Galliard</i>, the Pope returns to Rome in brassy triumph. Festivity In St Peter’s Square.<o:p></o:p></span></div>
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<b>Track Eleven: Festivity In St Peter’s Square</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">In the evening, Julius visits the recuperating Michelangelo to release him from his contract... Raphael may complete the ceiling<i style="mso-bidi-font-style: normal;">...<o:p></o:p></i></span></div>
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<i style="mso-bidi-font-style: normal;">Julius In The Garden.<o:p></o:p></i></div>
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<b>Track Twelve: Julius In The Garden</b><br />
<span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">Back at work... This time, progress is suddenly suspended as Michelangelo arrives in the chapel to discover workmen are dismantling the scaffolding...</span><br />
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<b>Track Thirteen: Back To St Peter’s<o:p></o:p></b></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">The Pope and Michelangelo have come to a parting of the ways over the Pope’s desire to show the ceiling half-finished. Julius must go to war again – his enemies in Italy regrouping and victorious – without knowing if he will live to return or be able to see the ceiling completed. Brazenness is moderate in the music, the imploring strings bringing a feeling of pathos above side-drums and intermittent low brass.<o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Woodwind and low brass prefigure the next cue.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;">The War</i><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">.<o:p></o:p></span></div>
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<b>Track Fourteen: The War</b><br />
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Michelangelo seeks reconciliation with Julius on the battlefield... Julius’ military defeat inspires some of the best moments of the entire score – jagged, hollow horn, trombone and muted trumpet fanfares of desolation; the imploring tone returns in strings, answered by the implacability of deep-toned brass and woodwind.<o:p></o:p></span></div>
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<b>Track Fifteen: The Battlefield<o:p></o:p></b></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">To brief, bright fanfares, the grievously-wounded Julius creates a new cardinal for a fee sufficient to permit Michelangelo to complete the ceiling... Michelangelo returns to work, and the tattered remnants of the pontiff’s army are portrayed on their blood and dust-stained horse and cart-borne journey to Rome<i style="mso-bidi-font-style: normal;">. New Cardinal</i>.<o:p></o:p></span></div>
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<b>Track Sixteen: New Cardinal</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Back in Rome, Julius, though reacquainted with the wonderful ceiling, soon lies close to death: only to be angered into rising from his bed by Michelangelo, who proposes to return to Florence with the ceiling incomplete!<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">The Pope’s allies in Europe have gathered and defeated his enemies. The official soundtrack CD takes up the story with a mass celebrating victory and the completion of the ceiling... The finish has been hard-earned.<o:p></o:p></span></div>
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<b>Track Seventeen: Michelangelo’s Magnificent Achievement – and Finale<o:p></o:p></b></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">In an affecting final scene, after the congregation and church staff have left, Julius tells Michelangelo what the ceiling means to him.<span style="mso-spacerun: yes;"> </span>Commissioning it may be what he is remembered for; before the Seat of Judgement, he will present it as something to be placed in the balance; it may shorten his time in Purgatory.<span style="mso-spacerun: yes;"> </span>Asked what he has learned, the artist says, <i style="mso-bidi-font-style: normal;">“That I am not alone.”</i> He refuses a further commission for an altar-piece fresco of The Judgement:<span style="mso-spacerun: yes;"> </span>he was promised that he could go back to his interrupted work on the tomb; Julius admits that there is need of the tomb.<span style="mso-spacerun: yes;"> </span>They part: Michelangelo is left to watch the Pope’s faltering progress from the body of the chapel<i style="mso-bidi-font-style: normal;">. To Work My Son.<o:p></o:p></i></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">This was Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Today’s programme was written by Mike Burrows. We hope you enjoyed it and that you will join us again soon. Goodbye!<o:p></o:p></span></div>
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<b>Track Eighteen: To Work, My Son</b></div>
Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-68437575637093181902017-07-07T15:18:00.003-07:002017-07-07T15:18:47.885-07:008 & 9 July 2017: America V<div style="margin: 0cm 0cm 10pt;">
<b style="mso-bidi-font-weight: normal;">(T</b><b style="mso-bidi-font-weight: normal;">his programme is a repeat)</b><br />
<b style="mso-bidi-font-weight: normal;"><br /></b>
<b style="mso-bidi-font-weight: normal;">Track 1:<span style="mso-spacerun: yes;"> </span>Fanfare For The New Atlantis, Hovhaness</b></div>
<span style="font-family: "calibri";"><span style="font-family: "times new roman";"></span><span style="font-family: "times new roman";"><img align="right" height="180" hspace="12" 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" 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<span style="font-family: "calibri";">This is Classical Break on Somer Valley FM, and I’m Rupert Kirkham.<span style="mso-spacerun: yes;"> </span>Today’s programme of music from <span style="mso-spacerun: yes;"> </span>the United States was researched and written by Michael Burrows.<span style="mso-spacerun: yes;"> </span>We’ve just heard <i style="mso-bidi-font-style: normal;">Fanfare For The New Atlantis</i> by Alan Hovhaness.<span style="mso-spacerun: yes;"> </span>Atlantis, a city fabled retrospectively for its advanced civilization, science and philosophy, is said to have disappeared beneath stormy waves of the Mediterranean, to be Invoked by ancient scholars and neo-Platonists of the 17<sup><span style="font-size: x-small;">th</span></sup> Century alike, a kind of missing link in the chain of human culture, a void on which any imagination could work wonders of Utopia and hopeful searching for solutions to earthly and heavenly mysteries, its true geographical and historical position or circumstances of loss being not the least of those mysteries.</span></div>
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<span style="font-size: 10pt;"><span style="font-family: "times new roman";"><img alt="Drawing of Atlantis" border="0" height="152" 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" 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Hovhaness’ music calls forth this State of story in effortless grandeur of broad paragraphs, fluid but unobscure harmony and rich but clear-lined, trumpet--led orchestration, timeless, sombre, pure, with ancient gravity wrought out of chant and responses of deliberate weight, melody forming the rhythmical patterns, adorned by brass tuckets on one note and, latterly, thrilling scalic rushes in the string-section.<span style="mso-spacerun: yes;"> </span>Some long-lost marvel rises up before our eyes.<span style="mso-spacerun: yes;"> </span>An extraordinary vision, this, from 1975.</div>
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The United States has developed an enviable variety in self-expression in All genres of Art-music:<span style="mso-spacerun: yes;"> </span>symphonists of the calibre of Hovhaness, Ives, Copland, Schuman, Sowerby,<span style="mso-spacerun: yes;"> </span>Harris... and purveyors of morelight-weight music whose productions, though popular, are also to be discussed as an artistic achievement.<span style="mso-spacerun: yes;"> </span>In light music, Jazz, though in itself an inexhaustibly creative tradition, surely doesn’t have things all its own way.<span style="mso-spacerun: yes;"> </span>What are we to make, for example, of this spry and sage song written in evident heartfeltness by the<span style="mso-spacerun: yes;"> </span>immensely vigorous and prolific March-king, John Philip Sousa?</div>
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<b style="mso-bidi-font-weight: normal;">Track 2:<span style="mso-spacerun: yes;"> </span>You’ll Miss Lots of Fun When You’re Married, Sousa</b></div>
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<span style="font-family: "times new roman";"><img height="158" 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" 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<span style="font-family: "calibri";"><span style="font-family: "times new roman";"></span><br /></span>
<div style="margin: 0cm 0cm 0pt; text-align: justify;">
<i style="mso-bidi-font-style: normal;">You’ll Miss Lots of Fun When You’re Married</i>, by Sousa.</div>
<span style="font-family: "calibri";"><span style="font-family: "times new roman";"></span><br /><span style="font-family: "times new roman";"></span></span>
<div style="margin: 0cm 0cm 0pt; text-align: justify;">
<a href="http://www.bing.com/images/search?q=images+of++jacob+Avshalamov&qpvt=images+of++jacob+Avshalamov&FORM=IGRE#view=detail&id=6D67FA615FC7011290CA112A3131E5623356BA94&selectedIndex=9"><span style="font-family: "times new roman";"><img align="left" border="0" height="142" hspace="12" 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v:shapes="_x0000_s1030" width="117" /></span></a>Trained at Reed College and the Eastman School of Music, Jacob Avshalamov was born in China in 1919.<span style="mso-spacerun: yes;"> </span>His Siberian father, Aaron, was his first teacher, a composer in his own right and collector of Chinese folk music, which influenced his and, later, certain of his son’s works; Jacob’s other tutors included Ernst Toch and Aaron Copland.<span style="mso-spacerun: yes;"> </span>His works include large-scale cantatas and symphonic movements as well as numerous small-scale instrumental pieces and songs. <span style="mso-spacerun: yes;"> </span>Let’s hear his song for soprano, accompanied by flute, viola and piano, <i style="mso-bidi-font-style: normal;">Taking Leave of A Friend</i>, one of 3 settings of poems by the T’ang poet, Li Po.<span style="mso-spacerun: yes;"> </span>Wholetone, euphonious and gentle, there is a Ravellian sensibility in this music, the accompaniment seemingly incised in its sparseness, the line improvisatory-sounding in its imitative entries.<span style="mso-spacerun: yes;"> </span>After a long introduction, the voice comes in on its deeply nostalgic atmosphere.<span style="mso-spacerun: yes;"> </span>This song was Avshalamov’s first chamber-piece, composed when he was 20, but revised many years later.<span style="mso-spacerun: yes;"> </span></div>
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<b style="mso-bidi-font-weight: normal;">Track 3:<span style="mso-spacerun: yes;"> </span>Taking Leave of A Friend, Avshalamov</b></div>
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One name in our list of great symphonists of the United States may not be well-known to even many Americans.<span style="mso-spacerun: yes;"> </span>Leo Sowerby, known largely for his church-music and songs, wrote 5 symphonies for orchestra, one for solo-singers, choir and orchestra<span style="mso-spacerun: yes;"> </span>and two for organ-solo.<span style="mso-spacerun: yes;"> </span>The Second orchestral Symphony was written in 1927-8, when Sowerby was 32 years old, his career as composer and choir--master and teacher well into its stride, with frequent large-scale commissions from<span style="mso-spacerun: yes;"> </span>the then conductor of the Chicago Symphony Orchestra, Frederick Stock to live up to.<span style="mso-spacerun: yes;"> </span>In three movements, the Symphony in B Minor is a compact, well-argued piece, elliptical and introspective, in which power is derived from limitation of means.<span style="mso-spacerun: yes;"> </span>The first movement, <i style="mso-bidi-font-style: normal;">Sonatina, </i>is formed from two subjects with a bridge-passage between them.<span style="mso-spacerun: yes;"> </span>The first subject is chant-like, with some jazzy irregularity of rhythm and teasing turns of harmony.<span style="mso-spacerun: yes;"> </span>The bridge passage brings one to a less busy but somehow restless, questioning lyricism.<span style="mso-spacerun: yes;"> </span>Development follows, with percussively underlined fragments of the chant in canon and imitation, combined with the second <span style="mso-spacerun: yes;"> </span>subject, which is as summarily dealt-with.<span style="mso-spacerun: yes;"> </span>The First Subject and bridge-passage only are recapitulated, the bridge-passage elaborated and, after further squalls, the close gives almost the last word to the bridge-passage, as fresh in high woodwind as at first, but the dying fall belongs to the first subject, smoothed, but defiantly in the minor.<span style="mso-spacerun: yes;"> </span>This is fascinating, teasing music, recognizably of its time and nation, every bit as effective as the symphonies of Copland, and of similar sources in Americana – perhaps of urban jazz and New England, with a soupcon of the Mid-West.</div>
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<b style="mso-bidi-font-weight: normal;">Track 4:<span style="mso-spacerun: yes;"> </span>2<sup><span style="font-size: x-small;">nd</span></sup> Symphony in B Minor, Movt 1:<span style="mso-spacerun: yes;"> </span>Sonatina, Sowerby</b></div>
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style="opacity: 1;" v:shapes="_x0000_s1028" /></a><span style="font-family: "times new roman";"></span>The film-music of Elmer Bernstein increased the stature of movies of<b style="mso-bidi-font-weight: normal;"> </b>all kinds.<span style="mso-spacerun: yes;"> </span>Westerns, war-films, thrillers, fantasy-pictures for children.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The BridgeAt Remagen</i> was no masterpiece as either history<span style="mso-spacerun: yes;"> </span>or convincing drama unless Bernstein shaped one’s reaction to what one saw or heard.<span style="mso-spacerun: yes;"> </span>In the brazen fanfare and loping, syncopated titles-theme – note the violins in unison here<span style="mso-spacerun: yes;"> </span>- one crosses the Rhine, whatever the cost.<span style="mso-spacerun: yes;"> </span>If you ignore the syncopation you may think that the tune resembles either liturgical chant or a Lutheran hymn; it is certainly an impressively broad and valiant melody.<span style="mso-spacerun: yes;"> </span>Syncopation cuts across its accents, and<span style="mso-spacerun: yes;"> </span>the harmonies refuse it easy passage.<span style="mso-spacerun: yes;"> </span>War’s toll on young lives is hinted-at by a contrasting, slow-swinging, waltz--like theme heard after the repeat: <span style="mso-spacerun: yes;"> </span>a tune of pathos and near-musical-box sonority, sweet violins singing in a nursery of the vanity of human wishes and of just war, given tension by regular phrasing, passing-notes and appoggiaturas.<span style="mso-spacerun: yes;"> </span>This apparition ripples over one’s ears before one is returned to the theme of duty and endeavour and fanfare to close.<span style="mso-spacerun: yes;"> </span>One may wonder if in this piece, one has the opening of a monumental symphonic movement.<span style="mso-spacerun: yes;"> </span>How often this is true of music written for films.</div>
<span style="font-family: "calibri";"><span style="font-family: "times new roman";"></span><br /></span>
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<b style="mso-bidi-font-weight: normal;">Track 5:<span style="mso-spacerun: yes;"> </span>The Bridge At Remagen, Bernstein</b></div>
<span style="font-family: "calibri";"><span style="font-family: "times new roman";"></span><b style="mso-bidi-font-weight: normal;"> </b><br /><span style="font-family: "times new roman";"></span></span><br />
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font-family: "arial" , "sans-serif"; mso-ansi-language: EN;">C</span>arl Ruggles, born a year after Charles Ives, died in 1971, having outlived all the great early experimenters of the early 20<sup><span style="font-size: x-small;">th</span></sup> Century United States.<span style="mso-spacerun: yes;"> </span>A comrade-in-arms of the immensely prolific Ives and Henry Cowell, he also enjoyed a long retirement, leaving a small corpus of work.<span style="mso-spacerun: yes;"> </span>An individualist of dogmatic, arrogant manner, he wasted few words on detractors or supporters.<span style="mso-spacerun: yes;"> </span>Such works as <i style="mso-bidi-font-style: normal;">Suntreader,</i>an orchestral piece based on Apache ritual, are proof that he had no time for conventional tastes or consonance; to him, discord pursued to the conclusion one wished was the be all and end all of real, individualistic music – of real American music.<span style="mso-spacerun: yes;"> </span>On the other hand, one can adduce the day Ives caught him sounding the same simple chord over and over on the piano – Ruggles said that he was giving the chord ‘the test of time’!<span style="mso-spacerun: yes;"> </span>Here, in contrast to his friend Cowell’s <i style="mso-bidi-font-style: normal;">Grinnell Fanfare</i>, is his piece for muted brass ensemble – four trumpets and two trombones -<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Angels.</i></div>
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It should be noted that to score a piece for brass wholly <i style="mso-bidi-font-style: normal;">con</i> <i style="mso-bidi-font-style: normal;">sordino</i> is a fine way to create almost the dullest sound imaginable; only a real or exceptionally self--important composer would set himself such a challenge.<span style="mso-spacerun: yes;"> </span>Then again, mutes ensure that the clashes in the parts are set up without unintentional resonance.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Angels</i> is, as perhaps it should be, a remote, hieratic experience for the listener, immediate and becomingly terse.<i style="mso-bidi-font-style: normal;"> Angels</i> are not necessarily beings of heat.</div>
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<b style="mso-bidi-font-weight: normal;"> </b><b style="mso-bidi-font-weight: normal;">Track 6:<span style="mso-spacerun: yes;"> </span>Angels, Ruggles</b></div>
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" tr="" transitional="" w3c="" width="160" www.w3c.org="" /></span>Aaron<b style="mso-bidi-font-weight: normal;"> </b>Copland<b style="mso-bidi-font-weight: normal;"> </b>was not only one of America’s great modernist composers and teachers, but also a committee-man who represented the interests of composers in a nation of individualists that was and is curiously addicted to<span style="mso-spacerun: yes;"> </span>committee-work.<span style="mso-spacerun: yes;"> </span>Driving him thoughout his long career was a determination to create a democratic form of art--music that would break the hold of internationalist elitism on the world of American music, and represent more truly and inspire the best aspects of the peculiar nature of the American people.<span style="mso-spacerun: yes;"> </span>Personally left-wing and liberal -as such allegiances are understood in the United States – he was inspired by American national symbolism in which a folk-hero – be he Billy The Kid or Abraham Lincoln – expressed something Of hope in the national character.<span style="mso-spacerun: yes;"> </span>One of his most famous populist Works is, of course<i style="mso-bidi-font-style: normal;">, Lincoln Portrait, </i>an orchestra-accompanied<i style="mso-bidi-font-style: normal;"> </i>monologue<span style="mso-spacerun: yes;"> </span>based on extracts from Lincoln’s Annual Message to Congress of December 1862, a political debate held before Lincoln became President,<span style="mso-spacerun: yes;"> </span>a letter and the famous Gettysburg Address, possibly the greatest, most powerful – and unifying - speech heard during the Civil War.<span style="mso-spacerun: yes;"> </span>Interleaved are framing interjections including a physical description of him during his presidency.<span style="mso-spacerun: yes;"> </span>The work, written with obvious moral effect in mind, was premiered within a year of the United States’ entry into the Second World War.<span style="mso-spacerun: yes;"> </span>It is formed in three parts beginning with an introduction to evoke what Copland called ‘<i>the mysterious sense of fatality that surrounds Lincoln’s character.<span style="mso-spacerun: yes;"> </span>Also,...something of his <span style="mso-spacerun: yes;"> </span>gentleness and simplicity of spirit.’ </i><span style="mso-spacerun: yes;"> </span>A hymn, is quoted, <i style="mso-bidi-font-style: normal;">Springfield Mountain, </i>the tune given to clarinet over simple chords for strings.</div>
<span style="text-align: justify;">A livelier, percussive, section treats Lincoln’s wilder days of youth – Copland utilizing his own gift for ‘American’ Tunes and sonorities - and adding Campdown </span><span style="text-align: justify;"> </span><span style="text-align: justify;">Races for good measure.</span><span style="text-align: justify;"> </span><span style="text-align: justify;">At the close of this scherzando section, the music broadens as destiny – or mysterious fatality – takes over.</span><br />
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<span lang="EN" style="color: black; mso-ansi-language: EN;"><span style="font-family: "times new roman";"><img src="data:image/png;base64,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" style="opacity: 1;" v:shapes="_x0000_i1027" /></span></span></div>
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<span style="text-align: justify;">The third section brings the piece to its climax – the spoken word and – at last, the Gettysburg Address capped with</span><i style="text-align: justify;"> Springfield Mountain, </i><span style="text-align: justify;">most poignantly given to a Taps - or</span><i style="text-align: justify;"> Last Post-like trumpet.<span style="mso-spacerun: yes;"> </span></i><span style="text-align: justify;">The piece</span><i style="text-align: justify;"> </i><span style="text-align: justify;">ends in an abiding expression of wonder, love and inspiration.</span><span style="text-align: justify;"> </span><span style="text-align: justify;">Is this President Lincoln or another New Atlantis that we hear rise before us?</span><span style="text-align: justify;"> </span><span style="text-align: justify;">The symbol is perhaps greater than any man, but a hint of the ideals that we should serve as citizens as well as individuals.</span><span style="text-align: justify;"> </span><span style="text-align: justify;">Certainly, no modern politician in his or her right mind should set him- or herself up as speaker in this piece; to do so insults the historic symbol and is bound to let down listeners in their actual hopes; no real politician can be a Lincoln, and no-one should ever clothe him- or herself in words that will certainly dwarf him or her – as kingly robes dwarf Macbeth.</span><span style="text-align: justify;"> </span><span style="text-align: justify;">Those politicians who try</span><span style="text-align: justify;"> </span><span style="text-align: justify;">(and some have unaccountably done so), sound absurd or flatly disingenuous.</span></div>
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This is Classical Break on Somer Valley FM, and <span style="mso-spacerun: yes;"> </span>I’m Rupert Kirkham.<span style="mso-spacerun: yes;"> </span>Today’s programme of American music was written and researched by Mike Burrows.<span style="mso-spacerun: yes;"> </span>We hope that you enjoyed it and will tune in again soon.</div>
<span style="font-family: "calibri";"><span style="font-family: Times, Times New Roman, serif;"><span style="font-family: "times new roman";"></span>Goodbye!</span><br /><span style="font-family: calibri;"></span></span><br />
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<b style="mso-bidi-font-weight: normal;">Track 7:<span style="mso-spacerun: yes;"> </span>Lincoln Portrait, Copland</b></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-81474384457766307722017-06-23T15:07:00.000-07:002017-06-23T15:11:38.808-07:0024th & 25th June - D Day<div class="post-body entry-content" id="post-body-6885169809535530665" itemprop="description articleBody" style="font-family: arial, tahoma, helvetica, freesans, sans-serif; line-height: 1.5; position: relative; width: 388px;">
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<span style="font-family: "arial" , sans-serif; font-size: xx-small;"><b style="background-color: white;">D-Day (June 6th, 1944)</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzujq-6u-5vBRRghOaSjeT0zLhYvIjiIxcvZC0NL2OL_skIW76mXS5-bDXS67iM-1lOQ85vdDQaukSlLR4q3Ol44sMI3QT4iAGvrphpoN4f6ia9b5s-zslbgcSONYsXrzkIfRsv3XhXoqe/s1600/D-day+maps.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="background-color: white; color: black;"><img border="0" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzujq-6u-5vBRRghOaSjeT0zLhYvIjiIxcvZC0NL2OL_skIW76mXS5-bDXS67iM-1lOQ85vdDQaukSlLR4q3Ol44sMI3QT4iAGvrphpoN4f6ia9b5s-zslbgcSONYsXrzkIfRsv3XhXoqe/s200/D-day+maps.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: rgba(0, 0, 0, 0.5) 1px 1px 5px; padding: 8px; position: relative;" width="200" /></span></a></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: x-small;"><b style="background-color: white;">Track One: Sea-surf FX, Drum-beat - Vee For Victory. Marche Lorraine</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-PGwJh0w0sMqQIN1FRg2ZFOFnR-K-uXy2bvXT8TqsvK8ua1iqYC1pu65uGdIDADWdzXtOJsSn2jvXbPPN6mgSgGGPCv_7V-fAyF6B5qNszX_L0I7-hYD-Bb59wijbF5_NblugWLQ6qhS6/s1600/Louis+Ganne.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="background-color: white; color: black;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-PGwJh0w0sMqQIN1FRg2ZFOFnR-K-uXy2bvXT8TqsvK8ua1iqYC1pu65uGdIDADWdzXtOJsSn2jvXbPPN6mgSgGGPCv_7V-fAyF6B5qNszX_L0I7-hYD-Bb59wijbF5_NblugWLQ6qhS6/s200/Louis+Ganne.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: rgba(0, 0, 0, 0.5) 1px 1px 5px; padding: 8px; position: relative;" width="200" /></span></a></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">This is Classical Break, and I'm Rupert Kirkham. You've just heard the </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Marche Lorraine</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> by Louis Ganne. Today's programme celebrates the heroism of the Allied troops, sailors and airmen who formed the massive forces of land, sea and air engaged in the biggest amphibious operation in military history. D-Day, the Sixth of June, 1944, opened the last eleven months of the Second World War in Europe: the achievement in breaching the long-prepared North Atlantic fortifications via 5 Normandy beaches, codenamed Sword, Juno, Gold, Omaha and Utah was shared by the crews of 532 warships and 360 coastal craft of the Royal Navy, 89 </span></span><span style="font-family: "arial" , sans-serif; line-height: 26px;">American warships, 49 warships and smaller craft manned by Dutch, French, Norwegian, Greek and Polish exiles, and 155,000 Allied troops, over whose voyage and advance on landing, thousands of fighter- and bomber- sorties were flown by men of the RAF, USAAF and Fleet Air Arm; some hours before the landings, hundreds of transport aircraft had dropped 23,000 paratroopers in behind the German defences by 'brolly”, 'chute or glider.</span></span></div>
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<span style="background-color: white; font-family: "arial" , sans-serif; line-height: 32px;">Over 4,000 British and American landing-craft were employed in bringing the invasion-force from their troopships to the beaches...</span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">The balance of an army of 3 million men were left behind in England, waiting on the results of gaining a foothold in France. The free flow of vital supplies had to be kept up; a fuel-pipeline – Pluto - was being laid </span></span><span style="font-family: "arial" , sans-serif; line-height: 26px;">across the Channel seabed, and huge artificial harbours – code-named Mulberry - were to be towed to France and used by freighters until Cherbourg were captured.</span></span></div>
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<span style="background-color: white; font-family: "arial" , sans-serif;">On the day, the heaviest losses were taken by the paratroopers and air-force crews during the hours of darkness, owing to the Luftwaffe Night-hunters, flak-defences and infantry units, and by American Rangers on Omaha beach, at the head of which stood high cliffs that had to be rushed and scaled in the face of mines and heavy fire. 3,000 men became casualties on Omaha beach alone.</span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">Perhaps the most terrifying and convincing film-representation of Omaha is found in Steven Spielberg's </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Saving Private Ryan</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">. Men died or were badly injured by withering machine-gun-fire, mines and shells, while still in their landing-craft; men drowned; when the ramps came down, men dropped in the shallows; men fell at every step of the way up the beach; yet those left climbed ladders to reach the German barbed wire, pill-boxes and come to conclusions hand-to-hand or by grenade and flame-thrower with brave or ruthless opposite numbers.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHvU58ef3FHFX7kgYbfj6-aXWqgnnjEIr7VwMfiS75VCVyznG6jX6RGkv1eyH7vj3x8qRR5ClFVtJ8ZfiDKLkJU4SuD3Ddbfm3F55PTzZmeOCTv6xaulfxo2vUY3sf9bfuoGfvu_c5mb7M/s1600/jw9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="background-color: white; color: black;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHvU58ef3FHFX7kgYbfj6-aXWqgnnjEIr7VwMfiS75VCVyznG6jX6RGkv1eyH7vj3x8qRR5ClFVtJ8ZfiDKLkJU4SuD3Ddbfm3F55PTzZmeOCTv6xaulfxo2vUY3sf9bfuoGfvu_c5mb7M/s200/jw9.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: rgba(0, 0, 0, 0.5) 1px 1px 5px; padding: 8px; position: relative;" width="199" /></span></a></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">In a far cry from his work on such features as </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>ET</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">, the </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Indiana Jones</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">-franchise and </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Jurassic Park</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">, the American film-composer, John Williams'. carefully somnambulistic music for this terrible confrontation between weaponry and young men – and </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>History</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> - invokes the spirit of Lincoln, via Copland, with sombre, brazen textures and angular pentatonic fanfares and harmonies.</span></span></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><b style="background-color: white;">Track 2: Omaha Beach, from Saving Private Ryan, John Williams</b></span></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="background-color: white;">Of course, if the Germans had not expected the invasion to occur in the Pas-de-Calais-area rather than Normandy; if they had been able to mount pre-emptive heavy bombing-raids on the bases at which men and material had been amassed, and on the major ports at which the fleet had been gathered, or if the Luftwaffe</span></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="background-color: white;">had met force with force over the beaches...casualty-figures should have been far higher than even those</span></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="background-color: white;">suffered by airborne forces and by those who had landed on Omaha beach.</span></span></div>
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<span style="background-color: white; font-family: "arial" , sans-serif;">The lack of opposition from the air astonished most who took part in D-Day. Some of the best Luftwaffe units were based in France, in spite of withdrawals to Germany and the Eastern Front. Throughout the day, a single sortie was flown over Sword Beach by two German Focke-Wulf 190 interceptors The pair made a single sweep at low level that the forlorn pilots had been convinced must end in their deaths. They cut a swathe through Allied troops before leaving only more quickly than they had arrived.</span></div>
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<span style="background-color: white; font-family: "arial" , sans-serif;">The first many German ground-units knew of D-Day was the frontal vision of a vast fleet of ships – and they didn't have sight of it for long before they were ducking under heavy naval bombardment or trying to fire back.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9L9k0SEYH-y2pJ4pV4ddU3hQ1U_htMgAoElIO-yFhZyB_WPc6cD-1BquxxWHJeLh4DPN3lYHmIiPO2-TobCnon5fipj5kf5ATNGbXMz_7H0Sy8Vs2OfEcM5ceB8L8FAw2LapiKsZ9Qr1o/s1600/hqdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="background-color: white; color: black;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9L9k0SEYH-y2pJ4pV4ddU3hQ1U_htMgAoElIO-yFhZyB_WPc6cD-1BquxxWHJeLh4DPN3lYHmIiPO2-TobCnon5fipj5kf5ATNGbXMz_7H0Sy8Vs2OfEcM5ceB8L8FAw2LapiKsZ9Qr1o/s200/hqdefault.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: rgba(0, 0, 0, 0.5) 1px 1px 5px; padding: 8px; position: relative;" width="200" /></span></a></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">The preparations for D-Day had been long-drawn-out, reaching a height of activity in the late Spring and early Summer. Something of the mood in Britain can be gathered from two films straddling the period, </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>A Canterbury Tale </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">and </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Henry The Fifth</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">. The one weds the themes of pilgrimage, English cultural tradition and the Anglo-American relationship, the other, the oft-played and digested moral of British heroism and victory</span></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">against the odds. The names and art of Chaucer and Shakespeare were well-invoked. By the mid-1940s, thanks to readiness and modern methods of surveillance, the game of invasion had become an overwhelming hazard; no matter how many soldiers, aircraft, tanks and warships were thrown into the assault, a coast and deep defensive lines remained an unknowable obstacle; covering fire from however many ships and aircraft perhaps drawn from other fronts or other activities, might still encounter an impassable wall of enemy resistance. The Allies had to win their goal – and know how to follow it up. Overwhelming weight of numbers and equipment had suffered great reverses in Sicily and on mainland Italy, owing to strategic inco-ordination, friendly fire and brave defence. The channel's small breadth rendered the invasion-fleet highly conspicuous from first to last. From the commanding officers to the other ranks, shrewd, individual courage from conviction had to be the modern military's strongest resource. </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>A Canterbury Tale</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> was released in Canterbury on May the 11</span></span><sup><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">th</span></span></sup><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">, 1944, </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Henry The Fifth</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">, in London, on the 22</span></span><sup><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">nd</span></span></sup><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> of November, 1944.</span></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">Here is the rousing </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Prelude to A Canterbury Tale, </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">music by the Polish emigre, Allan Gray.</span></span></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbGSr_HQulhrx2H04v_3qwtBeNOlykJiIB67_KJBp91Q_wUwhcNFb7NFs7ao2FsRyPSqxs9dqdWGkailupLuBzyDaBtGObxf4PXVC5332jbPzHU9tLur5ikyaP2W67XERN6rUVVivfEeao/s1600/10s-AllanBrastedGray.jpg" imageanchor="1" style="background-color: white; margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbGSr_HQulhrx2H04v_3qwtBeNOlykJiIB67_KJBp91Q_wUwhcNFb7NFs7ao2FsRyPSqxs9dqdWGkailupLuBzyDaBtGObxf4PXVC5332jbPzHU9tLur5ikyaP2W67XERN6rUVVivfEeao/s200/10s-AllanBrastedGray.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: rgba(0, 0, 0, 0.5) 1px 1px 5px; padding: 8px; position: relative;" width="140" /></a></span></span></div>
<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">It quotes </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Angelus Ad Virginem, </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">as a pilgrims' hymn,</span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i> </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">at the outset. The verses from Chaucer's Prologue To The Canterbury Tales are read beautifully by Esmonde Knight – who took the part of Fluellin in </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Henry The Fifth, and, who, in A Canterbury Tale, </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">plays two roles, those of a sergeant and a village idiot! How the phrase in the high chorus haunts the mind after seeing this beautiful black-and-white film of rural and Canterburian South-east</span></span></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="background-color: white;">England ..</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivpA1E2p35WQX2daGupmpnz4wtjHsc7wg_G13Rc4qSeDoiOXz_pEzfWj3G-E_PYMH9c8LnJCYmd7nTlSI_MxCfRO_I9arA8GNm5rrFLQ6Rlfhs-8bjcM7u4qWDATpKDBzIjef2CwUVpePj/s1600/canterbury-tale-8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="background-color: white; color: black;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivpA1E2p35WQX2daGupmpnz4wtjHsc7wg_G13Rc4qSeDoiOXz_pEzfWj3G-E_PYMH9c8LnJCYmd7nTlSI_MxCfRO_I9arA8GNm5rrFLQ6Rlfhs-8bjcM7u4qWDATpKDBzIjef2CwUVpePj/s200/canterbury-tale-8.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: rgba(0, 0, 0, 0.5) 1px 1px 5px; padding: 8px; position: relative;" width="200" /></span></a></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><b style="background-color: white;">Track 3: A Canterbury Tale, Prelude, Gray</b></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisGnJfwz8KHPjlodDvUos2eK5Upxt2LUiobva3IxTvspQ2t2-4lXBSLonQGdQbokmR7iPhVinkhJM_ixSGgcSdk6oXpLwT5vnfh0Bj33QjBW1DtdFFEO82CzRoCKf8IacUEBglvfYxTVON/s1600/larry.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="background-color: white; color: black;"><img border="0" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisGnJfwz8KHPjlodDvUos2eK5Upxt2LUiobva3IxTvspQ2t2-4lXBSLonQGdQbokmR7iPhVinkhJM_ixSGgcSdk6oXpLwT5vnfh0Bj33QjBW1DtdFFEO82CzRoCKf8IacUEBglvfYxTVON/s200/larry.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: rgba(0, 0, 0, 0.5) 1px 1px 5px; padding: 8px; position: relative;" width="200" /></span></a></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">From Sir Laurence Olivier's </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Henry The Fifth</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">, accompanied by the galvanic music of Sir William Walton, </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Speech Before Harfleur - </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">part of a re-recorded sequence in which the actor adds Chorus' commentary at the conclusion. From the same source follows soldier William's reflections on the cause for which the commoner fights, </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>“But if the cause be not good”.</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">again voiced by Olivier, and Henry's second great speech – urging on his men to stand to at Agincourt – “</span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>This day is called The Feast of Crispian”.</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i><b></b></i></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQIYYENkIWeUFpZEwq3T_WElZqpD9p9OoILZOfAnGC3Z961mYevh-Gp8ldCB7_iAP2QFkwzz78IBmx0NVMW52Gu6J1BDnNZ_rebwzrm55_S5Ma0s_ZjHI7B9l27SaiJ_oh-4AIhd6fYrA/s1600/walton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="background-color: white; color: black;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqQIYYENkIWeUFpZEwq3T_WElZqpD9p9OoILZOfAnGC3Z961mYevh-Gp8ldCB7_iAP2QFkwzz78IBmx0NVMW52Gu6J1BDnNZ_rebwzrm55_S5Ma0s_ZjHI7B9l27SaiJ_oh-4AIhd6fYrA/s200/walton.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: rgba(0, 0, 0, 0.5) 1px 1px 5px; padding: 8px; position: relative;" width="200" /></span></a></div>
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<b style="font-family: arial, sans-serif;"><span style="background-color: white;">Track 4: Speech Before Harfleur</span></b></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><b style="background-color: white;">Track 5: But if the Cause be not good</b></span></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><b style="background-color: white;">Track 6: This Day Is Called</b></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">The assembling of Brahms' </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Requiem</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> occupied him so long that it only began in the shocking fate of his short lived friend and advocate, Robert Schumann. It came to be a requiem for his beloved mother as well. It is </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>A German Requiem;</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> in settings of Lutheran biblical texts; it seeks to console the living, rather than to sing a mass over the dead. Nowhere is the name of Christ invoked. Brahms was not only nominally a Lutheran, he was an agnostic or atheist who saw life in all its grandeur, complexity, and ethical significance, but who was unable to believe in the saviour of the New Testament. </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>“Such a great man,”</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> Dvorak once said,</span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i> “and he believes in nothing!” </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">Reactions to the long, slow, patient and hugely learned </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Requiem</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> have ranged from ecstasy to the decrying of its bourgeois wearisomeness. Its immense span ends in its beginning, with the music of the opening providing the close: grief is never assuaged, never forgotten, but over the course of seven movements, one has a sterling spiritual experience of circularity, of psychologically acute and compassionate ariosi and Handelian heights of choral and orchestral counterpoint that symbolize the positive moods and actions of social and cultural tradition and survival. Consistent musical logic and lyrical beauty in severe style are put at the service of sincere grief and fellow-feeling. The spirit is far from the Protestant work-ethic that may underlie the composer's development. This is not workfare-music any more than it is the</span></span></span></div>
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<span style="background-color: white;">“<span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Such a great man, and he believes in nothing...” </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">Is that true?</span></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">If Beethoven gave the free world its Vee-For-Victory signal, we invoke Brahms as the 19</span></span><sup><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">th</span></span></sup><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> Century German nationalist who accorded a wreathed portrait of Bismarck a place of honour on his wall, but who would certainly have loathed the </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Kultur</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> of Nazism, even if still almost unaware of its abysmally evil crimes. Let's hear “</span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Herr, Lehre doch mich”</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">, the third movement, in honour of the men who drove and ran up to death, or who stood to in the defensive wall. </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>“Lord, make me to know mine end”</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"> Darkness appears to surround the lonely baritone voice. This extract from a complete recording of the German Requiem in English, conducted by Arturo Toscanini, who had himself flagrantly opposed Fascism and emigrated, was made in 1943. Some American servicemen may have heard it.. The individual is borne up at length by the contrapuntal chorus of what may comfort him, by the example of his righteous fellow-sufferers – all rest in the hand of God. This piece may have struck Dvorak to the heart; a prominent falling phrase from it turns up in his powerful 'Cello Concerto of many years later.</span></span></span></div>
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<b style="font-family: arial, sans-serif;"><span style="background-color: white;">Track 7: lll Herr, Lehre Doch Mich from Ein Deutches Requiem, Brahms</span></b></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">From the Piano Sonata no 2, Concord Sonata, by Charles Ives, the second movement, </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>The Alcotts – </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">a home</span></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">to New England Transcendentalism in the 19</span></span><sup><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">th </span></span></sup><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">Century. Transcendentalism is the word, as so often with this composer, for whom concord was to be reached-after by mortal man. An astonishing, elegiac and uneasily beautiful piece. Note the Beethovenian gesture from long before Vee-for-Victory was thought of. Beethoven was a Transcendentalist before Transcendentalism was thought of.</span></span></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><b style="background-color: white;">Track 8: The Alcotts from Piano Sonata No 2, Concord, Ives</b></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">For three months before D-Day,The Glenn Miller Band – renamed the American Band of The Allied Expeditionary Force kept up a gruelling schedule of concerts in the South of England. Here's their cover of </span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>Summertime,</i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">from Gershwin's pre-war opera,</span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i> Porgy and Bess. </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">The arrangement exhibits to the full Glenn Miller's trademark micromanagement of scoring and expressiveness – of contrasts between orchestral sections and bold use of mutes. How peace must have been longed-for.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7j34iRAsHpLs5w7lky-BQnIfvY9WcOyoq835vTbkoWLD9V0BiQ_KiFnaDoc1rk06P3-wFJGdhHfewvXFu2a3oeDLGzTS7Z0R2E-0u-rx4dTfrwNt8uDA7PsQmBRZIO_m1nsw-usXelVa5/s1600/glenn+miller+-+the+one+to+use.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="background-color: white; color: black;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7j34iRAsHpLs5w7lky-BQnIfvY9WcOyoq835vTbkoWLD9V0BiQ_KiFnaDoc1rk06P3-wFJGdhHfewvXFu2a3oeDLGzTS7Z0R2E-0u-rx4dTfrwNt8uDA7PsQmBRZIO_m1nsw-usXelVa5/s200/glenn+miller+-+the+one+to+use.jpg" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: none; box-shadow: rgba(0, 0, 0, 0.5) 1px 1px 5px; padding: 8px; position: relative;" width="156" /></span></a></div>
<b style="font-family: arial, sans-serif;"><span style="background-color: white;">Track 9: Summertime, Gershwin</span></b></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><i>This was Classical Break, on Somer Valley FM, and I'm Rupert Kirkham. </i></span></span><span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;">We hope you have enjoyed our programme in commemoration of D-Day, dedicated to all who took part in this massive but heroic action – or who faced it; to the men on both sides, many of whom have lain in peace in the same cemeteries these 70 years. We thank Mike Burrows for researching and writing it. He keeps in mind Sapper James Kenyon, who worked on the Mulberry temporary harbours used in the days after the landings.</span></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;">We end with The Day Thou Gavest.</span></span><span style="font-family: "arial" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"><i> </i></span></span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"><i>Last Post </i></span></span><span style="font-family: "arial" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;">and</span></span><span style="font-family: "arial" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"><i> Sunset. </i></span></span><span style="font-family: "arial" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;">Goodbye.</span></span></span></div>
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<span style="font-family: "arial" , sans-serif;"><span style="font-size: xx-small;"><b style="background-color: white;">Track 11: The Day Thou Gavest & Last Post & Sunset</b></span></span></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-27545782616398145802017-06-09T18:06:00.001-07:002017-06-09T18:06:41.616-07:0010 & 11 June - Butterworth<div style="background-color: white; color: #1d2129; font-family: helvetica, arial, sans-serif; font-size: 14px; line-height: 19.32px; margin-bottom: 6px;">
<b>George Butterworth</b>.</div>
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(Script has been slightly edited to fit the timeslot)</div>
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This is Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Today’s programme, written and researched by Mike Burrows, is a tribute to the composer, George Butterworth.</div>
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George Sainton Kaye Butterworth was born in 1885, the son of a lawyer and managing-director on the railways, and died as a Captain in the Durham Light Infantry during the Battle of the Somme. At about dawn, in August 1916, leading his company in action near Pozieres he was killed instantly by a sniper in a moment of sleep-deprived unconcern for his own safety. As a soldier, he had liked to lead from<br />
