Originally posted by Caliban
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Alphabet associations - I
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amateur51
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amateur51
Originally posted by Oddball View PostWell it's harder to give the exact answers - innit?
Vassily Brandt 34 Orchestral Etudes for Trumpet (I know them well of course).
Vasily Petrenko prom 54 RAH 2012 - Peter Maxwell Davies symphony no. 9. Here I'm a little unsure - do these modern composers bother with mere key signatures?
The difficult one is two Russian Images deep down. This may be referring to " in 1989, Russian scientists in Siberia had drilled a borehole some 14.5 kilometers deep into the Earth's crust. The drill broke through into a cavity, and the scientists lowered some equipment to see what was down there. The temperature was about 1,100°C (about 2,000°F), but the real shocker was the sound that was recorded. They only got about 17 seconds of audio before the microphone melted, but it was 17 horrifying seconds of the screams of the damned!"
Whether one of those scientists was called Vasily?
Vassily it is - and Mr Brandt's études
I can see why you're offering Petrenko but on the card it's Sinaisky who performed Moeran's G mi symphony at the Proms a few seasons back
And the bass-baritone Vassily Savenko gave us not one but two albums entitled Russian Images
Vassily Savenko: Bass Baritone ... "This is a voice of finely woven texture, enriched throughout by reserves of depth in the tone"
So Odders - well done ;star::magic - and over to you for a Wubble-Ewe
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amateur51
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Originally posted by Oddball View PostSo you can have an X straight away - but for a W you may have to wait until tomorrow!"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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Originally posted by Oddball View PostAn X to link: A flop in Paris. A flop in London. And a choral lament.
I'm sure that will entertain you for 10 minutes or so after dinner.
Knotty one!
Great having new brains on this thread - I thought we were all out of X's!
However I just checked a hunch: Handel's Xerxes was a flop in London...
Aeschylus's The Persians ends with Xerxes and the chorus in a lament for the Persians' defeat
Not sure what the Paris connection could be though.... This fragment of a cup from the Babylonian era is in the Louvre and has Xerxes's name on the rim, apparently:
"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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hedgehog
Cavalli wrote a Xerxes and it was a flop in Paris, except for the ballet interludes put in by Lully (though knowing a bit about Lully I'm wondering if this was a set-up ).
I knew that Handel's Xerxes was a flop when first performed in London, but the choral lament has got me stumped. Has someone set just this part of the play? An English composer?
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There's a lamentable chorus in The Gondoliers
We will dance a cachucha, fandango, bolero,
Old Xeres we'll drink Manzanilla, Montero;
For wine, when it runs in abundance, enhances
The reckless delight of that wildest of dances!
To the pretty pitter-pitter-patter,
And the clitter-clitter-clitter-clatter
Glitter clitter clatter,
Fitter pitter patter
We will dance a cachucha, fandango, bolero ;
Old Xeres we'll drink Manzanilla, Montero;
For wine, when it runs in abundance, enhances
The reckless delight of that wildest of dances!
Pacta sunt servanda !!!
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Originally posted by hedgehog View PostCavalli wrote a Xerxes and it was a flop in Paris, except for the ballet interludes put in by Lully (though knowing a bit about Lully I'm wondering if this was a set-up ).
I knew that Handel's Xerxes was a flop when first performed in London, but the choral lament has got me stumped. Has someone set just this part of the play? An English composer?
You are correct on both counts on the choral lament. Not G&S and not more Handel.
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Aeschylus' Persians ends with Xerxes lamenting the enormity of Persia’s defeat.
The Persians, Aeschylus' earliest surviving tragedy, holds a fascination both for readers of Greek drama and Greek history. Not only is it the earliest existing play in the Western tradition, it is drawn directly from the playwright's own experiences at the battle of Salamis, making it the only account of the Persian Wars composed by an eyewitness. And as pure tragedy, it is a masterpiece. Aeschylus tells the story of the war from the Persian point of view, and his pride in the great victory of Greeks is tempered with a real compassion for Xerxes and his vanquished nation. Lembke and Harrington have rendered this stunning work in a modern translation that loses none of the original's dramatic juxtaposition of serenity and violence, hope and despair.Pacta sunt servanda !!!
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