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You're listening to music by Diane said this is done give us a welcome to another informal session to hear some of the music I've written over the past 30 years or so. On this program brought to you by the national educational radio network. We're going to hear two scores the first for string orchestra and the second a musical setting of Ernest le prods famed children's story Alice and orchestra. And our program begins now as we hear the strings of the National High School Symphony Orchestra in our lock and play my soliloquy for strings. The Be.
The end. The soliloquy for strings played for us by the gifted youngsters of the National High School orchestra to
Interlochen was the opening number on music by Don Gillis for the major work of our program we're going to hear music commissioned for the NBC symphony orchestra by United States Steel and more particularly for their children's corner section of the summer series of several years back. Its title is Alice an orchestra a musical version of Dr. Ernest le prods a book with the script written by the author. Especially for this recording and Allison orchestra a doctor prods Alice doesn't visit Wonderland at all but rather wanders around musical cities like Philadelphia brassy Dayo and pen Apple as well along the way. She meets with and talks to all of the members of the symphony orchestra. And the original performance Wilford Pelet da conducted the NBC symphony orchestra and he may Hoff was the narrator. In the performance we're to hear now the casket a camara of Rome under the baton of the composer will be heard with Jean Hamilton as narrator. Here is
Allison orchestra with script by Dr. Ernest le prod and music by Don Gillis. The little girl who just got off the train stared at the rear looking trunk on the station platform. It was taller than a man and shaped like a huge bomb. And the shouting and thumping seemed to come from inside. At first the little girl didn't know what to do. Then she saw that the trunk wasn't. All right.
And in a jiffy she had the lid open and out popped the big bass viol. The bass viol shook his fist at the little girl and shouted. What do you mean by shutting me up and that I nearly smothered. What's the big idea. The little girl was frightened. I let you out. The bass viol stopped shaking his fist and it must have been those pesky ukulele kids. Just wait till I catch them. And then the bass viol became quite friendly. He smiled at the little girl and said. What's your name and where do you live. Why. My name's Alice. And I live in the city. How did you get here. Alice hesitated. Well. I'm not quite sure. You see I was it is
symphony concert. There is one under the gun. And I was hoping. One would not pound. And something funny happened. I was. The bass viol smile of. Understanding. Lots of people come to Philadelphia that way and this. Is the spirit down to. Philadelphia. It'll Adelphia. The home of the fiddles and the capitol of orchestrating a. Home I don't need to live here. The fire in. The old US of channel. And my brother. The other bass viol. Can I see him. Well. I think so.
Come along. And we'll go look for them. Ellis and the bass viol soon arrived at a handsome building. The turned out to be a concert hall and there on the stage were forfeit. One about half the size of a smile and the others much smaller. They all went to the back of the stage where each fiddle opened a cupboard and let out a man dressed in a tail coat and striped trousers. Alice was shocked to see me keeping human beings in.
The bass viol chuckled. Human beings don't need musicians. You see in your country headless have to have fiddles to play on it and Adelphia. We have to have it was to play on us. That's bad enough isn't it. I was. The bass viol chuckled again. Oh fiddle is out and they're just dummies. So you needn't worry about. And. Now we'd better go and speak to the string quartets. The bass viol endowed us up to the group of instruments and introduced her to the first violin. And this this is Miss just about her body.
The first violin bowed and said in his beautiful Italian voice. And this is our second violin Mr Klotz. He's John and. I. And it is Mr. Guy. And last but not least Mr Ahmadi.
Now you boys go ahead without a hassle. We have some other calls to make. See you later. Where are we going now that we're leaving Philadelphia. First visit the woodwind instruments. They live in paneling. I mean why do they call it's named for the Greek god man who is supposed to have invented the first when did he made it out of body.
And to this very day or woodwind instruments except the flute Haverty to their mouthpiece to be out of the hand up of his town hall and say it sounds as if the whole village is here. My goodness. What a funny sound. Who is that. What who those people. Let's put those sexy of a saxophone and those other folks all the citizens of panelists. Was that. Was. That. Why. Oh he keeps pestering them for membership in
the wind family. But since he's rousting would mean they won't let him in the 50s brands. Why doesn't he joins. Us From old. They will have him because he has already known he was sexy. He's an instrument without a city. As to live in the woods all by himself. That's why he had such a husky voice. But let's listen in to his house because. I.
Still don't understand what it's. The saxophone doesn't seem so bad. To me. OSX is not bad. What do you specialize in jazz. And they. Only do the pickerel is going to speak. He's the flutes little brother you know about first but true. But why does the sax keep interrupting. He seems to make the old man. It always seems to happen that way. He tries to audition and they get angry. However. He ople all ways can calm them down. Oh. Me feel dissatisfied about sex.