the front; here, he had made an elementary slip and raised his head too high. Posthumously awarded the Military Cross, he lived up fully to what had been expected of him and thus to the example of his grandfather, an army General. Like many of his contemporaries of the privileged middle-classes, he died as a junior officer fighting the Hun, his last moments spent caught up in the crossfire of an attack in the blasted landscape of a sector of the Western Front, his body never recovered, his name added to the famous Thiepval Monument to many of those Allied troops who were killed in France or Belgium between 1914-18 and who have no known grave. The monument stands not far from where he was killed. At the time, the earthwork in which he fell became known as The Butterworth Trench.</div>
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Let’s hear an arrangement of a folksong arranged by him, one of his 11 Sussex Folksongs, Roving In<br />
The Dew. He collected 3 versions of this song himself, under the title, Dabbling In The Dew, but<br />
for this arrangement used a version taken down by another researcher.</div>
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Track 1 Roving In The Dew, Arr Butterworth </div>
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It is doubtful that George Butterworth ever had thoughts of living up to his Grandfather’s example. Though an Old Etonian and graduate of Trinity College, Oxford and one who would have regarded himself as the social equal of most of the more famous victims of the meatgrinder in the teens of the last Century –the first-rate Tennants, Grenfells Asquiths and Horners of this life - was no conventional patriot, no Tory, no euphuist in any aspect of existence. <span style="line-height: 19.32px;">Whether learning or teaching music – he</span><span style="line-height: 19.32px;"> </span></div>
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taught at Radley – he was an artist of close mouth and practical activity. He was a physically strong,<br />
man who smoked a straight Lovatt briar, grew the expected flourishing moustache and tended to look as though smiling at the eyes – lucent eyes crinkled at the corners, the lower lids subject to upward pressure from his cheeks, humorous eyes, their humour with a touch of irony or scepticism, perhaps.</div>
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They were also watchful eyes. A graduate in Classics, he attended the Royal College of Music from 1910, a late starter in the College’s eyes – though a composer from the age of 9 - who knew where<br />
he was going. The courses disappointed him, leading nowhere; he left after a year. He had the clearest ideas of form and modern harmony and had made a study of folk-music, becoming a staunch member of Cecil Sharp’s Folksong Society. He had worked through the expected influences of the day that wrecked the work of lesser talents; Wagner left his mark, possibly Grieg or Debussy and possibly, at the outside, the colourful and ingenious style of Slavic instrumentation. He remained the most analytical and clearminded of critics, and certainly cut through musical problems for that late-developer, Vaughan Williams. At the end of an evening, he took his pipe out of his mouth to suggest in his abrupt way that Vaughan Williams write a 2nd Symphony, The London Symphony, and Vaughan Williams dedicated it to him before its premiere in 1913. When Butterworth died, Vaughan Williams felt as though utterly bereft; there’s the matter of his having volunteering for war-service as an ambulance-driver but, in time, changing his battlefield vocation to become a Royal Artillery officer. Perhaps<br />
the death of Butterworth contributed to this decision.</div>
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George would not have been impressed by talk of his bravery in encouraging his men – mostly hardbitten ex-miners - to one more effort, or by admiration of his Military Cross – which only officers could win. His men loved him, but that would have made the error seem all the more stupid. He would have kicked himself for making the mistake made by chivalrous idiots just posted up from home, clever lads who forgot to duck or who had no idea how hard it were to dodge the bullet of an unseen assailant – the speed with which death could be dealt in a modern War in France. <span style="line-height: 19.32px;">As a composer, George Butterworth’s work</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">has come down to us as</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">a proof of his technical ability</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">as well as pure expression; he </span><span style="line-height: 19.32px;">seems the most humane but poised</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">of artists, a man who, quite </span><span style="line-height: 19.32px;">possibly attained the very highest degree</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">of feeling and polish; not one</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">of his works appears blemished by</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">extraneous or awkward details or developments.</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">They appear to have been distilled</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">and perfected by a musical magician.</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">He must have destroyed volumes of</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">early pieces before leaving for France –</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">if not sooner. His complete oeuvre</span><span style="line-height: 19.32px;"> </span></div>
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consists of four orchestral pieces, a couple of single songs – one setting Requiescat by Oscar Wilde after the death of his own mother, three song cycles – one based on poems from Stevenson’s Songs of Travel, two on the Shropshire Lad poems of AE Housman, one on poems by WE Henley, Love Blows<br />
As The Wind Blows, a book of arrangements of 11 Sussex folksongs and – most famously – the ever-fresh four orchestral pieces, the Two English Idylls of 1911, the Rhapsody: A Shropshire Lad, (1912) and An Idyll: The Banks of Green Willow (1913).</div>
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The Folksong movement in English music has been decried by modernists and so-called internationalists ever since its co-opted member-composers came to fame. Not one of the brilliant<br />
minds who have pointed out that the world of folksong nostalgically revived was invalid as a form of<br />
artistic expression because dead on its feet even as it was obtruded on the minds of sophisticated Rightwing intellectuals, or just plain substanceless when contrasted with industrial machine-reality, has<br />
managed to extirpate the public’s love of its Art-music. The point has so often been missed that<br />
folksong-and-dance formed the musical means of self-expression and entertainment of ordinary people who did not attend Public School or University or hire a suburban piano. Ordinary people toiled and died without mark save birth, marriage, census and funeral – unless they attained the charge-sheet, or entered the Workhouse.</div>
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Let’s hear the two English Idylls. The first is based on three folksongs: Dabbling in The Dew, whose<br />
subject is unsuccessful wooing, Just as The Tide was Flowing, a story of successful wooing and Henry Martin, in which a man turns to piracy on the high seas in order to support his brothers!</div>
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Track 2: English Idyll No 1, Butterworth </div>
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<span style="line-height: 19.32px;">Butterworth’s use of alto instruments is</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">a shading feature – voices we made</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">of oboe, clarinet, violas, cellos, horns,</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">trombones. The light and freshness comes</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">from flute, harp, solo trumpet, violins.</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">In rounding out the story how</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">effective his harp runs are. The</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">bass is unobtrusive but mobile or</span><span style="line-height: 19.32px;"> </span></div>
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provides pedals of depth – a depth of earth like firmness. The interplay of instrumentation is lively. His use of harmonics and mutes is as breathtaking in its elemental scene setting as is his sense of drama<br />
and tragedy. Full throated, his orchestra is a formidable force from which both Holst and Vaughan Williams and many other composers learned, as the deep earth settled on its perhaps one time Wagnerist only begetter. Constantly, the blending of timbres is both subtle and unerringly distinct.</div>
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In the English Idyll No 2, the folksong is Phoebe and Her Dark-eyed Sailor: in it, a girl encounters a sailor; he seeks to win her; she refuses the confident well-set up lad until she suddenly realizes that he is her betrothed who went to sea and was thought to have drowned. He tried and made his fortune.</div>
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Track 3: English Idyll No 2, Butterworth </div>
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People had flocked from the poverty-stricken land to the cities, where pay was supposed survivable. The cities swelled with increasingly cheap labour with predictable results. Thousands were killed young<br />
by machines, dust or fibre-polluted atmospheres and toxic agents, or by a home-life best imagined from the prints of contemporary artists. The workhouse – the being a charity-case – was merely dreaded more than work or a cholera- or typhoid epidemic. No wonder many folksongs sing bittersweetly or longingly of love, usually lost love, betrayal, death or some other form of separation, dalliances while going or coming from somewhere, or sailors, the season or life-occupation, the<br />
possibility of making one’s fortune – with plenty of fireside beer, warming spice and baccy as well. It has to be remembered that at his most utile (and, coincidentally virtuous), the common man or woman was young, fit, unmarried, politically submissive and an abstainer from drinking, smoking and sexual<br />
relations. When rich enough to feed, clothe and house children on one wage, well, a man and woman<br />
could marry, settle down and breed fit young children of the same make. After all, at a higher<br />
differential, this was how professionals not of independent means ought to live, to the glory of God and<br />
Capital, and everyone knew what the alternative was – to be a pauper and expected to die. Moral force was with wealth and the employer; even the established church, socially enmeshed with the gentry and middleclasses, would not or could not ameliorate the conditions created by tyrannical Mammon, yet one had to conform.</div>
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The conflicts in AE Housman’s A Shropshire Lad are many; but central to Butterworth’s probable view of them would have been that between living in the countryside or coming to live and work in the<br />
City, in London, as Housman had done, and having to hide one’s own very nature. Facing up to<br />
an inimical, godless universe of chance and ill-fate, and to society’s capacity for damning short-lived man’s non-existent soul to cowering under the threat of social disgrace and even capital punishment as a criminal was a peculiarly Victorian dilemma – particularly after the trial of Oscar Wilde. The covertly homosexual Housman described himself as an Epicurian, and Butterworth likewise was no believer in the Christian God, but both must have felt themselves still to be swimming against the tide of middleclass conventional religion, politics and morality. Both loved the countryside, the seasons, the general goodheartedness of unsophisticated people. The countryside and country folk were still there, still sang and danced in reaction to life. The beauty of Butterworth’s orchestral evocation of Spring in the Rhapsody is superfine from the opening on string harmonics, but also as though of Nature itself. The woodwind, violins, violas and cellos shade the music to perfection, the brass affirmatory of<br />
warmth, youthful happiness or dread fate. To judge from the use of harmony, Butterworth’s study of music must have included the works of Richard Strauss. I’d venture to suggest that no Straussian nor expressionist composer achieved a starker, harsher climax than that of this piece in which vaulting<br />
fanfare builds and is broken by the tritone as in Sibelius. A moment of horror that stays with<br />
one. (The whole tone scale from the harp at close may symbolize death by drowning). The day is<br />
not saved by the Loveliest of Trees motif that has opposed it, all along, but by the phrase of last line of the song. “To see the cherry hung with snow.” Butterworth’s modification, qualification or distortion<br />
of song-themes is a brilliant and original feature of his orchestral work: he develops them as might<br />
a symphonist. He searches out the harmonic implication or resonance to the last drachm (dram) or scruple. The harp’s rippling wholetone scale near the end has been suggested to symbolize a self-drowning.</div>
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The main theme of the Rhapsody, by name, Loveliest of Trees, is a folksong that was in fact<br />
entirely Butterworth’s own. In its original form, it is the first song in his first cycle of Shropshire Lad settings. He ventriloquized Housman’s and Great Britain’s Lad in a song indistinguishable from those that move by every means but the intentional. To adapt Wilfred Owen, the poetry of the art-musician inspired by folksong is in the pity. No wonder the soldiers of his company thought so well of him.<br />
In Butterworth’s music it is never, to use the Masefield couplet, “The smoke of all three farms lifts blue in <span style="line-height: 19.32px;">air/As though man’s passionate mind had never suffered there.”</span></div>
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Track 4: Rhapsody – A Shropshire Lad, Butterworth </div>
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Turn to 1913 and another orchestral Idyll, The Banks of Green Willow, based on two folksongs, the<br />
first eponymous – a woman elopes with a captain, believes that she will die in childbirth and begs him<br />
to throw her over the side – and the second, Green Bushes, in which a fickle maid finds a new lover.</div>
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It’s interesting that every Butterworth orchestral piece is in an arch construction: first, there is the proposition of a beautiful tune and contrast material; then, there is a vehement quasi-development section; lastly, there is a restatement of the opening material – long drawn out, becoming hushed, fading into a dying fall, almost unbearably poignant, nostalgic, regretful but too touching not to be consoling and unforgettable </div>
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<span style="line-height: 19.32px;">Track 5: The Banks of Green Willow, George Butterworth </span></div>
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Perhaps folk-music survived even the worst of the 19th Century’s murderous advancement of Feudal Capitalism as the basis for a modern society, partly thanks to the Folksong Society and young composers from privileged, even landed, backgrounds who bothered to listen and hear; folk-music was popular self-expression more real than music-hall popular songs or polite villa-ballads provided by paid hacks who might have wished to write symphonies. It was national self-expression; it came of the people, the nation rather than its rulers – as glorified by the latest in Art music-technique, those, for one thing, who bothered to note it down as played or sung, not as taught by the Brahmsian, Dvorakesque Professor Stanford. Modal, not diatonic, pentatonic folk-music could be embellished by being played over chromatic harmonies, subjected to direct strokes of development, manipulation, transformation, even counterpoint – and gain. There was never the intention to seem sophisticated. Sophistication is<br />
not a positive value – it means capable of glib persuasiveness. Not exactly a desideratum in one who pays tribute to the victims of the 19th Century British holocaust who, trapped and left with little or no real comfort, leisure or notice created the only natural, meaningful form of music we had to distinguish<br />
our artworks from superior European models. Everyone, not the educated connoisseur, critic or composer, owned folk-music – felt its pathos or humour – often, its defiant humour and unintentional pathos. Socialists might just look back to the 17th Century and think of Commonwealth – wealth held in common. Holst, Vaughan Williams, Butterworth, Grainger, Moeran and many others will not appeal to those who think their music easy or unpolitical. Anyone with half an ear for music will hear what their<br />
music may mean – and find its influence compelling, magical and inexhaustible, the musical equivalent of a powerful poetic tradition stretching back to Shakespeare or even Chaucer – a bringing together of<br />
the classes, a levelling process, a voice for us all, harmonies for our comedies and tragedies, our own<br />
too-often oppressed and distracted lives. Even if in the Nineteenth Century the devil preached from holy scripture, still, pace the hymn or parlour song writers, he had almost none of the best tunes. True feeling was in the distinct lyrics, ballads and dances of semi-literate and self-taught musicians. Ribald, raucous, insolent or hail fellow, well-met, wistful, grieving, seeking solace, folk tunes held the truth of a materialistic, deeply false and unspeakably cruel age that had trashed earth and society for resources and productivity, profit and power. <span style="line-height: 19.32px;">How heartrending that Captain Butterworth failed</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">to duck. Sometimes, it is hard</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">to see what he fought and</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">died for on the Somme. His</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">music though is a glory of</span><span style="line-height: 19.32px;"> </span></div>
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his generation and our country and, as the Great War was simply one more huge atrocity of ndustrialization, capital and utility, his pieces of lifelong-taken pains are made still more poignantly beautiful – as well as ironically bittersweet - by its being in part his and his lost generation’s<br />
unconscious memorial. <span style="line-height: 19.32px;">How would his music have developed</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">if he had returned to it</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">after the Great War? That is</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">unknowable; like Ivor Gurney, Butterworth was</span><span style="line-height: 19.32px;"> </span><span style="line-height: 19.32px;">his own man, his future tendencies</span><span style="line-height: 19.32px;"> </span></div>
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not to be predicted. He left one unfinished orchestral piece. Fantasia. This was completed a short while ago by Martin Yates. A long movement, it makes for fascinated listening, though always with the caveats that a major composer’s sketches are his own and subject to any change he likes, and his final intentions are not divined by editors or, as in this case, a talented fellow-composer who helps fragments across within composition of his own. Here it is. Memories of the pieces heard earlier are rife but welcome, and there is a very likeable dance-episode that Butterworth as a folk-dancer knew well how to encompass. Also, there are moments somewhat akin to Copland’s Appalachian Spring…</div>
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This was Classical Break, on Somer Valley FM, and I’m Rupert Kirkham. Today’s programme was researched and written by Mike Burrows. We hope you enjoyed it and will tune in again soon. We leave you with Fantasia, sketched by Butterworth and “realized” by Martin Yates. Goodbye!</div>
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Track 6: Fantasia, Butterworth/Yates</div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-62891606074933410042017-04-28T14:07:00.001-07:002017-04-28T14:07:19.926-07:00<h3 class="post-title entry-title" itemprop="name" style="background-color: #c0a154; color: #333333; font-family: Georgia, Utopia, "Palatino Linotype", Palatino, serif; font-size: 30px; font-stretch: normal; font-weight: normal; line-height: normal; margin: 0px; position: relative;">
<a href="http://rupertkirkham.blogspot.co.uk/2016/04/30-april-1-may-cb-shakespeare-2016.html" style="color: #993322; text-decoration-line: none;">30 April, 1 May - CB Shakespeare 2016</a></h3>
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This week's Classical Break was recorded on William Shakespeare's 450th Birthday at the Holburne Museum in Bath where the Bath-based ensemble, Operaletta performed a 90-minute concert around music inspired by and set to the writings of the Bard in 2016.<br />For the purposes of the broadcast we have had to cut the programme to 58 minutes but a full version of the concert, along with details of the artists and pieces performed is available on the operaletta <a href="http://www.operaletta.co.uk/future-events.html" style="color: #993322; text-decoration-line: none;">website</a>.<br />Thanks to the Holburne Museum and the members of Operaletta for letting us record this concert and<br />thanks for listening.</div>
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This year's Shakespeare concert is quite different, and was recorded at the Holburne on Sunday March 23 2017- Shakespeare's actual birthday. It will be put out in a few weeks.</div>
Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-19926090814031520572017-04-14T14:01:00.005-07:002017-04-14T14:01:59.565-07:00CB Easter 15/16 April<div align="JUSTIFY" class="western" style="margin-bottom: 0cm;">
<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;"><b>CB Spring/Easter 2016 </b></span></span><br />
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;"><i>(this programme is a repeat)</i></span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;"><i>(Some passages may not be heard on the programme, owing to lack of time). </i></span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">This is Classical Break on Somer Valley FM, and I'm Rupert Kirkham. Today's programme, written and researched by Mike Burrows, is devoted to Spring and Easter. We begin with <i>Spring Song</i>, the tone-poem by Jean Sibelius, a piece dating from early on in its composer's career – 1895 - that was later much-altered and simplified before publication in 1903. It is not lightly named. It <i>is</i> a <i>Song</i>, an orchestral “song without words”. The revision derives great strength from a long-breathed melody whose developing fervour and amplitude express perfectly the hopes attendant on the end of Winter and the replenishment – the increase in life - brought about by the return of the sun's warmth to the fertility of earth. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">The trajectory of the piece, as revized, is an emotive leap of directness, faith and seeming inevitability, the climax well-timed and -judged. The full-throated orchestration, in which the lower strings take their share in the singing, has much to do with this. The pealing of bells and brass at the close has little to do with Christianity. The hyperaesthetic Sibelius was not a Christian in any narrowly conventional sense, but a believer in Christian ethics, and pantheist or animist - lifelong a believer in the God of Creation, or the divine spark or spirit, in all living things. He felt the upswing in mood that Spring represents to dwellers in a cold climate. He praised that upswing's origin.</span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Fascinatingly, the effect of the single, opening, drum-accentuated chord of the piece is repeated at the opening of his last symphonic works, the 7th Symphony and Tapiola – commanding attention – and attendance in the world of his imagination - by the simplest of means. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;"><b>Track 1: Spring Song, Sibelius</b></span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Schumann's <i>Six Songs for Choir</i>, Opus 33, date from his Year of Song, during which he wrote at least 140 lieder, and sang out his heart in the long months before his fiancee of some years, Clara Wieck, and he escaped from her father's legal and not-so-legal efforts to separate them, and were married, the day before Clara reached her majority. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Schumann's head must have rung with the synaesthetic seasonal symbolism of German poetry during that time, Spring, Summer, Autumn, Winter – and especially Spring! Thaw, changeable weather, raindrops, sunbeams, birdsong – particularly the nightingale – recovering gardens and bowers, linden-blossoms, early flowers, trees coming into leaf, fresh brooks, butterflies, frolicking lambs, the growth of love in all that was young.</span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Spring Bells, a poem by Robert Reinick – takes us from the snowdrop through the rose and lily, to the bluebell. It is a wistful appreciation of Spring, the only sadness being that with the bluebell, one has the last of Spring, and the consolation being that Spring has brought one so much. Birdsong culminates in the nightingale, of course - with the ghostly light of glow-worms, a mainstay of the mild nights of the Romantic late Spring and early Summer.</span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">A strophic song of simplicity, characteristically German in its formulae of melody and harmonies is briefly – and exquisitely shadowed near the close, but ends as winningly as it has begun. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Here is a lively instrumental version of a Lauda – a 13th Century demotic hymn, in this case from Cortona in Italy - <i>De la Crudel Morte de Cristo,</i> Of The Cruel Death of Christ. This dates from a time when hymns were often fitted to adaptations of popular tunes. The words, not sung here, tell the story of Christ's examination, condemnation, torture and death.</span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;"><b>Track 3: De la Crudel Morte de Cristo, Cortona Manuscript </b></span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Our view of Easter has changed mightily, if in cycles, over the </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">years as expression of Christian faith has developed ever more in the way of schisms – often miscalled heresies – in the face of the material, purely political corruption of established religious institutions. Bishop Jeremy Taylor's 17th Century Jeremiad, <i>Lord Come Away</i>, calls on Christ to return, ride on triumphantly on the long-prepared way, rescue His Temple – “<i>as full and dear/As that of Sion, and as full of sin:/Nothing but thieves and robbers dwell therein;/Enter, and chase them forth, and cleanse the floor!” </i>- and crucify His enemies!</span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">These sobering words were set to the full measure of their sternness by Vaughan Williams as the first of his Four Hymns for Tenor, Viola and Piano, later arranged for accompaniment by solo viola and string orchestra, commissioned from him for the Three Choirs Festival of 1914. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Vaughan Williams was one of the few composers of his day capable of entering into the minds of 16th and 17th Century poets and composers and suiting his modes of expression to theirs, yet creating something inspirationally new and unencumbered in the </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">process. Unegotistical by nature, he was, one may feel, something of a time-traveller. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Now, an anthem, <i>The Risen Lord</i>, by the Michigan Handel, Leo Sowerby. For decades a church organist and choirmaster as well as composer, Sowerby wrote this in 1919; it was first performed in arrangement for Soprano/Alto/Tenor/Bass voices and four soloists at the Fourth Presbyterian Church in Chicago at Eastertide of that year. In this recording it is performed by two antiphonal groups. The text is drawn from a <i>Hymn To The Trinity</i> by Charles Wesley and a Lutheran text, Christ Ist Verstanden. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Its tune and treatment are both straightforward; Sowerby was, first and foremost, a great practical musician of faith, but this should not blind one to his profound gift, which found expression in almost all Art-music's genres, including Symphony.</span></span><br />
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Two short songs by Ernest John Moeran, now. Moeran, of Irish extraction, was a great setter of English verse. Here are his settings of <i>Spring Goeth All in White</i>, by Robert Bridges, and <i>Blue-eyed Spring</i>, by Robert Nichols. These poets of another age were alive at the time of the songs' composition – what a time to be a song-writer that must have been! The songs exemplify many aspects of Moeran's style, his Delius-derived chromatic harmony; his enjoyment of the inflections of both reflective and jolly folksong, a gratefulness in the writing for voice and downright or shyly and wistfully beautiful writing for piano (adapting to the sense of the words). For the rest, just as the Germans have their requisite Spring symbolism, so do we, and he does British Spring-imagery full justice. Whether reflections on a scene, mortality or yeasty youth, these are songs of the open air. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif; font-size: 11pt;">Isn't Easter the time of redemption? Ivor Gurney's unaccompanied Anthem for Double Choir, Since I believe In God The Father Almighty (Johannes Milton Senex), setting verse by the freethinking Robert Bridges, was composed from the depths of The Stone House, Dartford Hospital, Kent, in the Summer of 1925, almost three years after his final breakdown. In it, he sets out his credo of freedom from </span><i style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 11pt;">“studied system”, “argument”, “delusion”, </i><span style="font-family: "lucida sans unicode" , sans-serif; font-size: 11pt;">and </span><i style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 11pt;">“foolish invention”</i><span style="font-family: "lucida sans unicode" , sans-serif; font-size: 11pt;">; he </span><i style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 11pt;">“will cherish his freedom in loving service,/Greatly adoring for delight beyond asking/Or thinking, and in hours of anguish and darkness /Confiding always on His excellent greatness.” </i><span style="font-family: "lucida sans unicode" , sans-serif; font-size: 11pt;">He has not seen God, cannot know him, nor know the</span><i style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 11pt;"> “Heav'nly purpose”</i><span style="font-family: "lucida sans unicode" , sans-serif; font-size: 11pt;"> in this life, but he loves beauty and hates evil as unworthy.</span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">This extraordinary work was written by a man who feared electrical tricks, radio-waves, machines under the floors that tortured him; heard voices; demanded death or regular employment; aggressively defied attendants and shunned the company of fellow-inmates. Its peculiar intensity derives from narrow intervals that widen unexpectedly, and by the interplay of the parts of the two choirs, which spotlight certain high or low notes, frequently dissonant, with weird distinctness, in the midst of expected periods of chant. An ex-chorister himself, Gurney would have known Anglican anthems and liturgical music of the past like the back of his hand, and comprehended their every feature.This is chant with a difference – chant that betrays fitful torment as well as settled faith, and with it, the well-understood melodic and harmonic influence of Sibelius in his </span></span><span style="font-family: "lucida sans unicode" , sans-serif; font-size: 11pt;">strongest late vein. Its spareness, angularities and absence of academic counterpoint are skilful. It was true, though, that, as his friend Marion Scott put it, </span><i style="font-family: 'Lucida Sans Unicode', sans-serif; font-size: 11pt;">“Ivor could only ever do things in his own way.” </i><span style="font-family: "lucida sans unicode" , sans-serif; font-size: 11pt;">There is aliveness to the moment, to the dark night within, but also outside, the asylum-cell. Gurney had been the Night-walker, tramping in Southern England between London and his home county, Gloucestershire, and become the night-pacer in corridors and his room. This did not prevent him from writing book after book of poetry and both composing and revizing songs – and Since I believed In </span><span style="font-family: "lucida sans unicode" , sans-serif; font-size: 11pt;">God, The Father Almighty. Now, Gloucester Cathedral hears (and performs), 90 years too late, the suffering, clear vision of the creative artist, one of its own as a child and youth, who was said to be mad.</span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Dictates of pitch and of form, including extended canonic texture, do not prevent this Anthem from sounding akin to the music of an aeolian harp. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">Nicolay Rimsky-Korsakov was the youngest of the group of five composers, The Mighty Handful, that came to dominate art-music in the capital of the Tsarist Russian Empire in the 1860s. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">By the time that he composed the Russian Easter Festival Overture in 1888, He was a mature artist, a long-time professor of composition at the St Petersburg Conservatoire whose learning had been acquired by self-will and diligence, and he had left the </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">amateurism of the Mighty Handful behind, though not its desire to advance the cause of Russian music. He had made his peace with the Moscow of Tchaikovsky, and become an authority on fugue as well as on peasant themes and musical scales. The influences on him were wide, from Glinka, but also Berlioz, to Schumann, Liszt and Wagner, and he had the singularity, detachment and creative imagination to buy wisely at a market; to unite apt aspects of their styles in himself. </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">This Overture On Liturgical Themes is based on three specimens of Orthodox Chant, Let God Arise, An Angel Cried, and Christ Is Risen. In spite of the long, solemn introduction that seems at one point to portray in solo trombone a priest intoning and in strings, a congregation's responses, Rimsky's aim was not to write religiose music. His inspiration juxtaposed liturgy with pagan life – with a life older than Christianity that had taken on the trappings of Christianity in their beauty, but that rejoiced in nature and Spring at least as much as in Easter, in merrymaking at least as much as in glorying in the Resurrection of the New Testament.</span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">It is one of his more popular works, thrilling in its power and variety of orchestration, its contrasts in tone and focus, its harmonic resource and play of rhythm. It evokes all that it was intended to do, a masterpiece of hard-won skill, but is also intensely humane and humorous – a kind of measure of the full roundedness of ideal sprituality, earthy and honest in addition to wondering and a little uncanny. Birdsong and the glow of sun on white blossoms and an awakened world may succeed a candlelit, incense-filled atmosphere of solemn chant, with the suddenness of stepping outside the church entrance, and itself be succeeded by the dance. One scarcely notices sonata-form as the work unfolds, but the basic themes are thoroughly developed, contrasted and combined before the massive, gong-and bell-capped Christ Is Risen of the close! </span></span></div>
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<span style="font-family: "lucida sans unicode" , sans-serif;"><span style="font-size: 11pt;">This was Classical Break, on Somer Valley FM, and I'm Rupert Kirkham. We hope you enjoyed our Spring And Easter Programme, and will tune in again soon. Goodbye!</span></span></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-54380980667829578692017-03-24T15:32:00.001-07:002017-03-24T15:33:20.161-07:0025&26 March 2017 - The Agony and The Ecstasy - soundtrack<br />
<b>The Agony and The Ecstasy<o:p></o:p></b><br />
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This programme is repeated from July 2013.<br />
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<b>Signature Tune:<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Path of The Beloved</i> from the Suite <i style="mso-bidi-font-style: normal;">Rakastava (Op14),</i> Sibelius</b></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">This is Classical Break, on Somer Valley FM. Today’s programme consists of music from the 1965 feature film, </span><i>The Agony and The Ecstasy</i><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">. This Hollywood epic, Directed by Carol Reed and starring Charlton Heston, and Rex Harrison, Diane Cilento and Aldofo Celi, may seem an odd place in which to find music for a classical music-slot, but in fact the score of the main part of the picture, by Alex North and Alexander Courage, is a fascinating attempt to meld music of the renaissance with a Respighi-like pictorialism that suits fully a cinemascope keeping, the vivid colours and vibrant imagery of a film from the mid-‘60s.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Alex North was the second most nominated film composer In Hollywood and received an honorary award In recognition of his brilliant artistry.<span style="mso-spacerun: yes;"> </span>He provided music for films As various as <i style="mso-bidi-font-style: normal;">Spartacus, Who's afraid of Virginia Woolf, A Streetcar Named Desire, Dragonslayer </i>and <i style="mso-bidi-font-style: normal;">Good Morning Vietnam.<span style="mso-spacerun: yes;"> </span><o:p></o:p></i></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">He was nominated for an Oscar for <i style="mso-bidi-font-style: normal;">The Agony and The Ecstasy</i> in 1966.<span style="mso-spacerun: yes;"> </span>In this film, location-work and studio-shot scenes are beautifully lit, a world of rich vestures and palaces, glinting armour and weaponry, bright banners and desolate, smoking scenes of military defeat, all captured in their gentility and horror. In dark interior scenes of chapel and tavern or in front of the vibrant, living frescoes of art and theocratic politics, there glowers the gaunt, paint-spattered figure of Michelangelo Buonarotti – the driven artist forced by Papal commission to break the habit of a lifetime and paint a ceiling with ‘<i style="mso-bidi-font-style: normal;">appropriate designs’</i>. The warrior-Pope, Julius the 2nd suffers, too: <i style="mso-bidi-font-style: normal;">“Michelangelo, when will you make an end!”</i> - <i style="mso-bidi-font-style: normal;">“When I am finished!”</i> and there is a danger that between showing that the Pope is driven also, in his case, to hold together the Catholic Church in a country of duchies and Europe beyond, and that Michelangelo has to suffer and be impossible with authority to paint like one inspired, the film earns another title, <i style="mso-bidi-font-style: normal;">“The Mahogany and The Hickory - Or How The Sistine Chapel Gained A Ceiling (In The End)”.<o:p></o:p></i></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Nevertheless, there is the score, in whose brilliance and half-tones the story of transcendent Art is most truly told through the use of Romantic organ and bells, brash handling of brass and side-drums, bucolic, courtly and agonized use of woodwind in weak register, moments of veil-like expectancy or surge at height and plod de profundis of strings. Snatches from mediaeval pipe-music, a martial galliard here, pastiche of consort- or choral music there, a Shostakovich-like angularity and lacerating implacability of line, chantlike melody and chromaticism that both hark back to Cesar Franck through the Gregorian Respighi; leading motives to represent characters or states of mind are also heard, a common thing in film-scores: with an incredibly wide range of musical influences, Alex North and his assistant, Alexander Courage, wrote a masterpiece expressive of the suffering and isolation of the true artist.<span style="mso-spacerun: yes;"> </span>Here is the first cue: a scene in a precipitous marble quarry, <i style="mso-bidi-font-style: normal;">The Mountains of Carrara.<o:p></o:p></i></span></div>
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<b>Track One: The Mountains of Carrara</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">The second cue accompanies pastoral scenes (two piping oboes – <i style="mso-bidi-font-style: normal;">oboes d’amour</i> – and cor anglais in imitational <i style="mso-bidi-font-style: normal;">piffero</i> style) suddenly broken in on by skirmish:<span style="mso-spacerun: yes;"> </span>relentlessly rhythmical cavalry pursue infantry into a maize-crop – slaughter ensues; by far the most of the music occurs to denote victory - the leader of the cavalry is soon revealed to be Julius the 2nd as he takes off his helmet and assumes his calot and white mantle.<span style="mso-spacerun: yes;"> </span>Here occurs the in fact anachronistic reference to a galliard, <i style="mso-bidi-font-style: normal;">‘La Bataille’, </i>from the <i style="mso-bidi-font-style: normal;">Danserye </i>of Tielman Susato.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;">The Warrior-Pope.<o:p></o:p></i></div>
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<b>Track Two: The Warrior Pope</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">The Florentine family, the Medici, have been Buonarotti’s longest-serving patrons. Cardinal Giovanni de Medici and the Contessina De Medici, his sister, have won Buonarotti a commission to build Julius’s tomb; now, the Pope wishes the artist to paint images of the twelve apostles on the ceiling of the Sistine Chapel. Buonarotti is a sculptor, and has scruples... So the adventure begins. </span><i style="font-family: timesnewromanpsmt, sans-serif; text-align: justify;">The Medicis</i><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;"> – a pastiche consort flute-and-strings number written by Alexander Courage - the flute closely attended by imitational figures.</span><br />
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<b>Track Three: The Medici</b><br />
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">In deep, brooding music, combining the Gregorian influence with that of what sounds like the Fifth Symphony slow movement of Shostakovich, work begins on scaffolding high in the vaults of the roof of the decayed chapel:<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">The Sketch of The Apostles</i>. <span style="mso-spacerun: yes;"> </span>New plaster is smoothed on. Outlines are laid.<span style="mso-spacerun: yes;"> </span>Paint is applied...<o:p></o:p></span></div>
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<b>Track Four: The Sketch of The Apostles</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">The Artist is dissatisfied with his commission. The faces of ordinary persons make the best faces for Apostles; nothing formal will do. <i style="mso-bidi-font-style: normal;">Sketch Destroyed</i> accompanies strokes of an adze and a flung bucket of red paint...<o:p></o:p></span></div>
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<b>Track Five: Sketch Destroyed</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Having fled and been pursued into the mountains of Carrara, Buonarotti has a vision of God and Adam in the clouds at dawn... There is a growling sonority to the quiet grandeur that, mollified, becomes alternately ethereal and more full-throated and ends terse, staggering, brazen and percussive...<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;">Genesis</i><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">!<o:p></o:p></span></div>
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<b>Track Six: Genesis</b><br />
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<span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">Having successfully presented plans to the literally embattled pope... there follows </span><i style="font-family: timesnewromanpsmt, sans-serif; text-align: justify;">The Return to The Sistine Chapel</i><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">. Now, more than 300 figures must be painted, including seven OT prophets, five sybils, nine stories from Genesis, portraits of the great figures in Christ’s lineage and four scenes from the OT.</span><br />
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<b>Track Seven: The Sistine Chapel</b><br />
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">All begins with the quietly anxious cue, <i style="mso-bidi-font-style: normal;">Painting</i>!<o:p></o:p></span></div>
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<b>Track Eight: Painting</b><br />
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<span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">Hours of working to all hours with toxic paint inches from his face, lack of rest and forgetting meals, and the necessity of shouting or sighing, “</span><i style="font-family: timesnewromanpsmt, sans-serif; text-align: justify;">When I am finished</i><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">,” or disputing </span><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;"> </span><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">aesthetics and morals with cardinals brought in to witness progress, lead to </span><i style="font-family: timesnewromanpsmt, sans-serif; text-align: justify;">The Agony</i><span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">, as Buonarotti working on alone at night by the light of a candle-stub suffers loss of sight, attempts to move down the scaffolding, falls clutching onto a rope and is swiftly let down onto the floor of the chapel, unconscious and in a fever. The music follows this quickly growing disaster with highly effective use of instrumentation, the growling bassoon particularly sinister.</span><br />
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<b>Track Nine: The Agony</b><br />
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Michelangelo recovers in the care of the Contessina de Medici. This is another of Alexander Courage’s contribution, another consort-piece, like a pavane. <i style="mso-bidi-font-style: normal;">Michelangelo’s Recovery</i>.<o:p></o:p></span></div>
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<b>Track Ten: Michelangelo’s Recovery</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Again, haunted by the Susato <i style="mso-bidi-font-style: normal;">Galliard</i>, the Pope returns to Rome in brassy triumph. Festivity In St Peter’s Square.<o:p></o:p></span></div>
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<b>Track Eleven: Festivity In St Peter’s Square</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">In the evening, Julius visits the recuperating Michelangelo to release him from his contract... Raphael may complete the ceiling<i style="mso-bidi-font-style: normal;">...<o:p></o:p></i></span></div>
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<i style="mso-bidi-font-style: normal;">Julius In The Garden.<o:p></o:p></i></div>
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<b>Track Twelve: Julius In The Garden</b><br />
<span style="font-family: "timesnewromanpsmt" , sans-serif; text-align: justify;">Back at work... This time, progress is suddenly suspended as Michelangelo arrives in the chapel to discover workmen are dismantling the scaffolding...</span><br />
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<b>Track Thirteen: Back To St Peter’s<o:p></o:p></b></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">The Pope and Michelangelo have come to a parting of the ways over the Pope’s desire to show the ceiling half-finished. Julius must go to war again – his enemies in Italy regrouping and victorious – without knowing if he will live to return or be able to see the ceiling completed. Brazenness is moderate in the music, the imploring strings bringing a feeling of pathos above side-drums and intermittent low brass.<o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Woodwind and low brass prefigure the next cue.<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;">The War</i><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">.<o:p></o:p></span></div>
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<b>Track Fourteen: The War</b><br />
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Michelangelo seeks reconciliation with Julius on the battlefield... Julius’ military defeat inspires some of the best moments of the entire score – jagged, hollow horn, trombone and muted trumpet fanfares of desolation; the imploring tone returns in strings, answered by the implacability of deep-toned brass and woodwind.<o:p></o:p></span></div>
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<b>Track Fifteen: The Battlefield<o:p></o:p></b></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">To brief, bright fanfares, the grievously-wounded Julius creates a new cardinal for a fee sufficient to permit Michelangelo to complete the ceiling... Michelangelo returns to work, and the tattered remnants of the pontiff’s army are portrayed on their blood and dust-stained horse and cart-borne journey to Rome<i style="mso-bidi-font-style: normal;">. New Cardinal</i>.<o:p></o:p></span></div>
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<b>Track Sixteen: New Cardinal</b><span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;"><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">Back in Rome, Julius, though reacquainted with the wonderful ceiling, soon lies close to death: only to be angered into rising from his bed by Michelangelo, who proposes to return to Florence with the ceiling incomplete!<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">The Pope’s allies in Europe have gathered and defeated his enemies. The official soundtrack CD takes up the story with a mass celebrating victory and the completion of the ceiling... The finish has been hard-earned.<o:p></o:p></span></div>
