Barbara Bonney: The complete "12 poems of Emily Dickinson" (Copland)
12 poems of Emily Dicikinson (1950):
I. Nature, the gentlest mother 00:00
II. There came a wind like a bugle 04:00
III. Why do they shut me out of heaven? 05:29
IV. The world feels dusty 07:35
V. Heart, we will forget him 09:30
VI. Dear March, come in! 11:41
VII. Sleep is supposed to be 13:53
VIII. When they come back 16:57
IX. I felt a funeral in my brain 18:48
X. I've heard an organ talk sometimes 20:51
XI. Going to heaven! 22:54
XII. The chariot 25:15
Copland, Aaron (1900-90) -composer
Barbara Bonney -soprano
André Previn -piano
Playlist: "The art of American song: Ives, Copland, Barber, Bernstein, Previn, Heggie...": https://www.youtube.com/playlist?list...
The composition of his 12 Poems of Emily Dickinson (1949-1950) marks the beginning of a brief period during which Copland composed vocal music almost exclusively. It was his first major vocal piece, and some consider it one of the great song cycles of the twentieth century.
Copland hoped that the audience would perceive the work as a song cycle, although only the seventh and 12th songs in the set are thematically related. Features below the surface lend uniformity to Copland's settings. The interval of a third dominates the songs in both voice part and accompaniment, as do chord progressions that feature falling fourths. In general the songs are transparent, the piano part often consisting of only one line per hand. In addition, word painting appears in many of the songs.
The first line of "Nature, the gentlest mother" consists almost entirely of leaps of a third, particularly between B flat and D natural, while the piano delivers embellishments resembling bird calls. Agitated and even violent, "There came a wind like a bugle" opens with piano scales in strident ninths. Piano trills suggest the "quivering grass," while the church bell is evoked in accented left-hand notes. The accompaniment is generally simple in "Why do they shut me out of heaven?" and the melodic central section is enclosed by recitative-like material. "The world feels dusty" is a rumination on inevitable death, given a quiet setting.
Resignation is also at the core of "Heart, we will forget him," a poem on lost love. Copland evokes the loss and tragedy conveyed by the poem through falling fourths in the voice part, especially at the words, "thought may dim," on E, B, and F. With a very active accompaniment, Copland sets "Dear March, come in," in music with a dual time signature -- 6/8 in the piano and 2/4 in the voice. The resultant cross rhythms create a lively atmosphere in this bucolic welcoming of spring. "Sleep is supposed to be" marks the middle of the cycle, and after this song Copland specifies a significant pause. Arpeggios dominate both the voice and piano parts in this brittle song.
Spring is again the subject in "When they come back." Simpler than "Dear March," "When they come back" is rhythmically uniform and predominantly diatonic. Unlike the other songs, each of its verses begins with the same music. Copland sets Dickinson's dark "I felt a funeral in my brain" with a lugubrious accompaniment depicting the slow, heavy pace of a funeral procession. Bells clang as the piano and voice move mostly in different keys, creating an atmosphere of unease. Despair is once again conveyed through falling fourths. In contrast, "I've heard an organ talk sometimes" is calm, while rising phrases dominate "Going to Heaven." "The Chariot" (Copland's title for Because I would not stop for death), begins with the opening of "Sleep is supposed to be." The calm setting reflects the narrator's fearlessness in the face of death. Copland orchestrated eight of the 12 Dickinson Poems between 1958 and 1970.
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[프로그램소개]
Claude Debussy (1862~1918) The 6 songs from <Recueil Vasnier>
클로드 드뷔시 바즈니에 모음곡 중 6곡
Ⅰ. Coquetterie Posthume(매력적인 유저) 3:30
Ⅱ. Romance(연가) 2:40
Ⅲ. Musique(음악) 2:10
Ⅳ. La Romance d’Ariel(아리엘의 연가) 5:00
Ⅴ. Regret(그리움) 2:40
Ⅵ. Pantomine(무언극) 2:40
Jacques Offenbach Elle a fui, la tourterelle <from Opera Les Comtes d’Hoffmann>
자크 오펜바흐 비둘기는 날아가버렸네.. <오페라 ‘호프만의 이야기’중에서>
Intermission
Gian Carlo Menotti (1911~2007) Hello! Oh Margaret, it’s you! <from Opera Telephone>
잔 카를로 메노티 여보세요! 오 마가렛, 너로구나! <오페라 ‘전화'>
Aaron. Copland (1900~1990) The 8 songs from <12poems of Amily Dickinson>
아론 코플랜드 <12개의 에밀리 디킨슨 시> 중 8곡
Ⅲ. Why do they shut me out of Heaven?
그들은 왜 나를 천국에서 내쫒았나? 2:10
Ⅳ. The world feels dusty
세상은 먼지같이 느껴진다. 2:00
Ⅴ. Heart, we will forget him
마음, 우리는 그를 잊을 것이다. 2:30
Ⅵ. Dear March, come in!
3월님, 어서 오세요! 2:20
Ⅶ. Sleep is Supposed to be
수면이라는 것은 3:00
Ⅷ. When they come back
그들이 돌아오면 2:10
Ⅸ. I felt a funeral in my brain
내 머릿속에 장례식을 느낀다.
Ⅹ. I’ve heard an organ talk sometimes
나는 때로 오르간이 말하는 것을 듣는다. 2:10
Leonard Bernstein (1918~1990) Glitter and be Gay <from Operetta Candid>