thumbnail of 1970 May festival; #3 (Reel 1)
Transcript
Hide -
If this transcript has significant errors that should be corrected, let us know, so we can add it to FIX IT+
From Music Hall in Cincinnati we present the last of three concerts of the 1970 May Festival. This is my run but not today a program of sorts. Joseph's pre-coffee conducted by Julius Rudo. The 1970 May festival was under the direction of Max Rudolph and it features the Cincinnati Symphony Orchestra of May Festival and come by in chorus who's just conductors Saugus. These programs were recorded during performance by WG U.S.. The radio voice of the University of Cincinnati. And produced through the cooperation of the many festival Association the Cincinnati Symphony Orchestra the Cincinnati musicians Association and national educational radio. On this final concert Julius rebel conducts excerpts from the upper body Squadron out by the sword ski with bass. It's your flagellar house so the worst. The world premiere of the can Tata Martellus Opus 62. Biographer Joseph's. With Patricia Weiss
soprano and Emma to Sokoto William to a pretender and it's of her gentle face. And the second half of the concert will be the Symphony Number three in C Minor Opus 44 by the coffee. When the sorts we began working on the score of 40 is good enough in 1868 he determined to write something new in opera. He rejected the traditional operatic arias and ensembles and wrote instead a nationalist music drama not an opera about gods and goddesses in ancient times. He expressed the spirit of the Russian people. The composer's melodic line follows the inflections of Russian speech his rhythms and lyricism recalled the folk songs dances and church music of his native country. They were brought it was based on the drama by Pushkin about the road both against These are good enough applause greets the concertmaster signal Dufferin in the opera there seem to be two main
characters one is bodies the other the Russian people. The three excerpts that we will hear are the dramatic high points of the opera. First the coronation scene one of the great crowd scenes of the Opera second Bonnie's monologue from Acts 2 which includes reflections on his torments. And. The foreshadowing of his downfall. And finally the farewell and death of bodies. Who are awaiting the entrance of the conductor originally as rebel and the soloist itself the Jello. Here they come now. Thank you acknowledge the applause the audience Mr. Bell takes the podium and in a moment we will hear the coordination see CODIS monologue and the farewells and
definite orders from the opera. Tony Scott in our Bible just my thoughts. Thank you.
Find.
Ya. Know Ed Lu. Ya. You.
Lose. Luther. It'll. It'll. It'll.
Halloo.
Thank. God. Thank thank God thank. God. Was with. I. Thank you.
I. Thank you. Thank you. Thank. You. I. Thank you.
If anything.
Thanks. For the. Record. OK. Ok ok now.
How do. You mean.
It'll be. A. Way.
All right. Now you know. Yeah.
With. No. Net. Worth of. The I'M. Sure.
Yes yes. You. Do.
If you'll put yellow bodies in 3.x so far more useful than a vine with old school performing from themed bars monologue from our food and finally the farewell and performance of boxes full of the fountain yet mixed with his pride and I will feel for jello as part of the abuse rebel conducting the Cincinnati Symphony Orchestra on the May 1st for the pool for. Mr. Bush indeed an imposing figure upon the stage as he sees the
role of one of us as he is putting the audience wants him back. Thank womanly appreciative audience to a musical Thank you. This concert the final one of the 1970 May 1st of all thanks I believe with all the concerts of this make us feel. Sold out. Thank
the next work on today's program is we can talk more tell Ace by the British composer Wilfred Joseph's. Complete immortality 969 the work was commissioned by the May Festival and is dedicated to Maestro Max Rudolf. The title Martell aces from the Latin meaning the mortality of man. The text includes selections from several sources. First from English poetry by Blake Shelley and the Elizabethan Thomas Nash. Second one excerpt from the book The Lore and language of school children collected by Iona and Peter Opie. The third most purely anonymous ninth century German epic fragment on the end of the world. Also the final fortune is on a quotation from Martin Luther at the Diet of Worms. The work is scored for adult chorus divided children's chorus soprano
alto Tanner and PE soloists. And full orchestra including an elaborate percussion section. The first of the three movements is untitled renaissance. It opens with a prologue and a soprano aria onwards by the composer. Sweet baby the Elias there I'm troubled by the carer's of life yet to come. Then the main portion of the movement is based on William Blake's spring. Sound the flute. Now it's mute birds to light day and night and so on with the refrain merrily merrily to welcome in the year. In a note appended to the score the composer explains that this portion has in the nature of a jigsaw. Like the jigsaw once a piece is put down. It remains so the musical fragments once played each time played and added to until the whole musical framework is complete. This structure was apparently suggested by the. Wordplay evident in the poem.
