Just a mild curiosity. I haven't had a chance to check any Irish sources. And its not that I particularly want to claim it, either! Anyway, I suspect that the "ownership" of any song is Jack Your Body - Home Made - Steve Silk Hurley - Jack Your Body pretty specious concept. The interchange between folk traditions particularly those as rich as the Irish and the music hall stage was constant.
A traditional song would be reworked for the stage in something not too different from the folk process and then the folk would take it as their own and shape it to their ownd ends. A good example would be "Finnegan's Wake" - the English would sing such a song on stage as a standard insult to the Irish, yet the Irish could take it and enjoy its humour and make it truly Irish.
I saw the thread on "The Snowy Breasted Pearl". Such a song could be translated and sung as a music hall number My great interest is in Australian traditions. It is just the same as anyone else's tradition, except that it happened recently enough for us to see the process. I regard any music or song that has survived on its own for a generation or more as having a good Australian pedigree.
I don't go stealing Roy C* - Shotgun Wedding else's songs and music, but anyone else can do what feels right to them. Australia is an immigrant country - unless you are a Koori the local name for an Aboriginal Australian - and it has an immigrant tradition I'll get out of your way now!
Thanks Alison for the ABC. We were discussing the differences between 'The Gentle Maiden' and 'Rosin the Beau' the tune commonly used in Australia for a convict escape song; "The Catalpa" Even going back to the middle ages and beyond, travelling musicians were infuenced by singers and players from other backgrounds and traditions, and these changes were passed on to and assimilated by their audiences.
I suspect that any one who claims "ownership" of a folk song for a particular culture is doing so to support their own political agenda. Doubly so if they insist it should only be sung in the "original" whatever. The other factor is of course that the recording industry has at the moment the perceprtion that anything labelled as "Irish" or"celtic" used in their minds synonomously, will sell.
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Post a new comment. Is it all some great, fearful joke? We must answer these questions in some way if we are to go on living—yes, even if we must only continue dying. The man in whose life this call resounds must give an answer, and I give it in the last movement.
The second and third movements are conceived as The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody interlude: the second, a memory! I am sure you The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody experienced this while you were carrying to his grave someone who was near to your heart; perhaps on the way back there suddenly appeared the image of an hour of happiness long passed, which lit up your soul and which no shadow can spoil.
One practically forgets what has happened! That is the second movement! And so life seems without meaning, a fearful nightmare from which you awaken with a The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody of horror.
This is the third movement! We are standing near the grave of a well-loved man. His whole life, his struggles, his sufferings and his accomplishments on earth pass before us. Will we live on eternally? Is it all an empty dream or do our life and death have a meaning?
The next three movements are conceived as intermezzi. Second Movement: Andante. Third Movement: Scherzo. A spirit of disbelief and negation has seized him. He is bewildered by the bustle of appearances and he loses his perception of childhood and the profound strength that love alone can give. He despairs both of himself and of God.
The world and life begin to seem unreal. Utter disgust for every form of existence and evolution seizes him in an iron grasp, torments him until he utters a cry of despair.
Fourth Movement: Alto solo. Fifth Movement: Once more we must confront terrifying questions, and the atmosphere is the same as at the end of the third movement. The voice of the Caller is heard. The end of every living thing has come, the last judgment is at hand and the horror of the day of days has come upon us.
The earth trembles, the graves burst open, the dead arise and march forth in endless procession. The great and the small of this earth, the kings and the beggars, the just and the godless, all press forward.
The cry of mercy and forgiveness sounds fearful in our ears. The wailing becomes gradually more terrible. Our senses desert us, all consciousness dies as the Eternal Judge approaches. The last trump The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody the trumpets Joe Jackson - Body And Soul the Apocalypse ring out.
In the eerie silence that follows, we can just barely make out a distant nightingale, a last tremulous echo of earthly life. A wondrous light strikes us to the heart.
All is quest and blissful. Lo and behold: there is no judgment, no sinners, no just men, no great and no small; there is no punishment and no reward. A feeling of overwhelming love fills us with blissful knowledge and illuminates our existence.
Misterioso, etc. In the tempo of the Scherzo; a wild outburst; slowly; energetically fast, without rushing; powerfully; somewhat weightier; somewhat pressed; slowly, mysteriously etc. Form: Expanded Sonata form with chorale concluding section in the form of a recapitulation. Form: Scherzo and trio. Form: Though-composed in ABA structure. Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben! O red rose! Man lies in greatest need!
Man lies in greatest pain! Would that I could be in heaven! Dear God will give me a light, that will light me to eternal, blessed Life! Symphony No. Chorus Rise again, yea, thou shalt rise again, my dust, after brief rest!
Immortal Life will He who called thee grant thee. Thou art sown to bloom again! The Lord of the harvest goes and reaps us who died like sheaves! Dein ist, was du gesehnt! Dein, was du geliebt, was du gestritten!
Soprano Solo: O glaube: du wardst AB2088 - NXPCHOIR (File) umsonst geboren! Hast nicht umsonst gelebt, gelitten! Alto Solo and Chorus: Was enstanden ist, das musst vergehen!
Was vergangen, auferstehen! Bereite dich zu leben! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Was du geschlagen Zu Gott wird es dich tragen! Alto Solo: The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melodymy heart, believe Nothing is lost for thee!
Thou hast what thou longed for! What thou hast loved and fought for! Soprano Solo: Believe: thou wast not born in vain! The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody not live or suffer in vain. Alto Solo and Chorus: What has been, must perish! What has perished must rise again! Cease to tremble! Prepare The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody live! Alto Solo and Soprano Solo: O pain, which penetrates all! I am free from thee!