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<b>Track Seventeen: Michelangelo’s Magnificent Achievement – and Finale<o:p></o:p></b></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">In an affecting final scene, after the congregation and church staff have left, Julius tells Michelangelo what the ceiling means to him.<span style="mso-spacerun: yes;"> </span>Commissioning it may be what he is remembered for; before the Seat of Judgement, he will present it as something to be placed in the balance; it may shorten his time in Purgatory.<span style="mso-spacerun: yes;"> </span>Asked what he has learned, the artist says, <i style="mso-bidi-font-style: normal;">“That I am not alone.”</i> He refuses a further commission for an altar-piece fresco of The Judgement:<span style="mso-spacerun: yes;"> </span>he was promised that he could go back to his interrupted work on the tomb; Julius admits that there is need of the tomb.<span style="mso-spacerun: yes;"> </span>They part: Michelangelo is left to watch the Pope’s faltering progress from the body of the chapel<i style="mso-bidi-font-style: normal;">. To Work My Son.<o:p></o:p></i></span></div>
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<span style="font-family: "timesnewromanpsmt" , "sans-serif"; mso-bidi-font-family: TimesNewRomanPSMT;">This was Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Today’s programme was written by Mike Burrows. We hope you enjoyed it and that you will join us again soon. Goodbye!<o:p></o:p></span></div>
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<b>Track Eighteen: To Work, My Son</b></div>
Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-6498707025556265712017-03-17T03:04:00.004-07:002017-03-17T03:04:48.443-07:0018 & 19 March: Rachmaninov First Symphony<b><span style="font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">CLASSICAL BREAK</span></span></b><br />
<b><span style="font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Rachmaninoff’s First Symphony in D Minor, Op13</span></span></b><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i><span style="font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">NOTE: This script is the original version, but due to it overrunning our time slot, the final programme omits some of the introductory analysis. I have left it in here for interest. </span></span></span></i><b><span style="font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span></b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: #444444; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><i style="color: #444444; font-size: 10pt; line-height: 26.6667px; text-align: justify;">“If there were a conservatory in Hell, if one of its talented students were instructed to write a <span style="mso-tab-count: 1;"> </span>programme symphony on “The Seven Plagues of Egypt”, and if he were to compose a symphony like Mr Rachmaninov’s, then he would have fulfilled his task brilliantly and would bring delight to the inhabitants of Hell.<span style="mso-spacerun: yes;"> </span>But for the time being we are still living on earth, and this music has a depressing effect on us, with its broken rhythms, obscurity and vagueness of form, the meaningless repetition of the same short tricks, the nasal sound of the orchestra, the intense crash of brass, and above all the sickly, perverse hamonization and quasi-melodic outlines, and the complete lack of simplicity and naturalness, the complete lack of themes.”</i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small; line-height: 32px;"><span style="color: #444444;">With these words were dismissed the ambitions of a twenty-four year-old graduate pianist and composer; not just any graduate either, but the Gold Medal-holding Sergei Vasileyevitch Rachmaninoff, lately of the Moscow Conservatoire.</span><span style="mso-spacerun: yes;"> </span>This is Classical Break, on Somer Valley FM, and I’m Rupert Kirkham.<span style="mso-spacerun: yes;"> </span>Today’s programme is given over to Rachmaninoff’s extraordinary First Symphony, a work repudiated by him after a disastrous premiere at St Petersburg, given by the Russian Orchestral Society and conducted by Alexandr Glazunov.</span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px;">Rachmaninoff himself tore up the score and later described it to a close friend as strained, childish and bombastic, but not wholly weak, its worse fault being bad orchestration; furthermore, he could not understand how a musician like Glazunov - one of Russia’s foremost composers and teachers, a great figure among the staff at the St Petersburg Conservatoire - could have conducted</span><span style="font-size: 10pt; line-height: 26.6667px;"> </span><span style="font-size: 10pt; line-height: 26.6667px;">so badly.</span><span style="font-size: 10pt; line-height: 26.6667px;"> </span><span style="font-size: 10pt; line-height: 26.6667px;">Rachmaninoff’s cousin, later his wife, claimed Glazunov had been drunk.</span><span style="font-size: 10pt; line-height: 26.6667px;"> </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">The First Symphony in D Minor is scored for large orchestra.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">From double-basses and (superb) tuba up to piccolo, the instrumentation is extremely well judged.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">The form is cyclical with a short, snarling motto that colours or generates all the matter of its four movements.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Autocratically expressive,</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">this is possibly the first Russian symphony to take its chapter and verse from knowledge of </span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">znameniy</i><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> or Orthodox liturgical chants as well as folk-music, and it echoes also the bells of Mousorgsky’s </span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Boris Gudonov. </i><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Moreover, the Catholic chant, </span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Dies Irae</i><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">, an idée-fixe of that other pianist composer, Franz Liszt, Is never far from the shape of things. Rachmaninoff was to make this fate-motif his own - it occurs in almost all his large-scale works!</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span></span><br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Cue:<span style="mso-spacerun: yes;"> </span>Extract from Piano Trio in D Minor, Rachmaninoff</span></b></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px;">The first four notes of the motto-theme and an element of the second subject may have been carried over deliberately from the massive slow movement of the elegaic second Piano Trio in D Minor - written in memory of Tchaikovsky, who had mostly been very encouraging of Rachmaninoff’s </span><span style="font-size: 10pt; line-height: 26.6667px;">efforts; assisted as an examiner in his graduation and died tragically two years before the Symphony was begun. The score is headed with the words, <i>“Vengeance is mine (saith the Lord) I will repay.”</i><span style="mso-spacerun: yes;"> </span>This quotation from the Scriptures occurs in Tolstoy’s <i>Anna</i> <i>Karenina</i>, of which more later..</span></span><br />
<span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The brass motto with which the symphony opens is reminiscent of the beginning of Borodin’s Second Symphony.</span></span><br />
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<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Cue:<span style="mso-spacerun: yes;"> </span>Opening of Second Symphony In B Minor, Borodin</span></b></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 10pt; line-height: 26.6667px;">Cue</span></b><span style="font-size: 10pt; line-height: 26.6667px;">: <b>Motto</b> <b>and 1st Subject, Rachmaninoff</b></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px;">Besides a<i> </i>hint of<i> </i>the<i> Dies Irae</i>, there’s a woody coolness and purpose to the first subject, a continuation of the motto-theme - clarinet and then oboe prominent -<span style="mso-spacerun: yes;"> </span>the first subject is built up of phrases from liturgical<i> </i>chants, a process his listeners would have been aware of on first hearing.<span style="mso-spacerun: yes;"> </span>The subject has kinship<span style="mso-spacerun: yes;"> </span>with the allegros of Rimsky-Korsakov, athletic, loose-limbed only because relying </span><span style="font-size: 10pt; line-height: 26.6667px;">on sequence, the self-repetition of Jchoice narrow intervals, and contrapuntal entries.<span style="mso-spacerun: yes;"> </span>Descending scalic figures - the clarinet’s being most noticeable - are built into the material.<span style="mso-spacerun: yes;"> </span>A curious, overshadowed quality comes with changes in dynamics and scoring.<span style="mso-spacerun: yes;"> </span>Tension rises to the hard-hitting first brassy climax, with its repeated-note tattoo - powerful in the lower brass and with an edge of hysteria added by the trumpet; it<span style="mso-spacerun: yes;"> </span>falls away in murmurs - and in twirls the sinuous, feminine second subject on violins, astringent <i>appoggiatura</i> not permitting sinuousness to be relaxed.<span style="mso-spacerun: yes;"> </span>The oboe, flutes and clarinet add plangency, the swell of the theme given the Tchaikovskian treatment - passionate first violins in unison, the horns glowing.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;">A kind of gipsy-music or orientalism is found in it, not unlike the orientalism of Balakirev, Borodin and Rimsky-Korsakov - composers venerated by the St Petersburg Conservatoire.<span style="mso-spacerun: yes;"> </span>Rachmaninoff had written a stipulated one-act opera for his graduation exercise - <i>Aleko</i>, a story of gipsy life.<span style="mso-spacerun: yes;"> </span>After a close - the motto murmuring - the development begins as does that of Tchaikovsky’s Sixth Symphony, <i>The Pathetique</i>:<span style="mso-spacerun: yes;"> </span>with a loud crash on brass and percussion. Here is the Tchaikovsky.</span></div>
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Cue:<span style="mso-spacerun: yes;"> </span>Diminuendo and Outset of 1st Movt Development of Sixth Symphony in B Minor, Tchaikovsky.</span></b><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;">And, for the last of these brief cues, here is the Rachmaninoff:</span><br />
<b style="line-height: 32px; text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Cue:<span style="mso-spacerun: yes;"> </span>Diminuendo and Outset of Development, Rachmaninoff<span style="mso-spacerun: yes;"> </span></span></b><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;">A trumpet-shriek - the motto theme in an instant!<span style="mso-spacerun: yes;"> </span>The divided strings launch into a fugato based on it.<span style="mso-spacerun: yes;"> </span>Their lack of support elsewhere makes keeping their pitch tricky. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 24pt;">More is brewing, with vindictive fanfare- and plainchant-like brass twitted by high woodwind, even as the motto sounds underneath on horns.</span><span style="font-size: 10pt; line-height: 24pt;"> </span><span style="font-size: 10pt; line-height: 24pt;">The strings reassert themselves:</span><span style="font-size: 10pt; line-height: 24pt;"> </span><span style="font-size: 10pt; line-height: 24pt;">in crashes a variant of the motto, with new, perhaps ‘perverse’ brass chords of real keenness - piccolo - and in some performances, glockenspiel -tingling atop what seem like deepbells.</span><span style="font-size: 10pt; line-height: 24pt;"> </span><span style="font-size: 10pt; line-height: 24pt;">The trumpets answer trombones and horns in antiphon.</span><span style="font-size: 10pt; line-height: 24pt;"> </span><span style="font-size: 10pt; line-height: 24pt;">Sublimity!</span><span style="font-size: 10pt; line-height: 24pt;"> </span><span style="font-size: 10pt; line-height: 24pt;">Yet</span><span style="font-size: 10pt; line-height: 24pt;"> </span><span style="font-size: 10pt; line-height: 24pt;">the effect of an upward pressure narrows the harmonic scope of the fanfare, if not the melodic.. It is</span><span style="font-size: 10pt; line-height: 24pt;"> </span><span style="font-size: 10pt; line-height: 24pt;">an intensely personal, memorable transformation, terse and ringing, swaying between feelings of major and minor. The music moves on as the strings take the theme over, returning it to its striving first subject shape.</span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px;">A <i>diminuendo</i>.<span style="mso-spacerun: yes;"> </span>All seems indistinct, misty - and clears as the second-subject comes in on flute.<span style="mso-spacerun: yes;"> </span>It is now possible to hear this theme as a feminized development of the first subject; its deeply appoggiatura-ed hesitancy and ultimate fervour, and, at last, rich scoring remain moving in this reprise.<span style="mso-spacerun: yes;"> </span>The episode of misty indistinctness heard earlier is altered to be like the swing of the tide, rocking.<span style="mso-spacerun: yes;"> </span>The brass - gapped chords moving up the scale - presage the close of the movement.<span style="mso-spacerun: yes;"> </span>Building up to a savage end derived from what went before it, dovetailing, canons and imitations between the sections of the orchestra now rend reticence to bits.<span style="mso-spacerun: yes;"> </span>Derived from the first and second </span><span style="font-size: 10pt; line-height: 26.6667px;">subject and the upward scale that accompanies the first subject, the final cadence, several lashing blows of Fate or impatience, is masterful.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 10pt; line-height: 26.6667px;">Track One:<span style="mso-spacerun: yes;"> </span>First Symphony, l Grave, Allegro Ma Non Troppo, Rachmaninoff</span></b><span style="font-size: 10pt; line-height: 26.6667px;"> (13.45 min)</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">This is Classical Break on Somer Valley FM, and I’m Rupert Kirkham.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">Today’s programme is devoted to one piece, the Symphony in D Minor by Rachmaninoff.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">What hectored critics missed at the premiere was that the ‘perversity’ they perceived is a source of great expressive power.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">They reacted against the music’s commandingness, its organization, its aesthetic consistency and yet originality.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">The orchestral parts survived, mostly complete, and were exhumed from the Leningrad Conservatoire archives in 1944.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">The Symphony was performed in a typical Soviet </span><i style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">volte-face</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> the following year:</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">the performance of Rachmaninoff’s works in the Soviet Union had been banned a while after his escape from Revolutionary Russia.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">A celebrity world--wide, he had made no secret, everywhere he went, of his hatred of the crimes of Bolshevism.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">He had died in Beverly Hills the previous year, and the discovery proved that he belonged to Soviet Russia after all...</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">Rachmaninoff, who’d suffered from crippling nostalgia for his country, would not have liked the irony.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">That quotation, </span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Vengeance is mine</i><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> (</span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">saith the Lord) I will repay.<span style="mso-spacerun: yes;"> </span></i><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Rachmaninoff meant it to be a reference to </span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Anna Karenina -</i><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> the verse is quoted in the novel, apparently - but also to a lately-concluded affair with a married lady of gipsy blood!</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">The piece was dedicated to her - A.L. - Anna Alexandrovna Lodizhenskaya.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Beginning with the motto-theme made </span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">douce, </i><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">a simple, telling transformation in context, The second movement is an intermezzo rather than scherzo, mostly lightly scored.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">It seems like woodland music, darting, as if breeze-blown among birch-trees - delicate with woodland flowers, the viola at times wry in solos less airy than the flute’s.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">It is a hypersensitive mood-piece, a fantasy of alternate tensions on derivatives of first movement material.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">There are harsh, driven moments on brass and lower strings, the first movement’s snarl and motto-theme never distant.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Where the music is brightest, most fine--spun, where it suggests sweetness or the slightest shade or fragrance, is perhaps where Anna is found and dwelt on.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Glazunov made a cut in this movement for the premiere.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">After the viola’s nervy solo, the dark elements rise - only to be partly soothed and brought back to the </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">mercurial mood and music of the opening.<span style="mso-spacerun: yes;"> </span>Contrarities die out at last in the motto and semitonal oscillation.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="line-height: 32px; text-align: justify;"><span style="font-size: 10pt; line-height: 26.6667px;">Track Two:<span style="mso-spacerun: yes;"> </span>ll Allegro Animato</span></b><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px;">Another movement of kaleidoscopic orchestration, the third movement is a beautifully-scored </span><span style="font-size: 10pt; line-height: 26.6667px;">love song with lyrical woodwind solos and delicate touches of appoggiatura from the violins and violas.<span style="mso-spacerun: yes;"> </span>It begins with the fate-motif and develops the Symphony’s first and second subjects.<span style="mso-spacerun: yes;"> </span>Beauty is interrupted by a passage<span style="mso-spacerun: yes;"> </span>of savage foreboding in the bass of the orchestra, symbolizing jealousy with the <i>Dies Irae</i>, perhaps.<span style="mso-spacerun: yes;"> </span>The viola picks up the song where it left off, and real passion - and hypersensitivity - return to the music, building through repetition and counterpointing of the two tunes of the first movement, the masculine first subject smearing the outline of the feminine second.<span style="mso-spacerun: yes;"> </span>These<span style="mso-spacerun: yes;"> </span></span><span style="font-size: 10pt; line-height: 26.6667px;">processes are the structure of this music.<span style="mso-spacerun: yes;"> </span>Appoggiatura in lower strings and horn-tone seem either to soothe or to increase pain.<span style="mso-spacerun: yes;"> </span>The music dies away overshadowed by a rocking alternation of tones on clarinet. <i><span style="mso-spacerun: yes;"> </span>Dies Irae </i>tells us that the day of judgement is near.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifEPNPyXrCOlV7eu2OAmv6dxq-RT_eih5Q4Aeri0UTqGGvdql8d5wfvy5HvS7iSnQA-J1SL-nifec8AGy-ygACD4gj3_kzJX9kUGSxYkKpAqcDCJ3ZdkekcSyUbcb8P9XTklDcjUv86DLm/s1600/Rachmaninoff_and_daughter.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifEPNPyXrCOlV7eu2OAmv6dxq-RT_eih5Q4Aeri0UTqGGvdql8d5wfvy5HvS7iSnQA-J1SL-nifec8AGy-ygACD4gj3_kzJX9kUGSxYkKpAqcDCJ3ZdkekcSyUbcb8P9XTklDcjUv86DLm/s1600/Rachmaninoff_and_daughter.jpg" width="126" /></span></a><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;"></span></b></div>
<b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><br /></span></b><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><br /></span></b><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><br /></span></b><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><br /></span></b><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><br /></span></b><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><br /></span></b><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><br /></span></b><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><br /></span></b><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><br /></span></b><b><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Track Three:<span style="mso-spacerun: yes;"> </span>lll Larghetto</span></b><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">The last movement is lashed by brass and percussion into beginning proudly, with dotted-note fanfares.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">The first subject of the symphony returns, triumphant and sinister.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">It is continued by a zigeuner-like insistence on rhythm in the cellos and double-basses in particular - the horn adds foreboding.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">This music was written years before Stravinsky’s percussive, motoric but rhythmically disruptive style became fashionable.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">The feminine second subject sweeps one on, now, with Tchaikovskian swelling horns in canon, and castanets imitated by tambourine.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Hectoring brass breaks in with the motto fanfares; a diminuendo brings in the oboe in Anna’s theme.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">It is taken up with an accompaniment of nervous quivering in the strings - time is running out.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">The deep strings add a swell to the yearning - the horn still doesn’t achieve more than pathos - the gipsy-dance moments drop in exhaustion.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">A lulling episode is followed by a bass-led revivification of the gaunt fate-music, with its odd rhythms and ruthlessness more marked, the violas characteristically dry and wiry in tone.</span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px;">The sweep of the movement continues -<i>down</i>, the obsessive motto brushing aside gipsy tambourine, growing ever more frenetic yet apt to its context, and now, we’re at the ferocious climax of the entire Symphony, repeated whiplash phrases of the first subject or motto-theme continuation more and more short, sharp and frantic, reaching the listener’s breaking point, which comes soon enough, with the finality of drums and tam-tam, the motto-theme sombre in slow deep waves that return us to an image of the tide, one bleak stretch of coast; then, like a tidal wave that one has not seen in its rising, but turns to as it topples - or the wave that one has waited for and now throws oneself into - that last terrifying conflict, a downward chromatic scale pitted against, and out of step with, an <i>upward</i>, and broken thematic phrases in addition, the violins divided, sounding their own semitonal clash, screaming their way down on and through those upward, harmonized sequences of chromatic brass and other interjections until the alto and deeper instruments harmonizes in the downward scale, the violins still out of step - bearing down on everything.<span style="mso-spacerun: yes;"> </span>The scale ends in a two-fold downward sequence derived from a four-note element of the second - <i>feminine</i> - subject, semitone-minor-third-semitone; in fact, the whole climax is an immense development of the feminine subject against first </span><span style="font-size: 10pt; line-height: 26.6667px;">subject upward scale and <i>Dies Irae</i>. Curiously there is an echo of Wagner’s <i>Flying Dutchman</i> in there.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;">We are left with reiteration of the opening of the motto-theme - altered subtlely from its other appearances - and at first with a response-phrase reminiscent of <i>Dies Irae.<span style="mso-spacerun: yes;"> </span></i>The procession<i> </i>is<i> </i>accompanied by regularly spaced drum-beats and crashes from the tam-tam, until, after five repetitions in the <i>major</i>, the movement is brought to a dead stop, by two identical, thudded chords.<span style="mso-spacerun: yes;"> </span>Anna Karenina dies by suicide - throwing herself under the wheels of a railway-engine.<span style="mso-spacerun: yes;"> </span>Here, antedating <i>musique mechanique</i> by about thirty years, Rachmaninoff’s First Symphony ends by appearing to evoke just such a death - one is left with the blind, remorseless force<span style="mso-spacerun: yes;"> </span>of steam driving tons of steel.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="clear: left; float: left; font-family: "arial" , "helvetica" , sans-serif; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7eaz2aTTa-x1bQSUTxZbOGnzpQzoM2jLZiSTlsN3y7XoAuRdg-mzE2zOCgw26ppWQDsI0r7rpWYD5Zeb09PEC5kAOSkZYK_pGPTBKLnOeb-NhIN92ZpARCdwb6jTN6ahsR1oQ97NRCODt/s1600/rach+1.jpg" width="144" /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="line-height: 32px; text-align: justify;"><span style="font-size: 10pt; line-height: 26.6667px;"><br /></span></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="line-height: 32px; text-align: justify;"><span style="font-size: 10pt; line-height: 26.6667px;"><br /></span></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="line-height: 32px; text-align: justify;"><span style="font-size: 10pt; line-height: 26.6667px;"><br /></span></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="line-height: 32px; text-align: justify;"><span style="font-size: 10pt; line-height: 26.6667px;"><br /></span></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="line-height: 32px; text-align: justify;"><span style="font-size: 10pt; line-height: 26.6667px;"><br /></span></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="line-height: 32px; text-align: justify;"><span style="font-size: 10pt; line-height: 26.6667px;"><br /></span></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="line-height: 32px; text-align: justify;"><span style="font-size: 10pt; line-height: 26.6667px;"><br /></span></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="line-height: 32px; text-align: justify;"><span style="font-size: 10pt; line-height: 26.6667px;"><br /></span></b></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="line-height: 32px; text-align: justify;"><span style="font-size: 10pt; line-height: 26.6667px;">Track Four:<span style="mso-spacerun: yes;"> </span>lV Allegro Con Fuoco</span></b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Glazunov’s fluent, ingratiating First Symphony had been premiered when he had been sixteen.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">It had been a triumph.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">At the premiere of </span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">his</i><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> First Symphony, the twenty-four year-old Rachmaninoff left the hall to pace outside, wringing his hands at the terrible discords he heard.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Had he </span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">truly</i><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> written these sounds? </span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Of course, he most probably had written many of them - calculated them ruthlessly,<span style="mso-spacerun: yes;"> </span>as contrapuntal clashes and as-logical harmonic progressions.</i></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">The critique that headed our programme - was by Cesar Cui, the least talented of the </span><i style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">Moguchaya</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><i style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">Kuchka</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> or ‘Mighty Handful’ of great St Petersburg composers - Balakirev, Borodin, Moussorgsky, Rimsky-Korsakov having been the others.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">Regarding themselves as </span><i style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">the</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> Pan-Slavist torch-bearers for Russian music, they had been rivals to the ‘westernizing’ Nicolai Rubenstein/Tchaikovsky axis in Moscow.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">Years previously, Rimsky--Korsakov had groomed Glazunov for stardom...Rachmaninoff had been groomed by Zverev, Arensky and Taneiev, the first two figures Tchaikovskians, the last an expert in Flemish polyphony whose counterpoint-classes had taught Rachmaninoff a great deal. In Rachmaninoff’s last major work, the</span><i style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> Symphonic Dances</i><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;">, there is a moment where the first subject of his First Symphony rises almost as if from the grave, shining and beautiful: and the late work - from nearly fifty years on - builds on the quotation of an Easter chant in its later stages.</span><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><br />
<b style="line-height: 32px; text-align: justify;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Cue from Symphonic Dances, l Non Allegro, Rachmaninoff</span></b><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Resurrection came, beyond the imagining of the critics of that first performance - or the conscious hopes of Rachmaninoff, himself, who had the misfortune to be a young man caught between old factions fighting for influence over the future of Russian music, the death of Tchaikovsky having left everything to play for! </span><i style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Pace</i><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> Mister Cui, it is possible not to be an inhabitant of Hell and yet see the critic as a brilliantly perceptive bigot:</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">his descriptions of the symphony apt so long as one discounts his aesthetic, which leads him to enumerate strengths as weaknesses!</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">You’ve been listening to Classical Break on Somer Valley FM, and I’m Rupert Kirkham.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Today’s programme was written by Mike Burrows.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">We hope you enjoyed it and will join us again soon.</span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;"> </span><span style="font-size: 10pt; line-height: 26.6667px; text-align: justify;">Goodbye!</span></span><br />
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-62673636209951019082017-03-16T18:15:00.002-07:002017-03-16T18:15:22.878-07:0018th and 19th March 2017Classical Break - Rach 1<br />
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This CB looks at the classic Symphony No 1 by Rachmaninov.<br />
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At this point in time, I can't find the script, but I will try and find it by the time the show airs on Saturday morning!<br />
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Rupert KirkhamAnonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-27697995642310151562017-02-18T16:55:00.001-08:002017-02-18T16:55:33.813-08:0019th, 26th & 27th February - The Sea<div class="western" style="background-color: #c0a154; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 27.048px; margin-bottom: 0cm;">
<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;"><b>CB The Sea 2</b></span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;"><b>Track 1: Whiskey Johnny, Trad</b></span></span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">This is Classical Break on Somer Valley FM and I'm Rupert Kirkham. This week's programme was researched and written by Mike Burrows, and showcases music inspired by the sea, the ships that sail on it, and the men who work them. You've just heard the shanty or work-song, </span><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;"><i>Whiskey Johnny</i></span><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">. It would have accompanied concerted efforts of hauling on deck: in the days of sailing-ships, the common toil was sufficient almost to blind the sailor to the dangers of being on the open sea: led by one voice, the responses are from the watch; the result seems almost like unholy liturgy.</span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">Next, Alan Rawsthorne's characteristic music for the 1953 film,</span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">The Cruel Sea, </i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">based on the novel by Monserrat. This combines fanfare-motives in portrayal of the bravery of the men who undertook convoy-escort-duties in the Atlantic and Mediterranean throughout the last War, and impressionistic washes in which those fanfares are made to sound gaunt and hollow – washes both beautiful and delicate and menacing born of chill fogs and mists of broken scoring and strings divisi. The harmonies are bitter and subduing, filled with multiple downward steps, discord and false relations, shifting unexpectedly to undercut the more certain, recognizably consonant moments; the fanfaring favours angular fourths and fifths, Waltonian or Hindemithian in their sardonic edge, and dissolved in the sea's fluid chromaticism... Still, however laconic and ironic the music appears at first, it discloses considerable hypnotic, evocative power. This an affecting elegy for the “many good ships and good men” lost to German bombs and torpedoes, and to the common enemy – the sea, whose moods have a strange, deceptive and cruel beauty.</span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;"><b>Track2: The Cruel Sea, Rawsthorne</b></span></span></div>
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<span style="font-family: Calibri, sans-serif; line-height: 27.048px;"><span style="font-size: 11pt;">A tone-poem by a Scottish composer, now, <i>The Ship O'The Fiend, </i>by Hamish MacCunn. Born in the ship-building city of Greenock in 1868, and known more as a conductor than as a composer in his later years, MacCunn in fact began as a composer, and wrote many impressive orchestral works in the last decades of </span></span><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">the 19</span><sup style="font-family: Calibri, sans-serif; line-height: 22.54px;">th</sup><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;"> Century. His career as a concert-composer began with the superb </span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">Overture</i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">, </span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">The Land of Mountain </i><span style="font-family: Calibri, sans-serif; line-height: 27.048px;"><span style="font-size: 11pt;"><i>And Flood,</i> when he was still a teenager. His style is an interesting blend of Scots folkishness, Mendelssohn and Wagner, economically scored, avoiding excess in either mood or manner., but bold in contrasts. His tone-poems evoke Scots ballads and the epic poetry of Sir Walter Scott. He is equally at home writing for the brass, woodwind or strings. His percussion often capped by cymbal clashes that punctuate themes portraying the dashing courage, triumphs and disasters of his heroes and heroines. This mannerism is devoid of toe-curling Lisztian bravado. His orchestration is mixed well, to permit the sections to share and share alike the spotlight. A theme that begins softly in an introduction on horn, oboe or strings will perhaps </span></span><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">become a strident chant dominated by trumpets at the climax.</span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;"><i>The Ship O'The Fiend</i> is a ballad that tells of how a captain returns to his sweetheart, carries her on-board with him. In the course of several stanzas it is borne in upon the sweetheart and reader that the ship is a ghost-ship with ghost-crew and ghost-captain, heading for hell... The music acquires hollow, Wagnerian brass (trombones prominent), and a clock-like jog-trot in the lower strings, where until now the fullest mingling statement of the thematic material in duet – oboe and horn standing for girl and man - and ardent </span></span><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">conversation ending in outright passion - has lured us into thinking only of love. Trumpets and cymbals over stormy seas of string-rushes render as climax the theme of the demon-lover, now an elemental force beyond belief. All subsides as it must. A hushed few rippling and then pityingly quiet moments on the strings – are ended by quiet held notes on horn answered by what sounds like muted brass and strings, and a single loud, curt last, trumpets-and-cymbal-capped chord. No trace remains of the</span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">Ship O''The Fiend.</i></div>
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<br /><span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;"><b>Track3: The Ship O The Fiend, McCunn</b></span></span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">Galway Bay is the Atlantic at its roughest. For centuries, the men-folk of the Aran Islands had left their rocky shores in light craft to fish and hunt basking--shark for a living, and to supply their communities with food and oil, when the nationalist musician, playwright and poet, John Millington Synge visited, studied their people's Irish dialect, gathered their legends and customs. He returned to the mainland with enough knowledge and experience to write a book of reminiscences and stories and a short but powerful play, </span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">Riders To The Sea,</i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;"> inventing an English that followed the local speech-rhythms for the characters of the latter to speak.</span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;">Vaughan Williams once notated the preaching of a Scottish minister, interested in the element of song in the man's speaking voice. When he composed his One-act opera to Synge's text, he made no attempt to celticize his music; evocative as it is of sea, human courage, death and grief, there was no need... As Synge wrote a play that follows Aristotelian principles of unity of time and place, and death takes place off-stage, Vaughan Williams very likely saw in this piece a universal, Englished Greek-style tragedy, Irish speech-rhythms – to which he remains sensitive - and all. The final soliloquy in the spartan, through--composed opera is typical of the work as a whole: the main character, Maurya sitting in her thin-walled cottage with the relics of her lost ones, and white coffin-boards prepared for the penultimate lost son, sings of the last of her children and menfolk's being gone now – all dead, all drowned in the sea. The sea can do no more to her. </span></span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">Ghosts and presages of other Vaughan Williams works haunt the piece: a later work</span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;"> in Dona Nobis Pacem – </i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">a protest against War</span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">;</i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;"> an earlier in</span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;"> Flos Campi, </i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">based on</span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;"> The Song of Songs!; </i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">the symphonic works and film music of the late period. One of the notable features is the use of soprano voices keening Irishly, an elemental, menacing sound like but not like the screaming of the wind (a wind-machine is also called-for in this opera): this device was later to recur in the music for the film, </span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">Scott of The Antarctic. </i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">Synge's words have a beautiful simple dignity, and are the stuff of tragedy in the face of the sea.</span></div>
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“<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;"><i>No man at all can be living forever, and we must be satisfied.”</i></span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;"><b>Track 4: They Are All Gone Now, Riders To The Sea, Vaughan Williams</b></span></span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">Highly successful before the turn of the century with his song-cycle, </span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">Sea Pictures</i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">, Sir Edward Elgar approached the life of seamen some years later, via the verses of Kipling. </span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">In </span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">The Fringes of The Fleet, </i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">the true, unofficial poet laureate had published a tribute in poems and prose to Britain's seamen at the end of 1915, a kind of seaman's eye-view of the War at sea. Elgar seized on the verses and wrote a cycle of four songs for performance in revue at the London Coliseum Theatre. He did ask Kipling's permission, but was not to know that Kipling had lost his adopted son, John, an athletic but acutely short-sighted youth, during the Battle of Loos, a matter of weeks before the booklet's first publication. Last seen wandering on the battlefield with his lower jaw shot away, John had no known grave. In Elgar's “best </span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">bloomin' beggar”</i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">style – as Stanford might have called it - and </span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">'broad, saltwater style”</i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;"> as he himself </span><i style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;">did</i><span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;"> call it - well-sung by chosen singers, the songs proved an instant hit at the Coliseum. Thereafter they received a number of performances at theatres around the country – until Kipling stepped in to end the tour.</span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;">The songs are good of their kind, highly effective in all aspects, and form a cycle that expresses the experiences of many men who served at sea during the Great War - experiences at the hands of the Navy – and the sea itself.</span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;">The very effectiveness of the songs perhaps damned them in the poet's eyes. He was sick of war: later, the man who had written of <i>“the Hun at the gate”</i>, popularizing the cause of the Imperial armed forces in this war to save Western civilization, would publish a couplet:</span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;"><i>“If any question why we died,</i></span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;"><i>Tell them, because our fathers lied.”</i></span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;">There is, in fact, an astringency to the verses Elgar set, a weariness, a cynicism, yet determination to do one's duty and carry on, side by side with the stoicism of the men, that Elgar would have understood well.</span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;">To complete the work, a fortnight after the beginning of the show's run, Elgar added a fifth song, setting Sir Gilbert Parker's poem, <i>Inside The Bar. </i>Most sea-shanty-like of the songs it is a song of home, men free ashore, and fickle sweethearts...</span></span></div>
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<span style="font-family: Calibri, sans-serif; font-size: 11pt; line-height: 29.3333px;"><span style="font-size: 11pt; line-height: 29.3333px;">The performance you will hear is from an acoustical recording made on the 21</span><sup style="line-height: 24.4444px;">st</sup><span style="font-size: 11pt; line-height: 29.3333px;"> of July, 1917, by the original soloists – without the benefit of costumes or a set portraying the yard outside a dock-side pub - and their highly professional band, conducted by the composer in the first four songs only. The star of the show and recording was – and is - the gifted young baritone, Charles Mott, an excellent singer and actor who lost his life on the Western Front in the following year. Kipling ended the progress of the show in the theatre only after the recordings had been made, and the resultant album of records remained a hugely popular staple of the HMV catalogue for many years.</span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;">A loud, susurrating sound-effect heard during the 3<sup>rd</sup> song, the deep and murky <i>Submarines, </i>was achieved by the use of blocks of wood surfaced with sandpaper!</span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;">The five songs are entitled, <i>The Lowestoft Boat; Fate's Discourtesy; Submarines; The Sweepers; Inside The Bar.</i></span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;">Here is the song-cycle, <i>The Fringes of The Fleet, </i>by Edward Elgar<i>.</i></span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;"><b>Tracks 5-9: The Fringes Of The Fleet, Elgar</b></span></span></div>
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<span style="font-family: Calibri, sans-serif;"><span style="font-size: 11pt;">This was Classical Break on Somer Valley FM, and I'm Rupert Kirkham; today's programme was researched and written by Mike Burrows. We hope you enjoyed it and will tune in again soon. Goodbye!</span></span></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-89138548143493004722017-02-10T14:10:00.001-08:002017-02-10T14:17:08.118-08:0011th and 12th February 2017 America 4<div class="MsoNormal" style="font-size: 13.524px; line-height: 20.286px; margin: 0cm 0cm 10pt;">
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<span style="background-color: white; font-family: Courier New, Courier, monospace;"><o:p style="font-size: 13.524px; line-height: 20.286px;"><span style="font-family: "calibri";"></span></o:p>Celebrate America's heritage, before it gets Trumped on.</span><br />
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<span style="background-color: white; font-family: Courier New, Courier, monospace;">This is Classical Break on SomerValley FM, and I’m Rupert Kirkham. Today, we continue our exploration of music of the United States. The script was written and researched by Mike Burrows. We began with a setting of Psalm 121, I will lift up mine eyes unto the hills, for mezzo-soprano, choir and organ by the Michigan composer, Leo Sowerby (1895-1968). This work was written in the composer’s late twenties, after war-service in a US Artillery unit, and is remarkable for its serene, blues-tinged simplicity. The melodic line is narrow, overwhelmingly syllabic, the accompaniment sparse and largely chordal, the choral counterpoint limited but effective, the soloist preceding and following the affirmatory chorus, who have the last word – a single, syllabic Amen. Sowerby was a great and well-regarded writer of music for the Anglican Episcopal Church. He held a number of positions as organist and choirmaster – for example, at the St James Episcopal Church – now, cathedral – in Chicago. Self-taught at first – studying from books and the scores of composers such as Franck and Reger – and taking a correspondence-course with the Chicago Conservatory whilst in the Army, he was a modest practitioner who may have had much in common, as man and artist, with Cesar Franck, the ‘Pater Seraphicus’ of St Clothilde’s and Paris Conservatory. </span></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;"><span style="font-family: "calibri";">Any ‘blues’ in this piece are owed more to the innocently Wagnerian Franck than to the jazz that as </span><span style="font-family: "calibri";">beginning to enliven most forms of American music in the first quarter Of the 20th Century.</span></span></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;"><b><o:p><span style="background-color: white;"> </span></o:p></b><b style="font-size: 13.524px; line-height: 20.286px;"><span style="background-color: white;">Track 1: Psalm 121: I Will Lift Up Mine Eyes, Leo Sowerby</span></b></span></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;">Some of the most tatty, rackety Instrumental playing ever recorded was issued In the teens of the Century In albums of New Orleans jazz. It has a raffish gloire all its own that increases the breadth of one’s smile when one is told of how American church leaders, social crusaders and municipal authorities campaigned with high zeal for crackdowns on jazz-clubs, and Jazz-performances after midnight, if not for a total ban! Jazz destroyed the moral fibre of all who heard it; it was the music of sexual abandon, alcoholism, drug-addiction and gambling! Jass was the negro word for sexual arousal! This appalling threat to religion and public morals began at revival meetings, in theatres, dance-halls, restaurants, bars and brothels and on bandwagons; many of the performers were blacks or poor whites, self--taught and, worse still, talented and, to a high degree, rightly cocky. </span></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;"><span style="font-family: "calibri";">Growing out of rag-time and blues,and also Jewish klezmer, Jazz’s busy textures and frantic manners </span><span style="font-family: "calibri";">would be nothing without the momentum Created by characterful rivalry for predominance in the hectoring vividness of the band. Cornet, clarinet, trombone, piano and percussion – a typical early jazz-line-up - form a brilliantly humorous or sardonic combination – possibly originating in the theatre orchestra-pit: a raucous, gaudy combination, razzing all classical or romantic concepts of their natures . Here is one of the earliest jazz-recordings: <i>The Ostrich-walk</i>, composed by Nick LaRocca, cornetist extraordinaire, and performed by him in the company of his Original Dixieland Band, in 1917.</span></span></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;"><span style="font-size: 13.524px; line-height: 20.286px; text-align: justify;">One may say that the aggressive on-olling sound moves faster than tanks of the day, to crazy effect.</span><span style="font-size: 13.524px; line-height: 20.286px; text-align: justify;"> </span></span><br />
