"Procession of the Nobles" from Mlada, Nikolai Rimsky-Korsakov Rimsky-Korsakov's Mlada, first produced in 1892, almost defies the effort to describe it. In form it is half-opera and half-ballet, and its libretto is unbelievably complex, even by the standards of opera librettos. Set a thousand years ago in an imaginary kingdom called Retra on the shores of the Baltic, Mlada tries to fuse Wagnerian opera with ancient Russian legend, and the result is an absolutely fantastic story. Princess Mlada, a role that is danced rather than sung, has been murdered by her rival Voyslava, who sets out to secure the love of Yaromir, Mlada's lover. The story involves magic, evil spirits, and trips into the underworld, and at the climax an entire village is submerged by an overflowing lake and Yaromir and Mlada are seen ascending on a rainbow. RUSSIAN SAILORS’ DANCE from the Ballet The Red Poppy Reinhold Glière The ballet The Red Poppy was composed and premiered in 1927 to celebrate the tenth anniversary of the Russian Revolution. Its story centers around the blossoming of revolutionary sentiment in China, celebrating the bonds of friendship between visiting Soviet sailors and Chinese revolutionaries. The Dance is a simple set of orchestral variations on a 12-measure trepak, a traditional Cossack folk dance that gradually increases in tempo. Each repetition of the tune features different orchestration, beginning with a section solo for the double basses. Earl of Oxford, William Byrd William Byrd (1543-1623) was the leading English composer of his generation, and together with continental composers Giovanni Palestrina and Orlando de Lassus, one of the great masters of the late Renaissance. Raised in the Royal Chapel, Byrd most likely studied with composer and chapel organist Thomas Tallis. Although raised in Protestant surroundings, Byrd remained a devout Roman Catholic and yet maintained favor with the throne throughout his life. Keyboard music formed one of Byrd's main compositional endeavors, and the fruit of these labors provided the impulse for an entire school of Elizabethan keyboard composition. Most of these works were intended for performance at the virginal, a relative of the harpsichord in many timbral and mechanical aspects. In "The Earl of Oxford's March," devices of crescendo, ornamentation and imitation are clearly evident. This movement, marked un poco pomposo, begins its stately procession through the two iterations of its form simply and very quietly, growing steadily stronger and more complex into the climactic final sections. Alman, Thomas Morley The Pavan was the ceremonial entrance dance of the time, "a kind of staide musicke, ordained for grave dauncing" (Plaine and Easie Introduction to Practicall Music, Thomas Morley, 1597). It was always paired with a Galliard, "a lighter and more stirring kind of dancing", properly with the same pulse but in triple time, for the young (but 'proper') bloods to introduce their skill and energy. Another dance of the time was an Alman. Allegro, from A Little Night Music, W.A. Mozart Nachtmusik would seem to mean “night music,” but it is actually the German translation of the Italian serenata – serenade. Serenata takes its meaning both from sera, “night”, and serena, “serene.” Originally, a serenade was a song sung at night by a lover below his lady’s window (as in the serenade Deh vieni alla finestra, sung by Don Giovanni in that Mozart opera). By 1787, Mozart kept a regular catalog of his works, and the entry for August 10, 1787, offers a mystery. It reads: A Little Night Music, consisting of an Allegro, Minuet and Trio, Romance, Minuet and Trio, and Finale. But in the score as we have it, the opening Allegro is followed directly by the Romance. A page containing the first minuet and its trio was removed from the manuscript — whether by Mozart himself or someone else, we have no idea. Wachet Auf, J. S. Bach “Wir eilen mit schwachen”, J. S. Bach Bach’s choice of Chorale melody does reflect his understanding for the portion of the church year for which it was written. Wachet Auf was written for the 27th Sunday after Trinity which is the first week of advent in preparation for the birth of Christ. The story behind the chorale melody is that of the foolish virgins who missed their bridegrooms. The chorale melody Wachet Auf (Sleeper’s Awake!) fits this story into the church year in that it’s saying telling how the bridegrooms were missed but you better be ready when Jesus comes. The celebration of the birth of Christ comes four weeks after this first week of advent. Bach got the Chorale Melody from a hymn by Philipp Nicolai which was originally called Wachet Auf. WIR EILEN MIT SCHWACHEN We hasten with weak [feeble], yet eager footsteps, Oh Jesus, Oh Master, to seek after your help! You tirelessly seek out the sick and those who have gone astray. Oh, hear us, as we, our voices raised, pray for your help! May your merciful countenance be gracious unto us! I'm Getting Sentimental Over You George Bassman and Ned Washington I'm Getting Sentimental Over You" was the theme song of the Tommy Dorsey Orchestra. The words were written by