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Full text of "Three poems by Fiona MacLeod : in musical settings for high voice with piano accompaniment, opus 11"

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Given By 



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A weekend of cheering for Tangle wood 



TANGLEWOOD FESTI? 
VAL OF CONTEMPO- 
RARY MUSIC — works of 
Crumb, Essyad, Griffes, 
Ives, Jolas, McKinley, Riley, 
Rochberg and Stock, per- 
formed Saturday and Sun- 
day by members of the 
Berkshire Music Center, the 
Boston Symphony Orches- 
tra, Seiji Ozawa conducting, 
soprano Phyllis Bryn-Jul- 
son, and violinist Isaac 
Stern. j , 

ByMicfeifgtei?^/^ 

Globe Staff 

LENOX — Audiences for 
the Festival of Contempo- 
rary Music sponsored here 

<each August by the 
Berkshire Music Center and 
the Fromm Music Founda- 
tion don't usually stand up 
and cheer, but Saturday 
afternoon, at the opening of . 
this year's session, they did 
in a big way. What turned 
them on was Betsy Jolas' 
witty and sensuous Quartet 

.2, stunningly performed by 



REVIEW/MUSIC 



soprano Elizabeth Parcells,' 
violinist Arthur Zadinsky, 
violist Penelope Knuth, and 
cellist David Heiss. 

The voice is an instru- 
ment here, articulating 
sounds tantalizingly on the 
verge of intelligible speech 
(with, finally, a delightful 
' throwaway joke). Its 
separateness is acknowl- 
edged, even dramatized, by 
a couple of cadenzas, but es- 
sentially the singer is a 
member of the ensemble, 
conversing on equal terms 
(she sits where the first vio- 
linist usually would). The 
topic of conversation is. 
trills, trills slow and fast, 
regular and irregular, nar- 
row and wide, and at the 
end all four get together on 
a trill as they have been 
trying to all along. 

The quartet is a festival of m 



ensemble virtuosity, and I 
shouldn't think anything 
exists more difficult for co- 
loratura soprano. The group 
gave a performance at once 
beautifully blended and dis- 
tinct, and of exemplary deli- 
cacy. Elizabeth Parcells left 
us amazed and delighted at - 
her bravura — those trills in 
sevenths are not something 
you hear any where and any 
day — her musicality, and 
the glow that is beginning 
to warm the brightness of 
her voice. 

Twice more, these open- 
ing concerts became excit- 
ing. At the, end of Saturday 
afternoon a superb sextet 
under the direction of Mi- 
• chael Pratt played "Paint- 
ings No. 2" by William 
McKinley, who teaches at 
the New England Conserva- 
tory. There are five small 
but rich panels, one to de- 
pict each season, and an epi- 
logue that touches again the 
moods and sounds of all 
four. It is music of changes, 



dense, nervous, delicate, ex- 
quisitely timed, and with a 
sense of music as magic 

At his best, George 
Crumb commands magic 
like none of our contempo- 
raries. For me, the four pro- 
cessionals of "Echoes of 
' Time and The River," which 
were on Saturday's Boston 
Symphony program, are. 
mostly mannerism and sur- 
face. "Vox Balaenae" (the 
voice of the whale), on the 
other hand, is one of the 
wonders of recent music. 
Much of what makes - it 
touching and spell-binding 
it owes to the whale songs 
that it translates into 
human music, but it be- 
comes a finely imagined, 
coherent, intensely com- 
municative statement. 

It was performed Sunday 
morning by flutist Stephan- 
ie Jutt (who had already 
distinguished herself in the 
McKinley "Paintings"); cel- 
list Sato Knudsen, and pia- 



nist Christopher O'Riley. 
What these musicians gave 
in virtuosity, insight, con- 
centration, and not least in 
those matters of deportment 
that are so crucial in 
Crumb's theatrical composi- 
tions, not only made a won- 
derful projection of the 
work but was something 
moving in itself. Enthusi- 
asm was great after br,th 
Crumb performances, and 
like Jolas and McKinley, the 
composer was here to bow 
repeatedly with the players. 

For the rest, we had the 
premiere of David Stocky 
"Dreamwinds" for wind 
quintet, an altogether un- 
dreamy structure of severe- 
ly unadorned blocks with 
interesting edges; i 

"Sultanes" by the Moroccan 
composer Ahmed Essyad, a 

.clean work for tape alone, 
whose mixing of an Arab's 
herdsman's chant with pure 
studio sounds fascinated 

•without always convincing; 
Dennis Riley's Concertino, 

"another premiere, repre- 
senting pleasantly and in- 
stantly forgettably the new 
prettiness; C harles ToT'tiTW 
s on. G riffes' 1918 songs on 
poems by Fiona McLeod; 
Brangaene's Warning, He- 
bridean Mists, both with 
French accent, beautifully 
delivered by Phyllis Bryn- 
Julson and the BSO under 
Seiji Ozawa; and George 
Rochberg's counter-revolu- 
tionary violin concerto with 
Isaac Stern as soloist. 






CHARLES T. GRI 

Opus 11 




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THREE POEMS 

By Fiona MacLeod 

In Musical Settings 

V'i \ ° ' j ;j„'J. •• .-■ 

For High Voice "*wltli"P.&rio 'Accompaniment 






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*• Repnot«d, by permisaion, /rem "The Gardeoer:* Copyright, 1913, by The MacrailLao Company. 
Copyright, fS/S, by Q. Schirmer 



3 East 43d St. 



G. SCHIRMER 



New York 



T 281 



CHARLES T. GRIFFES 

Opus 11 



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THREE POEMS 

By Fiona MacLeod 

In Musical Settings 
For High Voice With Piano Accompaniment 

Net 

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that both may be reborn as one, the sign is a dark rose, or a rose of flame, in the heart of the night. 



Poem by Fiona MacLeod* 

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Recent songs by the composer of THE BIRD OF THE WILDERNESS 



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• By permission of E.P.Dutton 4 Co. 



Copyright, t$f? ^ OjSehirmet 



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• The melody to be* played with, the /r/r Aanrf, except where otherwise Indicated. 
*• Reprinted, by permission, from "The Gardener" Copyright, I9ia, by The MflomlM&o Company. 
Cnpyriffht, 1919, by Q. Schirmer 



3 East 43d St. 



G. SCHIRMER 



New York 



T281 



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Boston Public Library 
Central Library, Copley Square 

Division of 
Reference and Research Services 

Music Department 



The Date Due Card in the pocket indi- 
cates the date on or before which this 
book should be returned to the Library. 

Please do not remove cards from this 
pocket. 






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