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<span style="background-color: white; font-family: Courier New, Courier, monospace;">The tune comes in for treatment – It is made to be an indestructible ‘standards, made up by someone who had a talent for invention; apparently, LaRocca was the only member of his band who could read music: improvisation, very often an informally-acquired skill, took over, the piano and percussion maintaining rhythm, the cornet,clarinet and trombone given the spaced, repeated hooks, imitations and discoveries that characterize this idiom.</span></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;"><span style="font-family: "calibri";">In contrast to LaRocca’s “white jazz”, here are Jelly-roll Morton and his Red Hot Peppers in Dr Jazz, by King Oliver, recorded In 1925. It Is matter for conjecture why the boys of the Original Dixieland Jazz Band, surrounded as they were by black bands, were the First recorded jazz-musicians. They have impetus and blague not matched by Morton and his fellow band-members, a comic timing hard to define but real. In comparison, the black band appears less abrasively assertive, but it is arguable that LaRocca and Co have less poise and self-awareness, less independence within their ensemble –</span><span style="font-family: "calibri";">less-developed solos; overall, theirs seems the less fluent accomplishment...</span></span></div>
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<b><span style="background-color: white; font-family: Courier New, Courier, monospace;">Track Three: Dr Jazz, Oliver<o:p></o:p></span></b></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;"><span style="font-family: "calibri";">There’s no doubt that early jazz, whether white or black, was an accomplished form of music; its practitioners could say that if they were not concert-hall musicians, it might be equally said that concert-hall musicians hadn’t the first idea of how to make jazz-music. The skills of self-taught folk-musicians who conceal awkward note-acquisition, pentatonic modality, unmigrating tonality and harmonies discovered whilst a-wandering behind quick tempos, repeated notes and daring or wrong-right harmonic or contrapuntal shifts, are often coveted by trained virtuosi. So it is between jazz- and Art-musicians. At the same time, folk-music has a lyrical pathos of simplicity, and jazz had developed in that direction, too, in slow blues and Spirituals. The blues originated in work-songs, The spiritual in white hymns. Jazz is neither Black nor White. It is <i>migrant</i>: it is the music of the oppressed – of Italians, Jews and African Americans – all victims of the post-Civil War settlement and a competitively capitalist industrial society in which the Dollar is President, and slum-dwelling, low-paid labour, deprivation and the poorhouse are the lot of those who give him his wealth in return for uncertain employment and subsistence. How’s this for thrift: the poor turn misery and defiance into music - and that music beggars spoilt rich people’s best efforts in verve and expressiveness: sooner than wealth can synthesize this elixir vitae, it finds itself paying true exponents, whose genius changes and reinvigorates bourgeois art-music forever. Good jazz is a locus classicus for unpermitted culture and dexterity, spirit, intelligence and expressiveness. It was once seen as revolutionary. It is a music of passive or active resistance and folkish self-assertion, a music that illuminates fashionable life to this day, at its most characteristic when provided by brilliant, burn-out-risking illuminati among the poor or descendants </span><span style="font-family: "calibri";">of the poor of all races.</span></span></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;">Let’s hear the traditional song<i>, I’ve Heard of A City Called Heaven,</i>performed by the Hall Negro Quartet, in 1941.</span></div>
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<b><span style="background-color: white; font-family: Courier New, Courier, monospace;">Track 4: I’ve Heard of A City Called Heaven, Trad <o:p></o:p></span></b></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;">Archishman Ghosh is a young Indian scientist and musician. He composes songs and piano-pieces in his spare time, inspired by German romantic poetry and the music of Romantics such as Chopin, Wagner, Wolf, and, most recently, Grieg and Grainger. He earns his place in this programme as he resides in Florida and as hewrites as well as anyone, having both the ‘can-do’ attitude and faculty of stern self-criticism to boost his undeniable technical skills. Out of many influences, he appears to be forming himself, as any American would be proud to do. One has a few small but well-made piano-pieces, and thoughts that potential is already realizing itself. Here is the March in A, a droll march and more searching trio. The piece ends with both flourish and question-mark – an achievement in itself! Its material is rich and enharmonically modulatory, while the direction remains adroitly clear. </span></div>
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<b><span style="background-color: white; font-family: Courier New, Courier, monospace;">Track Five: March in A, Archishman Ghosh<o:p></o:p></span></b></div>
<span style="background-color: white; font-family: Courier New, Courier, monospace;"><span style="font-size: 13.524px; line-height: 20.286px; text-align: justify;">Peter Boyer, born in 1970, wrote a work that expresses much of the awe, gratitude and trepidation </span><span style="font-size: 13.524px; line-height: 20.286px; text-align: justify;">felt by immigrants who arrived at Ellis Island, the immigration reception-point lying off New York City, watched over by the Statue of Liberty. <i>Ellis Island: The Dream of America</i> is a melodrama – a piece for speakers and musical accompaniment, in this instance, a symphony orchestra. Actual memories are linked by orchestral commentary and interludes. The style of the music is filmic. Its sturdier moments, in the currently revived everymanish Copland-era idiom, are surrounded by a neo-romantic lyricism suited to epic movies, and more imaginatively conceived passages of menace – of which modern film-composers are well-capable. Here are the Second Interlude and memories of Lillian Galleta, who emigrated from Italy in 1928. </span></span><br />
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<b><span style="background-color: white; font-family: Courier New, Courier, monospace;">Track 6&7: Ellis Island: The Dream Of America<o:p></o:p></span></b></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;"><span style="font-family: "calibri";">The United States had its share of pianist-composers formed in the mould of the European tradition. Such an one was Henry Holden Huss, who hailed from Newark, New Jersey. Born to an affluent, musical family – his father was a friend of the much-travelled lion of the keyboard, Anton Rubenstein – he was trained at Munich and became not only a Fine pianist with a national reputation, but also a purveyor of excellently-crafted salon-pieces that became popular with pianists of the parlour. Books of character-pieces, dances, album-leaves, reflections and the like flowed from h</span><span style="font-family: "calibri";">is pen. A class or more up from hymns, patriotic or sentimental songs, ragtime or darky-music, it is music wonderfully well-turned by a hand that has worked hard enough to conceal all effort in the making. Then again, it is of its time as experienced by a very isolatedly cultured class. Formally unexceptional in every regard, melodic, rhythmic, harmonic, tonal and developmental, it must be heard on its own terms. Isn’t this true of all music of another age? Much of it was of another age when composed. Francophile, Russophile, Brahmsian? It is none the worse for its conservatism, it seems. Here is the<i>Menuet Rococo,</i> Number one of <i>Three</i> <i>Pieces</i>, Opus 26, published in 1917. </span></span></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;"><o:p><span style="background-color: white;"> </span></o:p><span style="font-size: 13.524px; line-height: 20.286px;"><i>All Day and All Night, Music. </i>The 13<sup><span style="font-size: xx-small;">th</span></sup> Century Sufic poet, Jelaluddin Rumi Wrote a work of six books, </span><span style="font-size: 13.524px; line-height: 20.286px;">the Mathnawi; 64,000 lines of verse that have exercised men’s minds ever since. Once a source of wisdom for New England’s Transcendental philosophers and novelists, Rumi has inspired a thirteen-movemented cantata by that hugely active figure in modern American Art-music, Christopher Theofanidis. At the time of its composition, there was increased curiosity about Islam, owing to the suicide attacks on the WTO buildings and Pentagon. Nine-Eleven Is not to be seen as An inspiration or influence on the form that this work took. Written in an idiom similar to that of <i>Carmina Burana</i>, with clear lines and harmonies and rhythmic spring percussively underlined, largely homophonic or chordal writing for the choir<i>, </i>and bold contrasts in orchestral tone,<i> The Here and Now </i>is a further example of contemporary attempts to relate post-modern Art-music to the moods and musical sense of the public. It reminds us of concepts of Gebrauchtsmusik of the ‘20s and ‘30s of The Last Century, perhaps without the sense of educational zeal. This is practical music with a social purpose, a commissioned message. Here is the<i> </i>Fourth Movement<i>, All Day and Night ,Music.</i></span></span></div>
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<span style="background-color: white; font-family: Courier New, Courier, monospace;"> Meredith Willson, from Mason City, was given formal training at the Damrosch Institute in New York, where he became a flautist, paying his way through school by performing as a cinema-pianist. He was offered a place in Sousa’s famous band, and from there made his own name as a composer. A hit on Broadway with such musicals <i>as The Music Man </i>and<i> The Unsinkable Molly Brown</i>, he also wrote concert-music, including two symphonies in the pictorial manner of Ferde Grofe. His Second Symphony, <i>The Missions of California, </i>dates from 1940, and commemorates in particular the missionary work of a Spanish Franciscan, Father Junipero Serra. The finale is a celebration of the building of a road that connected the missions. As might be expected of an alumnus of Sousa’s band, the writing for all sections of the orchestra is impressive in blend and contrast, bright-toned, and the overall mood both active and optimistic. Themes from the earlier movements are redeveloped and combined and come to a brassy, bell-capped climax. A fine work.</span></div>
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<b><span style="background-color: white; font-family: Courier New, Courier, monospace;">Track 11: Symphony No 2, lV, El Camino Real, Willson<o:p></o:p></span></b></div>
<span style="background-color: white; font-family: Courier New, Courier, monospace;"><span style="background-color: white;"><b style="font-size: 13.524px; line-height: 20.286px;"><o:p><span style="font-family: "calibri";"> </span></o:p></b></span><span style="font-size: 13.524px; line-height: 20.286px; text-align: justify;">The murder of a President of the United States causes reverberations that last for decades. Horror that such a deed against the person of the supreme elected official of the Union remains possible is increasingly succeeded by suspicions as to who ‘put the assailant up to it’. The United States has a highly organized Society, with powerful sectional interests that have very little to do with democracy if they can help it. In September, 1901, it was President McKinley who lay dying, reportedly singing<i> Nearer, My God, to Thee</i>. In New York digs nicknamed Poverty Flat, Charles Ives wrote a Memorial </span><span style="font-size: 13.524px; line-height: 20.286px; text-align: justify;">Slow March that has sadly not come down to us in its original form. On the other hand, he worked on another piece at about this time. Scored for trumpet, trombone and four sets of bells pitched in different keys, <i>From The Steeples and The Mountains</i>originated in a childhood memory of his father’s trying to reproduce the effect of Danbury’s church-bells on the family piano as they were rung in a rainstorm. George Ives was every much as revolutionary a musician as his son, a Civil War Army bandmaster – thus the <i>Taps</i>-call at the outset - who had his own ideas. Charles’ mother remembered that the bells were rung in alarm in the middle of the night, after a lightning strike on a row of a houses. This piece speaks of those bells – and, also, of how the age-old New England hills take up the shout of New England bells. It sounds like a reaction to the death of a McKinley – or a J F Kennedy. <i>From The Steeples and The Mountains,</i>by Charles Ives. We began our programme looking to the hills, like Leo Sowerby, and end it by looking to them in the manner of Charles Ives. It’s the American way.</span></span><br />
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<span style="background-color: white; font-family: Courier New, Courier, monospace;">This was Classical Break, and I’m Rupert Kirkham. Today’s programme, on music of the United States, was researched and written by Mike Burrows. We hope you enjoyed it and will tune in again soon. Goodbye! </span></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-53536133074105370872017-02-03T12:13:00.001-08:002017-02-03T12:14:02.575-08:00CB Winter 2 - 4th & 5th January<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;">Classical Break Winter 2 (this programme is a repeat from 2016)</span><br />
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<b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Intro:</span></b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> <b>In Freezing Winter Night, Britten </b></span><br />
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">This is Classical Break, on Somer Valley FM and I’m Rupert Kirkham. Today’s programme is of winter music and was researched and written by Mike Burrows We have just heard <i>In Freezing Winter Night</i> from <i>A Ceremony of Carols</i> for three--part treble voices and harp by Benjamin Britten. This is Winter standing all about one: everywhere one looks, the frost bareness, a merciless beauty. Our earth is cold; yet the Christmas story of birth and rebirth in love warms deep in one’s soul; we need never lose it. Wonder is in the frost whiteness as in the white fire of remote stars. Is this one’s everyday world? In awe, two boys’ voices move in canon, a third moving with the frost-feeling accompaniment. This music was written in a cabin on a neutral Swedish freighter crossing the Atlantic, as Britten returned tardily to Britain from the United States in 1942. Minus its generator-hum, a nearby refrigeration compartment perhaps aided his imagination... The stiller and sparer it becomes, the more brittle the human mind is made by winter: and yet, we have the Christmas story; this time of seeming frozen stasis is the illusion. If much sleeps or shivers, Spring is gathering its force under it all, merely in wait. From John Playford’s English Dancing Master of 1651, and words written later for broadsheet</span></div>
<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">-sale, here’s </span><i style="font-family: 'News Gothic', sans-serif; font-size: 10pt; line-height: 26.6667px;">All Hail To The Days (To Drive The Cold Winter Away).</i><br />
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<b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Track Two: All Hail To The Days (To Drive The Cold Winter Away) </span></b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Trad </span></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">This is Classical Break, on Somer Valley FM and I’m Rupert Kirkham. Today’s programme was written by </span><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Mike Burrows. Its theme is Winter. <o:p></o:p></span></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Gian-Francesco Malipiero was a lonely figure among the Generation of The Eighties - 1880s, that is. His style was personal: he was capable of close musical reasoning, a brilliant sense of instrumental colour in combination, but held to no one system of any aspect of music, save instinct. His music harks back to pastoral and courtly Italy, and forward into regions that are not for nostalgia or the musically faint-hearted.<o:p></o:p></span></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">It can be frankly illustrative of early music, birdsong, bells - or harsh, terse and distorted, and working progressions of thought through regardless of who can follow. Here is the fourth <i>partita</i> of his <i>Sinfonia Dello Zodiaco</i>, which begins in chant and strict, four-part canon! It is in three movements, for this <i>Sinfonia</i> is in twelve subdivisions - one each for the zodiacal signs - and divided equally into four ‘<i>Partite’ - Spring, Summer, Autumn, Winter...</i> The composer denied us the crutch of a detailed programme: what programme there was was, he said, not to be told. The <i>Sinfonia</i> was written in 1951. For its social context, the postwar period in Italy was a time of great bitterness, of the settlings of scores arising from the Fascist regime and its ruinous involvement in the Axis cause, an era of poverty, unemployment and the Marshall Plan. American aid in funds and food-parcels had as much to do with support for the Left in Italy as with the privations and sufferings of a defeated nation. In the 69 year-old Malipiero’s complex vision of Winter, there appears to be no place for hope, though there are moments of fleeting beauty and consonance. It The Partita and Sinfonia end in cruel, growling discord. Perhaps, as Thomas Hardy put it, <o:p></o:p></span></div>
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<i><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">“If a way to the better there be, it exacts a full look at the worst.’</span></i><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><o:p></o:p></span></div>
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<b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Tracks Three to Five: Sinfonia Dello Zodiaco, Winter, Malipiero </span></b></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">A near-contemporary of Caplet and Ravel, and taught by Vincent D’Indy at the Schola Cantorum in Paris, Deodat De Severac was a composer of the Languedoc in Southern France. His output was largely of character--pieces descriptive of everyday life in this distinct region named after </span>1<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">the language of its people, Oc. Here is a movement from his <i>Georgic Suite, Le Chant De La Terre, </i>or <i>The Song of The Land. Les Semailles, The Sowings - </i>of seed. In Winter, we think of - and look forward to - Spring. <o:p></o:p></span></div>
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<b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Track Six: Le Chant De La Terre. Les Semailles, de Severac</span></b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> <i><o:p></o:p></i></span></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">To see a light moving on the ground in winter darkness is to wonder who carries it, where And why. It is one of the memorable images from long winter nights, when wits are sharpened and curiosity excited that much more strongly, or when we are tired and reflective, the cold slowing our minds so that we take time to watch and think. There can be thoughts of threat; who would be walking abroad on a night like this?<o:p></o:p></span></div>
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<span style="color: #333333; font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">For the Jesuit poet, Gerard Manley Hopkins, the lantern that moves along the night and that interests our eyes is the light of soul. In his late choral and orchestral work based on Hopkins’ poetry, <i>Inscape</i>, Edmund Rubbra set this idiosyncratic sonnet in a nocturne of some gravity.</span><o:p></o:p></span><br />
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<i><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> “Men go by me whom either beauty bright<o:p></o:p></span></i></div>
<i style="color: #333333; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 14px;"><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> <span style="font-family: "arial" , "helvetica" , sans-serif;">In mould or mind or whatnot else makes rare.<o:p></o:p></span></span></i><br />
<i style="color: #333333; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 14px;"><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> They rain against our much -thick and marsh air<o:p></o:p></span></i><br />
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Hopkins cannot help them, ultimately as out of sight is out of mind; but Christ minds,<i><o:p></o:p></i></span></div>
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<i><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> “Their ransom, their rescue, and first, last, fast friend.” <o:p></o:p></span></i></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Rubbra’s setting seems, aptly, to grow out of chant; the harp has an important, though sparely speaking role, heard bell-like and intermittently against other sombre colours of accompaniment. <i><o:p></o:p></i></span></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> </span><b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Track Seven: Inscape, 2nd Movt, Rubbra </span></b></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">A song by Ivor Gurney, now, <i>I will Go With My Father A-Ploughing</i>. The words are by the Irish poet, Joseph Campbell. There is a wild quality to melody and harmonies - in Gurney’s musical vocabulary, they could be Celtic or Northern: a similar quality informs his songs <i>On Black Stitchel </i>(a poem with Northumbrian setting), and <i>The Fiddler of Dooney</i> (setting Yeats). This song has a tragic significance. Gurney’s Father, a Gloucester tailor, was his hero, and had lately died; Dad, of all his relatives, had understood and admired his musical talent and ambition: he had died during Gurney’s troubles after discharge from the Army, before he had so much as seen his son’s music in print... <o:p></o:p></span></div>
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<b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Track Eight: I Will Go With My Father A-Ploughing</span></b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> <o:p></o:p></span></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">The poor are always with us, as the scriptures have it. For some, there is a simple explanation. However </span><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">unwelcome their attentions, however greedy and cruel they become in pursuit of other people’s fair shares; however many lives are broken or ended to provide that last refinement of power and luxury - the rich, too, are always with us. A folksong now, a carol: <i> Cold Winter is Come. </i>Let’s not tolerate its message. ‘A time to remember the poor’ is an institution in default of refusing <i>at any time</i> to regard poverty as social justice. The person or persons who composed it have earned no posthumous fame, owing to his or their class. An enlightened professional recorded it in 1891, before it, too, could die.<o:p></o:p></span></div>
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<b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Track Nine: Cold Winter Is Come, Trad </span></b></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Here’s a sonnet on Winter, written and read by Mike Burrows:<o:p></o:p></span></div>
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<i><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> </span></i><b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Winter</span></b><i><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><o:p></o:p></span></i></div>
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<i><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> <span style="font-family: "arial" , "helvetica" , sans-serif;"> <span style="font-size: xx-small;"> </span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;">What comes down on the world is not held back<o:p></o:p></span></span></span></i></div>
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> By words, and protests remind of others –<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> Others when mankind was less far off-track,<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> That were demeaning enough. Earth mothers<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> The dead as well as she does the living –<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> If anything, hugs the dead with more ease,<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> The uncomplaining dead to whom giving<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> And taking go deep beneath clay and freeze.<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> Below the living root they have to lie:<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> The poor man lies below the conduit<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> Of available wealth, and his sad sigh<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> Or rage is a matter of unspirit<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; line-height: 27.048px;"><span style="font-size: xx-small;"> To the soulless for whom those sacrificed<o:p></o:p></span></span></i></span><br />
<span style="color: #333333; font-family: "arial" , "helvetica" , sans-serif; font-size: 14px;"><i><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><span style="font-size: xx-small;"> Are dwarfed by wealth as by the tree of Christ.<o:p></o:p></span></span></i></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">T</span><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">hat last sprinkle</span> of gold dust on a one-k-snifter as the world goes bust is a particular pleasure and acquired taste. Local charity replaces the Welfare State,the poor have no cultural ambitions nor skills, no worthy hopes in life, only the dignity of work that they don’t choose. Off waltz public amenities and common humanity and the rich do rather well - 60 Billion last year alone added to the assets of a thousand people now ‘worth’ between them nearly £400 Billion... Those who cut, close and sell off our inheritance at will, and those who cost the country over £100 Billion pounds in lost tax-revenues each year, and Billions more in expropriation-contracts, evidently think winter smiles on local charity and ‘austerity’... The relevance to music in this is who writes, performs, criticizes and broadcasts the art-music of tomorrow? Who grows up sufficiently in this atmosphere of falsehood and denial to create or assist creation in a rich tradition of a thousand years, the phenomenon of mankind’s musical communicativeness? As music-charities scrabble for a scatter of pennies, children from less well-off backgrounds, it seems, have no entree and need not apply, as most outlets and institutions concerned in musical development close or raise their fees and we return to the days of the common man’s carol we have just heard - <i>of two nations</i>, <i>two musics</i>. A composer once watched people as they took their seats in one of our opera-houses and said, “<i>Music starves, but the wealthy could live for months on the fat between their ears.”</i> Let’s hear <i>Winter Wakeneth All My Care </i>from John Rutter’s choral song-cycle with orchestral accompaniment, <i>When Icicles Hang.<o:p></o:p></i></span></div>
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<b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt;">Track Ten: Winter Wakeneth All My Care, Rutter</span></b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt;"></span></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Here’s another song by Gurney. It sets a poem by Edward Thomas. <i>Snow</i> is a brief portrayal of a little girl’s thoughts as she plays in the snow. The little girl in question was the poet’s younger daughter, Mywanwy. A strange, dream-like epiphany of universal suffering is treated with fugitive strokes as in a sketch. The after-impression is of sensitivity and kindness: the human warmth that snow cannot pretermit. Gurney loved children and shared their games, preoccupations and humour with genuine enjoyment. Edward Thomas was a less certain companion, oversensitive, afraid of derision and often simply impatient; there is a stressed unease in his words: you might say that in his anxiety to be truthful </span><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">and avoid sentimentality, he could not find the way back to being young. He would have been surprized and made sadder to know how his children loved and looked up to him...<b><o:p></o:p></b></span></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">From snow to <i>The Snowdrop</i>, a song for female choir and orchestra from 1909-10, by the late romantic Russian composer, Alexander Grechaninov.<b><o:p></o:p></b></span></div>
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<b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;"> </span></b><b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Track Twelve: Snow-drop</span></b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">, <b>Grechaninov</b></span></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Born into a highly musical family in Whitchurch in Shropshire, Edward German began as a composer mainly of symphonic and orchestral works and incidental music for the theatre, but in middle life became a successful tunesmith in light opera, regarded as a successor to Sullivan at the Savoy Theatre. Rather dead-headed criticism by George Bernard Shaw and other commentators had deterred him from more ambitious work, suggesting that his style was too <i>theatrical</i>! The tragedy of German is very English. ‘Successful’, he wound up confessing, <i>“To tell the truth, I’m afraid to write anymore, they would only laugh at me...” </i>A scrap of paper found among his last effects stated,<i> “I die a disappointed man because my serious works have not been recognised...” </i>To put his real talents into perspective, it’s believed that <i>Elgar</i>enjoyed his music more than that of any other contemporary. The trick is to listen to what German composed<i>: </i> it is obvious that he was a progenitor of most of our tradition of ‘British Light Music’ in the 20th Century, but if the imitations are discounted, he can be heard as Elgar heard him, as a fresh, cosmopolitan voice influenced by French and Russian rather than Teutonic models. His sound owes something to his Welsh blood (and the Welsh hymn-tradition), and the Marchlands in which he grew up, but nothing to the music of British academicians. Written for the Leeds Festival in 1899, The Suite, <i>The Seasons,</i> is a Symphony in all but name. The finale, <i>Winter</i>, is written in sonata--form, and is a stirring juxtaposition of a solemn hymn and brilliant tarantella, developed and combined at the close with Tchaikovskian fervour; the movement’s qualities are not a million miles from those of early Sibelius. <o:p></o:p></span></div>
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<span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">This was Classical Break, on Somer Valley FM. I’m Rupert Kirkham. Today’s programme was researched and written by Mike Burrows. We hope you enjoyed it and will join us again soon. Thanks go to associate producer, Miss Suvi Burrows, aged eight, who requested the Edward German! Goodbye!<o:p></o:p></span></div>
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<b><span style="font-family: "news gothic" , sans-serif; font-size: 10pt; line-height: 26.6667px;">Track Twelve: Winter from The Seasons, German </span></b></div>
Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-23989944873372769962017-01-22T06:46:00.000-08:002017-01-22T06:48:57.580-08:00CB-America 5 - January 2017<h3 class="post-title entry-title" itemprop="name" style="background-color: #c0a154; color: #333333; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 30px; font-stretch: normal; font-weight: normal; margin: 0px; position: relative;">
<a href="http://rupertkirkham.blogspot.co.uk/2016/03/america-v-5-6-march-2016.html" style="color: #993322; text-decoration: none;">America V: 5 & 6 March 2016</a></h3>
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<span style="font-family: "calibri";"><b>For Americans everywhere. Ye reap what ye have sown....</b></span><br />
<span style="font-family: "calibri";"><b><br /></b></span><span style="font-family: "calibri";"><b>CB America V</b></span></div>
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<span style="font-family: "calibri";"><b>Track 1: Fanfare For The New Atlantis, Hovhaness</b></span></div>
<span style="font-family: "calibri";"><span style="font-family: "times new roman";"></span><span style="font-family: "times new roman";"><img align="right" height="180" hspace="12" 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<span style="font-family: "calibri";">This is Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Today’s programme of music from the United States was researched and written by Michael Burrows. We’ve just heard <i>Fanfare For The New Atlantis</i> by Alan Hovhaness. Atlantis, a city fabled retrospectively for its advanced civilization, science and philosophy, is said to have disappeared beneath stormy waves of the Mediterranean, to be Invoked by ancient scholars and neo-Platonists of the 17<sup><span style="font-size: xx-small;">th</span></sup> Century alike, a kind of missing link in the chain of human culture, a void on which any imagination could work wonders of Utopia and hopeful searching for solutions to earthly and heavenly mysteries, its true geographical and historical position or circumstances of loss being not the least of those mysteries.</span></div>
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<span style="font-size: 10pt;"><span style="font-family: "times new roman";"><img alt="Drawing of Atlantis" border="0" height="152" 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" 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Hovhaness’ music calls forth this State of story in effortless grandeur of broad paragraphs, fluid but unobscure harmony and rich but clear-lined, trumpet--led orchestration, timeless, sombre, pure, with ancient gravity wrought out of chant and responses of deliberate weight, melody forming the rhythmical patterns, adorned by brass tuckets on one note and, latterly, thrilling scalic rushes in the string-section. Some long-lost marvel rises up before our eyes. An extraordinary vision, this, from 1975.</div>
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The United States has developed an enviable variety in self-expression in All genres of Art-music: symphonists of the calibre of Hovhaness, Ives, Copland, Schuman, Sowerby, Harris... and purveyors of morelight-weight music whose productions, though popular, are also to be discussed as an artistic achievement. In light music, Jazz, though in itself an inexhaustibly creative tradition, surely doesn’t have things all its own way. What are we to make, for example, of this spry and sage song written in evident heartfeltness by the immensely vigorous and prolific March-king, John Philip Sousa?</div>
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<b>Track 2: You’ll Miss Lots of Fun When You’re Married, Sousa</b></div>
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<span style="font-family: "times new roman";"><img height="158" 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" 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<span style="font-family: "calibri";"><span style="font-family: "times new roman";"></span><br /></span>
<div style="margin: 0cm 0cm 0pt; text-align: justify;">
<i>You’ll Miss Lots of Fun When You’re Married</i>, by Sousa.</div>
<span style="font-family: "calibri";"><span style="font-family: "times new roman";"></span><br /><span style="font-family: "times new roman";"></span></span>
<div style="margin: 0cm 0cm 0pt; text-align: justify;">
<a href="http://www.bing.com/images/search?q=images+of++jacob+Avshalamov&qpvt=images+of++jacob+Avshalamov&FORM=IGRE#view=detail&id=6D67FA615FC7011290CA112A3131E5623356BA94&selectedIndex=9" style="color: #993322; text-decoration: none;"><span style="font-family: "times new roman";"><img align="left" border="0" height="142" hspace="12" 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style="background: rgb(255, 255, 255); border: none; box-shadow: rgba(0, 0, 0, 0.498039) 1px 1px 5px; padding: 8px; position: relative;" v:shapes="_x0000_s1030" width="117" /></span></a>Trained at Reed College and the Eastman School of Music, Jacob Avshalamov was born in China in 1919. His Siberian father, Aaron, was his first teacher, a composer in his own right and collector of Chinese folk music, which influenced his and, later, certain of his son’s works; Jacob’s other tutors included Ernst Toch and Aaron Copland. His works include large-scale cantatas and symphonic movements as well as numerous small-scale instrumental pieces and songs. Let’s hear his song for soprano, accompanied by flute, viola and piano, <i>Taking Leave of A Friend</i>, one of 3 settings of poems by the T’ang poet, Li Po. Wholetone, euphonious and gentle, there is a Ravellian sensibility in this music, the accompaniment seemingly incised in its sparseness, the line improvisatory-sounding in its imitative entries. After a long introduction, the voice comes in on its deeply nostalgic atmosphere. This song was Avshalamov’s first chamber-piece, composed when he was 20, but revised many years later. </div>
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<b>Track 3: Taking Leave of A Friend, Avshalamov</b></div>
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One name in our list of great symphonists of the United States may not be well-known to even many Americans. Leo Sowerby, known largely for his church-music and songs, wrote 5 symphonies for orchestra, one for solo-singers, choir and orchestra and two for organ-solo. The Second orchestral Symphony was written in 1927-8, when Sowerby was 32 years old, his career as composer and choir--master and teacher well into its stride, with frequent large-scale commissions from the then conductor of the Chicago Symphony Orchestra, Frederick Stock to live up to. In three movements, the Symphony in B Minor is a compact, well-argued piece, elliptical and introspective, in which power is derived from limitation of means. The first movement, <i>Sonatina, </i>is formed from two subjects with a bridge-passage between them. The first subject is chant-like, with some jazzy irregularity of rhythm and teasing turns of harmony. The bridge passage brings one to a less busy but somehow restless, questioning lyricism. Development follows, with percussively underlined fragments of the chant in canon and imitation, combined with the second subject, which is as summarily dealt-with. The First Subject and bridge-passage only are recapitulated, the bridge-passage elaborated and, after further squalls, the close gives almost the last word to the bridge-passage, as fresh in high woodwind as at first, but the dying fall belongs to the first subject, smoothed, but defiantly in the minor. This is fascinating, teasing music, recognizably of its time and nation, every bit as effective as the symphonies of Copland, and of similar sources in Americana – perhaps of urban jazz and New England, with a soupcon of the Mid-West.</div>
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" 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<b>Track 4: 2<sup><span style="font-size: xx-small;">nd</span></sup> Symphony in B Minor, Movt 1: Sonatina, Sowerby</b></div>
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border: none; box-shadow: rgba(0, 0, 0, 0.498039) 1px 1px 5px; opacity: 1; padding: 8px; position: relative;" v:shapes="_x0000_s1028" /></a><span style="font-family: "times new roman";"></span>The film-music of Elmer Bernstein increased the stature of movies of<b> </b>all kinds. Westerns, war-films, thrillers, fantasy-pictures for children. <i>The BridgeAt Remagen</i> was no masterpiece as either history or convincing drama unless Bernstein shaped one’s reaction to what one saw or heard. In the brazen fanfare and loping, syncopated titles-theme – note the violins in unison here - one crosses the Rhine, whatever the cost. If you ignore the syncopation you may think that the tune resembles either liturgical chant or a Lutheran hymn; it is certainly an impressively broad and valiant melody. Syncopation cuts across its accents, and the harmonies refuse it easy passage. War’s toll on young lives is hinted-at by a contrasting, slow-swinging, waltz--like theme heard after the repeat: a tune of pathos and near-musical-box sonority, sweet violins singing in a nursery of the vanity of human wishes and of just war, given tension by regular phrasing, passing-notes and appoggiaturas. This apparition ripples over one’s ears before one is returned to the theme of duty and endeavour and fanfare to close. One may wonder if in this piece, one has the opening of a monumental symphonic movement. How often this is true of music written for films.</div>
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<b>Track 5: The Bridge At Remagen, Bernstein</b></div>
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<span style="font-family: "times new roman";"><img align="left" height="139" hspace="12" src="data:image/png;base64,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" style="background: rgb(255, 255, 255); box-shadow: rgba(0, 0, 0, 0.498039) 1px 1px 5px; padding: 8px;" v:shapes="_x0000_s1029" width="103" /></span><span lang="EN" style="color: black; font-family: "arial" , sans-serif;">C</span>arl Ruggles, born a year after Charles Ives, died in 1971, having outlived all the great early experimenters of the early 20<sup><span style="font-size: xx-small;">th</span></sup> Century United States. A comrade-in-arms of the immensely prolific Ives and Henry Cowell, he also enjoyed a long retirement, leaving a small corpus of work. An individualist of dogmatic, arrogant manner, he wasted few words on detractors or supporters. Such works as <i>Suntreader,</i>an orchestral piece based on Apache ritual, are proof that he had no time for conventional tastes or consonance; to him, discord pursued to the conclusion one wished was the be all and end all of real, individualistic music – of real American music. On the other hand, one can adduce the day Ives caught him sounding the same simple chord over and over on the piano – Ruggles said that he was giving the chord ‘the test of time’! Here, in contrast to his friend Cowell’s <i>Grinnell Fanfare</i>, is his piece for muted brass ensemble – four trumpets and two trombones - <i>Angels.</i></div>
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It should be noted that to score a piece for brass wholly <i>con</i> <i>sordino</i> is a fine way to create almost the dullest sound imaginable; only a real or exceptionally self--important composer would set himself such a challenge. Then again, mutes ensure that the clashes in the parts are set up without unintentional resonance. <i>Angels</i> is, as perhaps it should be, a remote, hieratic experience for the listener, immediate and becomingly terse.<i> Angels</i> are not necessarily beings of heat.</div>
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<b> </b><b>Track 6: Angels, Ruggles</b></div>
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" style="background: rgb(255, 255, 255); box-shadow: rgba(0, 0, 0, 0.498039) 1px 1px 5px; padding: 8px;" tr="" transitional="" w3c="" width="160" www.w3c.org="" /></span>Aaron<b> </b>Copland<b> </b>was not only one of America’s great modernist composers and teachers, but also a committee-man who represented the interests of composers in a nation of individualists that was and is curiously addicted to committee-work. Driving him thoughout his long career was a determination to create a democratic form of art--music that would break the hold of internationalist elitism on the world of American music, and represent more truly and inspire the best aspects of the peculiar nature of the American people. Personally left-wing and liberal -as such allegiances are understood in the United States – he was inspired by American national symbolism in which a folk-hero – be he Billy The Kid or Abraham Lincoln – expressed something Of hope in the national character. One of his most famous populist Works is, of course<i>, Lincoln Portrait, </i>an orchestra-accompanied<i> </i>monologue based on extracts from Lincoln’s Annual Message to Congress of December 1862, a political debate held before Lincoln became President, a letter and the famous Gettysburg Address, possibly the greatest, most powerful – and unifying - speech heard during the Civil War. Interleaved are framing interjections including a physical description of him during his presidency. The work, written with obvious moral effect in mind, was premiered within a year of the United States’ entry into the Second World War. It is formed in three parts beginning with an introduction to evoke what Copland called ‘<i>the mysterious sense of fatality that surrounds Lincoln’s character. Also,...something of his gentleness and simplicity of spirit.’ </i> A hymn, is quoted, <i>Springfield Mountain, </i>the tune given to clarinet over simple chords for strings.</div>
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A livelier, percussive, section treats Lincoln’s wilder days of youth – Copland utilizing his own gift for ‘American’ Tunes and sonorities - and adding Campdown Races for good measure. At the close of this scherzando section, the music broadens as destiny – or mysterious fatality – takes over.</div>
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<span lang="EN" style="color: black;"><span style="font-family: "times new roman";"><img src="data:image/png;base64,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" style="background: rgb(255, 255, 255); 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The third section brings the piece to its climax – the spoken word and – at last, the Gettysburg Address capped with<i> Springfield Mountain, </i>most poignantly given to a Taps - or<i> Last Post-like trumpet. </i>The piece<i> </i>ends in an abiding expression of wonder, love and inspiration. Is this President Lincoln or another New Atlantis that we hear rise before us? The symbol is perhaps greater than any man, but a hint of the ideals that we should serve as citizens as well as individuals. Certainly, no modern politician in his or her right mind should set him- or herself up as speaker in this piece; to do so insults the historic symbol and is bound to let down listeners in their actual hopes; no real politician can be a Lincoln, and no-one should ever clothe him- or herself in words that will certainly dwarf him or her – as kingly robes dwarf Macbeth. Those politicians who try (and some have unaccountably done so), sound absurd or flatly disingenuous.</div>
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This is Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Today’s programme of American music was written and researched by Mike Burrows. We hope that you enjoyed it and will tune in again soon.</div>
<span style="font-family: "calibri";"><span style="font-family: "times new roman";"></span>Goodbye!<br /><span style="font-family: "times new roman";"></span></span><br />
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<b>Track 7: Lincoln Portrait, Copland</b></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-68856333546489685922017-01-13T18:12:00.000-08:002017-01-13T18:12:03.561-08:00Alfred Hill 1 14 & 15 January 2017<br />
<span style="background-color: #f3f3f3;"><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">CB Hill 1: REPEAT FROM 2016</span></span><br />