The short second movement is. As a man Dios based on the poem by Shelley about the vanity of human ambition as. A man finding in the desert ruins. On which are written. My name is also a Mountie as King of Kings look on my works in mighty despair. The final movement passage is the climax of the work. It includes the chance of an English schoolboy. Several unpleasant but familiar duties from childhood about that. And its remains. Thomas Nash's plea for mercy for the human race and the German fragment which seems to be in this context somewhat anti-war in theme and concluding with the quotation from Martin Luther. And finally after the final we saw the US close with a hushed. I must die for Tommy's. Thing to do with. Death. Dubious rebel will
again be conducting. Our soloists are Patricia wise Soprano London Alto William de pretender flagellar returns as Bay soldiers in the square. Now they are now coming on stage. This wise and the two such mysteries betray and flagella Maestro Julius Ritter thank knowledge the applause. Thank you it all takes the podium and in a moment the world premiere of mortalities by Will for Joe Simms. And. And.
The bit. Oh. Yeah. Oh. I. Well.
That. Little. Old little. Now. Was the end. It.
Was. Now. Thank. You now. Thanks. The owner. Now eh. Wow. Yeah. Now. Now. You. Know the. Man. On the A. Loser. Oh.
Yeah. Oh OK. Thanks. Thank you. Thank you. Thank you. Thank. Ye. Movie. Thank you. To get. To. The end. Of. The. Us. And. The old.
You. Oh. That was so OK thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Oh. I. Was. Going. Going. GOING TO END OF. The. Oh God
bless ye OK was the only good thing. Thank ye old thank you. Thanks Thanks Thanks Thanks Thanks Lou. Thank you. Thank ye olde. And what
the. With her. With her. Oh.
See see. See.
You. Know until tonight. It won't. Work.
Was. Was. Was. Was. Them. In. A way.
Yeah yeah yeah. Was. The air. The loo. Loo.
The eternal. New sound. Live. The. Life. I. Live. Here. I.
Move. Lou. I. Live. Live. Live. A little.
A little egg. Close. I know. God was all over. The. Way o o o o o o
o o o. Rā and. Oh at. The.
End that. Can. You know our own way.
When. The world premiere mortalities open 62 by Wilco goes to work about the Mark Kelly of man Holmes by play unfairly and in the last movement the main portion of an old German fragment about the end of the world and I haven't seen
the soloist. Patricia why is a fan known then to me to suck all the way into the Great fan and it's the open channel they start taking about an hour of his own violence before going back out. The final concert of the 1970 made us to do is rebel. Doctor. There have been quite a few World premieres in the festival in Cincinnati. And he works which have joined the repertoire. Having your first performance here. In. The audience bringing back the soloist to the stage Patricia why soprano and I'm a few psychotic whims of free time. Thank you for joining us that extra little cheer there was for a moment Thomas. Chorus master. CHORUS.
Giving. Extra Long. After intermission we will return. And on the second part of this concert from Music Hall in Cincinnati we will hear the Symphony Number three in C Minor Opus 40 45 for coffee. We pause now for station identification This is the national educational radio network.
Please note: This content is only available at GBH and the Library of Congress, either due to copyright restrictions or because this content has not yet been reviewed for copyright or privacy issues. For information about on location research, click here.
Series
1970 May festival
Episode Number
#3 (Reel 1)
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip/500-9c6s2t5c
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/500-9c6s2t5c).
Description
Description
No description available
Topics
Music
Subjects
Concerts
Media type
Sound
Duration
01:04:13
Credits
Performing Group: Cincinnati Symphony Orchestra
AAPB Contributor Holdings
University of Maryland
Identifier: 71-19-3 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 01:03:02
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Citations
Chicago: “1970 May festival; #3 (Reel 1),” University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed August 9, 2022, http://americanarchive.org/catalog/cpb-aacip-500-9c6s2t5c.
MLA: “1970 May festival; #3 (Reel 1).” University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. August 9, 2022. <http://americanarchive.org/catalog/cpb-aacip-500-9c6s2t5c>.
APA: 1970 May festival; #3 (Reel 1). 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-500-9c6s2t5c