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Davies - Eight Songs for a Mad King (1969) [Audio + Score]
Davies - Eight Songs for a Mad King (1969) [Audio + Score]
Eight Songs for a Mad King is a monodrama by Sir Peter Maxwell Davies with a libretto by Randolph Stow, based on words of George III. The work was written for the South-African actor Roy Hart and the composer's ensemble, the Pierrot Players. It was premiered on 22 April 1969.
Lasting half an hour, it is scored for a baritone with an extraordinary command of extended techniques covering more than five octaves, and six players (Pierrot ensemble + percussion):
flute (doubling piccolo)
clarinet
percussion (1 player): railway whistle, snare drum, 2 suspended cymbals, foot cymbal, 2 wood blocks, bass drum, chains, ratchet, tom-toms, tamtam, tambourine, rototoms, toy bird-calls, 2 temple blocks, wind chimes, crotales, sleigh bells, glockenspiel, steel bars, crow, didgeridoo
piano (doubling harpsichord and dulcimer)
violin
cello
The songs derive from tunes played by an extant mechanical organ owned by George III, tunes that he attempted to train bullfinches to sing:
The Sentry (King Prussia's Minuet)
The Country Walk (La Promenade)
The Lady-In-Waiting (Miss Musgrave's Fancy)
To Be Sung on the Water (The Waterman)
The Phantom Queen (He's Ay A-Kissing Me)
The Counterfeit (Le Conterfaite)
Country Dance (Scotch Bonnett)
The Review (A Spanish March)
The action unfolds as a soliloquy by the king, the players being placed on stage (ideally) in large birdcages, and climaxes in his snatching and smashing the violin.
The score is published by Boosey & Hawkes, and its cover shows a famous excerpt in which the staves are arranged like the bars of a birdcage.
Besides Hart, exponents of this work have included William Pearson, Michael Rippon, Thomas Meglioranza, Julius Eastman and Vincent Ranallo.
The Musical Times described Suart's take as "compelling from start to finish". Welsh baritone Kelvin Thomas sang the role at Munich's Kammerspiele Schauspielhaus in 2011, and in a production by Music Theatre Wales in 2013.
Eight Songs for a Mad King is a monodrama by Sir Peter Maxwell Davies with a libretto by Randolph Stow, based on words of George III. The work was written for the South-African actor Roy Hart and the composer's ensemble, the Pierrot Players. It was premiered on 22 April 1969.
Lasting half an hour, it is scored for a baritone with an extraordinary command of extended techniques covering more than five octaves, and six players (Pierrot ensemble + percussion):
flute (doubling piccolo)
clarinet
percussion (1 player): railway whistle, snare drum, 2 suspended cymbals, foot cymbal, 2 wood blocks, bass drum, chains, ratchet, tom-toms, tamtam, tambourine, rototoms, toy bird-calls, 2 temple blocks, wind chimes, crotales, sleigh bells, glockenspiel, steel bars, crow, didgeridoo
piano (doubling harpsichord and dulcimer)
violin
cello
The songs derive from tunes played by an extant mechanical organ owned by George III, tunes that he attempted to train bullfinches to sing:
The Sentry (King Prussia's Minuet)
The Country Walk (La Promenade)
The Lady-In-Waiting (Miss Musgrave's Fancy)
To Be Sung on the Water (The Waterman)
The Phantom Queen (He's Ay A-Kissing Me)
The Counterfeit (Le Conterfaite)
Country Dance (Scotch Bonnett)
The Review (A Spanish March)
The action unfolds as a soliloquy by the king, the players being placed on stage (ideally) in large birdcages, and climaxes in his snatching and smashing the violin.
The score is published by Boosey & Hawkes, and its cover shows a famous excerpt in which the staves are arranged like the bars of a birdcage.
Besides Hart, exponents of this work have included William Pearson, Michael Rippon, Thomas Meglioranza, Julius Eastman and Vincent Ranallo.
The Musical Times described Suart's take as "compelling from start to finish". Welsh baritone Kelvin Thomas sang the role at Munich's Kammerspiele Schauspielhaus in 2011, and in a production by Music Theatre Wales in 2013.
zhlédnutí: 5 210
Video
Messiaen - Turangalîla-Symphonie Audio Score
zhlédnutí 7KPřed 4 lety
The Turangalîla-Symphonie is a large-scale piece of orchestral music by Olivier Messiaen (1908-92). It was written from 1946 to 1948 on a commission by Serge Koussevitzky for the Boston Symphony Orchestra. The premiere was in Boston on 2 December 1949, conducted by Leonard Bernstein. The commission did not specify the duration, orchestral requirements or style of the piece, leaving the decision...