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<span style="background-color: #f3f3f3;"><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Intro Track: Waiata Poi (orch version), Hill (3.30m)</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">100 years ago the ANZAC forces of Australia and New Zealand were smarting from the outcome of the disastrous Gallipoli campaign of the Great War. 7,500 New Zealanders and 28,000 Australians died in the campaign. This weekend, the two nations observe ANZAC Day, originally set up to honour members of the Australia and New Zealand Army Corps who perished at Gallipoli. As a tribute to those who died in the conflict, we present the music of Alfred Hill, 1869-1960.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">This is Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Today’s Programme, researched and written by Mike Burrows, is another in a series based on the works of the Australian composer, doyen of both the Australian and New Zealand musical establishment of his day, Alfred Hill.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Known to many by Waiata Poi, a popular song based on Maori poetry and music, Born in 1869, Alfred Hill, the son of an English hatter, failed gold-prospector and amateur musician, was trained as a violinist, orchestral player and composer at the prestigious Leipzig Conservatoire, where he took</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">a Helbig Prize and played underconductors of the rank of Brahms and Tchaikovsky…</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">He remained a Leipziger in compositional style, though not a pedantic one. His music has many influences besides those of Mendelssohn, Bruch or Brahms. One finds at different moments, Wagnerian harmony, Dvorakian directness, Tchaikovskian sensibility – but also Debussyan whole tones and Griegish freshness and terseness. As Hill spent a good deal of his life conducting and playing, he had a very practical sense of what worked and what didn’t, and long experience of</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">writing opera and operetta taught him to aim for both lyricism and the bold gesture, apparent, easily-apprehended shapeliness and colourful orchestration. What worked for soloists, a chorus and pit-band might be made to work for a full orchestra or chamber group. The challenge spurred him to extraordinary lengths in self-discipline and aptness. Another strength was a lifelong refusal</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">to regard himself as a genius or indulge in the artistic temperament. There was little in the way</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">of ego or self-importance in Alfred Hill.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Here’s a short character-piece for orchestra, a song without words in but name, The Moon’s Golden Horn.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Here, the flute – always a magical presence in his music – the woodwind, upper strings (including harp) and horn are in exquisite mood. The lower strings and brass are added, pedal notes sounded, to add gravitas to melody that is little more than a projection of harmonies that are smooth and yet a touch uncanny. Brassy and bass-defined astringency makes itself felt at precisely the right moments, as does refulgency or a pathetic longing that reminds one of the film-music of Bernard Herrmann –</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">feeling for the moon’s serene shining is, after all, unrequitable. That this work dates from 1937</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">does not devalue its distinction. As Brahms might have said, “One cannot imagine it different.” The Wagnerian close is no less beautiful than what has led up to it.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Track 2: The Moon’s Golden Horn, Alfred Hill (5.25min)</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">A very different work, now. Hill was an indefatigable writer of chamber music. In two phases, his early and middle-period, he wrote of which he knew as a player. There are 17 string quartets alone.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">In 1912, he wrote a single piano quintet, entitling it simply, “Life”.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Three movements of this work are rooted in Schumann’s masterpiece, springily rhythmical, imaginative in harmony, making the most of motivic themes in ingenious transformations and</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">counterpoint. The slow movement is a slow processional with contrasting section, though not a Schumannesque funeral march. Another composer one may think of as one listens is Sibelius, whose early chamber music is marvellous for the ease shown in classico-romantic expression.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">But then comes the finale. And the finale is an adapted cantata – now setting the composer’s own poem, Life!</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">It is also related to a song inspired by Maori folksong, Tarakihi, that is, Cicada…</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Eight voices are employed in this Paean For The Joy of Life – two each of sopranos, mezzo-sopranos,</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">tenors and basses – note the canny choice of registers. Every register remains distinct.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Beginning in a Gloria In Excelsis, this movement is a living reproach to shallow thinkers who upbraid Hill for his supposed conservatism. Rising and falling in waves and asides, it may remind one of Schumann’s superb final chorus in Scenes From Faust, The Ever-womanly Leads Us On, but</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">tts matter relates logically to what has gone before and the ebb and flow of subjects and counterpoint is a perfect evocation of the words of the poem, a maritime piece. Its benign and intelligent uproariousness would have gone down well with Percy Grainger, who was, in fact, to be counted among Hill’s many friends and admirers. It is big stuff.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Track 3: Piano Quintet, Life, 4th Movt, Hill (13.41min)</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;"> At Leipzig, Hill met many important musicians. What he thought of Brahms, for example, was that he was a very large man, not at all like a German, who got very excited when he conducted, and shouted and stamped; if the string-sections, whose players included Hill - didn’t use uniform bowing, he stamped and swore; as to his observantness of the band, the great man – who in fact suffered from extreme short sight and peered through owlish lorgnettes - must have had eyes in the back of his head. Tchaikovsky, on the other hand, was simply as nervous as a cat!</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Hill himself was a small-built man, virile and peppery, singleminded and direct in manner. He wasn’t excitable in Brahms’ manner, and he would have found Tchaikovsky’s “nerves” – as distinct from the man’s music – tiresome. Both the masters had been shy; Hill wasn’t. As private a man as Brahms</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">and as sensitive to feeling as Tchaikovsky, he created visions with both skill and self-criticism. As an artist, he preserved himself in a state of absolute artistic integrity.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Grieg’s music struck a lasting chord at Leipzig. Significantly, students regarded it highly for its unusual form. In Hill’s eyes, such music perhaps an abiding example of a composer’s using form only as it served his expressive goals. Then, Grieg’s fresh rhythms, themes and harmonies trumped</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">“form” as they do to this day. And what are Hill’s scores notable for? Trumped form, the hallmark</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">of a true master. Like Grieg, Hill was an inspired miniaturist; again, like Grieg, his so-called miniatures wereof a significance not to be called little…</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Hill’s Third Symphony has as its epigraph verses by George Essex Evans:</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span class="Apple-tab-span" style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px; white-space: pre;"> </span><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: xx-small;">Her song is silence, unto her</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: xx-small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Its mystery clings</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: xx-small;"><span class="Apple-tab-span" style="white-space: pre;"> </span> Silence is the interpreter</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: xx-small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>Of deeper things.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: xx-small;"><br /></span><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: xx-small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>O for sonorous voice and strong</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: xx-small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>To change that silence into song!</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: xx-small;"><span class="Apple-tab-span" style="white-space: pre;"> </span> To give that melody release</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: xx-small;"><span class="Apple-tab-span" style="white-space: pre;"> </span> Which sleeps in the deep heart of peace</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: xx-small;"><span class="Apple-tab-span" style="white-space: pre;"> </span>With folded wings.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Three of the movements of a String Quartet (Number 14 in B Minor), were scored for orchestra as</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">they stood. Replacing a short “Menuet” intermezzo, a tone poem was recycled to form an effective scherzo – its origins were in music for a film about Aborigines of Arnheim Land. This new work was done in 1951 and subtitled simply, Australia.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /></span><br />
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<span style="background-color: #f3f3f3;"><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">The composer gave us these clues to the poetic meaning of this music and also the piece’s key within a tonal plan.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">1<span class="Apple-tab-span" style="white-space: pre;"> </span>Introduction – The lonely, silent land </i><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">(home-tonality B minor-major)</i><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Allegro (a) The Workers (b) The Thinkers</i><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">The heart of Australia is lonely and silent. On the fringe of the great island continent, men crowd like ants into the cities they have made. Some seek quieter places.</i><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Hill’s orchestration adds to what was to be heard in his quartet. Woodwind, brass, a full string section and colour and sweep to this movement. The ritornello-theme is now trumpet-capped, weak woodwind adding plangency. The strings’ restatement of the introduction-theme is almost Tchaikovskian in its pathos. All is yet economy and beauty of lively but fastidious blends of instrumentation.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Track 4 Symphony in B Minor, Australia, Movt 1 Adagio-Allegro Molto (9.08m)</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">The composer’s programme here is,</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">2 Australia, mysterious and beautiful (B minor-major) </i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;"> Australia with its vast plains, </i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">forest ranges, and subterranean caves is </i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">an eerie place and very beautiful.</i><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">There’s no denying that again, here, the Adagio gains in breadth and blend of sound. Hill is immune</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">to mawkishness, but the moments of passion and sadness are there, formal but somehow unstereotypical and unsanctimonious in effect. This is one Leipzig-shaped movement that won’t cloy, that leaves the Max Bruchs of this world far behind.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Track 5 Symphony in B Minor, Australia, Movt 2, Adagio (5.56m)</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">We come to the movement that replaces the Fourteenth Quartet’s Menuet. This is one of Alfred Hill’s most impressive inspirations, binding the Two Australias – colonial Australia and Aboriginal Australia – together. One of the marvels of Hill was that he was able to create consistency within a work while using Leipzigerische idiom, Wagnerian, folk-song modal, impressionist whole-tone and other stylistic elements. Here, a bold repeated-note horn theme is positively heroic in its bluff humour and defiance. It is unique in symphonic literature – worse luck! Percy Grainger’s ballet, The Warriors, is made to seem overwrought, overwritten and bombastic in comparison. The material of the movement as a whole came from music for a film, Arnheim Land, and a tone-poem of that name.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Exotic percussion – woodblocks? - win a place in a mostly modestly-scored symphony. The movement is an excellent one of plan and contrasting incidents.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">3 The Aborigines (G major) </i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">In the deep recesses of </i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">the Australia they once owned, a </i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">few aboriginal tribes still go walk-</i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">about. They have their food, sing </i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">their songs and dance their tribal </i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">rituals.</i><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Track 6 Symphony in B Minor, Australia, Movt 3, Allegro (6.42m)</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">The finale is a summation of the symphony, but short and without any evident pictorial element. From the brass-led upward scale (going teasingly wrong), it moves through its moods of determination and ideals with occasional resemblances to Edward German – without the blandness or sententiousness – and to a young Sibelius in use of strings and warbling woodwind. The coda is curt and without magniloquence, yet very satisfying.</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">4<span class="Apple-tab-span" style="white-space: pre;"> </span>The Challenge (B minor-major)</i><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;"><br /></i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">There is a challenge to </i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Australians to build a world worthy </i><i style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">of their race and country.</i><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">This was Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Today’s programme on music by Alfred Hill was written and researched by Mike Burrows. We hope you enjoyed it and will tune in again soon. Goodbye!</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /><span style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;">Track 7 Symphony in B Minor, Australia, Movt 4 (part), Maestoso-Allegro</span><br style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 20.286px;" /></span><br />
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-28348588168419874132017-01-07T11:16:00.004-08:002017-01-07T11:16:42.259-08:00New Year 2017<div class="DefaultText" style="line-height: 32px; margin: 0cm 0cm 0pt; text-align: justify;">
<b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";"><span style="font-size: large;">Classical Break - New Year</span></span></span></b><br />
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";"><span style="font-size: x-small;">This is a repeat from 2011. A happy new year 2017 to all our listeners!</span></span></span><br />
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<span style="font-size: x-small;">Here is a new poem by Mike Burrows:</span><br />
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";"><span style="font-size: x-small;">A Sonnet On New Year’s Eve<br /><br />(A Dream)<br /><br />Quiet long took the high hills at a rush<br />And is all intent where ancientness dwells.<br />On turfed or wooded land, darkness brought hush<br />Murmurous with wind and traffic: no bells<br />Speak and swing true change; the word of a near<br />Ring pierces miles of chill in one’s trance<span class="text_exposed_hide">...</span><span class="text_exposed_show"><br />In mind only, sounding to the walker<br />New Year in system of deliverance.<br />So faint, the twisting scales wished-for and dreamed<br />Under parishes of half-moon and stars –<br />Whose communities approve cloudy-streamed<br />Jubilancy – as jugganauts, like cars,<br />Shine flat-angled or burrowing headlights,<br />The lit roads they join now teeming all nights.<br /><br />Copyright, Mike Burrows, 01/01/15</span></span></span></span></div>
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<span style="font-family: "times new roman";"><b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Track One:<span style="mso-tab-count: 1;"> </span>Out In The Dark, Burgon,</span></b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><o:p></o:p></span></span></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">This is Classical Break, and I’m Rupert Kirkham.<span style="mso-spacerun: yes;"> </span>Today’s programme was researched and written by Mike Burrows.<span style="mso-spacerun: yes;"> </span>It is of British music, and is inspired by the season of New Year. You have just heard a setting, for alto voice and chamber orchestra, of Edward Thomas’ poem <i>Out In The Dark</i>, by Geoffrey Burgon.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt;"><span style="font-family: "times new roman";">This has some of the elusiveness of New Year feeling - of coming out of oneself into the night of change and always-has-been-if one-had-but-known-it.<span style="mso-spacerun: yes;"> </span>It comes from the song-cycle<span style="mso-spacerun: yes;"> </span><i>Acquainted With Night</i>.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg645zquZuyrTfA0Y9lThjDue_SLxM8WkG0fTjwhwtlZpUvzg5YG_Goa8K7zXrIdFsw3QnEKSxTL1oU3cjTsOFv9YoPrb0EzypXqivU2JBGDqn_pO5anr4OoopWCZ5xby8vNRW0gT_7EeUJ/s1600/Janus-Vatican%5B1%5D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg645zquZuyrTfA0Y9lThjDue_SLxM8WkG0fTjwhwtlZpUvzg5YG_Goa8K7zXrIdFsw3QnEKSxTL1oU3cjTsOFv9YoPrb0EzypXqivU2JBGDqn_pO5anr4OoopWCZ5xby8vNRW0gT_7EeUJ/s1600/Janus-Vatican%5B1%5D.jpg" width="200" /></a></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">New Year...: not for nothing was the Roman god-gatekeeper, Janus given two faces, one for the past and the other for the future.<span style="mso-spacerun: yes;"> </span>The New Year is a time when we look back as tenaciously - if we have sense - as we look forward.<span style="mso-spacerun: yes;"> </span>Where we have been, the sum of our experiences and how we continue, are what we are and, to an extent, our hopes of continuance.<span style="mso-spacerun: yes;"> </span>What do we enter upon under the high gate?<o:p></o:p></span></span></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">We are in the middle of Christmas, and New Year brings Epiphany in its train:<span style="mso-spacerun: yes;"> </span>a time associated with the pilgrimage of the Three Kings to the cradleside of Jesus Christ.<span style="mso-spacerun: yes;"> </span>Here is a movement from Ralph Vaughan Williams’ <i>Hodie, A Christmas Cantata </i>of 1954<i>, The March Of The Three Kings, </i>music of this composer’s old age, although in its vigour and harmonic and colouristic imagination, it suggests that Vaughan Williams was not disposed to look backward more than he had to to continue to build on his achievements.<span style="mso-spacerun: yes;"> </span>We too can journey.<i><o:p></o:p></i></span></span></div>
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<span style="font-family: "times new roman";"><b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Track Two</span></b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">:<i><span style="mso-spacerun: yes;"> </span></i><b>Hodie, The March of The Three Kings,<i> </i>Vaughan Williams</b><o:p></o:p></span></span></div>
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<i><span style="font-family: "times new roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRUO2NE9OsREk_eBXtu7r55SaptQ-Qc2QtZIyC_26CYSq7-JLxtUOfYPmEyKIKDI3tyHxtNtMtJPnDdnWOowgyhLd2I8yWMkqcZJYf-Mdx1aFzEsfvwFRB-pEgr0uAp7DZpXNupNwplyBr/s1600/122002936-724542%5B1%5D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRUO2NE9OsREk_eBXtu7r55SaptQ-Qc2QtZIyC_26CYSq7-JLxtUOfYPmEyKIKDI3tyHxtNtMtJPnDdnWOowgyhLd2I8yWMkqcZJYf-Mdx1aFzEsfvwFRB-pEgr0uAp7DZpXNupNwplyBr/s1600/122002936-724542%5B1%5D.jpg" width="200" /></a></span></i></div>
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<span style="font-family: "times new roman";"><i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Calennig </span></i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">is a South Welsh New Year observance - a gift given<i> </i>between the night of New Year’s Eve and New Year’s Day noon.<span style="mso-spacerun: yes;"> </span>Parties, often of children passed from door to door giving presents of food or money, and organizing the whipround necessary!<span style="mso-spacerun: yes;"> </span>Each carried a decorated apple supported on four skewers in order to preserve the decoration.<span style="mso-spacerun: yes;"> </span>Here is a breathless traditional song for the occasion, recorded in Gwynedd.<o:p></o:p></span></span></div>
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<span style="font-family: "times new roman";"><b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Track Three:<span style="mso-spacerun: yes;"> </span>Calennig</span></b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman";"><i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Ring Out Wild Bells,</span></i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"> a setting of verses from Tennyson’s <i>In Memoriam</i> made by Percy Fletcher, a composer chiefly remembered now for his music for brass band.<o:p></o:p></span></span></div>
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<span style="font-family: "times new roman";"><b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Track Four:<span style="mso-spacerun: yes;"> </span>Ring Out Wild Bells, Percy Fletcher</span></b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtGShqjKmraZHFU3s5ghN5AXpjJEfTAKr7jSLZuaSVkB5mVVvSt7Q8M7GGLMd6v63wVuNjOsprlCynw9XtfBriyiUl8d_Z28K5baSb8eX8vX50dUQqmvAm6-qgDLSodnQHBRYpA5pr2bRN/s1600/quote-ring-out-wild-bells-to-the-wild-sky-the-flying-cloud-the-frosty-light-the-year-is-dying-in-the-alfred-tennyson-334210%5B1%5D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="93" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtGShqjKmraZHFU3s5ghN5AXpjJEfTAKr7jSLZuaSVkB5mVVvSt7Q8M7GGLMd6v63wVuNjOsprlCynw9XtfBriyiUl8d_Z28K5baSb8eX8vX50dUQqmvAm6-qgDLSodnQHBRYpA5pr2bRN/s1600/quote-ring-out-wild-bells-to-the-wild-sky-the-flying-cloud-the-frosty-light-the-year-is-dying-in-the-alfred-tennyson-334210%5B1%5D.jpg" width="200" /></a></span></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">Set on New Year’s Eve in Terror Town, Sir Michael Tippett’s fifth opera, <i>New Year</i>, for which he himself wrote the libretto, sees the violence and visionlessness of Somewhere Today opposed by Nowhere Tomorrow - as inhabitants meet strangers from a space-ship - and face up to life and reality and their possibilities.<span style="mso-spacerun: yes;"> </span>Here are three numbers from the orchestral <i>Suite</i>: <i>Love-Theme For Jo Ann and Pelegrin</i>, <i>Ringing-in The New Year </i>(spot the references to Auld Lang Syne) and <i>The Space-ship</i> <i>Takes off Again</i>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman";"><b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Tracks Five, Six and Seven:<span style="mso-spacerun: yes;"> </span>New Year:<span style="mso-spacerun: yes;"> </span><i>Love-Theme For Jo Ann and Pelegrin</i>, Ringing-in The New Year and The Space-ship Takes off Again</span></b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><o:p></o:p></span></span></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">Here is a poem by Mike Burrows, <i>New Year<o:p></o:p></i></span></span></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">The Gatekeeper’s faces are calm with fate<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">Gazing both back and through the dark</span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";"> archway,<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">And on earth, bronze swings and sounds in</span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";"> tons-weight<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">Choirs of ancient peals.<span style="mso-spacerun: yes;"> </span>Coming to day,<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">A stranger will show his face as new<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">And old and still unknowable; as yet,<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">He moves in clear concealment where </span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";"> he grew -<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">His span drawn to us from the stars’</span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";"> bright mesh.<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">Morning will show him and deliverance<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">As what we earn, and as the bells clang</span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";"> trust<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">That calms as notes soften to resonance<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">One’s fear is only that in truth he must<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">Contract from Eve to a day like others -<o:p></o:p></span></span></i></div>
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<i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">To the soul of his least humane brothers.<o:p></o:p></span></span></i></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">Sir Arthur Bliss’ music for the ballet<i> Adam Zero </i>was commissioned by the Australian dancer and actor, Robert Helpmann, who created the choreography.<span style="mso-spacerun: yes;"> </span>It is the life-cycle of everyman, seen as the birth, growth through high times to maturity and collapse of life-work and death - the seasons -<span style="mso-spacerun: yes;"> </span>of a single year.<span style="mso-spacerun: yes;"> </span>Let’s hear <i>The Birth of Adam </i>and the strange, starry beginning of life. Incidentally, near the bitter close of the ballet, before the curtain falls, the stage is reset for...Adam Zero’s life to begin again.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman";"><b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Track Eight:<span style="mso-spacerun: yes;"> </span>Adam Zero, The Birth of Adam</span></b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><o:p></o:p></span></span></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">Wishes that loom so large at New Year are not always wise. In the poem, <i>The Clock of The Years</i>, a man imagines his dead wife made young again by the Spirit of time.<span style="mso-spacerun: yes;"> </span>There is a terrible irony that will become clear as you listen.<span style="mso-spacerun: yes;"> </span>This song comes from Gerald Finzi’s cycle based on poems of Thomas Hardy, <i>Earth<o:p></o:p></i></span></span></div>
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<span style="font-family: "times new roman";"><i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">And Air And Rain</span></i><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">.<span style="mso-spacerun: yes;"> </span>The song begins with a biblical quotation - Job, Four, Fifteen - recited over piano-flourishes, an appropriately hair-raising effect.<span style="mso-spacerun: yes;"> </span>The poem is taken from Hardy’s collection, <i>Moments of Vision</i>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman";"><b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Track Nine:</span></b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="mso-spacerun: yes;"> </span><b>The Clock of The Years, Finzi</b><o:p></o:p></span></span></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">So the young girl becomes a child, the child a baby, the baby goes to nothingness; the dead Wife is lost to memory.<span style="mso-spacerun: yes;"> </span>It was the man’s choice, not Time’s, to mar the ordained.<o:p></o:p></span></span></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">All the same, this is a time for dreams of what were and what may be. Here is a setting of the poem of Yeats, <i>He Wishes For The Cloths of Heaven</i>, by Howard Skempton, a friend of the Communist activist and modernist, Cornelius Cardew.<o:p></o:p></span></span></div>
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<span style="font-family: "times new roman";"><b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Track Ten:<span style="mso-spacerun: yes;"> </span>He Wishes for The Cloths of Heaven, Skempton</span></b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><o:p></o:p></span></span></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">Inspired by the writings on New Year of the essayist, Charles Lamb, here is an orchestral piece by Gerald Finzi: <i><span style="mso-spacerun: yes;"> </span>Nocturne - New Year’s Music.</i><span style="mso-spacerun: yes;"> </span>Written early in the composer’s working-life, when he resided in Gloucestershire, an agnostic idealist much inspired by Morris’ Socialist writings, the works of Thomas Hardy, Georgian poetry, metaphysical literature and Charles Lamb’s antiquarian mysticism, this sombre piece is an expression of landscape and solitude with Winter thoughts on mortality and man’s determination to grow more worthy of his self-chosen destiny.<span style="mso-spacerun: yes;"> </span>Warm wistfulness amid frost becomes resolve.<span style="mso-spacerun: yes;"> </span>Finzi’s life was in many ways a race against time; his Father died a lingering death from cancer and siblings were struck down by illness, War and suicide, until one Sister and his Mother remained.<span style="mso-spacerun: yes;"> </span>He was made conscious of the ironies of life and blindness of fate too early on to be at ease unless concentrating on his passions of his wife and two sons, music, poetry, apple-arboriculture.<span style="mso-spacerun: yes;"> </span>Written in the 1920s, as he was starting out, it was revized during the Second World War and first published in 1950 - not long before its composer was stricken with leukaemia.<span style="mso-spacerun: yes;"> </span>The broad hymn that rises out of wistful contemplation of the New Year landscape and distant bells is on an unusually large scale for this composer, typical in its undermined diatonic harmonies but beautiful in its uneasy struggle and triumph.<span style="mso-spacerun: yes;"> </span>The dying fall is dark and resigned but there is no sense of that melody’s having been in vain; it sweetens the darkness, not with what might be but what may be.<span style="mso-spacerun: yes;"> </span>The means are within our grasp.<span style="mso-spacerun: yes;"> </span>Wishes and resolutions for oneself and for all count for something.<span style="mso-spacerun: yes;"> </span>What the young composer wished and resolved became his life, and many have been the happier for getting to know him and his music.<o:p></o:p></span></span></div>
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<span style="font-family: "times new roman";"><b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;">Track Eleven:<span style="mso-spacerun: yes;"> </span>Nocturne, New Year’s Music, Finzi</span></b><span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><o:p></o:p></span></span></div>
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<span style="font-family: "news gothic" , "sans-serif"; font-size: 10pt; line-height: 26.6667px;"><span style="font-family: "times new roman";">We’ll end with a medley of Scottish songs for New Year’s Eve. <i><span style="mso-spacerun: yes;"> </span>Scotland Ho!<span style="mso-spacerun: yes;"> </span>Fill Your Glass; We’re No’ Awa Tae Bide Awa; Happy We’ve Been Athegither, Highland Whisky; The Christmas Carousel; If I’d Get A Dram I’d Take It.<span style="mso-spacerun: yes;"> </span></i>This was Classical Break and I’m Rupert Kirkham.<span style="mso-spacerun: yes;"> </span>I hope that you have enjoyed our New Year programme and will join us again soon.<span style="mso-spacerun: yes;"> </span>We wish you all the best for 2012.<span style="mso-spacerun: yes;"> </span>Goodbye!<o:p></o:p></span></span></div>
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<span style="font-family: "times new roman";"><b>Track Twelve: New Year Medley, Trad</b></span><br />
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-51181454337736538202016-12-24T05:41:00.002-08:002016-12-24T06:02:21.267-08:00Christmas 2016 (2)<div class="MsoNoSpacing">
<b>CB
Christmas<o:p></o:p></b></div>
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Hullo, this is Classical Break on Somer Valley FM, and I’m Rupert
Kirkham. Today, we celebrate Christmas with
an anthology of music and words, and our script was researched and written by Mike Burrows. The
huge quantities and variety of music – and arrangements of music - inspired by the
long-lived spiritual value of Christmas has made selection extremely difficult,
but we hope that everyone will find something to enjoy amongst our choices.</div>
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<o:p></o:p></div>
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We begin with a spry instrumental arrangement by Percy Faith, a
skilful band-leader, arranger and original composer, of <i>Joy To The World</i>, a popular carol that utilizes a theme <o:p></o:p></div>
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by Handel. The recording dates
from 1959.<o:p></o:p></div>
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<b>Track 1:
Joy To The World, Handel/Mason/Watts/Faith</b><br />
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Now, two carols together, one from 14<sup>th</sup> Century Poland and
entitled, Judas Sold Jesus and Good King Wenceslas. Both originated as popular dance-tunes, and would
have been performed during general dances in church. Judas would have been disrespected; Wenceslas was a martyred young
Bohemian king who had been canonized. In
Winter, thanks both to thoughts of the rebirth of Spring or renewal of faith,
one could triumph over betrayal or untimely death.<o:p></o:p></div>
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The pagan origins of Christmas were more to the fore in mediaeval times
than they are today; public Christmas services in churches were like shindigs
held to spite the cold winter and flaunt what fruits of their labour were made
available to villeins and serfs. In
contrast to the exalted, cold and austere observances of priests and monks, they
were wild, vigorous occasions among the peasantry. There was much drinking, singing and dancing;
such licence that, eventually, the Church banned the performing of carols in
church, the ban being the foundation of a tradition of going carol-singing. It is possible that the church inadvertently
took Christmas back to Viking roots, in that among the Norsemen, the figure who
became Father Christmas was a man chosen yearly to go from homestead to homestead
and be plied with drink and food as he went.
It took things back to the Roman occupation and Saturnalia, too. Carol-singers roamed the countryside unchosen
but expecting food and drink in front of a log-fire in payment for their
performances. Feasts in castles and palaces
were feasts on plenty; in inns, taverns and cottages, they might be feasts on
more than usual<o:p></o:p></div>
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<b>Track
2: Judas/Wenceslas (Trad) <o:p></o:p></b></div>
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The employment of professional waits or musicians by towns and cities
did not necessarily deter the unofficial variety from performances, although
such did not have the right to break curfew.
In the countryside, carol-singing slowly became more measured in spite
of the impossibility of maintaining control over the movements of bands of common
folk after dark. All the same, the mania for clampdowns had its rueful martyrs
into the days of Thomas Case Sterndale Bennett (1882-1944). Let’s hear his slyly folkish comic song, <i>The Carol Singers</i>, which for its grasp
of the complex psychological nature of British seasonal behaviours on both
sides of The Law cannot be beaten… <br />
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<b>Track 3:
The Carol Singers, TC Sterndale-Bennett</b><o:p></o:p></div>
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Memories of an old Somerset and Devon custom of Christmas Eve,
memories of the ashen faggot, remind us of Winter solstice customs of days older
still. The Yule-log was kept burning
festival long in the time of Arctic darkness. Like alcohol, it warmed
celebrants thankful for what the year had borne them to reward their
labours. Country folk’s regard for a
good blaze and auguries drawn from close observation of the peculiar nature of
faggot or log is not surprizing. It is
worth remembering that permission to gather firewood on a landowner’s estate
was not freely given, and to gather it without permission was a felony.<o:p></o:p></div>
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<b>Track 4: Memories Of The Ashen Faggot<o:p></o:p></b></div>
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In Hamlet, there is a reference to the bird of dawning singeth all
night long - Christmas Night, that is. The Canadian composer Jean Coulthard took
her cue from this for a sombre, rapt and meditative piece for violin, harp and strings
of that title. Waiting on daybreak has
always been hard for adult as well as child since Christmas began. One expects it at every other moment, wanting
to be up and being and doing on a day of hope for the future. In this piece the listener travels far in
search of Christ’s and his or her own hour.<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;"> Coulthard was one of Canada’s most-respected musicians of the last
Century. She was born in Vancouver in </span><span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">1908, and died there in 2000. Her teachers included figures as diverse as
RO Morris and Vaughan Williams and Bartok and Schoenberg. Her personal style here reflects something of
most of those influences. Lovers of English
music may detect a noble yet at some moments impassioned, almost mediaevally
lacerating tone similar to that of Edmund Rubbra, who was also a pupil of RO
Morris. <br />
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<b>Track 5:
The Bird of Dawning, Coulthard</b><o:p></o:p></span></div>
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well-known a berceuse as any. It is one
that many children of a number of generations may have found poignant.<br />
<b><br />
Track 6: Away In A manger, Trad</b><o:p></o:p></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;"><br /></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">A touching description of Christmas
Eve hospitality, now. The hardness of
life in the countryside was visited on journeymen, tinkers, tool-sharpeners;
all making themselves useful to a district when need arose. The cold of Winter was bitter. Deaths from exposure were common among those
who worked on the land, particularly shepherds.
Where did they live, the itinerents, in a country where movement about the
country was curtailed by the Poor Law and
by zealous prosecution of vagrants or vagabonds? They had their name, tools and calloused
hands as proof that they were not sturdy or able-bodied beggars, a class of person
once branded or mutilated – hanged, thanks to Bluff King Hal, if caught homeless
and occupationless 3 times by the authorities.. A statute never rescinded <o:p></o:p></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">prescribed death for anyone caught
living like an Aegyptian (<i>that is, a
gipsy)</i> – it was passed in the name of Good Queen Bess, who later instituted
the first poorhouses. When could these nomad-workmen
of all weathers sleep swaddled like the baby Jesus? On Christmas Eve, perhaps? It is sometimes
hard to tell from social attitudes that Christians believe all men were made in
God’s image. The meaning of the beauty
of the divine human child in the manger, whose parents and worshippers
comforted and blessed his first waking or sleeping hours, has not generally
sunk in, it seems; because no-one cares about their parents, 120,000 children
have no real home, this Christmas, and as many as 17m adults will be buying
Christmas for others on the Never-never, as salaries don’t necessarily cover
popular celebrations. Other children still
won’t see their parents or sole parent for most of Christmas Day – or perhaps
they will be caring for them or for another sick relative. This is, after all, the 24/7 society.<o:p></o:p></span></div>
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<b><span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">Track 7: Swaddling
Clothes</span></b><span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;"><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ578KL_FOJDJjDA6-zqa39WdY5X5kh6x2cuGVGFrphJ3n1Ry5iOPxqZ3onmp5vxsBMfFgkw_zP26k0u5xoEGRoE1n_582Q0qe_H3qXjPLXOZ8DNzA0H_t1U7_0TFGz2x-rjThX33Lw_re/s1600/Archishman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ578KL_FOJDJjDA6-zqa39WdY5X5kh6x2cuGVGFrphJ3n1Ry5iOPxqZ3onmp5vxsBMfFgkw_zP26k0u5xoEGRoE1n_582Q0qe_H3qXjPLXOZ8DNzA0H_t1U7_0TFGz2x-rjThX33Lw_re/s320/Archishman.jpg" width="259" /></a></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;"><br /></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;"><br /></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">Let’s hear another cradle-song, this time
for piano-solo, written by a contemporary composer. Archishman Ghosh is a research-scientist who lives
and works in Florida. Much-travelled and
<o:p></o:p></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">aware, his musical personality is
close to his everyday character, logical, sceptical, slightly aloof, but
capable of expressing deep warmth and affection. Like Ravel’s, his irony and even sarcasm can <o:p></o:p></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">be suspect! The influences on his style
are many; ranging from Scarlatti and Mozart through Grieg and Grainger to
Scriabin and a later, grittier aesthetic.
The mark of his gift is that he has digested all <o:p></o:p></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">these influences to make his own, distinctive
music. Here, he gives us a well-worked,
deceptively simple <i>Berceuse in F-Sharp</i>. The harmonic sense and handling of rhythm and
part-writing on show have a real distinction and modern sensibility and yet
express something of the timeless awe a <o:p></o:p></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">human feels in looking up at a starry
sky. The tracings of a map, a meaning, orientation – and pure beauty, the
boundlessness of belief, hope and imagination can be…<o:p></o:p></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">On Christmas Night, will the stars turn
to angels who sing? Our children gaze up at us and our<o:p></o:p></span></div>
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<span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">tenderness as we sing them to sleep. So
sly is the composer's tonal sense that this innocent Berceuse in F# ends with seeming-total consistency
in F!<o:p></o:p></span></div>
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<b>Track 8:
Berceuse In F#, Archishman Ghosh <o:p></o:p></b></span></div>
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<b><span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">Track 9: Church-bells
ringing changes <o:p></o:p></span></b></div>
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<i><span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;"><br /></span></i></div>
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<i><span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;"><br /></span></i></div>
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<i><span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">A Virgin So Pure </span></i><span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">is an old
carol of great freshness and beauty, a song in praise of Christ’s mother. .
Here, the choir is accompanied with handbells.<o:p></o:p></span></div>
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<b><span style="color: #222222; mso-ascii-font-family: Calibri; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">Track 10: A
Virgin So Pure<o:p></o:p></span></b></div>
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<i>Arise And
Hail The Glorious Star</i> announces the birth of Christ in bright
directness. This carol is from Cornwall
and has a Wesleyan fervour. The
arrangement appears to be in 18<sup>th</sup> Century-style, the contrapuntal
parts contrasting and pitting registers against eachother in a cheerful,
rudimentarily canonic manner…<o:p></o:p></div>
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<b>Track 11: Arise And Hail The Glorious Star, Trad<o:p></o:p></b></div>
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<i>See Amid
The Winter Snow.</i> Children
may miss snow in many parts of the UK this Winter. However cruel the winter cold used to be, if
one had a hearth, relatives and friends and blessed holyday, once church was
got over, it was possible to choose whether or not to fool about in it <br />
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<b>Track 12: See Amid The Winter Snow, Trad <o:p></o:p></b></div>
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It’s that time of year again: we’ve
trailed through Advent, meeting the consequences of a year of all-too human
decisions – and perhaps must hope that the festival will grant us the kind of joys
it granted us as children: that the magic
will work to comfort and console all of us who long for peace, tolerance and
repose in which it is the soul that speaks and does for the sake of those whom
we love. To go a stage further, the more
people we show that we love over 12 days, perhaps, the more chance that magic
has of happening for us. The New Year
may be truly NEW.<br />
<br />
This next track is dedicated to Miss Suvi Burrows, now on the way to
grownupness. It is an evocation of Peter
Pan’s Fairy-companion, but to her parents oddly evocative also of <i>their</i> companion. It is by Angela Morley, a fine composer and
arranger of light music.<o:p></o:p></div>
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<o:p><br /></o:p></div>
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<b>Track 13: Tinkerbell, Morley<o:p></o:p></b></div>
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The composer Gerald Finzi once wrote a familial carol. Though an agnostic, he loved the culture and
imaginative appeal and the potential moral effect of Christmas traditions. Later, he arranged the carol for clarinet and
piano to exquisite effect. This music is
a miracle of expression, of deceptive simplicity. Finzi’s music may be characterized in an
image of metaphysical poetry that saw jewels as “contracted” stars and heavenly
bodies. A wealth of <o:p></o:p></div>
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experience of this world’s beauties, including those of humanity, is
contracted to become musical sounds supremely yet unpretentiously well-wrought.
One hears wisdom whose <o:p></o:p></div>
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expression is compassionate love, quite an achievement for a man of
enthusiasms and known to some of his close confreres as <i>Frenzy</i>! When in his farmhouse-home,
on Christmas Eve, this solemn and highly-strung little man obsessed with the
too-short time, was given to calling down a <i>chimney-flue</i>
to his children and their friends, in the person of Father Christmas…<o:p></o:p></div>
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<b>Track 14: Carol from 5 Bagatelles for Clarinet and
piano, Finzi <br />
<br />
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It doesn’t take much for a parent to make Christmas a time of wonders
for a child who may have been looking up at the stars or imagining houselights
to be stars - or the light of <o:p></o:p></div>
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angels – on dark Winter nights.
The stars may be candles, Christmas-tree lights, or the faces of holy messengers;
as blessings draw nearer out of the void of night and ordinary life. An
airliner coming from or leaving Bristol, or a star or planet may guide from
huge distance and stand over a barn. Other
symbols may be: holly, mistletoe, baubles
-spirit-balls at their first appearance), crib-scenes, robins, frost, icicles, snowflakes
and carpets of snow, bittersweet cakes and puddings eaten at no other time of
the year, spiced drinks against the cold, burning hearths of domesticity and ancient
woodcraft a white-haired bishop of Myra
or sprite in red or green from a toy-factory at Rovaniemi in the north of
Finland, which might as well be the North Pole; who walks with Black Peter or drives
a sleigh drawn by eight reindeer between the clouds and stars.. <o:p></o:p></div>
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Auditory symbols will be carols and songs of peculiar fervour or
pathos, the tunes various, the harmonies like a spiritual hug or caress of one’s
brow and hair, and as warming as taperlight or sounds of a brass band in the
coldest stone church. Light survives
Winter; the <o:p></o:p></div>
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cold can’t end warmth, life and hope, or the magic of love.<o:p></o:p></div>
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<b>Track 15:
The Twelfth Day of Christmas, Trad <o:p></o:p></b></div>
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Presents appear and are unwrapped on Christmas Day. However swish with logos or cheap, they have
come seemingly out of nowhere as symbols of what love and sense of fun can
do. Not only can the loving child marvel
that something he may have wanted or that suits him fine turned up, but also – for
some years – the agency of the act of generosity is unclear and possibly
supernatural. Not bad! The element of fantasy is created from love,
pure and simple. It’s the love itself
that can seem supernatural to older minds.
The presents have been wrapped and await his or her Lord or
Ladyships. But first things first: the muddy boot-prints on newspaper, the
nibbled carrot, the glass with a drop of the tawny stuff in the bottom of it
and the plate with a sprinkle of crumbs of mince-pie. Then
come the corroborative details of what mum or dad thinks she or he saw or
heard, or the possible thesis to be drawn from this or that circumstance. The inquisition must be parried with the <o:p></o:p></div>
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maximum of tongue-in-cheek believability… What’s that all about, if it
isn’t love? In their deep happiness, parents
may extend, even improve on, the traditions of their childhood – even celebrate
the coming of their own children in memory of a holy birth in Bethlehem.<o:p></o:p></div>
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<o:p><br /></o:p></div>
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<b>Track 16: It Came Upon A Midnight Clear, Trad <o:p></o:p></b></div>
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What is the name of our Saviour?
Christ? Father Christmas? Santa Claus?
Are His helpers angels or elves? Are
we saviours ourselves, either for ourselves or for those about us? <o:p></o:p></div>
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Does it matter? Kindness,
compassion, a willingness to rise to the slightest glimpses and epiphanies of
faith, hope, love and imagination we meet and to behave well for others from <o:p></o:p></div>
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the heart will create or go towards creating what we call
Christmas. We say that the angels sang, “On
earth, peace; goodwill to all men.” In
fact this was a mistranslation when the Bible was Englished. They sang, “On earth, peace to all men of
goodwill.” In truth, only goodwill can
bring about peace, either world peace, national peace, familial or personal
peace; nothing will do but goodwill – it is obviously up to those who have this
in their hearts and minds to spread the word, and to spread it through their
deeds, which when extended by many, may bring about peace. Peace through an unquenchable longing for peace
and goodwill.<br />
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John Rutter is the doyen of carol-writers, and with good reason;
reason that only some critics are incapable of hearing and believing. Here is his Carol of The Children, a rearrangement
of a movement from his lovely <i>Suite Antique</i>
for harpsichord, flute and strings.<o:p></o:p></div>
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This was Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Our Christmas edition was researched and
written by Mike Burrows. We hope you
enjoyed it and that <o:p></o:p></div>
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you will tune in again soon. We
both extend our best wishes to you all for a happy, <o:p></o:p></div>
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easeful and peaceful Christmas.