Not exactly. He's just naturally sad. But he's happier than his cousin the English home at that. Just listen to him. Sex it just never will learn to behave himself at a public meeting and consequently he doesn't have any friends. Maybe the clout Annette's will have a good word to say for him. Just then. Brain looking instrument looked up at the neck of the silver bell.
Well not exactly although I did meet the resemblance just like him. That's the bass clarinet. I know of the deep bass voice here. Not. The Beast. I never give my. View. Well. That depends on the composer. The bass clarinet is. Happy person. And the. Saxophonist. Maybe he'll get cheered up if he listens to this. This is the best suit he's not really a serious fellow though. He could be quite a Chick comic when he feels like it.
We're going to run him over. And I'd like to tell him. Where. Is your chance. He comes now looking. Really pleased. At left. I love.
It. Can they really have him her for a living human sixth grade knowledge that is we have to go through if we're going to get a president in time for the band concert in the park. Privacy. It's where the cross instruments live naturally. If it is live in Philadelphia it would mean live and openness and to us leaving brassy That's right. My idea and way ahead just in time because the browser down citizens and about to do some stunts. They go with trumpets wants them.
That. Now the French hold. Now the trombones and the tuba. Now look at this as the grassy Dale band is going to play while the entire caution section passes in review with the snare drum and the bass drum leading the procession. And next come the kettle drums with a triangle right behind.
And now the tambourine in the cast a net. Now there's the xylophone that is what seems right. And here's one your life. Now. How do you hold the city. And No.
It does sound kind of. Like the next one. But try. Dear me I didn't know it was so late. You have to be getting home. But first you must meet the hot. Baths. Sometime. You're more likely to find him in Philadelphia or and he happens to be here today. He is now. This is.
And in a twinkling of an eye Alice found herself back in the concert hall in her own country. The orchestra was still playing but somehow the music seemed different. Only instruments seem to be talking to her and they had a familiar friendly. The Piccolo even when. Alice gave a great sigh. And said to her mother. Her mother. Must have been a pleasant dream. It was real. I want to go back again. Very well you were right. Perhaps tonight when you go to that one next week
when we come to the concert again. Alice didn't say anything. She just thought. This is. Like thinking everything. Still. Alice knew better. She knew that orchestrates was real and that she could go back there. Whenever she liked. Then. Little. Nicky. You have been listening to a performance of Alice in orchestra audio with script and story by Dr Ernest le prod and music by Don give us NBC announcer Jean Hamilton was our narrator in this performance
recorded by the orchestra to Cama and roll under the baton of its composer next week we'll hear music by woodwind quintet as the Interlochen Arts Academy faculty woodwind quintet plays a five piece combo from my third suite for woodwind quintet and for the major work of the program will hear my ballet shindig played for us by the NBC symphony orchestra. It's ballet of the wild and woolly West has had quite a career of being danced to and I'll try to remember to tell you what a furor it caused in Scotland when it was presented there by the American festival ballet company a few seasons ago. Talk about being banned in Boston. Well what happened in Glasgow. Two weeks from now will bring you newly recorded music prepared especially for this series by Colonel Samuels Botha in the United States Army Band. In the weeks ahead we'll hear music played for us by the symphonic brass choir of Texas Christian University the Tri State Festival Chorus and band at Dickinson College in Dickinson North Dakota and along with music I'll be
here to try to explain all about how it came to be in a sort of talking Grove's Dictionary of Music audio column. Naturally I hope you enjoy this series your cards and letters are welcomed reading. And you may address them either to the station to which you are now listening or to me Don Gillis 37 25 Henry Hudson Parkway New York City New York. Music by Don Gillis is brought to you by the national educational radio network. Keith Donaldson is your director and this is Don Guillen saying thank you for listening and I'll see you next week. So long. This is the national educational radio network.
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Series
The Music of Don Gillis II
Episode
Soliloquy for Strings and more
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-2805251x
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/500-2805251x).
Description
Episode Description
This program features performances of the following Gillis compositions:Soliloquy for Strings; and Alice in Orchestralia.
Series Description
This series features the works of Don Gillis; hosted by the composer himself. Most of the performances are conducted by the composer.
Broadcast Date
1965-12-16
Topics
Music
Media type
Sound
Duration
00:29:37
Credits
Composer: Gillis, Don, 1912-1978
Host: Gillis, Don, 1912-1978
AAPB Contributor Holdings
University of Maryland
Identifier: 65-36-15 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:29:26
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “The Music of Don Gillis II; Soliloquy for Strings and more,” 1965-12-16, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed February 23, 2024, http://americanarchive.org/catalog/cpb-aacip-500-2805251x.
MLA: “The Music of Don Gillis II; Soliloquy for Strings and more.” 1965-12-16. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. February 23, 2024. <http://americanarchive.org/catalog/cpb-aacip-500-2805251x>.
APA: The Music of Don Gillis II; Soliloquy for Strings and more. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-500-2805251x