Edward Elgar The Black Knight, Op. 25 Video
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Richard Hickox Sir Edward Elgar London Symphony Orchestra London Symphony Chorus Richard Hickox Orchestra 1996
Provided to YouTube by PIAS The Black Knight, Op. 25, Scene 3: I. The Dance. Pipe and viol call the dances · Richard Hickox · London Symphony Orchestra · London Symphony Chorus Elgar: The Black Knight & Scenes from the Bavarian Highlands ℗ Chandos Records Released on: 1996-02-01 Choir: London Symphony Chorus Conductor: Richard Hickox Orchestra: London Symphony Orchestra Composer: Sir Edward Elgar Auto-generated by YouTube.
Royal Liverpool Philharmonic Orchestra Sir Charles Groves Sir Edward Elgar 1984
Provided to YouTube by Warner Classics The Black Knight Op. 25: Scene III: Pipe and viol call the dances · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves Elgar - Choral Works ℗ 1984 Parlophone Records Limited, a Warner Company Music Group Company. Producer: David R. Murray Chorus Master: Edmund Walters Director: Edmund Walters Lead Vocals: Edmund Walters Choir: Liverpool Philharmonic Choir Chorus: Liverpool Philharmonic Choir Choir: Liverpool Philharmonic Choir & Orchestra Lead Vocals: Liverpool Philharmonic Choir & Orchestra Orchestra: Royal Liverpool Philharmonic Orchestra Lead Vocals: Royal Liverpool Philharmonic Orchestra Conductor: Sir Charles Groves Lead Vocals: Sir Charles Groves Lyricist: Ludwig Uhland Composer: Sir Edward Elgar Auto-generated by YouTube.
Elgar Ewell Hugh Blair Blair Gordon Jacob Sir Adrian Boult Goossens Bbc Symphony Orchestra 1889 1892 1895 1947
Organ Sonata in G major op. 28, (1892) Besides the Vesper Voluntaries, Elgar’s only other work specifically written for organ is the Organ Sonata in G of 1895 which he composed for the four-manual Hill organ in Worcester Cathedral. When Hugh Blair became organist of Worcester Cathedral, he asked Elgar for a large organ work that would show off the Cathedral organ. Amazingly, the work took only two weeks from conception to first performance. Elgar started to assemble the work from sketchbook jottings in late June 1895. He completed it by 3 July (writing on the score "One week's work"), five days before the first performance which Hugh Blair, the cathedral organist and dedicatee of The Black Knight, gave to an American Organists' convention meeting in Worcester. Apparently the haste with which Blair had learnt the work showed in a somewhat muddled rendition, but the work itself shows no sign of a hasty composition. It is the most significant of his instrumental compositions preceding the Enigma Variations, containing clear precedents for the major symphonic works, notably the two Symphonies and the Variations themselves, that were to come. The work was dedicated to Charles Swinnerton Heap, the Staffordshire conductor who had commissioned Elgar's cantata King Olaf for the following year. Allegro maestoso In straightforward sonata form, the movement’s first theme is assertive whilst the second subject trickles rather than bowls along. Elgar’s fingerprints are all over the work, with aspiring leaps upwards of a fifth, descending sequences and tension building through ascending trills. The recapitulation is straightforward. Allegretto Underneath the contrapuntal configurations is the Elgar of the straightforward melodies from the early works for piano solo, violin & piano and the Vesper Voluntaries. It is in extended ternary form. Andante espressivo The relaxed, “nobilmente” melodic line is extensive, taking one-eighth of the movement to unfold on its initial statement. Again, it is in ternary form, though the middle section offers only a slight contrast in mood. With no major climax, and the return of the theme offering some discreet decoration, the effect is more a meditation as in The Light of Life. Presto (comodo) A confident first theme progresses to the second subject with its hint of the opening of The Black Knight of 1889. The development and recapitulation are outweighed by the extended coda incorporating the Andante’s main theme that shows off the organ’s hitherto hidden power. Gordon Jacob arranged the work for orchestra in 1947, chosen for the role on the recommendation of Sir Adrian Boult, who conducted the orchestral première in a BBC Home Service radio broadcast with the BBC Symphony Orchestra. It was also Jacob who arranged, at Leon Goossens’ request, the Soliloquy for Oboe. Those hearing the organ work in his excellent arrangement will be surprised that Elgar did not conceive the work in its orchestral form.
Edward William Elgar Baronet Richard Hickox Ritter London Symphony Chorus 1857 1889 1924 1934
Sir Edward William Elgar, 1st Baronet OM GCVO (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924. The Black Knight, Cantata for chorus and orchestra Op. 25 +••.••(...)) in IV movements London Symphony Chorus & Orchestra conducted by Richard Hickox The Black Knight, Op. 25 is a symphony/cantata for orchestra and chorus written by Edward Elgar in 1889–93. The librettist borrows from Longfellow's translation of the ballad Der schwarze Ritter by Ludwig Uhland. Basil Maine, a leading Elgar biographer, believes the purpose of the work is to create a close mix of vocal and instrumental tones. Elgar’s need to organize the loose format of the cantata by shaping it to a more rigid form is also apparent. For example, Elgar divides the text into four contrasting scenes corresponding to the four movements of a typical symphony. Elgar's The Black Knight tells the story of the intrusion of a mysterious stranger into a king's court with disastrous and gruesome result. It starts with a medieval jousting competition held in honor of the feast of Pentecost: in the competition, the king’s son beats everyone in the lists until a mysterious knight arrives and challenges him, and with the sky darkening and the castle rocking, the strange knight fights and wins. Later that evening, during the banquet, the black knight returns to ask the king if he can marry his daughter and begins to dance with her, and as they dance, the little flowers in her hair mysteriously die. Later, noticing the paleness of the king's two children, the guest offers 'healing' wine to them, who collapse and die soon after drinking the poison. The old king begs the knight to kill him as he has nothing left to live for, but he refuses. Music writer Diana McVeagh observes that there seems to be no moral cause or explanation for the gratuitous evil of the stranger. Many believe the composer considers the chorus less important than the orchestra. For example, the chorus borrows the orchestra’s tunes or will often double the orchestra. The words are often weakly placed and do not seem as important as the underlying music. "Words serve a mechanical purpose ... [there is] no good reason why they should not be removed". The orchestral writing, however, is competent and characteristic. For example, fear at the Black Knight is expressed by harmonic sequences and appoggiaturas which resolve downward. The composer also uses Neapolitan sixth chords to express the wickedness of the knight. Due to this unexpected compositional technique, The Black Knight is still performed all over the world.
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