Goodbye!<o:p></o:p></div>
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<b>Track 17: The Carol of The Children, Rutter<o:p></o:p></b></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-18822486609075809272016-12-16T12:50:00.001-08:002016-12-16T12:51:42.697-08:00Christmas Classical Break 2016 <h3 class="post-title entry-title" itemprop="name" style="color: #333333; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 30px; font-stretch: normal; font-weight: normal; margin: 0px; position: relative;">
<a href="http://rupertkirkham.blogspot.co.uk/2015/12/classical-christmas-break-26th-27th.html" style="background-color: white; color: #993322; text-decoration: none;">Classical Christmas Break </a></h3>
<h3 class="post-title entry-title" itemprop="name" style="color: #333333; font-family: Georgia, Utopia, 'Palatino Linotype', Palatino, serif; font-size: 30px; font-stretch: normal; font-weight: normal; margin: 0px; position: relative;">
<a href="http://rupertkirkham.blogspot.co.uk/2015/12/classical-christmas-break-26th-27th.html" style="background-color: white; color: #993322; text-decoration: none;">December-2016</a> / 1</h3>
<div class="post-body entry-content" id="post-body-4588688267677328487" itemprop="description articleBody" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; font-size: 13.524px; line-height: 1.5; position: relative; width: 388px;">
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<span style="background-color: white;"><br /></span></div>
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<o:p><i style="background-color: white;">Today's programme is mainly of traditional Christian carols. Three differing music groups give their interpretations of many of the well-known and some slightly obscure Christmas musical offerings..</i></o:p></div>
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<o:p><i><span style="background-color: white; font-size: xx-small;">Don't forget that Classical Break is available to listen to 'on demand' and there is a link to the right of this panel if you wish to have another listen to the programme.</span></i></o:p></div>
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<span style="background-color: white;"><br />Programme tracklisting.</span></div>
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<span style="background-color: white;">CD’s featured:</span></div>
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<span style="background-color: white;">The Choir of St George’s Chapel, Windsor from “<i>Christmas at Windsor</i>” FCM1003</span></div>
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<span style="background-color: white;">Clare College Singers conducted and arr. by John Rutter HMV 5 72340 2</span></div>
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<span style="background-color: white;">The Salvation Army Band “<i>Twelve Days of Christmas</i>” Hallmark 309322</span></div>
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<ol>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Sussex Carol: The Choir of St George’s Chapel</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Gabriel’s Message: Clare College Singers</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Adam Lay Ybounden: St George’s Chapel</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Angel Tidings: Clare College Singers</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Shepherd’s Pipe Carol: Clare College Singers</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">O Little Town of Bethlehem: Clare College Singers</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">The Christmas Song: The Salvation Army Band</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">In Dulci Jubilo: Clare College Singers</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Stille Nacht: The Choir of St George’s Chapel</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">The Twelve Days of Christmas: Clare College Singers</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Quelle est Cette Odeur Agréable: Clare College Singers</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Here we Come a Wassailing: The Salvation Army Band</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Quem Pastores Laudavere: Clare College Singers</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">O Come, O Come, Emmanuel: The Choir of St George’s Chapel</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Resonet in Laudibus: The Choir of St George’s Chapel</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Il Est Ne, le Divin Enfant: Clare College Singers</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">There is a Flower Springing: The Choir of St George’s Chapel</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Hodie Christus Natus Est: The Choir of St George’s Chapel</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Infant Holy, Infant Lowly: Clare College Singers</span></li>
<li><span style="background-color: white; font-size: 13.524px; line-height: 1.5;">Nativity Carol: Clare Colleg</span><span style="background-color: #eeeeee; font-size: 13.524px; line-height: 1.5;">e Singers</span></li>
</ol>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-35936433866991903362016-12-02T11:17:00.003-08:002016-12-02T11:17:59.945-08:003&4 December Britten<br />
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Another chance to hear. ...</div>
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<span style="font-family: inherit;"><b style="mso-bidi-font-weight: normal;"><span style="color: red; font-size: 16pt; line-height: 24.5333px;">Classical Break - Benjamin Britten</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: red; font-size: 16pt; line-height: 24.5333px;"></span></b></span><b style="mso-bidi-font-weight: normal;"><span style="color: red; font-size: 16pt; line-height: 24.5333px;"></span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7FqgLqWXUSBplTIahA6F3XucOXr1rMBwctPnCfb92b91aw4nNlDqX0H2oG5X_ZPrUKDyfWmXx8omuaVS2Vrg5KAC4XaKSRqLyctHF-h6ppf38tj-oECrPi84ufkDsdV5mn7JdL5e7BtvZ/s1600/BBonbeach.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7FqgLqWXUSBplTIahA6F3XucOXr1rMBwctPnCfb92b91aw4nNlDqX0H2oG5X_ZPrUKDyfWmXx8omuaVS2Vrg5KAC4XaKSRqLyctHF-h6ppf38tj-oECrPi84ufkDsdV5mn7JdL5e7BtvZ/s200/BBonbeach.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Benjamin Britten 1913-1976</td></tr>
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<span style="color: #0b5394;"><b><i style="mso-bidi-font-style: normal;">Hunt the Squirrel – 1.20</i></b></span></div>
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Hello and welcome to Classical Break. I’m Rupert Kirkham.</div>
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Today’s programme features music<span style="mso-spacerun: yes;"> </span>by one of England’s finest composers, Benjamin Britten.</div>
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November 2013 sees the hundredth anniversary of the birth of Britten, in Lowestoft, on the Suffolk coast, the coast where he lived and composed for much of his life, where he built an opera house and a festival, and where he died in December 1976.</div>
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The son of a dentist, he studied at the Royal College of Music in London and privately with the composer Frank Bridge. He was a brilliant pianist and had a phenomenal understanding of the capabilities and limitations of all the instruments in the orchestra.</div>
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One of the last pieces of music Britten composed, he undertook in 4 weeks between October and November 1974 – two years before his death. This was the <i>Suite on English Folk Tunes</i>, opus 90, from which our opening piece today was taken. Subtitled, “<i>A time there was,...</i>” after a phrase in a poem by Thomas Hardy, the Suite draws from a number of English folk songs and tunes. We heard ‘<i>Hunt the Squirrel</i>’ – an appropriate little number I felt as we ponder the rights and wrongs of the badger-culling experiment in Somerset that has just begun. There’ll be more from Britten’s Suite on English Folk Tunes later in the programme.</div>
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But<span style="mso-spacerun: yes;"> </span>let’s hear next, a piece of music originally written by the man to whom the Suite on English Folksongs was dedicated – a collector of folksongs himself, the Australian composer, Percy Grainger. <i>Molly on the Shore</i>.</div>
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<b><span style="color: #0b5394;"><i style="mso-bidi-font-style: normal;">Molly on the Shore - Percy Grainger – 3.49</i></span></b></div>
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<i>Molly on the Shore</i>, by Percy Grainger. That came from a collection of Grainger’s tunes re-set by Britten called ‘<i>Salute to Percy Grainger</i>’.</div>
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Next, we have one of Britten’s most well-known works, from his <i style="mso-bidi-font-style: normal;">Variations and Fugue on a theme of Purcell</i>, also known as <i style="mso-bidi-font-style: normal;">‘The Young Person’s Guide to the Orchestra’</i>, here’s the <i style="mso-bidi-font-style: normal;">fugue</i>.</div>
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<span style="color: #0b5394;"><b><i style="mso-bidi-font-style: normal;">Fugue from Young Person’s Guide to the Orchestra – 2.40</i></b></span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;">Scene from <i>Peter Grimes</i></td></tr>
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Like most artists, Britten drew his inspiration from life. He lived, as I mentioned earlier, on the Suffolk coast – a wild and desolate place, so it’s not surprising that some of his music reflects the strength and beauty of the sea. In his opera, <i>Peter Grimes</i>,<span style="mso-spacerun: yes;"> </span>Britten<span style="mso-spacerun: yes;"> </span>chooses a story that is not only<span style="mso-spacerun: yes;"> </span>set in a coastal fishing village, but also features a character with some of the problems faced by Britten as a homosexual in a country that for much of his life, could have incarcerated him.</div>
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He says of the Opera<i style="mso-bidi-font-style: normal;"> ‘(It is) a subject very close to my heart – the struggle of the individual against the masses. The more vicious the society, the more vicious the individual.'</i></div>
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Set in the early 1800’s Peter Grimes is a fisherman who is accused of killing not one, but two young boy apprentices. The action is broken up by 4 ‘<i>Sea Interludes</i>’ The climax of the action takes place during a huge storm.</div>
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Here’s the Storm interlude. </div>
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<b><span style="color: #0b5394;"><i style="mso-bidi-font-style: normal;">Storm </i>interlude from<i style="mso-bidi-font-style: normal;"> Peter Grimes – 4.13</i></span></b></div>
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<i>The Storm</i> from Britten’s opera, <i>Peter Grimes</i>.</div>
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You’re listening to Somer Valley community radio on 97.5 FM and online at somervalleyfm.co.uk. I’m Rupert Kirkham and this is Classical Break. If you want to hear this programme again, or get your friends to listen go to the website and click LISTEN AGAIN. It’s that simple.</div>
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Today in the 100<sup>th</sup> anniversary year of his birth, we’re listening to music by Benjamin Britten.</div>
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Let’s head inland now for another number from Britten’s Suite on English Folk Tunes. Something<span style="mso-spacerun: yes;"> </span>one assumes good country folk used to knock back whilst watching the morris dancers do their stuff outside the village pub in days of yore<span style="mso-spacerun: yes;"> </span>– <i>cakes and ale</i>.</div>
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<span style="color: #0b5394;"><b><i style="mso-bidi-font-style: normal;">Cakes and Ale from English Folk Tunes – 2.24</i></b></span></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;"><i>A Ceremony of Carols</i></td></tr>
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When I was a lad, I was lucky enough to sing as a treble in the Choir at New College, Oxford. It was undoubtedly an incredible way to learn about music, and whenever we saw that we were to perform something<span style="mso-spacerun: yes;"> </span>by Britten our spirits rose. There’s only so much Palestrina and Gibbons you can handle in a week of evensongs!</div>
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Our next pieces come from one of the magical experiences Britten gave me as a chorister – the singing of his Christmas collection, ‘<i>A Ceremony of Carols</i>.’</div>
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Here are three carols from the piece, <i style="mso-bidi-font-style: normal;">Wolcum, There is no Rose</i> and <i style="mso-bidi-font-style: normal;">Deo Gracias</i>.</div>
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<b><span style="color: #0b5394;"><i style="mso-bidi-font-style: normal;">Ceremony of Carols: Wolcum, There is No Rose, Deo Gracias – 5.00</i></span></b><br />
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<tr><td class="tr-caption" style="font-size: 12.8px;">Peter Pears, Tenor</td></tr>
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We’ll hear some more music for choirs later, but first I want to play you part of Britten’s song cycle, <i>The Serenade for Tenor, Horn and Strings</i>.</div>
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The libretto is a series of poems by British poets on the subject of night. It was written in 1943 when Britten and his partner, Peter Pears – had just returned from 2 years in America and Britten was preparing his first<span style="mso-spacerun: yes;"> </span>large scale opera – Peter Grimes – which we heard about earlier. It’s scored for horn and small string ensemble and the piece has become a central work in both Tenor and Horn repertoire.</div>
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In three of the songs, <i>Prologue, Pastoral </i>and <i>Hym</i>n, Peter Pears is the Tenor, Barry Tuckwell plays the Horn and the band is the London Symphony Orchestra, conducted by the composer, Benjamin Britten in a recording made in December 1963.</div>
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<span style="color: #0b5394;"><b><i style="mso-bidi-font-style: normal;">Serenade for Tenor, Horn and Strings – 7.00</i></b></span></div>
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Now we’re going back to the chapel to hear another of Britten’s choral works. It’s his <i>Missa Brevis in D</i> and he dedicated it to George Malcom and the boys of Westminster Cathedral Choir. It was first performed in 1959 on the occasion of Malcom’s retirement as organist and choirmaster.</div>
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Actually, this<span style="mso-spacerun: yes;"> </span>performance is by the boys of King’s College Cambridge, with Ian Hare at the organ and Sir David Willcocks conducting.</div>
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<b><span style="color: #0b5394;"><i style="mso-bidi-font-style: normal;">Missa Brevis in D – 10.05</i></span></b></div>
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<tr><td class="tr-caption" style="font-size: 12.8px;">Britten and Pears</td></tr>
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This is Somer Valley FM and I’m Rupert Kirkham. Today the programme features music by Benjamin Britten.</div>
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Now it’s back to the song cycles. Britten’s texts for his song cycles operas and other works came from various sources. The text for his song cycle, <i>Les Illuminations </i>– sung in French – probably came from the library of WH Auden, who was a friend of Britten’s with whom he collaborated on a number of projects.</div>
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<i>Les Illuminations</i> is based on a set of rather risqué poems by the French poet Rimbaud, written, some say, under the influence of mind-altering substances. They certainly are pretty wierd, but quite advanced for around 1873 when they were written.</div>
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Arthur Rimbaud was one of the most important precursors of modernism in poetry although his entire output was created in the space of 3 years and it was probably this that attracted Britten. Rimbaud was also ...er ‘connected’ to a fellow poet Paul Verlaine and following a series of rather public scandals involving Verlaine, Rimbaud put away his quill and set off for Asia and Africa as a travelling salesman, never to be heard of again. Britten would have liked that too!</div>
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Set for Tenor or Soprano and strings, we’re going to hear 3 ‘Illuminations’ – <i>Fanfare, Ville, </i>and <i>Marine</i>. There’s that sea again. The first and third are sung by a tenor, Peter Pears, in fact, with the English Chamber Orchestra conducted by the composer and the second by the soprano, Felicity Lott on a 1989 Chandos CD with the Scottish National Orchestra conducted by Bryden Thomson.</div>
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<b><span style="color: #0b5394;"><i style="mso-bidi-font-style: normal;">Les Illuminations: Fanfare - Ville - Marine </i></span></b><b><span style="color: #0b5394;"><i style="mso-bidi-font-style: normal;">– 5.15</i></span></b></div>
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In 1940, just before they bombed Pearl Harbour, the Japanese government commissioned a series of works to mark the 2,600<sup>th</sup> anniversary of the founding of the Japanese Empire. The next piece was one of those commissions.</div>
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<i>Sinfonia Da Requiem</i> is a symphony written when Britten was 26. It’s in 3<span style="mso-spacerun: yes;"> </span>movements, and is probably Britten’s largest orchestral work for the concert hall.</div>
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Anyway, the Japanese rejected it because he used Latin titles for the movements taken from the Catholic Requiem and because it was too sombre for them. To be fair, it’s not something you’d play at a children’s party. I remember when I was at school, I used it as interval music for <span style="font-family: "times new roman" , "serif"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">our</span> touring<span style="mso-spacerun: yes;"> </span>production of Shakespeare’s Julius Caesar. It was just about long enough for the interval and suitably demonic for the kind of capers to come in the second half of the play.</div>
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Some say that the tone of this piece was influenced by the recent deaths of his Mother and Father.</div>
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Here’s the second movement, performed by the London Symphony Orchestra under Richard Hickox.</div>
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<i>Dies Irae</i>.</div>
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<span style="color: #0b5394;"><span style="background-color: white;"><b><i style="mso-bidi-font-style: normal;">Sinfonia da Requiem - Dies Irae – 5.27</i></b></span></span></div>
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I hope I’ve shown you some of the diversity of music produced by this outstanding English composer, Benjamin Britten. He was truly an icon in the musical 20<sup>th</sup> century. His music is edgy, but accessible and it takes risks. Some of his music doesn’t get played much these days, which is a shame, but in this 100<sup>th</sup> anniversary year, you are likely to find performances of all kinds from musicians at all levels around the country honouring his contribution to the English musical heritage.</div>
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In this programme we haven’t even touched on his contribution to the education of young schoolchildren through his school operas – <i>Noye’s Flood</i>, for example. I hope that in Classical Breaks to come this year we can play you some of this fine music which so many schoolchildren have experienced and which, one hopes, has inspired them to not only tolerate, but actually take an interest in ‘classical’ music amidst the cacophony of sounds and images that are thrown at them every second of the day.</div>
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Lecture over. We leave you with <i>Jubilate Deo</i>, a good example of Britten’s simpler writing. It’s a short anthem, written in 1961 at the request of the Duke of Edinburgh for St. George’s Chapel, Windsor. Goodbye.</div>
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<i style="mso-bidi-font-style: normal;">Jubilate Deo – 2.21</i></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-77211672262088097982016-11-25T17:43:00.001-08:002016-11-25T17:43:12.709-08:00Andalusia 26th & 27th November 2016<h3 class="post-title entry-title" itemprop="name" style="background-color: #c0a154; color: #333333; font-family: georgia, utopia, 'palatino linotype', palatino, serif; font-size: 30px; font-stretch: normal; font-weight: normal; margin: 0px; position: relative;">
CB Andalusia</h3>
<div class="post-header" style="background-color: #c0a154; color: #997755; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 12.88px; line-height: 1.6; margin: 0px 0px 1em;">
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<div class="post-body entry-content" id="post-body-5181271279213957100" itemprop="description articleBody" style="background-color: #c0a154; color: #333333; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 13.524px; line-height: 1.5; position: relative; width: 258px;">
<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span style="font-family: "calibri";">To warm you up on this winter weekend, here's a burst of Spanish sun!</span></span></div>
<div class="post-body entry-content" id="post-body-5181271279213957100" itemprop="description articleBody" style="background-color: #c0a154; color: #333333; font-family: arial, tahoma, helvetica, freesans, sans-serif; font-size: 13.524px; line-height: 1.5; position: relative; width: 258px;">
<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><b style="font-size: 13.524px; line-height: 18.4418px;"><span style="font-family: "calibri";">Classical Break: Andalusia</span></b></span></div>
<div class="post-body entry-content" id="post-body-5181271279213957100" itemprop="description articleBody" style="background-color: #c0a154; color: #333333; font-size: 13.524px; line-height: 1.5; position: relative; width: 258px;">
<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span style="font-family: "calibri";">Photos of Andalusia by Rupert Kirkham</span></span></div>
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<b style="font-size: 13.524px; line-height: 1.5;"><span style="font-family: "calibri";">Track One: <i>Los Pacos Els Pacos</i>, Vincente Perez LLedo</span></b></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">This is Classical Break, on Somer Valley FM, and I’m Rupert Kirkham. Today’s music is from Spanish composers attracted to the theme of Granada and the region of Andalusia. You have just heard<i> Los Pacos Els Pacos</i>, a festive ‘Moorish’ March associated with Christian Spain’s age-old driving out of its borders of the Arabian and Moroccan invader. The composer was Vincente Perez Lledo. The performers are the Sociedad Musica “La Alianza” de Muchamel (a town near Alicante). The timbre of the trumpets possesses the almost explosively effortful vibrato common to much of Spain.</span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">They came to Andalusia, the Southern Kingdom of Spain, in force, in 811AD: the Moors of North Africa. Their influence did not end with the Catholic reconquest of the Kingdom in 1492, when joint rulers of Spain, Ferdinand and Isabella passed laws requiring Muslims to convert to Christianity or leave. Andalusia had been occupied for over 6 centuries, and had been a place of trade with the whole of the Mediterranean for far longer than that. The influence of North Africa and the Middle </span><span style="font-family: "calibri";">East was strong (incidentally, Sephardism was almost as important as Islam, before the Inquisition closed in), and Andalusians have been suspected of divided loyalties as well as a people of great cultural fascination for poets, musicians, artists of all kinds, proud and distinct. </span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg0p8tz8qN5pQt100IVrDuGaEYdH6zX5aW2JQbirs1XEvKYjgGE5_fLxXp40Aeqk-MkJ3rLQ6PxDQRoIdlDmdgC3c7IflUm99bhyaRkvwcvvhy4zavKg0PUatswFugXg7E4eH51g9J21Lo/s1600/f213312832.jpg" imageanchor="1"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg0p8tz8qN5pQt100IVrDuGaEYdH6zX5aW2JQbirs1XEvKYjgGE5_fLxXp40Aeqk-MkJ3rLQ6PxDQRoIdlDmdgC3c7IflUm99bhyaRkvwcvvhy4zavKg0PUatswFugXg7E4eH51g9J21Lo/s200/f213312832.jpg" width="200" /></a></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">Spanish music has often been aped by Germans, Russians, Frenchmen, Englishmen; it was á la mode throughout the 19<sup><span style="font-size: xx-small;">th</span></sup> Century, and - via South America to some extent - added to the melting-pot of popular music in the 20<sup><span style="font-size: xx-small;">th</span></sup>. Frequently, just as Hungarian and zigeuner sounds have been confused, </span><span style="font-family: "calibri";">so Andalusian music has coloured our idea of Spanish music <i>plus</i> <i>non</i> <i>ultra </i>standing for music of the </span><span style="font-family: "calibri";">other just as distinct regions. Many of the catchy rhythmical patterns of what we take to be Spanish </span><span style="font-family: "calibri";">music originated in Moorish and Gypsified Andalusia. <i>Zapateados, Sevillanas, Alegrias, Bulerias, Tarantas, Malaguenas, Polos</i> – many, flamenco steps - belong to the Andalusians, to a limestone-rocky, mountainous country of tropical vegetation that is lush near water, dusty and barren elsewhere, a land of cities such as Granada, Malaga, Alicante, Seville, and of villages perched on vertiginous slopes connected by high bridges or steep, dusty tracks, where water must be carried from a spring-head. A land of religious processions, ferias, corrida, municipal bands, and folk-musicians. </span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">Here is a typical example of ‘Moorish’ Romantic-Nationalist music, a dance written by Enrique Granados (1867-1916), one of his<i>Danzas Espagnolas</i>. It contrasts dusky, almost stealthy measures and a simple lilting and extremely touching song-theme developed from them. The dance was composed for piano-solo. Here, Edouado Fernandez plays his arrangement of it for guitar. </span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><b><span style="font-family: "calibri";">Track Two: <i>Andaluza</i>, No 5, from <i>Danzas Espagnolas</i>, Granados</span></b></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5OT_VDgSXIab0RCgAXK_oFIjspJtCxCA_1iHhTvFoTMZZJRkWYhos0rme4DDeotC-lAPQs-KFV2RLyVFKTPDJP7-N1hw7Lv1soyeg6DJeSo_HNVpZCRB6cJ25E5uO5z3zo9uRdJf8_ISG/s1600/f109175744.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5OT_VDgSXIab0RCgAXK_oFIjspJtCxCA_1iHhTvFoTMZZJRkWYhos0rme4DDeotC-lAPQs-KFV2RLyVFKTPDJP7-N1hw7Lv1soyeg6DJeSo_HNVpZCRB6cJ25E5uO5z3zo9uRdJf8_ISG/s200/f109175744.jpg" width="200" /></a></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><br /></span></span></span></span><span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><br /></span></span></span></span><span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><br /></span></span></span></span><span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><br /></span></span></span></span><span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><br /></span></span></span></span><span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><br /></span></span></span></span><span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><br /></span></span></span></span><span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><br /></span></span></span></span><span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><br /></span></span></span></span><span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"> </span><span style="font-family: "calibri";">Above Granada stands a monastery. By an irony that suits the occasion, the water of the fountains, waterfalls and pools of the celebrated and most lavish Moorish palace in Spain, the Alhambra, is ducted from its spring. Let’s hear some characteristic Gregorian chant from the Mass. <i>Gloria</i>.</span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><b><span style="font-family: "calibri";">Track Three: <i>Gloria</i></span></b></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">The Andalusian School of music of the Moors was just one loss to Spain brought about by the reconquest of Andalusia. Arabian music derives much of its hypnotic quality from short, self-repeating phrases and a firm, regular beat emphasized by percussion. The vocalist or pipe-soloist is encouraged to perform straight or embellish a simple line above a bare instrumental background of sparse harmony. The Sufic style that originally inspired Dervishes to entranced worship remained to colour Christian Andalusian hymns, secular songs and dances, and performance practices. For ourselves, here in the 21<sup><span style="font-size: xx-small;">st</span></sup> Century, we may feel ourselves to be in realms of psychedelia – though not those of the contemporary Costa Del Sol. Here’s the anonymous hymn to Allah,<i>Jalla Man</i>. </span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><b><span style="font-family: "calibri";">Track Four: <i>Jalla Man</i>, the traditional Andalusian School</span></b></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><i>Flamenco</i>-<i>toque</i> is a busy style of guitar-playing associated with Andalusia. Its origins are said to be in Moorish and gipsy wedding-dances. The costumes are bright and fussy, the dance-steps complex, the intensity of displays is known throughout the world, but, even in Andalusia, not always as is claimed to be authentic! Fandango, for instance, a form imposing accelerando and crescendo, may be a South American import. A famous gipsy family perform flamenco at inhabited caves not far from the famous Moorish Alhambra and Generaliffe palaces of Granada. Of the Alhambra, more anon! Flamenco takes many forms, some sung; in the case of the Tangos, which is emphatically not to be associated with the Argentinian dance, it is traditionally built on its own Phrygian modal scale. Here is a Tangos by the great Spanish guitarist, Juan Martin – entitled simply <i>Malaga</i>. </span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIpwanWpOXaJF5XfGDx9HSQ4xlE_8f3Uuo2qBT3dfbdL1x0FZKnAoXuc3Y1myAMDjnlwrSeIFj6gubd2MVu0rKRhN1k0P_1wynwO_cqbW5fbykZOqivXsgDiFuHXZVVOhOuLwYw1aFXuc/s1600/cicada-andalusia-small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIpwanWpOXaJF5XfGDx9HSQ4xlE_8f3Uuo2qBT3dfbdL1x0FZKnAoXuc3Y1myAMDjnlwrSeIFj6gubd2MVu0rKRhN1k0P_1wynwO_cqbW5fbykZOqivXsgDiFuHXZVVOhOuLwYw1aFXuc/s320/cicada-andalusia-small.jpg" width="192" /></a></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><b><span style="font-family: "calibri";">Track Five: <i>Malaga</i> (<i>Tangos</i>), Martin</span></b></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">Tomas Breton was born in the city of Salamanca in the Western region of Spain, Castile y Leon. He wrote fluently in many forms, in particular, in opera, zarzuela – a Spanish folk-form of the genre – and chamber and pictorial orchestral music. His <i>Andalusian Scenes</i> are justly famous, a suite of four numbers, including a Bolero and Zapateado, and Polo. Polo is an accompanied and sung form of flamenco. Here’s Breton’s <i>Polo</i>, a beautiful example of scoring in which the sounds of string-pizzicato (ending on the cellos) seem to resonate as solo or tiered woodwind and even brass. The sinuous phrases found in scalic figures, narrow melodic intervals and arabesques may be heard as Moorish – not far-removed from the Granados <i>Andalucia</i> we heard earlier.</span></span></span></span><br />
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<span style="font-family: "calibri";"><strong>Track Six: Polo, Breton</strong></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUerq_iDNPp7zgKw5q7lcHBSdxs1asz7EBEiqrGbxgMyo8zbdB7V-hzNhfprYEAUMrxcCTro4Z6DVCga5VrfqhiPculWKiX56vfSfYs2MH3KLrETkS0uQDfGQRF6VoaLmQ4UJGDx9nrWAN/s1600/2015-26-06-alhambra-palace.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="121" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUerq_iDNPp7zgKw5q7lcHBSdxs1asz7EBEiqrGbxgMyo8zbdB7V-hzNhfprYEAUMrxcCTro4Z6DVCga5VrfqhiPculWKiX56vfSfYs2MH3KLrETkS0uQDfGQRF6VoaLmQ4UJGDx9nrWAN/s200/2015-26-06-alhambra-palace.jpg" width="200" /></a></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><b><span style="font-family: "calibri";">(FX Collage: Evening frogs, nightingale, Jalla Man – fades out before:)</span></b></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">The Alhambra was first built as a fortress, the Alcazaba, overlooking Granada. Sultan Yusuf 1<sup><span style="font-size: xx-small;">st</span></sup> chose it for his home in 899. Over hundreds of years, additions were made until it became an unrivalled example of the superb palatial residences of Sultans and Governors in Moorish Spain. After the expulsion of the Moors, it was added to largely by Christian royalty in the 16<sup><span style="font-size: xx-small;">th</span></sup> Century – a whole new palace built within the gounds. </span></span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoWwAqcl52vCOLuzGdq2FTZEKFAMZjefKdl7IlNkDJPBm_EDFW7F-P7zqHjw6p-IzA_ii3s1HhjvIZH-LD3xeGw4m0MQ4fPr72luxaDOEcIffju75SdMPKElRRLYmLibgV7sA5nWT-iTuz/s1600/alhambra_02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoWwAqcl52vCOLuzGdq2FTZEKFAMZjefKdl7IlNkDJPBm_EDFW7F-P7zqHjw6p-IzA_ii3s1HhjvIZH-LD3xeGw4m0MQ4fPr72luxaDOEcIffju75SdMPKElRRLYmLibgV7sA5nWT-iTuz/s200/alhambra_02.jpg" width="187" /></a></div>
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In buildings, the dominant colours are red, blue and yellow. Art consists of non-representational geometrical patterns. Filled with plainly adorned rooms and courts, fountains, cascades, its features also include tiled walls, colonnades, myrtle-, orange-trees, vines, roses... In the park, there stands a copse of elms, dating back to 1812, and gifted by the Duke of Wellington after the Peninsular War. It is a place for tourists, dancers and musicians, a place of solemn contemplation of time and the greatness that lives on after its sponsors.</span></span></span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8tjEJ5QwJVUzqlOI_bQNeyWTeadZw56EwKowVzOhB_aql8vFR6V1-QwLynj7hAadFh0ft216QHqOKn99YBtOJtOC21MclOGYmMLr-Ed49GmIyF-f2Heiz4whTMNbXsI6e81zmH2koU67d/s1600/a0215297055_2%5B1%5D.jpg" style="color: #993322; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8tjEJ5QwJVUzqlOI_bQNeyWTeadZw56EwKowVzOhB_aql8vFR6V1-QwLynj7hAadFh0ft216QHqOKn99YBtOJtOC21MclOGYmMLr-Ed49GmIyF-f2Heiz4whTMNbXsI6e81zmH2koU67d/s200/a0215297055_2%5B1%5D.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.0980392) 0px 0px 0px; padding: 0px; position: relative;" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 10.8192px;"><span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">Andres Gaos-Berea</span></span></span></span></td></tr>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">Andres Gaos-Berea, born in A Coruna, Galicia in North-West Spain, was a protégé of Pablo Sarasate, a violinist of high reputation in South America - in especial, Argentina, where he lived for most of his life. Our last work for today is his orchestral tone-poem of 1916,<i>Granada</i> – <i>An Evening In The Alhambra. It is scored</i> for double woodwind, plus cor anglais and piccolo, four horns, three trumpets, three trombones, tuba, full strings, and percussion that includes the dry festivity of castanets and tambourines. The piece attracted accolades in Buenos Aires, A Corunna, Vigo and even Paris – there, in 1937, the famous Lamoureux Orchestra were conducted to great effect by the composer, himself, at the Salle Gaveau, and his masterwork of Alhambrismo was given once more the following year. </span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">Gaos’ piece begins in Debussyan whole-tone harmonics and level woodwind depth of twilight, a viola-shaded arabesque that fixes one’s attention, a tritone hinted-at in the relationship between arabesque and accompaniment; the cor anglais, accompanied by imitational alto and bass strings, sings a highly elegant and yet plangent song – piccolo and lower woodwind suddenly providing brief bird-calls over this appealing sound. The Alhambra is famed for its nightingales as well as walkers in the mild Summer twilight. The tone lightens and builds bewitchingly in bassoon, brass and strings – castanets – and with clever play of rapidity over slowness – a Sibelian or Schubertian trick that precludes the audible ‘gear-change’ that disrupts impressions of expressive unity, we have a beautifully scored flamenco of syncopated beat, with tambourines and much exhilarating high woodwind detail, a variation deservedly repeated! There is something autobiographical in the form of this dance. It begins as <i>Farruca</i>. </span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><i>Farruca</i> is a kind of danced flamenco thought to have come from <i>Galicia</i> – As a rule, it is characterized by minor key tonality rather than by a modal scale; the dancer comes in on a strong first beat, and syncopation - reinforced by clapping -gives rise to quick, unexpected twists and turns amid a complex step-pattern. Significantly, it is associated with Galician travellers who feel far from home.</span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";"><i>Farruca</i> is a ‘male’ dance. The ‘feminine’ reply that ensues is modal, regular, skippingly light in comparison, responsible for much of the exhilarating woodwind detail! The birds comment on this dance almost in parenthesis. A new theme on cellos adds its own commentary, about it, the bird-song plays. It is the big, romantic tune in the piece, developed from the cor anglais tune of the introduction. The lead is turned over to violins for their higher-pitched fervour, and a quiescent, modal chant follows its subsidence, wound about by flute and piccolo. A guitar-like, deep pizzicato </span><span style="font-family: "calibri";">leads to a new, Moorish development on clarinet, the strings providing a bolero-like tread, and viola-shading. It returns, and the modal chant frames this austere, narrowly lyrical episode. Abruptly, the flamenco is on us again, as high-spirited as before. Instead of a two-fold repetition, Gaos plays what is surely his masterstroke in continuity – as the secondary crescendo launches straight into his passionate big tune, full-throated in its fervour. This seems the heart of Spain herself singing. Extended, it is as though lifted higher by its own afflatus, ending in the modal chant. This muses lullingly, with great pathos and brings us back to the music of the rapt introduction, minus the opening tritonal passage – the strings draw out this lovely melody with Griegian harmonies which suggest that Gaos is more than loath to leave his dreamworld. <i>The birdcalls</i> and dusky strings muse on this sublime, humane song of regret until it finds something of its own consolation, after which the birds sing more freely again. The harmonics return, the ghostlier for what we have heard. Flute and muted horn sound stealthily, almost mockingly, before the neither loud nor quiet last, repeated and extended chords of cadence on lower strings.</span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">The success of this piece in Paris came as Spain endured the bloodiest Civil War in European history, the invader from North Africa and Canary Islands, this time, being the Spanish Army under the Fascistic, avowedly Christian General Franco.</span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><span style="font-family: "calibri";">This was Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Today’s programme was researched and written by Mike Burrows. We hope that you enjoyed our musical tour of Southern Spain, and will join us again soon. Adios!</span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><i> </i><span style="font-family: "calibri";"><i>Granada, Un Creposculo En La Alhambra</i>, by Andres Gaos-Berea. </span></span></span></span></div>
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<span data-ft="{"tn":"K"}" data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0]"><span data-reactid=".r[45hka].[1][4][1]{comment100002151936802:483036421778085:63_3122561}.[0].[right].[0].[left].[0].[0].[0][2].[0].[0]"><b><span style="font-family: "calibri";">Track Seven: <i>An Evening In The Alhambra</i>, Gaos-Berea</span></b></span></span></span></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-81594821247959465852016-11-18T10:50:00.001-08:002016-11-18T10:50:21.880-08:00Charles Ives 19 & 20 November 2016<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
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<span class="s2" style="line-height: 21.6px;">CB Ives</span></div>
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<span class="s2" style="line-height: 21.6px;">This is Classical Break on </span><span class="s2" style="line-height: 21.6px;">Somer </span><span class="s2" style="line-height: 21.6px;">Valley F</span><span class="s2" style="line-height: 21.6px;">M. Today’s programme centres </span></div>
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<span class="s2" style="line-height: 21.6px;">on</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">the American composer Charles Ives’ </span>extraordinary First Symphony. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLN6_Ptz-hSVY_KM5w5aJM8R73i6-OsGh9SjLLiMqrW3G9XtWQm6c5bfsB4f5_XSCvfJku-ZcWnDupk-HcCf8R3fDNpsohrP1EXkpCaz-CurCO0mCHhRUln4uAmCKHaxclWs2sFineYtJ4/s1600/Ives+on+stamp.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLN6_Ptz-hSVY_KM5w5aJM8R73i6-OsGh9SjLLiMqrW3G9XtWQm6c5bfsB4f5_XSCvfJku-ZcWnDupk-HcCf8R3fDNpsohrP1EXkpCaz-CurCO0mCHhRUln4uAmCKHaxclWs2sFineYtJ4/s200/Ives+on+stamp.jpg" width="200" /></a></div>
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<span class="s2" style="line-height: 21.6px;">Revised</span><span class="s2" style="line-height: 21.6px;"> twice, in </span><span class="s2" style="line-height: 21.6px;">1900 and </span><span class="s2" style="line-height: 21.6px;">In 1902, t</span><span class="s2" style="line-height: 21.6px;">his </span><span class="s2" style="line-height: 21.6px;">charming </span><span class="s2" style="line-height: 21.6px;">and powerful </span><span class="s2" style="line-height: 21.6px;">piece was </span><span class="s2" style="line-height: 21.6px;">completed</span><span class="s2" style="line-height: 21.6px;"> when </span>Ives was only 24 and <span class="s2" style="line-height: 21.6px;">a </span><span class="s2" style="line-height: 21.6px;">student at Yale University. A </span>tall, athletic young man who took <span class="s2" style="line-height: 21.6px;">a full part in </span><span class="s2" style="line-height: 21.6px;">team-</span><span class="s2" style="line-height: 21.6px;">sports </span><span class="s2" style="line-height: 21.6px;">and Fraternity</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">musical activities, </span><span class="s2" style="line-height: 21.6px;">he </span><span class="s2" style="line-height: 21.6px;">was</span></div>
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<span class="s2" style="line-height: 21.6px;">a great companion, at times ebullient, </span><span class="s2" style="line-height: 21.6px;">most </span><span class="s2" style="line-height: 21.6px;">o</span><span class="s2" style="line-height: 21.6px;">ften thoughtful, humorous rather than </span></div>
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<span class="s2" style="line-height: 21.6px;">witty, and </span><span class="s2" style="line-height: 21.6px;">popular with everyone but </span><span class="s2" style="line-height: 21.6px;">music-tutors. </span><span class="s2" style="line-height: 21.6px;">He was already a </span></div>
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<span class="s2" style="line-height: 21.6px;">noted local musician, an</span><span class="s2" style="line-height: 21.6px;"> excellent</span><span class="s2" style="line-height: 21.6px;"> organist </span><span class="s2" style="line-height: 21.6px;">–</span></div>
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<span class="s4" style="font-style: italic; line-height: 21.6px;">“He was all over the thing!”</span><span class="s4" style="font-style: italic; line-height: 21.6px;"> - </span><span class="s2" style="line-height: 21.6px;">who </span><span class="s2" style="line-height: 21.6px;">wrote for his instrument</span><span class="s2" style="line-height: 21.6px;"> but </span>also for choir or, as was </div>
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<span class="s2" style="line-height: 21.6px;">a popular form of church music </span><span class="s2" style="line-height: 21.6px;">at the time, </span><span class="s2" style="line-height: 21.6px;">a quartet of </span><span class="s2" style="line-height: 21.6px;">soloists</span><span class="s2" style="line-height: 21.6px;">. </span><span class="s2" style="line-height: 21.6px;">He composed parlour-songs, organ- </span>and choral pieces, rag -pieces and <span class="s2" style="line-height: 21.6px;">student-songs. He was </span><span class="s2" style="line-height: 21.6px;">a superb </span></div>
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<span class="s2" style="line-height: 21.6px;">pianist and </span><span class="s2" style="line-height: 21.6px;">capable of hearing </span><span class="s2" style="line-height: 21.6px;">at </span><span class="s2" style="line-height: 21.6px;">least </span><span class="s2" style="line-height: 21.6px;">6 </span><span class="s2" style="line-height: 21.6px;">different rhythms at once </span><span class="s2" style="line-height: 21.6px;">and of playing three</span><span class="s2" style="line-height: 21.6px;">,</span><span class="s2" style="line-height: 21.6px;"> and if </span>he could parody most forms of music off the top of his head, he was unafraid of using harmonies, modulations and tonal procedures that <span class="s2" style="line-height: 21.6px;">were </span><span class="s2" style="line-height: 21.6px;">30</span><span class="s2" style="line-height: 21.6px;"> years ahead of </span><span class="s2" style="line-height: 21.6px;">their</span></div>
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<span class="s2" style="line-height: 21.6px;">time in their daring and </span><span class="s2" style="line-height: 21.6px;">that </span><span class="s2" style="line-height: 21.6px;">may have seemed mad. </span><span class="s2" style="line-height: 21.6px;">He had </span>been taught music by his father, the Danbury town-musician, George Ives, <span class="s2" style="line-height: 21.6px;">a remarkable figure who, during th</span><span class="s2" style="line-height: 21.6px;">e </span></div>
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<span class="s2" style="line-height: 21.6px;">Civil War and at the age </span><span class="s2" style="line-height: 21.6px;">of 17</span><span class="s2" style="line-height: 21.6px;">, had been made the </span>youngest bandmaster in the Union Army. <span class="s2" style="line-height: 21.6px;">The 2</span><span class="s5" style="font-size: 7px; line-height: 8.4px; vertical-align: super;">nd</span><span class="s2" style="line-height: 21.6px;"> Connecticut Heavy Artillery Band</span><span class="s2" style="line-height: 21.6px;">, </span></div>
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<span class="s2" style="line-height: 21.6px;">which he had helped found, had </span>performed for Lincoln in the company <span class="s2" style="line-height: 21.6px;">of General Grant, who </span><span class="s2" style="line-height: 21.6px;">had </span><span class="s2" style="line-height: 21.6px;">remarked </span>there and then that he knew only two tunes; one of them <span class="s2" style="line-height: 21.6px;">was Yankee Doodle</span><span class="s2" style="line-height: 21.6px;">,</span><span class="s2" style="line-height: 21.6px;"> and the other </span><span class="s4" style="font-style: italic; line-height: 21.6px;">wasn’t</span><span class="s2" style="line-height: 21.6px;">. </span><span class="s2" style="line-height: 21.6px;">Stories of George were legion. </span></div>
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<span class="s2" style="line-height: 21.6px;">He led the town band, wrote </span><span class="s2" style="line-height: 21.6px;">arrangements of </span><span class="s2" style="line-height: 21.6px;">and fantasias based on</span>popular tunes, was known to enjoy <span class="s2" style="line-height: 21.6px;">trying to </span><span class="s2" style="line-height: 21.6px;">represent </span><span class="s2" style="line-height: 21.6px;">the resonance of </span>bells or lightning on the piano; </div>
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<span class="s2" style="line-height: 21.6px;">devised a micro</span><span class="s2" style="line-height: 21.6px;">tonal piano and taught </span><span class="s2" style="line-height: 21.6px;">his boys, </span><span class="s2" style="line-height: 21.6px;">Charles and Moss</span><span class="s2" style="line-height: 21.6px;">,</span><span class="s2" style="line-height: 21.6px;"> not </span>only to play and sing at <span class="s2" style="line-height: 21.6px;">the </span><span class="s2" style="line-height: 21.6px;">conventional </span><span class="s2" style="line-height: 21.6px;">instrument</span><span class="s2" style="line-height: 21.6px;">, but also to </span>play and sing in 2 different <span class="s2" style="line-height: 21.6px;">keys</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">simultaneously!</span><span class="s2" style="line-height: 21.6px;"> Charles always held his </span><span class="s2" style="line-height: 21.6px;">father</span><span class="s2" style="line-height: 21.6px;"> up as his m</span><span class="s2" style="line-height: 21.6px;">usical hero, </span></div>
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<span class="s2" style="line-height: 21.6px;">if his musical hero </span><span class="s2" style="line-height: 21.6px;">wasn’t Brahms!</span></div>
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<span class="s2" style="line-height: 21.6px;">For George, there was music in </span><span class="s2" style="line-height: 21.6px;">everything.</span><span class="s2" style="line-height: 21.6px;"> Music was quite literally life, </span>life, music.</div>
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<span class="s2" style="line-height: 21.6px;">Let’s hear Charles’ song from 19</span><span class="s2" style="line-height: 21.6px;">00, setting Shelley, </span><span class="s4" style="font-style: italic; line-height: 21.6px;">Rough Wind</span><span class="s2" style="line-height: 21.6px;">; the </span>first of two songs in which he employed the first subject of <span class="s2" style="line-height: 21.6px;">his 1</span><span class="s5" style="font-size: 7px; line-height: 8.4px; vertical-align: super;">st</span><span class="s2" style="line-height: 21.6px;"> Symphony. Do not adjust </span>your set because it breaks off in a rush; there’s no formal <span class="s2" style="line-height: 21.6px;">coda; we are in </span><span class="s2" style="line-height: 21.6px;">Ivesland</span><span class="s2" style="line-height: 21.6px;">. </span></div>
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<span class="s2" style="line-height: 21.6px;">How effective this tiny song should </span>have been if one in a sequence or cycle of songs, throwing emphasis on what came next. He himself applauded it for ending in <span class="s2" style="line-height: 21.6px;">two different keys. </span><span class="s4" style="font-style: italic; line-height: 21.6px;">Rough Wind</span><span class="s2" style="line-height: 21.6px;">, by </span>Charles Ives.</div>
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<span class="s7" style="font-weight: bold; line-height: 21.6px;">Track 1 Rough Wind, Charles Ives</span><span class="s2" style="line-height: 21.6px;"> (1.00min)</span></div>
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<span class="s2" style="font-size: 18px; line-height: 21.6px;"><span class="s2" style="line-height: 21.6px;">George Ives </span><span class="s2" style="line-height: 21.6px;">also taught his son </span></span><span class="s2" style="font-size: 18px; line-height: 21.6px;">the </span><span class="s2" style="font-size: 18px; line-height: 21.6px;">theory</span><span class="s2" style="font-size: 18px; line-height: 21.6px;"> of composition as represented </span></div>
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<span class="s2" style="line-height: 21.6px;">in</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">a </span><span class="s2" style="line-height: 21.6px;">manual </span><span class="s2" style="line-height: 21.6px;">by</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">a noted </span><span class="s2" style="line-height: 21.6px;">scholar, </span><span class="s2" style="line-height: 21.6px;">Jadasohn</span><span class="s2" style="line-height: 21.6px;">. This was to be </span><span class="s2" style="line-height: 21.6px;">unfortunate, as when </span><span class="s2" style="line-height: 21.6px;">Charlie</span><span class="s2" style="line-height: 21.6px;"> arrived at </span><span class="s2" style="line-height: 21.6px;">Yale, </span><span class="s2" style="line-height: 21.6px;">he </span><span class="s2" style="line-height: 21.6px;">found that the textbook </span><span class="s2" style="line-height: 21.6px;">that </span><span class="s2" style="line-height: 21.6px;">underpinned</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">the course</span><span class="s2" style="line-height: 21.6px;"> was…</span><span class="s2" style="line-height: 21.6px;">yes…</span></div>
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<span class="s2" style="line-height: 21.6px;">Jadasohn</span><span class="s2" style="line-height: 21.6px;">… Teach his grandmother to suck </span>eggs, he must have thought. There <span class="s2" style="line-height: 21.6px;">was a great difference to </span><span class="s2" style="line-height: 21.6px;">being </span>taught from a dull textbook by his respected and brilliantly eccentric father and sitting in tutorials with a nationally-established composer to whom that dull </div>
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<span class="s2" style="line-height: 21.6px;">textbook appeared holy writ. Horatio</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">William </span></div>
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<span class="s2" style="line-height: 21.6px;">Parker, the thirty-something professor of </span></div>
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<span class="s2" style="line-height: 21.6px;">music theory, </span><span class="s2" style="line-height: 21.6px;">soon inured him to</span></div>
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<span class="s2" style="line-height: 21.6px;">captious reactions to his exercises and </span></div>
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<span class="s2" style="line-height: 21.6px;">a University career of average marks.</span><span class="s2" style="line-height: 21.6px;"> </span></div>