00:04 I. Інтродукція / Introduction 06:10 II. Пісня кохання І / Chant d’amour 1 13:58 ІII. Турангаліла І / Turangalîla І 18:49 IV. Пісня кохання ІІ / Chant d’amour 2 29:13 V. "Кривавий тріумф зірок" / Joie du sang des étoiles 35:10 VI. "Сад сну кохання" / Jardin du sommeil d’amour 45:29 VII. Турангаліла 2 / Turangalîla 2 49:05 VIII. "Розвиток кохання" / Développement d’amour 01:00:24 IX. Турангаліла 3 / Turangalîla 3 01:04:46 X. Фінал / Final
49:03 VIII
1ч. Інтродукція Т. статуї т. квітки 2:20 2ч. Перша пісня кохання т. кохання 7:08 5ч. Радість зірок 29:45 6ч. Сад сну кохання 36:26
Great piece! the human voice brought to hell and heaven. Great imagination, I love it.
Who are the performers on this recording?
I don't understand a lot of this notation, but I love looking at the representations of vocal harmonics and harsh vocals.
Мессиан. Турангалила 0:00 1 часть "интродукция" 0:32 тема статуи (изваяния) 2:23 тема цветения 2:53 фортепианная каденция, после нее довольно продолжительный однотипный раздел 5:34 возвращение темы статуи 6:07 2 часть "песнь любви 1" 6:40 первая тема 6:56 2 тема 10:24 часто появляющийся в этой части материал 29:09 5 часть "кровавое ликование звезд" (варьировн. тема статуи) 34:24 фортепианная квденция, затем кода - тема статуи 35:10 6 часть "Сад сна любви" тема любви сразу 39:25 один из множества вариантов темы любви 1:04:46 10 часть ГП 1:05:30 ПП (быстрая вариация темы любви) 1:06:06, 1:06:23 ГП и ПП в разработке 1:07:30 эпизод в разработке 1:08:08 реприза гп 1:08:41 реприза пп 1:09:35 тема любви 1:10:57 кода
20'05" Number 7
Terrifying ending
And now we have mad "kings" all over!
II - Chant d'amour 1 - 6:08 III - Turangalîla 1 - 13:55 IV - Chant d'amour 2 - 18:45
VII - 45:28
Theme - 0:03 Var. 1 - 1:32 Var. 2 - 2:33 Var. 3 - 3:34 Var. 4 - 4:45 Var. 5 - 5:55 Var. 6 - 7:04 Var. 7 - 8:14 Var. 8 - 9:16 Var. 9 - 10:38 Var. 10 - 11:48 Var. 11 - 12:48 Var. 12 - 13:52 Var. 13 - 15:09 Var. 14 - 17:07 Var. 15 - 18:31 Var. 16 - 19:54 Var. 17 - 21:55 Var. 18 - 23:11 Var. 19 - 25:14 Var. 20 - 26:07 Var. 21 - 26:56 Var. 22 - 28:03 Var. 23 - 28:58 Var. 24 - 29:39 Var. 25 - 32:21 Var. 26 - 34:21 Var. 27 - 35:43 Var. 28 - 41:11 Var. 29 - 42:39 Var. 30 - 43:15 Var. 31 - 46:57 Var. 32 - 48:05 Var. 33 - 49:13 Var. 34 - 50:27 Var. 35 - 51:51 Var. 36 - 53:00 (Optional) Cadenza - 54:51 Theme (recap) - 1:00:46
poor piano arranger :(
It's an approximation
29:11 V
Who is the performer?
Frederic Rzewski
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Nice
Thank you for reuploading this after "M" came!
What are conductor and orchestra?
Leonard Bernstein & Boston Symphony - as poster notes.
No conductor or orchestra is cited for the recording. Stating who performed the premiere is not the same thing.
This recording is the Verbier Festival Orchestra conducted by Charles Dutoit.
“I'm not interested in having an orchestra sound like itself. I want it to sound like the composer.” ― Leonard Bernstein
thank you a lot for the score!!