Ned Washington and the music was written by George Bassman. It was first performed in 1932. The original copyright is dated 1933 and issued to Lawrence Music Publishers, Inc. The copyright was assigned to Mills Music, Inc. in 1934. Noni Bernardi. a saxophonist with the Dorsey orchestra arranged this song. Tommy Dorsey was the featured trombone soloist when his orchestra played it. It was first recorded in September 1935. A second recording on October 18, 1935 is the exact arrangement that Tommy would henceforth feature. Tommy's expert breath control, command of the upper register, and phrasing added to the sweetness of the song which typified his orchestra. Frank Sinatra, who got his start in the Tommy Dorsey Orchestra, sang this song in the Dorsey Orchestra and also featured it in an album, I Remember Tommy, after Tommy Dorsey's death in 1956. The tempo was Foxtrot or Swing. Nev - er thought I'd fall, but now I hear love call; I'm getting sen - ti - men - tal over you. Things you say and do, just thrill me through and through -- I'm getting sen - ti - men - tal over you. Overture to the Barber of Seville, Gioacchino Rossini Rossini developed precociously in a musical household -- his father was a horn player, his mother an opera singer -- and during his lifetime enjoyed great success in Italy and France. As was often the case with artists and musicians in Europe, war interrupted the royal commissions on which he had thrived, and despite continued popularity in both France and Italy, he returned to Italy, stopped composing for nearly 25 years, suffered poor health, and only resumed composing upon his return to Paris around 1855. "There is an infectious feeling of joie de vivre about them all and it is difficult not to smile while listening to them. These lively and happy sounding compositions were the "light music" of their time but there’s no mistaking the highly inventive and creative mind that penned them."--C.F. Simple Gifts, Aaron Copland In 1942, choreographer Martha Graham and arts patron Elizabeth Sprague Coolidge commissioned Copland to write a ballet score with an American theme. The content of Graham's script changed many times, but always centered around figures emblematic of the American tradition: Puritans, a preacher, matriarch, pioneer, citizen, abolitionist; and activities like homesteading, revival meetings, courtship, childbirth, celebrations, weddings, and war. The Shaker tune "Simple Gifts," written by Joseph Brackett in 1848, fits well with Graham's image of unity, simplicity, and American rural life. Copland presents a series of variations on this Shaker tune at the climax of the ballet. Now delicate, dancelike, broad, and majestic, this section is often performed separately as "Variations on a Shaker Tune" in Copland's own arrangement for orchestra (1967) or band (1958). If Ye Love Me, Thomas Tallis Thomas Tallis was born into a Catholic country, and his first main employment was as organist of Waltham Abbey, but after the dissolution in 1540, he was employed at court as a Gentleman of the Chapel Royal, a post he held until his death. Thus he was in close contact with all the changes to the liturgy which took place, first as a result of the break with Rome, then the return to Catholicism under Queen Mary, and finally the return to the English rite under Elizabeth I. He wrote most of his music in Latin, as he remained a Catholic to his dying day, but he was also one of the first composers to write for the new English liturgy. In every style he adopted his music is of superb quality and consistency, be it the simple syllabic setting of If ye love me, or the intricate polyphony of his great 40 part motet Spem in alium. If ye love me, keep my commandments, and I will pray the Father, and he shall give you another comforter, that he may abide with you forever, e'en the spirit of truth. My Heart, Louis Armstrong Louis Armstrong, nicknamed Satchmo and Pops, was a charismatic, innovative performer whose improvised soloing was the main influence for a fundamental change in jazz, shifting its focus from collective improvisation to the solo player and improvised soloing. One of the most famous jazz musicians of the 20th century, he was first known as a cornet player, then as a trumpet player, and toward the end of his career he was best known as a vocalist and became one of the most influential jazz singers. Songs from Porgy and Bess, George Gershwin During seven decades since its premiere in September 1935, Porgy and Bess has established itself as a uniquely American opera. George Gershwin found the story in DuBose Heyward’s 1924 novel, Porgy, was immediately convinced of its potential as an opera, and immersed himself passionately in the project. He traveled to South Carolina and lived for two months among the Gullah People – Porgy’s people – then spent 20 months sketching the opera and composing the score. Gershwin was very proud of the work: “I think the music is so marvelous,” he said, “I don’t believe I wrote it.” Songs from the opera, particularly “Summertime,” continue to percolate through American music, from jazz clubs to the concert hall.