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<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">In fact, in his musical studies </span><span class="s2" style="line-height: 21.6px;">-</span></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">as part of a degree in </span></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">General Arts - </span><span class="s2" style="line-height: 21.6px;">Ives never gained a </span></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">mark higher than B-minus.</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s4" style="font-style: italic; line-height: 21.6px;">“</span><span class="s4" style="font-style: italic; line-height: 21.6px;">In</span></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
<div style="text-align: left;">
<span class="s4" style="font-style: italic; line-height: 21.6px;">future, d</span><span class="s4" style="font-style: italic; line-height: 21.6px;">on’</span><span class="s4" style="font-style: italic; line-height: 21.6px;">t </span><span class="s4" style="font-style: italic; line-height: 21.6px;">bring anything </span><span class="s4" style="font-style: italic; line-height: 21.6px;">else like </span></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
<div style="text-align: left;">
<span class="s4" style="font-style: italic; line-height: 21.6px;">this to </span><span class="s4" style="font-style: italic; line-height: 21.6px;">a tutorial.”</span><span class="s4" style="font-style: italic; line-height: 21.6px;"> </span></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Sadly, Ives’ father died suddenly from </span></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">a stroke within weeks of the </span></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">commencement of those studies.</span></div>
</div>
<div class="s3" style="font-size: 18px; line-height: 21.6px; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Charles, aged 20, felt marooned, alone.</span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Here is the second song based</span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">on the First Symphony first subject</span><span class="s2" style="line-height: 21.6px;">.</span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Written in 1901, t</span><span class="s2" style="line-height: 21.6px;">he </span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">longer, through-composed </span><span class="s2" style="line-height: 21.6px;">setting is of </span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">a </span><span class="s2" style="line-height: 21.6px;">dark and terse </span><span class="s2" style="line-height: 21.6px;">poem by </span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Arthur </span><span class="s2" style="line-height: 21.6px;">Symons</span><span class="s2" style="line-height: 21.6px;">, </span><span class="s4" style="font-style: italic; line-height: 21.6px;">On Judge’s Walk</span><span class="s2" style="line-height: 21.6px;">, which </span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">concludes,</span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="s9" style="font-size: 18px; line-height: 1.42; margin-bottom: 5px; margin-top: 5px;">
<span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;">“That night we walked beneath the trees,</span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;"><br /></span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;">Alone, beneath the trees;</span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;"><br /></span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;">There was some word we could not say</span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;"><br /></span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;">Half uttered in the breeze.</span></div>
<div class="s9" style="font-size: 18px; line-height: 1.42; margin-bottom: 5px; margin-top: 5px;">
<span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;">That night on Judges' Walk we said</span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;"><br /></span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;">No word of all we had to say;</span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;"><br /></span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;">But now there shall be no word said</span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;"><br /></span><span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;">Before the Judge's Day.”</span><br />
<span class="s8" style="color: #222222; font-family: "calibri"; font-size: 11px; font-style: italic; line-height: 13.2px;"><br /></span></div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">The end of the song is</span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">as in </span><span class="s4" style="font-style: italic; line-height: 21.6px;">Rough Wind</span><span class="s4" style="font-style: italic; line-height: 21.6px;">.</span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s7" style="font-weight: bold; line-height: 21.6px;">Track 2 </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">On </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">Judge’s Walk, </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">Ives</span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Judge’s Day! </span><span class="s2" style="line-height: 21.6px;">The Symphony formed</span><span class="s2" style="line-height: 21.6px;"> Ives’ </span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">graduating submission, </span><span class="s2" style="line-height: 21.6px;">minus its first movement. </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Why was the first movement not </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">submitted? - Because</span><span class="s2" style="line-height: 21.6px;">, as it happened, Professor</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Parker regarded it as heterodox. First,</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">he insisted that Ives go away </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">and write a new opening movement. </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Anyone who knows artistic instinct and </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the grip that materia</span><span class="s2" style="line-height: 21.6px;">l and its </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">working out have on a</span><span class="s2" style="line-height: 21.6px;"> composer, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">writer or poet should have known </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">that this would be tantamount to </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">giving someone a bucket without a </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">bottom and tellin</span><span class="s2" style="line-height: 21.6px;">g him to draw </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">20 gallons from the </span><span class="s2" style="line-height: 21.6px;">well. Parker </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">didn’t regard Ives as a creative </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">artist as Ives was his student. </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Ives reported that he couldn’t </span><span class="s2" style="line-height: 21.6px;">do</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">as he had been asked. Parker </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">smiled and requested </span><span class="s2" style="line-height: 21.6px;">he</span><span class="s2" style="line-height: 21.6px;"> at least </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">end the thing in D Minor, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the tonic; at the time, it </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">didn’t!</span></div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">The open</span><span class="s2" style="line-height: 21.6px;">-</span><span class="s2" style="line-height: 21.6px;">ended construction of the </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">first subject was </span><span class="s2" style="line-height: 21.6px;">one </span><span class="s2" style="line-height: 21.6px;">commanding fault. </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">It was </span><span class="s2" style="line-height: 21.6px;">so tonally vagrant, running </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">with swift smoothness through a shocking </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">8 keys, that Professor Parker </span><span class="s2" style="line-height: 21.6px;">had </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">dismissed the </span><span class="s2" style="line-height: 21.6px;">remainder</span><span class="s2" style="line-height: 21.6px;"> on sight. To </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the modern ear, however, the almost </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">experimental persistence and actual formal control </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">that lie behind its waywardness are </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">magnificent – what a paragraph! </span><span class="s2" style="line-height: 21.6px;">Also, similar</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">interesting means of swift modulation into </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the unexpected</span><span class="s2" style="line-height: 21.6px;"> are</span><span class="s2" style="line-height: 21.6px;"> used time and </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">again in the symphony as a </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">whole. </span><span class="s2" style="line-height: 21.6px;">The first subject seems almost</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">to dissolve into a second group, several</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">fragments of theme grown from elements</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">of</span><span class="s2" style="line-height: 21.6px;"> its neat accompaniment, perhaps</span><span class="s2" style="line-height: 21.6px;">. All</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">these fragments have some future significance.</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">A fragrant, faintly nervous fragment becomes</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Akin to a </span><span class="s2" style="line-height: 21.6px;">Mahlerian</span><span class="s2" style="line-height: 21.6px;"> tune of </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">childhood, filled with something like </span><span class="s2" style="line-height: 21.6px;">childlike </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">hope or wonder</span><span class="s2" style="line-height: 21.6px;">, characterized by high</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">woodwind</span><span class="s2" style="line-height: 21.6px;">; usually, it comes tailed by </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">soft, remote string chords… </span><span class="s2" style="line-height: 21.6px;">Another steps </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">out, nifty in turns</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">that end </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">on unexpected notes</span><span class="s2" style="line-height: 21.6px;"> as if drawn in</span><span class="s2" style="line-height: 21.6px;">.</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">The exposition ends with a fugato </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">that is not the beginning of </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the development! There is a repeat!</span></div>
<div class="s10" style="font-size: 18px; line-height: 1.2;">
<span class="s2" style="line-height: 21.6px;">The piece is marked simply “Allegro”,</span></div>
<div class="s10" style="font-size: 18px; line-height: 1.2;">
<br /></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">But its slow</span><span class="s2" style="line-height: 21.6px;">,</span><span class="s2" style="line-height: 21.6px;"> quiet moments are as</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">striking for their hypnotic fascination, </span><span class="s2" style="line-height: 21.6px;">their</span></div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">fantasy. The development is dominated by</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">extraordinary</span><span class="s2" style="line-height: 21.6px;">,</span><span class="s2" style="line-height: 21.6px;"> remote quiet</span><span class="s2" style="line-height: 21.6px;"> and slowness, anticipating</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">a similar process in the first</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">movement of Vaughan Williams’ London Symphony by</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">well over a decade. There is</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">a particularly beautiful treatment of the</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Mahlerian</span><span class="s2" style="line-height: 21.6px;"> fragment for flute, but the </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Matter of the rest might be </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">harmonized bass-lines or </span><span class="s2" style="line-height: 21.6px;">tiny fragments</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">of fragments of accompaniment</span><span class="s2" style="line-height: 21.6px;">! One doesn’t </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">care; the</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">passage </span><span class="s2" style="line-height: 21.6px;">is of an </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">order of </span><span class="s2" style="line-height: 21.6px;">transcendency</span><span class="s2" style="line-height: 21.6px;"> that feels as </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">an out</span><span class="s2" style="line-height: 21.6px;">-of-</span><span class="s2" style="line-height: 21.6px;">the body experience may.</span><span class="s2" style="line-height: 21.6px;"></span><span class="s2" style="line-height: 21.6px;"></span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Argument continues with sudden zeal by</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Setting up the recapitulation</span><span class="s2" style="line-height: 21.6px;"> with swirls</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Of some power</span><span class="s2" style="line-height: 21.6px;">. Back comes</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">The first subject, this time with urgent,</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;"></span><span class="s2" style="line-height: 21.6px;">Pizzicato accompaniment. There is little that</span><span style="line-height: 21.6px;"> </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Seems literal restatement, and still some </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">working</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">out</span><span class="s2" style="line-height: 21.6px;">, particularly of the first </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">subject</span><span class="s2" style="line-height: 21.6px;">. </span><span class="s2" style="line-height: 21.6px;">When hard-toned trombones </span><span class="s2" style="line-height: 21.6px;">e</span><span class="s2" style="line-height: 21.6px;">nter </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">Schubertianly</span><span class="s2" style="line-height: 21.6px;"> with </span><span class="s2" style="line-height: 21.6px;">another </span><span class="s2" style="line-height: 21.6px;">part of </span><span class="s2" style="line-height: 21.6px;">it</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">One feels</span><span class="s2" style="line-height: 21.6px;"> the close is on </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">the way; it is such a </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">good effect that it is repeated; moreover,</span></div>
</div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">who would foretell the </span><span class="s2" style="line-height: 21.6px;">just</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">conclusion</span><span class="s2" style="line-height: 21.6px;"> of the movement as a</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">whole</span><span class="s2" style="line-height: 21.6px;">? It is like the </span><span class="s2" style="line-height: 21.6px;">sudden, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">flaming</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">outrightness</span><span class="s2" style="line-height: 21.6px;"> of the Dvorak of </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the Seventh Symphony – and worthy of</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Dvorak, or of </span><span class="s2" style="line-height: 21.6px;">his and Ives’ </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">possible </span><span class="s2" style="line-height: 21.6px;">mutual </span><span class="s2" style="line-height: 21.6px;">influence, Schubert</span><span class="s4" style="font-style: italic; line-height: 21.6px;">. Rough W</span><span class="s4" style="font-style: italic; line-height: 21.6px;">ind</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">or </span><span class="s4" style="font-style: italic; line-height: 21.6px;">Judge’s W</span><span class="s4" style="font-style: italic; line-height: 21.6px;">alk</span><span class="s2" style="line-height: 21.6px;">, indeed.</span><span class="s2" style="line-height: 21.6px;"> Like the</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Schubertian</span><span class="s2" style="line-height: 21.6px;"> trombones, it is built on</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">subsidiary material, one of those fragments </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">in profusion that proves how good</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">an idea it is in transformation.</span></div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">In another form of slowness, hear</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">t</span><span class="s2" style="line-height: 21.6px;">he baleful woodwind, strings and </span><span class="s2" style="line-height: 21.6px;">brass </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">antiphons at the close</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">– how bold </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">and dramatically effective they are, the </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">woodwind and </span><span class="s2" style="line-height: 21.6px;">strings in weak registers</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">and discord</span><span class="s2" style="line-height: 21.6px;"> seem </span><span class="s2" style="line-height: 21.6px;">voices of </span><span class="s2" style="line-height: 21.6px;">imploring </span></div>
</div>
<div class="s12" style="font-size: 18px; line-height: 2.4;">
<span class="s2" style="line-height: 21.6px;">humanity, the </span><span class="s2" style="line-height: 21.6px;">brass </span><span class="s2" style="line-height: 21.6px;">call</span><span class="s2" style="line-height: 21.6px;">ously</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">or</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">maliciously</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">crushing</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s12" style="font-size: 18px; line-height: 2.4;">
<span class="s2" style="line-height: 21.6px;">them</span><span class="s2" style="line-height: 21.6px;">. </span><span class="s2" style="line-height: 21.6px;">In D Minor…</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">The thematic </span></div>
<div class="s12" style="font-size: 18px; line-height: 2.4;">
<span class="s2" style="line-height: 21.6px;">material has occurred before, in quite</span></div>
<div class="s12" style="font-size: 18px; line-height: 2.4;">
<span class="s2" style="line-height: 21.6px;">another spirit.</span><br />
<span class="s2" style="line-height: 21.6px;"><br /></span></div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0tOl0E7iMi67z-Hees1hBz7WEj5F3l_AmP358xXfdredLh3NHzfTZwXY7if1JdWU4eZfXCki0o2s-nUqwRWWbZP8eAuaWRfHgyhbxSlyl72alX2p44tpNJeqSG9dTGESzUbts9mk-M4v/s1600/ives+quote.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0tOl0E7iMi67z-Hees1hBz7WEj5F3l_AmP358xXfdredLh3NHzfTZwXY7if1JdWU4eZfXCki0o2s-nUqwRWWbZP8eAuaWRfHgyhbxSlyl72alX2p44tpNJeqSG9dTGESzUbts9mk-M4v/s200/ives+quote.jpg" width="200" /></a></div>
<br /></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;">Track 3</span><span class="s7" style="font-weight: bold; line-height: 21.6px;">: 1</span><span class="s13" style="font-size: 7px; font-weight: bold; line-height: 8.4px; vertical-align: super;">st</span><span class="s7" style="font-weight: bold; line-height: 21.6px;"> Symphony,</span><span class="s7" style="font-weight: bold; line-height: 21.6px;"> l </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">Allegro</span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="s12" style="font-size: 18px; line-height: 2.4;">
<span class="s2" style="line-height: 21.6px;">Ives had mastered not only symphonic </span></div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">construction but also orchestration. He might </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">be expected to know town-band</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">instruments, brass and woodwind, but his</span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">scoring for strings is equally assured, </span></div>
</div>
<div class="s11" style="font-size: 18px; line-height: 2.4; text-align: justify;">
<div style="text-align: left;">
<span class="s2" style="line-height: 21.6px;">well-balanced and sensitive to detail.</span></div>
</div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<br /></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">This</span><span class="s2" style="line-height: 21.6px;"> symphony is staggering for its </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">harmonic and tonal subtlety, its counterpoint </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">and melodic resource. It is comparable </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">with any great composer’s First Symphony. </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">The daring of its qualities is </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">also extraordinary – at times, the proliferation </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">of detail is such that academicism </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">is really no more than</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">an</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">expedient veneer – life teems underneath it </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">as individual instruments move as individuals. </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">At other times, the heart of </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">a quite beautifully ardent young man </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">burns – how else could the very </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">modern lyricism of the slow movement </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">be as it is, other than </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">that Ives felt as his fellow-</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">man feels if honest and unafraid </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">of having his loving confidence flung </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">back in his face</span><span class="s2" style="line-height: 21.6px;">?</span><span class="s2" style="line-height: 21.6px;"> In this </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">connection, it</span><span class="s2" style="line-height: 21.6px;">’s</span><span class="s2" style="line-height: 21.6px;"> hard not to weep </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">for the young Charles, who possibly </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">believed that people could but reward </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">him for his achievement of such </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">sounds within a cogent design. </span><span class="s2" style="line-height: 21.6px;">Yes, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the </span><span class="s4" style="font-style: italic; line-height: 21.6px;">Adagio </span><span class="s4" style="font-style: italic; line-height: 21.6px;">molto</span><span class="s4" style="font-style: italic; line-height: 21.6px;"> </span><span class="s4" style="font-style: italic; line-height: 21.6px;">sostenuto</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">begins with </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">a nod to Dvorak, a lyrical </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">theme given to the </span><span class="s2" style="line-height: 21.6px;">cor-anglais</span><span class="s2" style="line-height: 21.6px;">, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">but this is the first true </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">New World Symphony to be written </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">by an American. In any case, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the thematic material and its </span><span class="s2" style="line-height: 21.6px;">reserveless</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">full </span><span class="s2" style="line-height: 21.6px;">up-surge</span><span class="s2" style="line-height: 21.6px;"> are Ives’ own.</span><span class="s2" style="line-height: 21.6px;"> </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">His use of the sections of </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the orchestra is that of an </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">old hand who knows unerringly the </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">potentialities of his instruments and how </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">their sounds can be blended or </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">contrasted. In 1910, Ives was </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">given the opportunity to hear three</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">of the four movements of the </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">symphony </span><span class="s2" style="line-height: 21.6px;">played-through </span><span class="s2" style="line-height: 21.6px;">under the conductor </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Walter D</span><span class="s2" style="line-height: 21.6px;">amro</span><span class="s2" style="line-height: 21.6px;">s</span><span class="s2" style="line-height: 21.6px;">ch; still later on, he </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">remembered </span><span class="s2" style="line-height: 21.6px;">with disgust that D</span><span class="s2" style="line-height: 21.6px;">amrosch</span><span class="s2" style="line-height: 21.6px;"> remarked </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">as he conducted </span><span class="s2" style="line-height: 21.6px;">that the slow </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">movement’s material</span><span class="s2" style="line-height: 21.6px;">, with its “nice” chords,</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">was charming! Not surprizing, really; charming </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">isn’t the word.</span><span class="s2" style="line-height: 21.6px;"> If Ives </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">intended to express his grief and</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">loneliness after his father’s death, the </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">vacuum inside him, as he himself</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">described it, he went further: this </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">is music of universal meaning, a </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">love-song to life itself, and </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">courage. Overwhelmingly powerful in its occasionally </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">vibrato </span><span class="s2" style="line-height: 21.6px;">songfulness</span><span class="s2" style="line-height: 21.6px;">, its </span><span class="s2" style="line-height: 21.6px;">lovely solos, </span><span class="s2" style="line-height: 21.6px;">mounting </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">climaxes and moments of quiet pathos, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">it is a slow movement such </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">as Mahler – or Dvorak – should have </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">been proud to compose.</span><span class="s2" style="line-height: 21.6px;"> Also, doesn’t </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">it </span><span class="s2" style="line-height: 21.6px;">suggest</span><span class="s2" style="line-height: 21.6px;"> that Ives might have </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">named his fee as a film-</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">-</span><span class="s2" style="line-height: 21.6px;">composer in the middle of the</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">20</span><span class="s5" style="font-size: 7px; line-height: 8.4px; vertical-align: super;">th</span><span class="s2" style="line-height: 21.6px;"> Century, the mid-1970s </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">and even nowadays? The shape of </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the piece is perfectly-judged.</span><br />
<span class="s2" style="line-height: 21.6px;"><br /></span></div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZDiUyd69YhMPpBA6rRzsSXh2CDLU4mXQpxKq3Git4hnuRvZR7vYdS2dhmpeLZwvZq0bvQMdtgDqu2k7CvZOFbEwv0bRwHH6Iok-BxTjMSWyW8Uu5EKEHanrArGne2t0jjpifZIK2nCpKj/s1600/ives+earlylife.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZDiUyd69YhMPpBA6rRzsSXh2CDLU4mXQpxKq3Git4hnuRvZR7vYdS2dhmpeLZwvZq0bvQMdtgDqu2k7CvZOFbEwv0bRwHH6Iok-BxTjMSWyW8Uu5EKEHanrArGne2t0jjpifZIK2nCpKj/s200/ives+earlylife.jpg" width="200" /></a></div>
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<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;">Track 4</span><span class="s7" style="font-weight: bold; line-height: 21.6px;">:</span><span class="s7" style="font-weight: bold; line-height: 21.6px;"> </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">ll</span><span class="s7" style="font-weight: bold; line-height: 21.6px;"> </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">Adagio </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">Molto</span><span class="s7" style="font-weight: bold; line-height: 21.6px;"> </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">Sostenuto</span></div>
</div>
<div class="s6" style="font-size: 18px; line-height: 1.2; text-align: justify;">
<div style="text-align: left;">
<br /></div>
</div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<br /></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">One of the anti-modernists’ gibes </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">used to be, </span><span class="s4" style="font-style: italic; line-height: 21.6px;">“Can Picasso draw? </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s4" style="font-style: italic; line-height: 21.6px;">Well, can he?”</span><span class="s2" style="line-height: 21.6px;"> implying that modern </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">art proceeds from a self-perceived </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">incapacity</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">in meeting the challenge of </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">traditional </span><span class="s2" style="line-height: 21.6px;">techniques and </span><span class="s2" style="line-height: 21.6px;">disciplines. </span><span class="s2" style="line-height: 21.6px;">If as </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">an example of Picasso’s conventional studies </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">was to hand, they might </span><span class="s2" style="line-height: 21.6px;">reply,</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s4" style="font-style: italic; line-height: 21.6px;">“</span><span class="s4" style="font-style: italic; line-height: 21.6px;">Y</span><span class="s4" style="font-style: italic; line-height: 21.6px;">es, well, why does</span><span class="s4" style="font-style: italic; line-height: 21.6px;">n’t he do things like that</span><span class="s4" style="font-style: italic; line-height: 21.6px;">,</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s4" style="font-style: italic; line-height: 21.6px;">instead of the rubbish </span><span class="s4" style="font-style: italic; line-height: 21.6px;">I’ve </span><span class="s4" style="font-style: italic; line-height: 21.6px;">seen? </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<br /></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Ives, like Picasso could indeed draw – </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">that is, in his case, write </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">conventional music</span><span class="s2" style="line-height: 21.6px;">; </span><span class="s2" style="line-height: 21.6px;">achieve the </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">expected thing, yet, like Picasso, do </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">so while stamping his hallmark on </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">what he composed in an</span><span class="s2" style="line-height: 21.6px;">y pre-</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">-</span><span class="s2" style="line-height: 21.6px;">existing style. His send-</span><span class="s2" style="line-height: 21.6px;">ups, or </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">as he called them, “take-offs” prove </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">this amply, but to hear his </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">early works is perhaps to hear </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">an Ives as true and wonderful. </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">His early songs and First Symphony </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">were pure genius; original, vibrant, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">moving – filled with the life and </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">soul of a sensitive, compassionate and </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">giving person who happened to possess </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">t</span><span class="s2" style="line-height: 21.6px;">he one ear in New England </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">made for where he lived and </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">when, and a spirit big enough </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">to encompass both hard study and </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">a composition-technique most musicians can </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">only dream of possessing</span><span class="s2" style="line-height: 21.6px;">. </span><span class="s2" style="line-height: 21.6px;">The aesthetic, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the idiom, of the times was </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">always made his own. Ives seems </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">to have loved music and amateur </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">music-making of most kinds – that </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">is, music and music-making that </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">proceeded from love of music as </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">an entity and as an activity.</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<br /></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">If the scherzo</span><span class="s2" style="line-height: 21.6px;"> with trio</span><span class="s2" style="line-height: 21.6px;"> is </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the most conventional of the movements, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">it is also unique – Dvorak meets </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Bruckner, whose music Ives could not </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">hav</span><span class="s2" style="line-height: 21.6px;">e k</span><span class="s2" style="line-height: 21.6px;">nown</span><span class="s2" style="line-height: 21.6px;">: and Dvorak would not </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">have written a fugato for a </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">scherzo-theme</span><span class="s2" style="line-height: 21.6px;"> – canons were the closest </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">that he came to that</span><span class="s2" style="line-height: 21.6px;">. The </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">fugato</span><span class="s2" style="line-height: 21.6px;">-theme</span><span class="s2" style="line-height: 21.6px;"> should have convinced his </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">teachers that Ives could write a </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">fugato while standing on his head. </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">His counterpoint, thanks to his father’s </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">method of tuition rather than the </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">manual, was as easy as tapping </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">out only four different beats at </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">once. Ives’ counterpoint throughout the </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Symphony is as it is because </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">of his incredible sense of rhythm; </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">many of </span><span class="s2" style="line-height: 21.6px;">the faster parts of </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the music </span><span class="s2" style="line-height: 21.6px;">prove</span><span class="s2" style="line-height: 21.6px;"> this</span><span class="s2" style="line-height: 21.6px;">. </span><span class="s2" style="line-height: 21.6px;">Strict but </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">also anodyne counterpoint was taught at </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Yale under Parker. Continuation that is </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">consistent where strict counterpoint ceases to </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">be the music’s texture is equally </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">as important as being able to </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">construct strict counterpoint in the first </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">place. Ives</span><span class="s2" style="line-height: 21.6px;">’ Scherzo with T</span><span class="s2" style="line-height: 21.6px;">rio</span><span class="s2" style="line-height: 21.6px;">, marked </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s4" style="font-style: italic; line-height: 21.6px;">Scherzo: </span><span class="s4" style="font-style: italic; line-height: 21.6px;">Vivace</span><span class="s2" style="line-height: 21.6px;">, </span><span class="s2" style="line-height: 21.6px;">should</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">have been recognized </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">for the achievement </span><span class="s2" style="line-height: 21.6px;">of quick-witted,</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">well-co-ordinated tactics that </span><span class="s2" style="line-height: 21.6px;">it was.</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">How different Ives’ career might have</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">been if he had attended not </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Yale, but the New York Conservatory, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">and if Dvorak had been his </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">professor!</span><span class="s2" style="line-height: 21.6px;"> Like the slow movement, the </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">scherzo with trio ends quietly and </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">abruptly: </span><span class="s2" style="line-height: 21.6px;">ho</span><span class="s2" style="line-height: 21.6px;">, for the finale!</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWkL1XrBrxRsFVAD5eU48H5zNw1l_-Ltznt8n7QNgEopSWgrFTVy6NsHgEpdGxUtiSP8kUTq23bgbHT3rzIHugLSWNsrGFROdTuNLRWTJpV2OxMAZmPjCclvaXiWr8p0B2S2OWtIMHAl2U/s1600/ives-house1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWkL1XrBrxRsFVAD5eU48H5zNw1l_-Ltznt8n7QNgEopSWgrFTVy6NsHgEpdGxUtiSP8kUTq23bgbHT3rzIHugLSWNsrGFROdTuNLRWTJpV2OxMAZmPjCclvaXiWr8p0B2S2OWtIMHAl2U/s200/ives-house1.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ives' home in CT</td></tr>
</tbody></table>
<br /></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;"><br /></span>
<span class="s7" style="font-weight: bold; line-height: 21.6px;">Track</span><span class="s7" style="font-weight: bold; line-height: 21.6px;"> 5</span><span class="s7" style="font-weight: bold; line-height: 21.6px;">: </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">lll</span><span class="s7" style="font-weight: bold; line-height: 21.6px;"> </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">Scherzo: </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">Vivace</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<br /></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">The finale’s reprising of the opening </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">theme and theme of the slow </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">movement </span><span class="s2" style="line-height: 21.6px;">in its latter stages </span><span class="s2" style="line-height: 21.6px;">reflects</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">the influence of Dvorak, </span><span class="s2" style="line-height: 21.6px;">and other</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Romantics, </span><span class="s2" style="line-height: 21.6px;">but is done as well </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">as anyone could do it, without </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">longeurs</span><span class="s2" style="line-height: 21.6px;"> or excessive contrivance. </span><span class="s2" style="line-height: 21.6px;">The build-</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">-</span><span class="s2" style="line-height: 21.6px;">up </span><span class="s2" style="line-height: 21.6px;">to these passages and the </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Close </span><span class="s2" style="line-height: 21.6px;">is </span><span class="s2" style="line-height: 21.6px;">both patient and exhaustive</span><span class="s2" style="line-height: 21.6px;">,</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">With several looks and hints backward</span><span class="s2" style="line-height: 21.6px;">. </span><span class="s2" style="line-height: 21.6px;"><br /></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">The motifs and basic themes are </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">vivid and their working-out skilful. </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Perhaps the most memorable is</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">the</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">one that </span><span class="s2" style="line-height: 21.6px;">begins with a Wagnerian </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">upward flourish</span><span class="s2" style="line-height: 21.6px;"> of the most blaring –</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">but is</span><span class="s2" style="line-height: 21.6px;"> tailed </span><span class="s2" style="line-height: 21.6px;">swiftly </span><span class="s2" style="line-height: 21.6px;">by a </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">thoroughly </span><span class="s2" style="line-height: 21.6px;">Yankee</span><span class="s2" style="line-height: 21.6px;"> resolution: it is impossible</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">To </span><span class="s2" style="line-height: 21.6px;">believe that there is no </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">dry humour in this, but</span><span class="s2" style="line-height: 21.6px;"> it</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">is </span><span class="s2" style="line-height: 21.6px;">a cogent feature relatable</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">to</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">other themes</span><span class="s2" style="line-height: 21.6px;">, the </span><span class="s2" style="line-height: 21.6px;">sockdologer</span><span class="s2" style="line-height: 21.6px;">, as Twain </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">might have called it</span><span class="s2" style="line-height: 21.6px;">: the American</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">inflection occurs near the movement’s outset</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">against the background of the main </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">theme.</span><span class="s2" style="line-height: 21.6px;"> The </span><span class="s2" style="line-height: 21.6px;">harum</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">scarumness</span><span class="s2" style="line-height: 21.6px;"> of the </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">finale as a whole and in </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">conclusion might be </span><span class="s2" style="line-height: 21.6px;">seen as portraying</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">happy memories </span><span class="s2" style="line-height: 21.6px;">of some red</span><span class="s2" style="line-height: 21.6px;">-</span><span class="s2" style="line-height: 21.6px;"> letter </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">day in Danby, Ives’ home</span><span class="s2" style="line-height: 21.6px;">-</span><span class="s2" style="line-height: 21.6px;">town, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">or at Yale. </span><span class="s2" style="line-height: 21.6px;">Nearly a quarter </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">of an hour long, it gives</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">an impression of scurrying by. </span><span class="s2" style="line-height: 21.6px;">Later, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">or in </span><span class="s2" style="line-height: 21.6px;">secret, </span><span class="s2" style="line-height: 21.6px;">unfettered by University, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">such musical characterization surfaced without pretence </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">of academic veneer or </span><span class="s2" style="line-height: 21.6px;">‘</span><span class="s2" style="line-height: 21.6px;">correctness</span><span class="s2" style="line-height: 21.6px;">’</span><span class="s2" style="line-height: 21.6px;">.</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">All in all, this effort has </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">to be worth at least a </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">B. Or possibly an A surrounded </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">by stars, an A such as </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Tchaikovsky </span><span class="s2" style="line-height: 21.6px;">awarded the student Rachmaninov!</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">The</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">March-Scherzo of </span><span class="s2" style="line-height: 21.6px;">Tchaikovsky’s </span><span class="s2" style="line-height: 21.6px;">Pathetique</span><span class="s2" style="line-height: 21.6px;"> Symphony </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Of 1893 </span><span class="s2" style="line-height: 21.6px;">boasts string </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">rushes such </span><span class="s2" style="line-height: 21.6px;">as appear before </span><span class="s2" style="line-height: 21.6px;">young </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Ives’ </span><span class="s2" style="line-height: 21.6px;">lengthy</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">but fizzing </span><span class="s2" style="line-height: 21.6px;">coda. There </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">is something o</span><span class="s2" style="line-height: 21.6px;">f</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">the exhilaration</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">– and </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">tonal </span><span class="s2" style="line-height: 21.6px;">caprice</span><span class="s2" style="line-height: 21.6px;"> - of </span><span class="s2" style="line-height: 21.6px;">Tchaikovsky’s </span><span class="s4" style="font-style: italic; line-height: 21.6px;">Ukrainian</span><span class="s2" style="line-height: 21.6px;"> or </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s4" style="font-style: italic; line-height: 21.6px;">Little Russian</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">Symphony </span><span class="s2" style="line-height: 21.6px;">about it all, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">too.</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<br /></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s7" style="font-weight: bold; line-height: 21.6px;">Track</span><span class="s7" style="font-weight: bold; line-height: 21.6px;"> </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">6 </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">:</span><span class="s7" style="font-weight: bold; line-height: 21.6px;"> Allegro </span><span class="s7" style="font-weight: bold; line-height: 21.6px;">Molto</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<br /></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">During his four years at Yale, </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Ives wrote no fewer than 80 </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">separate pieces in many different forms.</span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">The first symphony is a beautiful </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">work of art, very different from </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">Ives’ later works in the genre</span><span class="s2" style="line-height: 21.6px;"> – </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">but not </span><span class="s2" style="line-height: 21.6px;">in the least inferior; </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">it is the work of talent </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">that </span><span class="s2" style="line-height: 21.6px;">is </span><span class="s2" style="line-height: 21.6px;">assured and accomplished: </span><span class="s2" style="line-height: 21.6px;">he</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">went on growing, evolving and anticipating </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">musical developments by a quarter of </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">a century or more, largely </span><span class="s2" style="line-height: 21.6px;">unregarded</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">and asked if he really had </span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">to </span><span class="s2" style="line-height: 21.6px;">make such ugly sounds</span><span class="s2" style="line-height: 21.6px;"></span></div>
<div class="s2" style="font-size: 18px; line-height: 21.6px;">
<span class="s2" style="line-height: 21.6px;">or if he had any musical </span></div>
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<span class="s2" style="line-height: 21.6px;">training…</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">He earned his living in</span></div>
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<span class="s2" style="line-height: 21.6px;">business and got older and spikier!</span></div>
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<span class="s4" style="font-style: italic; line-height: 21.6px;">“</span><span class="s4" style="font-style: italic; line-height: 21.6px;">What has sound</span><span class="s4" style="font-style: italic; line-height: 21.6px;"> got</span></div>
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<span class="s4" style="font-style: italic; line-height: 21.6px;">to do with music?</span><span class="s4" style="font-style: italic; line-height: 21.6px;">”</span><span class="s2" style="line-height: 21.6px;"> Was </span><span class="s2" style="line-height: 21.6px;">the </span></div>
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<span class="s2" style="line-height: 21.6px;">multi</span><span class="s2" style="line-height: 21.6px;">millionaire Insurance </span><span class="s2" style="line-height: 21.6px;">tycoon</span><a href="https://www.blogger.com/blogger.g?blogID=6502445821269455431" name="_GoBack"></a><span class="s2" style="line-height: 21.6px;">’s </span><span class="s2" style="line-height: 21.6px;">peppery answer, or </span></div>
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<span class="s2" style="line-height: 21.6px;">out would come </span><span class="s2" style="line-height: 21.6px;">a</span><span class="s2" style="line-height: 21.6px;">n intemperate</span><span class="s2" style="line-height: 21.6px;"> remark </span></div>
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<span class="s2" style="line-height: 21.6px;">on the emasculated nature of all </span></div>
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<span class="s2" style="line-height: 21.6px;">fashionable concert-</span><span class="s2" style="line-height: 21.6px;">music!</span><span class="s2" style="line-height: 21.6px;"> </span><span class="s2" style="line-height: 21.6px;">In truth, every </span></div>
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<span class="s2" style="line-height: 21.6px;">such experience </span><span class="s2" style="line-height: 21.6px;">of contempt for his</span></div>
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<span class="s2" style="line-height: 21.6px;">deeply and </span><span class="s4" style="font-style: italic; line-height: 21.6px;">scientifically</span><span class="s2" style="line-height: 21.6px;"> musical nature </span><span class="s2" style="line-height: 21.6px;">hurt </span></div>
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<span class="s2" style="line-height: 21.6px;">him </span><span class="s2" style="line-height: 21.6px;">dreadfully</span><span class="s2" style="line-height: 21.6px;">. Now, you’ll know why!</span></div>
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<span class="s2" style="line-height: 21.6px;">This was Classical Break, on </span><span class="s2" style="line-height: 21.6px;">Somer</span><span class="s2" style="line-height: 21.6px;"></span></div>
