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Ah and. Lynn and Lynn.
Yeah.
Yeah.
Yes.
Why.
I hope you have Lulu Have you had. A hand. I have. I have to have. You.
Why. Two interludes from the opera Macbeth performed by the cast do studio division I have under the direction of Pierre Colombo.
Here again Suzanne block block was in his thirty fifth year when he began to compose a lomo. The work had been in his mind long before germinating slowly the sketches all inspired by the dark and pessimistic passages in the book of the echoes Yast. I have seen all the works that are done under the sun and behold all is vanity and vexation of spirit that it is a valid tease. All is vanity in the fall of 1915. These words were much part of the composer's thoughts for he had just experienced a great defeat in his career. The position you saw wanted and needed materially that of conductor of the capture of less than we had appeared as a guest conductor had been snatched from under him by a former pupil of his and asked him if he already had experienced many defeats but this one hurt deeply for he had taken in asked him as a pupil who had asked him for instruction given him all his knowledge and affection. Also it was of course incredibly gifted as a musician
but yet another gift which Blucher lacked. That was of politics. Their bloc favored in spite of the efforts of many friends including the great recto hormonal at this period. Blockhead lost hope. He didn't know where to turn. Having no premonition of his destiny which was to go to America very soon. But is the tremendous fact TELEGIN creative force as ever came to the fore often being triggered by some event or artistic stimulation. This one day arrived in Geneva a quaint couple and a lanky shaggy haired and long faced Russian cellist accompanied by his diminutive wife a sculptress who specialized in a cheer of wax portraits of most of the famous figures of Europe. The cellist was Alexander by John soke who had the time was at the peak of his playing had an immensely rich tone and tremendous emotional power. The two men felt at once the kingship but pitted music to his new friends and I just get paid for block. When blogger the wonderful sound that Bob just brought out he had last found a solution to
the problem that had been holding him back in his work on the ecclesiastic and he wrote later I could not hear the fervor of the text or its accents in the French language nor in German or English and since I didn't know Hebrew the sketches had mounted while the work laid dormant. Why instead of a human voice limited by the text in language should not my ecclesiastics utilize the soaring unfettered voice of the cello. He projects with sketches and would enter exactly day after day he forgot to defeat his financial problems all his miseries in six weeks. So little was completed and he dedicated to Xander and Catherine by Jackie. Apart from the text of Ecclesiastes blockade no program in mind when you are the music and it's very interesting to find out he wrote and now this is a description of his works only very much later than the time of creation. He does have his earlier works the one that causes recognition I make it seem to come as an afterthought. And this is a case of
Shalom all for which it were these notes found in his papers probably dictated to a pupil it was much later that I had the idea of psychoanalyzing my work. And this is a program drawn from the score as I look at it. If one mikes one may imagine that the voice of the solo cello is the voice of King shalom or the complex voice of the orchestra as the voice of his age. His world his experiences. There are times when the orchestra seems to reflect his thoughts just as the solo voices his words. The introduction which contains the form of several essential motifs is the plaints the limitation. Nothing is worth the pain it causes. Vanity vanity all is vanity and emotion merely a physiological reaction. The channel cadence then puts this pessimistic philosophy into words. This beginning is a soliloquy block went on to describe each episode trying to describe what it specifically meant.
The conflict between Shalom ADOT mood and in contrast to the word languorous dances the orchestra enlarges on the main theme. It becomes rich as though his wives and concubines would displace his thoughts. He enters into their seductive dances the theme returns in the orchestra and here becomes royal pomp of that man might desire. And then revulsion to what end. Vanity. The Rhapsody comments more gently more desolate the languorous dance returns tumults about expend power then Shalom Oh and all of this. Nothing. Nothing. After the great august of pity comes a passage with a deep bathroom in the famous melody an oboe solo of which Bloch wrote I can't describe the next episode. It is a motif my father sang in Hebrew. I don't know the meaning of the words.
Is it the call of a maze in the strange motif of the bassoon which later permeates the orchestra or is it the priest. It's the law continues to describe the time often the music a tad questioning what he really meant. The contrast between the really brilliant sounds and shalom with meditations which go on with his eternal refrain of vanity vanity the orchestra then leaves this world to enter into a vision. What again live peace justice. Yes Shalom Oh just into the stream but not for long. The spenders of power and the throne toppled like tarnished fiend into ruins. He ocean almost thinks through the orchestra as his voice. The cello cries imprecations the orchestra magnifies his thoughts. This time the cadence is a downfall than alone as the silence and Shalom all vanity vanity all is vanity. Even the darkest of my works and we hope this work alone concludes in a complete
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Series
Ernest Bloch: The man and his music
Episode Number
Episode 1 of 15
Segment
Part 2
Producing Organization
WRVR (Radio station: New York, N.Y.)
Riverside Church (New York, N.Y.)
Contributing Organization
University of Maryland (College Park, Maryland)
AAPB ID
cpb-aacip-500-sb3wz60f
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-sb3wz60f).
Description
Series Description
For series info, see Item 3659. This prog.: See previous entry. Also: Musical content of this series spans Bloch's life. This prog.: Andante for String Quartet (1895), Macbeth: Two Interludes; Schelomo, Hebraic Rhapsody for Cello and Orchestra
Date
1968-09-12
Asset type
Episode
Topics
Music
Media type
Sound
Duration
00:20:22
Credits
Producing Organization: WRVR (Radio station: New York, N.Y.)
Producing Organization: Riverside Church (New York, N.Y.)
AAPB Contributor Holdings
University of Maryland
Identifier: cpb-aacip-0013e3c8fb2 (Filename)
Format: 1/4 inch audio tape
Duration: 00:20:19
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Citations
Chicago: “Ernest Bloch: The man and his music; Episode 1 of 15; Part 2,” 1968-09-12, 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-sb3wz60f.
MLA: “Ernest Bloch: The man and his music; Episode 1 of 15; Part 2.” 1968-09-12. 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-sb3wz60f>.
APA: Ernest Bloch: The man and his music; Episode 1 of 15; Part 2. 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-sb3wz60f