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<span class="s2" style="line-height: 21.6px;">Valley FM, and I’m Rupert </span></div>
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<span class="s2" style="line-height: 21.6px;">Kirkham. Today’s script was researched and </span></div>
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<span class="s2" style="line-height: 21.6px;">written by Mike Burrows. We hope </span></div>
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<span class="s2" style="line-height: 21.6px;">you enjoyed it and will tune </span></div>
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<span class="s2" style="line-height: 21.6px;">in again soon. Goodbye!</span></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-74750293979724855052016-11-11T17:31:00.002-08:002016-11-11T17:34:15.064-08:00For The Fallen - Operaletta concert<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;">This week's Classical Break is a recording of a lunchtime concert given at the Holburne Museum, Bath, two years ago on November 11th, 2014. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;">Below are the programme notes by the concert's co-organiser, Edna Blackwell, from which the radio script has been shamelessly drawn. Thanks to the Holburne Museum for allowing us to record the concert for your listening delight!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;">The Holburne Museum</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">Lunchtime Concert Tuesday, 11<sup>th</sup> November at 1.10pm</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;"> </span><b><span style="font-size: 12pt;">For the Fallen</span></b><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 10pt;">Ludlow and Teme by Ivor Gurney</span></b><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">Bruce Evans (tenor)</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">and The Remembrance Quartet</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 10pt;">A Shropshire Lad by George Butterworth</span></b><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 10pt;">and songs by Rudi Stephan and W. Denis Browne</span></b><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">Niall Hoskin (baritone)</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">Steven Hollas (piano)</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 12pt;">All today’s composers were born within 5 years of each other. By the end of the First World War three – the Englishmen Butterworth and Browne and the German Stephan – were dead, the other (Ivor Gurney) psychologically damaged.</span></b><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><b><span style="font-family: "times new roman" , "serif";">Ivor Gurney</span></b></span><span style="font-size: 10pt;"><span style="font-size: x-small;"> was born in 1890 in Gloucester. A scholarship took him to the Royal College of Music to study composition with Stanford.<br />He was equally talented as poet and musician writing nearly 900 poems between 1913 and 1926 and continuing to write poems long after his ability to compose coherent music ceased.<br />At first rejected for military service he joined the Army in 1915 and served in France where he was wounded, gassed and shellshocked. After treatment in military and mental hospitals he resumed his studies at the R.C.M, this time with Vaughan Williams.<br />Leaving college in 1921 he returned to Gloucester where he failed to find permanent employment and felt he was being rejected both as a composer and a poet.<br />He threatened suicide and the instability which seemed like eccentricity before the war was aggravated by his feverish activity in producing poems and songs and, of course, his war experiences eventually leading to his admission to Gloucester Mental Hospital.</span><br /><span style="font-size: x-small;">Gurney rarely set his own poems and was drawn to A.E. Housman for his two song cycles ‘Ludlow and Teme’ and ‘Western Playland’ which were eventually published in 1923 and 1926 after much revision, a process which he continued throughout his composing life.<br />The seven songs of ‘Ludlow and Teme’ were all probably written in 1919. There is no attempt at musical narrative or cross reference between the songs. He rarely uses word painting, instead he captures changing moods in his accompaniments. The tonality is fluid, the music hovers around rather than settles into a key.<br />Gurney very much admired Vaughan Williams’ song cycle ‘On Wenlock Edge’ which uses an accompaniment of piano and string quartet, he follows this idea for both his song cycles.<br />With his deteriorating mental health, musical friends, particularly Marion Scott, had to take over preserving and preparing his manuscripts for publication.<br />In a letter to a friend, Gurney wrote ‘My Housman cycle is to be done at a party at the Scotts in March (1920), Stewart Wilson as the singer and the Philharmonic Quartet and myself as back ground’. This is a very apt description of the role of the accompanying instruments.<br />Now permanently resident in a London mental hospital, Gurney was allowed to listen to a first broadcast performance of ‘Ludlow and Teme’ in August 1925. He commented ‘I wish the singer had used the revisions I made – to avoid squareness’. His many revisions are noted in Philip Lancaster’s edition of 2011 which is being used today. All creative activity ceased in 1927, Ivor Gurney eventually died in 1937.</span><br /><br /><span style="font-size: x-small;"><b>Ludlow and Teme</b> [words by <b>A.E. Housman]</b></span><b><i><span style="font-size: x-small;">When smoke stood up from Ludlow<br />Far in a Western Brookland<br />‘Tis time, I think by Wenlock Town<br />*Ludlow Fair<br />On the Idle Hill of Summer<br />*When I was One and Twenty<br />The Lent Lily</span></i></b><br /><span style="font-size: x-small;">*These two poems are also set by Butterworth in the second part of this programme.</span><br /><br /><span style="font-size: x-small;"><b>Bruce Evans</b> studied at the Guildhall School of Music and Drama. He has sung both opera and oratorio widely, working for English Touring Opera, Opera della Luna and Glyndebourne Festival and Touring Opera. He also toured in Europe, the Far East and United States with Pavillion Opera. Next year he will be singing the title role in Stravinsky’s ‘The Rake’s Progress’ for Bristol Opera. Bruce has enjoyed greatly the opportunity of studying this beautiful and challenging work. He is currently a Technical Project Leader at Heathrow Airport Ltd.<br /><br /><b>Edna Blackwell</b> is a pianist, conductor and teacher. Apart from conducting many choral and instrumental works, mainly for the Bath Cantata Group, she has enjoyed acting as repétiteur for many operas and has conducted quite a few including ‘La Bohéme’ and ‘Albert Herring’. She enjoys playing chamber music and accompanying in particular. She founded ‘Operaletta’ whose one act comic operas at the Rondo Theatre and latterly Shakespeare’s Birthday Concerts at the Holburne have been particularly successful.<br /><br /><b>The Remembrance Quartet</b> was especially formed for the concert.</span></span></span></div>
<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Its members are: Matthew Taylor, Anna Salamonsen, Tim Robb and Shena Power.</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Note from producer, Rupert Kirkham. Live concerts don't always fit the slot available for a radio programme - in the case of Classical Break, it's 58 minutes. We are running a little early, so I have added in an item which went out on Somer Valley FM earlier this year, researched and written by Mike Burrows. It's another song by Ivor Gurney, called, <b><i>In Flanders</i></b>. But as you will hear, although written at the Front, it's about Gurney's love of the Gloucestershire countryside. The singer is the baritone, Stephen Varcoe, the pianist, Clifford Benson. The introduction is me.</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>George Butterworth</b> was born in 1885, was educated at Eton and Oxford and studied at the Royal College of Music. He was part of the Folksong Revival movement, as a song collector and an enthusiastic dancer (there survives a very short film of him Morris dancing). When war broke out in 1914, as Peter Pirie says ‘it gave him something to do. No-one near him in the army suspected he was interested in music, and he was killed in the Battle of the Somme on 5th August 1916.’<br />A.E. Housman’s collection of poems ‘A Shropshire Lad’ was published in 1896; Butterworth’s setting dates from 1911.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt;"><b><i>Loveliest of trees<br />When I was one-and-twenty<br />Look not in my eyes<br />Think no more,lad<br />The lads in their hundreds<br />Is my team ploughing? </i></b> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;"><span style="font-size: x-small;"><b>Rudi Stephan </b>grew up in the Rhineland city of Worms: he was born there in 1887. He studied in Frankfurt, and following performances of orchestral works at the Festival of the Allgemeiner Deutscher Muskiverein he was hailed as a leading light among the younger generation of German composers. His only opera had just been accepted for performance in 1915 when he volunteered for action. He was killed by a Russian sniper’s bullet in September of that year.</span></span><span style="font-size: x-small;"></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><b><i>Waldnachmittag</i></b></span></span><span style="font-size: 10pt;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;"> (Woodland Afternoon) (composed 1906)<br /><br />The peace of Sunday lies over the land: you and I rest beneath a leafy roof. Birds sing sleepily; a sweet breathing silence goes its evening way. The sun dapples the ground, deer graze. Distant hymns tell of love and pain, and the darkling soul quivers at its transience. – words by Maurice Reinhold von Stern.<br /><br /><b><i>Memento vivere</i></b> (Remember to live) (first draft 1908, final version 1913)</span><br /><br /><span style="font-size: x-small;">I rode through the dark, silent as sad as night, thinking of the few friends I had on earth, and of those already under the earth. Then a ghostly voice called from the dark mountain: ‘Man, enjoy life today, for tomorrow you go to your grave!’ Was it a shepherd boy singing? I do not know, but it filled my soul with fear. Once I heard those words from a brother’s lips: now he lies in the cold ground. – words by Friedrich Hebbel.</span></span><br /><b> </b></span><span style="font-size: 12pt;"><span style="font-size: 12pt;"></span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>William Denis Browne</b>, born 1888, was educated at Rugby and Clare College Cambridge,<br />where he was later organ scholar. He was a close friend of Rupert Brooke, who was next door at King’s. Browne studied under Charles Wood and Busoni; he taught for a while before he and Brooke were commissioned together. Brooke died en route to the Dardanelles, where Browne died in action on 4th June 1915</span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">See! with what constant motion</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Even, and glorious, as the sun,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Gratiana steers that noble frame,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Soft as her breast, sweet as her voice</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">That gave each winding law and poise,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">And swifter than the wings of Fame.</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Each step trod out a lover's thought</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">And the ambitious hopes he brought,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Chain'd to her brave feet with such arts;</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Such sweet command, and gentle awe,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">As when she ceas'd, we sighing saw</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">The floor lay pav'd with broken hearts.</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">So did she move; so did she sing</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Like the harmonious spheres that bring</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Unto their rounds their music's aid;</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Which she performed such a way,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">As all th' enamoured world will say:</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">The Graces danced, and Apollo play'd.</span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"><br /><span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">Note by the composer: ‘the melody on which the accompaniment is founded is that of an anonymous Allmayne in Elizabeth Rogers’ Virginal Book (17th century)’<br /><br /><b>Niall Hoskin</b> (Tenor) was in Clare College Choir, Cambridge. He sings in oratorio and recitals, and has now reached the stage where his operatic roles are daddies and baddies. He has done title roles from Orfeo to Don Giovanni, Falstaff to the Mikado. Future oratorio includes Handel’s Judas Maccabeus, Brahms’ German Requiem and Vaughan Williams’Dona nobis pacem. Next year he will be singing in Bath Opera’s Peter Grimes and Bristol Opera’s The Rake’s Progress<br /><br /><b>Steven Hollas</b> (piano) read music and history of art at Corpus Christi College, Cambridge. He teaches piano, mainly at St. Lawrence School, accompanies Bath Minerva Choir and Cantamus Choir, plays harpsichord and organ for the Paragon Singers and Bradford Baroque Band. He very much enjoys accompanying singers, especially on historic pianos of various periods.</span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">Edna Blackwell</span></span><span style="font-size: 12pt;"></span></span></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-23927385504342393172016-11-11T17:31:00.001-08:002016-11-11T17:33:23.657-08:00For the Fallen - concert by Operaletta<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;">This week's Classical Break is a recording of a lunchtime concert given at the Holburne Museum, Bath, two years ago on November 11th, 2014. </span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;">Below are the programme notes by the concert's co-organiser, Edna Blackwell, from which the radio script has been shamelessly drawn. Thanks to the Holburne Museum for allowing us to record the concert for your listening delight!</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;">The Holburne Museum</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">Lunchtime Concert Tuesday, 11<sup>th</sup> November at 1.10pm</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;"> </span><b><span style="font-size: 12pt;">For the Fallen</span></b><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 10pt;">Ludlow and Teme by Ivor Gurney</span></b><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">Bruce Evans (tenor)</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">Edna Blackwell (piano)</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">and The Remembrance Quartet</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 10pt;">A Shropshire Lad by George Butterworth</span></b><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 10pt;">and songs by Rudi Stephan and W. Denis Browne</span></b><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">Niall Hoskin (baritone)</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;">Steven Hollas (piano)</span><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span style="font-size: 12pt;">All today’s composers were born within 5 years of each other. By the end of the First World War three – the Englishmen Butterworth and Browne and the German Stephan – were dead, the other (Ivor Gurney) psychologically damaged.</span></b><span style="font-size: 12pt;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><b><span style="font-family: "times new roman" , "serif";">Ivor Gurney</span></b></span><span style="font-size: 10pt;"><span style="font-size: x-small;"> was born in 1890 in Gloucester. A scholarship took him to the Royal College of Music to study composition with Stanford.<br />He was equally talented as poet and musician writing nearly 900 poems between 1913 and 1926 and continuing to write poems long after his ability to compose coherent music ceased.<br />At first rejected for military service he joined the Army in 1915 and served in France where he was wounded, gassed and shellshocked. After treatment in military and mental hospitals he resumed his studies at the R.C.M, this time with Vaughan Williams.<br />Leaving college in 1921 he returned to Gloucester where he failed to find permanent employment and felt he was being rejected both as a composer and a poet.<br />He threatened suicide and the instability which seemed like eccentricity before the war was aggravated by his feverish activity in producing poems and songs and, of course, his war experiences eventually leading to his admission to Gloucester Mental Hospital.</span><br /><span style="font-size: x-small;">Gurney rarely set his own poems and was drawn to A.E. Housman for his two song cycles ‘Ludlow and Teme’ and ‘Western Playland’ which were eventually published in 1923 and 1926 after much revision, a process which he continued throughout his composing life.<br />The seven songs of ‘Ludlow and Teme’ were all probably written in 1919. There is no attempt at musical narrative or cross reference between the songs. He rarely uses word painting, instead he captures changing moods in his accompaniments. The tonality is fluid, the music hovers around rather than settles into a key.<br />Gurney very much admired Vaughan Williams’ song cycle ‘On Wenlock Edge’ which uses an accompaniment of piano and string quartet, he follows this idea for both his song cycles.<br />With his deteriorating mental health, musical friends, particularly Marion Scott, had to take over preserving and preparing his manuscripts for publication.<br />In a letter to a friend, Gurney wrote ‘My Housman cycle is to be done at a party at the Scotts in March (1920), Stewart Wilson as the singer and the Philharmonic Quartet and myself as back ground’. This is a very apt description of the role of the accompanying instruments.<br />Now permanently resident in a London mental hospital, Gurney was allowed to listen to a first broadcast performance of ‘Ludlow and Teme’ in August 1925. He commented ‘I wish the singer had used the revisions I made – to avoid squareness’. His many revisions are noted in Philip Lancaster’s edition of 2011 which is being used today. All creative activity ceased in 1927, Ivor Gurney eventually died in 1937.</span><br /><br /><span style="font-size: x-small;"><b>Ludlow and Teme</b> [words by <b>A.E. Housman]</b></span><b><i><span style="font-size: x-small;">When smoke stood up from Ludlow<br />Far in a Western Brookland<br />‘Tis time, I think by Wenlock Town<br />*Ludlow Fair<br />On the Idle Hill of Summer<br />*When I was One and Twenty<br />The Lent Lily</span></i></b><br /><span style="font-size: x-small;">*These two poems are also set by Butterworth in the second part of this programme.</span><br /><br /><span style="font-size: x-small;"><b>Bruce Evans</b> studied at the Guildhall School of Music and Drama. He has sung both opera and oratorio widely, working for English Touring Opera, Opera della Luna and Glyndebourne Festival and Touring Opera. He also toured in Europe, the Far East and United States with Pavillion Opera. Next year he will be singing the title role in Stravinsky’s ‘The Rake’s Progress’ for Bristol Opera. Bruce has enjoyed greatly the opportunity of studying this beautiful and challenging work. He is currently a Technical Project Leader at Heathrow Airport Ltd.<br /><br /><b>Edna Blackwell</b> is a pianist, conductor and teacher. Apart from conducting many choral and instrumental works, mainly for the Bath Cantata Group, she has enjoyed acting as repétiteur for many operas and has conducted quite a few including ‘La Bohéme’ and ‘Albert Herring’. She enjoys playing chamber music and accompanying in particular. She founded ‘Operaletta’ whose one act comic operas at the Rondo Theatre and latterly Shakespeare’s Birthday Concerts at the Holburne have been particularly successful.<br /><br /><b>The Remembrance Quartet</b> was especially formed for the concert.</span></span></span></div>
<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Its members are: Matthew Taylor, Anna Salamonsen, Tim Robb and Shena Power.</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Note from producer, Rupert Kirkham. Live concerts don't always fit the slot available for a radio programme - in the case of Classical Break, it's 58 minutes. We are running a little early, so I have added in an item which went out on Somer Valley FM earlier this year, researched and written by Mike Burrows. It's another song by Ivor Gurney, called, <b><i>In Flanders</i></b>. But as you will hear, although written at the Front, it's about Gurney's love of the Gloucestershire countryside. The singer is the baritone, Stephen Varcoe, the pianist, Clifford Benson. The introduction is me.</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>George Butterworth</b> was born in 1885, was educated at Eton and Oxford and studied at the Royal College of Music. He was part of the Folksong Revival movement, as a song collector and an enthusiastic dancer (there survives a very short film of him Morris dancing). When war broke out in 1914, as Peter Pirie says ‘it gave him something to do. No-one near him in the army suspected he was interested in music, and he was killed in the Battle of the Somme on 5th August 1916.’<br />A.E. Housman’s collection of poems ‘A Shropshire Lad’ was published in 1896; Butterworth’s setting dates from 1911.</span></span></div>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 10pt;"><b><i>Loveliest of trees<br />When I was one-and-twenty<br />Look not in my eyes<br />Think no more,lad<br />The lads in their hundreds<br />Is my team ploughing? </i></b> </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 10pt;"><span style="font-size: x-small;"><b>Rudi Stephan </b>grew up in the Rhineland city of Worms: he was born there in 1887. He studied in Frankfurt, and following performances of orchestral works at the Festival of the Allgemeiner Deutscher Muskiverein he was hailed as a leading light among the younger generation of German composers. His only opera had just been accepted for performance in 1915 when he volunteered for action. He was killed by a Russian sniper’s bullet in September of that year.</span></span><span style="font-size: x-small;"></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><b><i>Waldnachmittag</i></b></span></span><span style="font-size: 10pt;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;"> (Woodland Afternoon) (composed 1906)<br /><br />The peace of Sunday lies over the land: you and I rest beneath a leafy roof. Birds sing sleepily; a sweet breathing silence goes its evening way. The sun dapples the ground, deer graze. Distant hymns tell of love and pain, and the darkling soul quivers at its transience. – words by Maurice Reinhold von Stern.<br /><br /><b><i>Memento vivere</i></b> (Remember to live) (first draft 1908, final version 1913)</span><br /><br /><span style="font-size: x-small;">I rode through the dark, silent as sad as night, thinking of the few friends I had on earth, and of those already under the earth. Then a ghostly voice called from the dark mountain: ‘Man, enjoy life today, for tomorrow you go to your grave!’ Was it a shepherd boy singing? I do not know, but it filled my soul with fear. Once I heard those words from a brother’s lips: now he lies in the cold ground. – words by Friedrich Hebbel.</span></span><br /><b> </b></span><span style="font-size: 12pt;"><span style="font-size: 12pt;"></span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>William Denis Browne</b>, born 1888, was educated at Rugby and Clare College Cambridge,<br />where he was later organ scholar. He was a close friend of Rupert Brooke, who was next door at King’s. Browne studied under Charles Wood and Busoni; he taught for a while before he and Brooke were commissioned together. Brooke died en route to the Dardanelles, where Browne died in action on 4th June 1915</span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">See! with what constant motion</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Even, and glorious, as the sun,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Gratiana steers that noble frame,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Soft as her breast, sweet as her voice</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">That gave each winding law and poise,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">And swifter than the wings of Fame.</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Each step trod out a lover's thought</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">And the ambitious hopes he brought,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Chain'd to her brave feet with such arts;</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Such sweet command, and gentle awe,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">As when she ceas'd, we sighing saw</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">The floor lay pav'd with broken hearts.</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">So did she move; so did she sing</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Like the harmonious spheres that bring</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Unto their rounds their music's aid;</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">Which she performed such a way,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">As all th' enamoured world will say:</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b; font-family: Arial, Helvetica, sans-serif;">The Graces danced, and Apollo play'd.</span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"><br /><span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">Note by the composer: ‘the melody on which the accompaniment is founded is that of an anonymous Allmayne in Elizabeth Rogers’ Virginal Book (17th century)’<br /><br /><b>Niall Hoskin</b> (Tenor) was in Clare College Choir, Cambridge. He sings in oratorio and recitals, and has now reached the stage where his operatic roles are daddies and baddies. He has done title roles from Orfeo to Don Giovanni, Falstaff to the Mikado. Future oratorio includes Handel’s Judas Maccabeus, Brahms’ German Requiem and Vaughan Williams’Dona nobis pacem. Next year he will be singing in Bath Opera’s Peter Grimes and Bristol Opera’s The Rake’s Progress<br /><br /><b>Steven Hollas</b> (piano) read music and history of art at Corpus Christi College, Cambridge. He teaches piano, mainly at St. Lawrence School, accompanies Bath Minerva Choir and Cantamus Choir, plays harpsichord and organ for the Paragon Singers and Bradford Baroque Band. He very much enjoys accompanying singers, especially on historic pianos of various periods.</span></span></span></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-72440609772871013932016-11-04T17:04:00.000-07:002016-11-04T17:04:05.012-07:00For the Fallen 5th and 6th November 2016<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">This week's Classical Break is a recording of a lunchtime concert given at the Holburne Museum, Bath on November 11th, 2014. </span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">Below are the programme notes by the concert's co-organiser, Edna Blackwell, from which the radio script has been shamelessly drawn. Thanks to the Holburne Museum for allowing us to record the concert for your listening delight!</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12pt;">The Holburne Museum</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 10pt;">Lunchtime Concert Tuesday, 11<sup>th</sup> November at 1.10pm</span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 10pt;"> </span><b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">For the Fallen</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 10pt;">Ludlow and Teme by Ivor Gurney</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 10pt;">Bruce Evans (tenor)</span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 10pt;">Edna Blackwell (piano)</span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 10pt;">and The Remembrance Quartet</span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 10pt;">A Shropshire Lad by George Butterworth</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 10pt;">and songs by Rudi Stephan and W. Denis Browne</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 10pt;">Niall Hoskin (baritone)</span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 10pt;">Steven Hollas (piano)</span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;">All today’s composers were born within 5 years of each other. By the end of the First World War three – the Englishmen Butterworth and Browne and the German Stephan – were dead, the other (Ivor Gurney) psychologically damaged.</span></b><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<span style="font-size: x-small;"><b><span style="font-family: "times new roman" , "serif";">Ivor Gurney</span></b></span><span style="font-family: "times new roman" , "serif"; font-size: 10pt;"><span style="font-size: x-small;"> was born in 1890 in Gloucester. A scholarship took him to the Royal College of Music to study composition with Stanford.<br />He was equally talented as poet and musician writing nearly 900 poems between 1913 and 1926 and continuing to write poems long after his ability to compose coherent music ceased.<br />At first rejected for military service he joined the Army in 1915 and served in France where he was wounded, gassed and shellshocked. After treatment in military and mental hospitals he resumed his studies at the R.C.M, this time with Vaughan Williams.<br />Leaving college in 1921 he returned to Gloucester where he failed to find permanent employment and felt he was being rejected both as a composer and a poet.<br />He threatened suicide and the instability which seemed like eccentricity before the war was aggravated by his feverish activity in producing poems and songs and, of course, his war experiences eventually leading to his admission to Gloucester Mental Hospital.</span><br /><span style="font-size: x-small;">Gurney rarely set his own poems and was drawn to A.E. Housman for his two song cycles ‘Ludlow and Teme’ and ‘Western Playland’ which were eventually published in 1923 and 1926 after much revision, a process which he continued throughout his composing life.<br />The seven songs of ‘Ludlow and Teme’ were all probably written in 1919. There is no attempt at musical narrative or cross reference between the songs. He rarely uses word painting, instead he captures changing moods in his accompaniments. The tonality is fluid, the music hovers around rather than settles into a key.<br />Gurney very much admired Vaughan Williams’ song cycle ‘On Wenlock Edge’ which uses an accompaniment of piano and string quartet, he follows this idea for both his song cycles.<br />With his deteriorating mental health, musical friends, particularly Marion Scott, had to take over preserving and preparing his manuscripts for publication.<br />In a letter to a friend, Gurney wrote ‘My Housman cycle is to be done at a party at the Scotts in March (1920), Stewart Wilson as the singer and the Philharmonic Quartet and myself as back ground’. This is a very apt description of the role of the accompanying instruments.<br />Now permanently resident in a London mental hospital, Gurney was allowed to listen to a first broadcast performance of ‘Ludlow and Teme’ in August 1925. He commented ‘I wish the singer had used the revisions I made – to avoid squareness’. His many revisions are noted in Philip Lancaster’s edition of 2011 which is being used today. All creative activity ceased in 1927, Ivor Gurney eventually died in 1937.</span><br /><br /><span style="font-size: x-small;"><b>Ludlow and Teme</b> [words by <b>A.E. Housman]</b><br /></span><b><i><span style="font-size: x-small;">When smoke stood up from Ludlow<br />Far in a Western Brookland<br />‘Tis time, I think by Wenlock Town<br />*Ludlow Fair<br />On the Idle Hill of Summer<br />*When I was One and Twenty<br />The Lent Lily</span></i></b><br /><span style="font-size: x-small;">*These two poems are also set by Butterworth in the second part of this programme.</span><br /><br /><span style="font-size: x-small;"><b>Bruce Evans</b> studied at the Guildhall School of Music and Drama. He has sung both opera and oratorio widely, working for English Touring Opera, Opera della Luna and Glyndebourne Festival and Touring Opera. He also toured in Europe, the Far East and United States with Pavillion Opera. Next year he will be singing the title role in Stravinsky’s ‘The Rake’s Progress’ for Bristol Opera. Bruce has enjoyed greatly the opportunity of studying this beautiful and challenging work. He is currently a Technical Project Leader at Heathrow Airport Ltd.<br /><br /><b>Edna Blackwell</b> is a pianist, conductor and teacher. Apart from conducting many choral and instrumental works, mainly for the Bath Cantata Group, she has enjoyed acting as repétiteur for many operas and has conducted quite a few including ‘La Bohéme’ and ‘Albert Herring’. She enjoys playing chamber music and accompanying in particular. She founded ‘Operaletta’ whose one act comic operas at the Rondo Theatre and latterly Shakespeare’s Birthday Concerts at the Holburne have been particularly successful.<br /><br /><b>The Remembrance Quartet</b> was especially formed for the concert.</span></span></div>
<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">Its members are: Matthew Taylor, Anna Salamonsen, Tim Robb and Shena Power.</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">Note from producer, Rupert Kirkham. Live concerts don't always fit the slot available for a radio programme - in the case of Classical Break, it's 58 minutes. We are running a little early, so I have added in an item which went out on Somer Valley FM earlier this year, researched and written by Mike Burrows. It's another song by Ivor Gurney, called, <b><i>In Flanders</i></b>. But as you will hear, although written at the Front, it's about Gurney's love of the Gloucestershire countryside. The singer is the baritone, Stephen Varcoe, the pianist, Clifford Benson. The introduction is me.</span></span><br />
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><b>George Butterworth</b> was born in 1885, was educated at Eton and Oxford and studied at the Royal College of Music. He was part of the Folksong Revival movement, as a song collector and an enthusiastic dancer (there survives a very short film of him Morris dancing). When war broke out in 1914, as Peter Pirie says ‘it gave him something to do. No-one near him in the army suspected he was interested in music, and he was killed in the Battle of the Somme on 5th August 1916.’<br />A.E. Housman’s collection of poems ‘A Shropshire Lad’ was published in 1896; Butterworth’s setting dates from 1911.</span></span></div>
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" 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</tbody></table>
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<span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: 10pt;"> <b><i> </i></b> <br /><span style="font-size: x-small;"><b>Rudi Stephan </b>grew up in the Rhineland city of Worms: he was born there in 1887. He studied in Frankfurt, and following performances of orchestral works at the Festival of the Allgemeiner Deutscher Muskiverein he was hailed as a leading light among the younger generation of German composers. His only opera had just been accepted for performance in 1915 when he volunteered for action. He was killed by a Russian sniper’s bullet in September of that year.</span></span><span style="font-size: x-small;"></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><b><i>Waldnachmittag</i></b></span></span><span style="font-family: "times new roman" , "serif"; font-size: 10pt;"><span style="font-family: "times" , "times new roman" , serif;"><span style="font-size: x-small;"> (Woodland Afternoon) (composed 1906)<br /><br />The peace of Sunday lies over the land: you and I rest beneath a leafy roof. Birds sing sleepily; a sweet breathing silence goes its evening way. The sun dapples the ground, deer graze. Distant hymns tell of love and pain, and the darkling soul quivers at its transience. – words by Maurice Reinhold von Stern.<br /><br /><b><i>Memento vivere</i></b> (Remember to live) (first draft 1908, final version 1913)</span><br /><br /><span style="font-size: x-small;">I rode through the dark, silent as sad as night, thinking of the few friends I had on earth, and of those already under the earth. Then a ghostly voice called from the dark mountain: ‘Man, enjoy life today, for tomorrow you go to your grave!’ Was it a shepherd boy singing? I do not know, but it filled my soul with fear. Once I heard those words from a brother’s lips: now he lies in the cold ground. – words by Friedrich Hebbel.</span></span><br /><b> </b></span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><b>William Denis Browne</b>, born 1888, was educated at Rugby and Clare College Cambridge,<br />where he was later organ scholar. He was a close friend of Rupert Brooke, who was next door at King’s. Browne studied under Charles Wood and Busoni; he taught for a while before he and Brooke were commissioned together. Brooke died en route to the Dardanelles, where Browne died in action on 4th June 1915</span></span></div>
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<span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;"><br />To Gratiana Dancing and Singing – to words of Richard Lovelace (1618-1657)</span></span><span style="font-family: "times new roman" , "serif"; font-size: 12pt;"></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b;">See! with what constant motion</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b;">Gratiana steers that noble frame,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b;">That gave each winding law and poise,</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b;">And swifter than the wings of Fame.</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b;">Each step trod out a lover's thought</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b;">Unto their rounds their music's aid;</span></span></span></div>
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<span style="font-size: xx-small;"><span style="font-family: "courier new" , "courier" , monospace;"><span style="color: #0d314b;">The Graces danced, and Apollo play'd.</span></span></span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 10pt;"><br /><span style="font-size: x-small;"><span style="font-family: "times" , "times new roman" , serif;">Note by the composer: ‘the melody on which the accompaniment is founded is that of an anonymous Allmayne in Elizabeth Rogers’ Virginal Book (17th century)’<br /><br /><b>Niall Hoskin</b> (Tenor) was in Clare College Choir, Cambridge. He sings in oratorio and recitals, and has now reached the stage where his operatic roles are daddies and baddies. He has done title roles from Orfeo to Don Giovanni, Falstaff to the Mikado. Future oratorio includes Handel’s Judas Maccabeus, Brahms’ German Requiem and Vaughan Williams’Dona nobis pacem. Next year he will be singing in Bath Opera’s Peter Grimes and Bristol Opera’s The Rake’s Progress<br /><br /><b>Steven Hollas</b> (piano) read music and history of art at Corpus Christi College, Cambridge. He teaches piano, mainly at St. Lawrence School, accompanies Bath Minerva Choir and Cantamus Choir, plays harpsichord and organ for the Paragon Singers and Bradford Baroque Band. He very much enjoys accompanying singers, especially on historic pianos of various periods.</span></span></span></div>
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Anonymoushttp://www.blogger.com/profile/18403107195179871677noreply@blogger.com0tag:blogger.com,1999:blog-6502445821269455431.post-78665754623646010362016-10-20T12:15:00.000-07:002016-10-20T12:15:17.263-07:00Prospects 22 & 23 October 2016<div class="MsoNormal" style="font-size: 14px; line-height: 19.32px; text-align: justify;">
CB Prospects<o:p></o:p></div>
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Hullo, this is Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Today’s script was researched and written by Mike Burrows.<o:p></o:p></div>
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Havergal Brian (1876-1972), was an extraordinary figure in 20<sup>th</sup> Century British music. The son of a carpenter and born in Staffordshire, he was largely self-taught and started out on his career with some encouragement from Edward Elgar. He was fairly successful until the First World War and thereafter had to content himself with a reputation in music-journalism and friendship with composers such as Granville Bantock. His regard for and deep knowledge of German culture did not help him in his search for a hearing. His Second Symphony quoted from Wagner’s Ring. The Fourth Symphony of 1933 was unfortunately entitled <i>Das Siegeslied</i>, the Seventh had a programme connected with Goethe. He was successful in earning his living with music-criticism, but didn’t give up on his music. He had begun in an expansive Straussian idiom, capable of creating stupefyingly huge structures – his partly choral 1<sup>st</sup> Symphony (actually his 2nd), <i>The Gothic</i>, incorporating a 76-minute setting of the Te Deum, has had a place in the Guinness Book of Records as the longest symphony ever composed, and his opera, <i>The Tigers, </i>is on the Wagnerian scale. His first four symphonies were Mahlerian in scale; indeed, his taste for full sonority led to his using huge orchestras. He composed a vast setting of Shelley’s epic, <i>Prometheus Unbound</i>. Spool forward in his long life to 1964-5, and we find him working within a quite<o:p></o:p></div>
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The <i>Symphonia Brevis</i>, No 22, one of a triptych of related symphonies written that year, is comprised of two movements and plays for just over 9 minutes. What vitiated Brian’s large-scale music life-long was his inability to write memorable tunes to fill the space demanded – and his powers of invention otherwise could not make up for this with clear, long paragraphs of development. It is useless to compare him with Mahler, who was a melodist and one of the great contrapuntists of his generation. Brian’s music is deliberate base coin as regards themes; his counterpoint can be almost Ivesian in its congestedness. Equally, he was no Sibelius, capable of hitting on tiny phrases and turning them into beautifully-scored miracles of dynamic and lyrical imagination. There is a defiant whiff of the Black Country brass-band about his orchestration, with added abrupt pauses and contrasts – some being in a vein of whimsical humour - that will not entertain the listener who knows what he likes or who needs <span style="line-height: 1.38;">to know where he is being taken; lazy and advanced mind alike may be reduced to asking, “Are we nearly there, yet?”. Even when it is short, to listen to an intervals-based Brian symphony can be a long haul for either party, though wonderful for those who listen and hear as he permutates, rethinks, hazards solutions. </span></div>
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The Symphonia Brevis’ two movements are: <i>Maestoso e ritmico</i> and <i>Tempo di Marcia e ritmico</i>. It may have been written with Greek tragedy in mind. Possibly also the anxiety of threatened nuclear war, something that blighted life at the time. The trademark Brian features are there; big but terse, bluntly inconclusive tuttis; stuttering rhythms; jagged textures; wailing sub-lyrical unisons from the violins; a frequently canonic weave built on intervals, in this case, repeatedly the tritone; switches of <span style="line-height: 1.38;">mood; insistent brass and percussion, including xylophone; weird moments of abstracted song from soloists; march-rhythms, a fierce struggle for direction. Tonality wavers and remains bedevilled until the final bars. The hiatuses and quiet moments are uncanny even for Brian… The opening material returns crushingly near the level close. The epic intentions of Romanticism confront an age at once alienated and alienating and inimical to struggle. The piece ends in a major scalic figure embracing the perfect fourth. </span></div>
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There is no sense of resolution, only of gritty resolve, perhaps, <i>So: Watch This Space</i>.<o:p></o:p></div>
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<b>Tracks 1 and 2: Symphony No 22, Symphonia Brevis, Brian<o:p></o:p></b></div>
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Havergal Brian’s creativity was amazing in its resilient industry – he was composing into his 92<sup>th</sup> year and produced 27 symphonies in his old age, beginning at the age of 72 – and it must be remembered that he had carried almost no authority with him since his middle age. The trajectory had always been downward after the first signs of success, the isolation deepening as his friends had died out. <o:p></o:p></div>
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His last home was a council-house in Shoreham-on-Sea. He died in the belief that his music was being performed, recorded, spoken- and written-about; he had lived and worked long enough to become a <span style="line-height: 1.38;">curiosity and, indeed, one to be appreciated by the connoisseur. Tragically, he lost his highly attentive daughter, Elfrida, shortly before his own death – stricken,he dedicated his never-performed Second Symphony, with its modified quotation of the funeral march from Gotterdammerung, to her memory…</span></div>
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Another British composer who received less than his due in his lifetime was Robin Milford (1903-59). <span style="line-height: 1.38;">In his case, there was not the bitter self-belief of a Havergal Brian to maintain his pride. His career was, on the surface, more successful for longer, but when reverses came, he despaired. His friends Gerald Finzi and Vaughan Williams did what they could to encourage him; both had a high opinion of his work. The greatest tragedy for him was the death of his son Barnaby at the age of 5; but the loss of his two champions in 1956 and 1958, worsening health and inexorable eclipse as a composer are thought to have been what caused him to take his own life.</span></div>
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His piece for violin and orchestra, <i>The Darkling Thrush</i> was an early work, dating from 1929, while he was still working on piano-rolls for the Aeolian Company. Based on the New Year poem by Thomas Hardy – Hardy’s poetry was an enthusiasm that Milford shared with Finzi – it is a fantasy of great beauty, modal, with slight Elizabethan or folktune characteristics and some chromaticism in the harmony. Not very flattering comparisons have been made with Vaughan Williams’ <i>The Lark Ascending</i>, as though the piece were no more than a servile imitation – which would be bizarre, when one takes into account that the lark on a Summer afternoon sounds most remarkably unlike a thrush under Winter dusk. What seems not to have been noticed is that the passacaglia finale of Vaughan Williams’ 5<sup>th</sup> Symphony of 1943 contains an aspiring theme that sounds like an obvious echo of subsidiary material in <i>The Darkling Thrush</i>.<o:p></o:p></div>
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The scenario is of New Year’s Eve (1900), at twilight – darkling – and a thrush singing persistently in a tree, the poet asking himself what it can know of the future, what it is telling him. From the opening bars, this fantasy or tone-poem draws in the listener, its not quite stillness bleak and yet strangely warming in its fineness of scoring, flute, oboe, clarinet, horn and bassoon prominent over strings. The flute begins the piece and will prove important later. Agitation declares itself; impassionedness enters, the strings and brass in canonic texture, with some baroque infilling. The climax of the introduction falls away on bassoon – for the solo violin to sing over lovely muted strings whose harmonies follow the plaintive-sounding yet also strangely blithe soloist. As greatly birdsong-like, the flute leads into a new episode or variation, a striding, confident theme. vouchsafed and decorated by the violin, imitated by flute and others. The measure turns to a lolloping dance whose mixed harmony suggests the Milford-modified influence of Warlock or Delius – <i>not</i> of Vaughan Williams. Ecstasy is reached in a scalic fragment on trumpets and affecting outburst based on the birdsong and affirmative striding theme - the music of the violin slowly dies away to return to the music of the opening. The dying fall is ended by a surprisingly loud chord from <i>flute</i> and low-voiced strings. A beautiful, fascinating New Year piece, its qualities making it worthy to stand comparison with any example of British pastoral music on its own terms. As to <i>The Lark Ascending</i>, has it occurred to any commentator that the violin-part may represent the poet’s response to hearing the cold tones of a thrush, here portrayed by flute? Hardy was a country violinist who inherited a large collection of folk- and hymn-<span style="line-height: 1.38;">tunes from his father, and the style of his verse is derived partly from country songs and ballads. Is it Hardy’s instrument that imitates, humanizes, extends, rhapsodizes, improvises folkish-style music based on, the song of the bird? </span></div>
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<b>Track 3: The Darkling Thrush, Milford<o:p></o:p></b></div>
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In 1964, at the age of 82, Gian-Francesco Malipiero completed the last of his 8 string quartets. Born in 1882, he had lived through a period of colossal social, political and cultural change, two World Wars <span style="line-height: 1.38;">and two epochs of near-civil war. Living in the age of “white-hot technology”, he had been born into a world in which much of the environment of the 1960s would have been unimaginable or the subject of futuristic novels in the style of Jules Verne. </span></div>
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It is said that his home, a real bolt-hole in the countryside of Venetia, was given over to tamed wildlife, and that he composed with an owl sitting on his shoulder.<o:p></o:p></div>
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Of the 1880s generation, he was possibly his country’s greatest original talent since Verdi. He had no <span style="line-height: 1.38;">truck with opera unless as devised by himself, and was prolific in the fields of orchestral music, symphonic and concertante works, chamber music, choral pieces as well as writing several operas of compulsive strangeness. He was an Italian; sought inspiration in Italian folk, baroque and early music, including Gregorian chant as well as in the new works of his international contemporaries. He believed in instinct, not conventional musical logic; his structures were self-made, built up from panels of contrast. He was capable of confronting chant or the music of pifferari with polytonality or musique mechanique, the jump-cuts of an almost filmic technique more imaginative and vivid in constituents than the ellipses of Havergal Brian. He was most emphatically a Picasso who could draw. </span></div>
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The Eighth String Quartet “Per Elizabetta” (Elizabeth Coolidge, the music-patroness), is the most abstract of all; like Havergal Brian’s late works showing no let-up in close-thinking on the basic intervals of music. He revels in the sound of music for strings, in bowings, fingerings, harmonics, pizzicato; the spatial and contrapuntal arrangement of four players, two violins, a viola and cello, each contributing to a tense coming-together of four voices. At times, the quiet held notes and scutterings resemble nothing so much as the sound of silence in which one hears the functions and intense vibration of one’s own life as one awaits…what? Malipiero was as unafraid of twelve-note music as of any other idiom, and had valuable things to say. <o:p></o:p></div>
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His instinct here includes “coincidence” soundings-together but also more formal fugato. All ends neither loudly nor softly in three distinct notes, a purely musical answer, it seems, to the opening notes of the piece: but, of course, there is no such as pure music – music is not heard without emotion. If the quartet is valedictory, it is neither sentimental nor at peace. Malipiero lived until 1973, busy almost until the last.<o:p></o:p></div>
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<b>Track 4: String Quartet No 8, Malipiero<o:p></o:p></b></div>
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A Prelude and Fugue for string trio by Gerald Finzi, now. This work was written in 1938 for one of his teachers, the composer and expert contrapuntist, R O Morris. A quiet and intent prelude, elegiac in tone, imitational, canonic and solemn as is Finzi’s wont. The sound is of the finest, deeper tones suddenly breaking in only to fade into regretful sighs – the subject of the fugue is centred on the notes of the deeper tones; brightness entering with a slight variation that brings greater rhythmical variety, a freer movement in the parts and richer expression. At the stretto, the bass thuds and the higher parts have an edge eventually made exquisite, Quakerishly joyful, before the peremptory close.<o:p></o:p></div>
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<span style="line-height: 19.32px;">(Owing to time constraints we omitted the Prelude)</span></div>
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<b><i>Track 5: </i>Prelude and Fugue For String Trio, Finzi<o:p></o:p></b></div>
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To end our programme, here is a song by Jean Sibelius, arranged by him for orchestra, the stirring <i>Processional</i>, Op113, No 6. This came from his sombre and beautiful <i>Masonic Ritual Music</i>, written for the opening of Suomi Lodge Number One in 1927. Much of this work is in the magical style of his music for Shakespeare’s <i>The Tempest</i>, and <i>Processional</i> originally set a hymn called Salem – <i>Onward, Ye Brethren</i>. The arrangement dates from 1938, some years into “<i>the silence of Jarvenpaa</i>”, his retirement. The Age of Anxiety struck Europe some time before it did the US. Sibelius dreaded war and uncivilization, and it is possible to see in this music a prayer for the certainty of a preserved peace.<o:p></o:p></div>
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The serene melody meets with crisis more mutedly than in Sibelius’ earlier works – <i>Spring Song, </i>his<i> </i>Opus 16,<i> </i>for example – but coasts over it in nobility.<o:p></o:p></div>
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There was a pronounced streak of vulnerable childlikeness in Sibelius, evidenced most clearly in the clear-eyed optimism of the communal hymn-tunes that he bequeathed us.<o:p></o:p></div>
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This was Classical Break on Somer Valley FM, and I’m Rupert Kirkham. Today’s script was researched and written by Mike Burrows. We hope you enjoyed it and will tune in again soon. Goodbye!<o:p></o:p></div>
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<b>Track 6: Processional, Op113, No 6, Sibelius </b></div>
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