O Death, you all-conqueror! Now thou art conquered! I shall die, to live again! Rise again, yes rise again Wilt thou, my heart, in an instant! What thou hast struggled through Will carry thee to God! Text by Gustav Mahler Symphony No. Date s of Composition: ; published by Weinberger in ; Universal Edition in ; revised Program s : Although Mahler did not supply narrative O Come Emmanuel - Amy Sky - The Lights Of December notes akin to the ones he wrote for the Second Symphony, he did give each movement a title, revised the titles several times, and finally eliminated them from both programs for post-premiere performances and from the published edition.
Tempo: Tempo di Menuetto. Tempo: Comodo. Ohne Hast. Without Haste. Tempo: Sehr langsam. Weh spricht, Vergeh! Doch alle Lust will Ewigkeit! Will tiefe tiefe Ewigkeit! O Man! Take heed! What says the deep midnight? I sleep! Out of a deep dream am I awakened! The world is deep! And deeper than the day is aware! Woe says: Begone! But all Joy wants Eternity! Wants deep, deep Eternity! Tempo: Lustig in Tempo und keck in Ausdruck In a merry tempo and bold expression. Ich gehe und weine ja bitterlich.
Da sollst ja nicht weinen! Liebe nur Gott in alle Zeit! So wirst du erlangen die himmlische Freud. Bimm, bamm, bimm, bamm.
Ding, dong, ding, dong. Three angels sang a sweet song: In blissful joy Non-Conformist Wilderbeast Man - Amboy Dukes* - Marriage On The Rocks - Rock Bottom sounded through Heaven, They shouted joyfully all the while That Peter was free of sin.
And should I not weep, thou merciful God? I have broken the Ten Commandments. I go my way with bitter tears. Thou shalt not weep! Ah, come and Gang Is Back - Mothers Children - Lemon mercy on me!
If thou hast broken the Ten Commandments Fall on your knees and pray to God! Love only God in eternity! So shalt thou know heavenly joys. Heavenly joy is a happy city. Heavenly joy knows no end. Heavenly joy was granted Peter By Jesus and for us eternal felicity. The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody Langsam, ruhevoll, empfunden. Slow, restful, deeply felt. Key: D major modulating to F-sharp minor, C sharp minor, etc.
Form: Elements of rondo and sonata form with variations on two principal themes. Date s of Composition: ; published by Universalrev. Orchestration: 4 flutes 3rd and 4th doubling with piccolo3 oboes, 3rd doubling with English Horn ; 3 clarinets in Bb, A and C 2nd doubling with E-flat clarinet, 3rd with bass clarinet ; 3 bassoons 3rd doubling with contrabassoon ; 4 horns; 3 trumpets; percussion timpani, bass drum, triangle, bells, glockenspiel, cymbals, tam-tamharp, strings.
Soprano soloist in finale. Ruhevoll, poco adagio Peacefully, somewhat slowly 4. Sehr behaglich Very comfortably. Deliberate, without haste Key: G major. In an easy motion. Without haste. Tempo: Ruhevoll poco Vladimir Yakovlev*, Boris Okunev* - Domra and Guitar Music restful. Tempo: Sehr Behaglich Very Relaxed. Key: G major ending in E major.
Elftausend The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody Zu tanzen sich trauen. Sanct Ursula selbst dazu lacht. No worldly turmoil Is to be heard in heaven! All live in the sweetest rest! We lead the life of angels Yet are very gay about it; We dance and jump, We skip and sing. Peter in heaven looks on. John lets the lamb go; Herod the butcher marks it well.
We lead a patient, Innocent, lovable Little lamb to its death. Luke slaughters the ox Summer Investigation - Howard Shore - Spotlight a thought or care. Wine costs not I Will See The Morning - Uncle Black - Earthling farthing In the Bonnie K - The Nice - The Immediate Years cellar; Little angels bake the bread.
Good vegetables of every kind Grow in the heavenly garden; Good asparagus, beans And whatever we want. Whole dishfuls are ready for us! Good apples, pears and grapes; The garden lets us have everything. If you want deer or hare On an open spit They come running up! Should a fast-day occur, All fish gladly swim along! Peter already hurries, With his net and bait, Into the heavenly fishpond.
Martha must be the cook. There is no music on earth That can be compared to ours. Eleven thousand virgins Set to The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody Even St. Ursula laughs to see it. Cecilia and her kin Are the splendid Court musicians! Gladden our senses, So that all awake to joy.
Place of composition: Maiernigg Type of composition: 5 Songs in versions with piano and orchestral accompaniment. Key: C The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody original piano version in C-sharp minor with several modulations to C major, D major, G minor and B-flat major. Key: C minor modulating to G minor. Form: ABAB. When your dear mother comes in the door, and I turn my head, and see her enter, my glance falls first not on her face but on the place closer to the threshold, there where your dear little face would be if you, bright with joy, came in with her as usual, my little daughter!
Key: E-flat major with each verse beginning in the minormodulating to G-flat during each verse. Key: D minor with occasional hints of B-flat and A The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody ending in D major. Tempo: Mit ruhelos schmerzvollem Ausdruck With a restless, painful expression. Form: free strophic form with a prelude and postlude, each verse being separated by an interlude of varying length.
The last verse is much longer than the earlier ones and, because of its vastly different character, is considered by La Grange to be virtually a separate song unto itself. Orchestration: the only song in the cycle initially written for full orchestra, including piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in A, bass clarinet in A, 2 bassoons, contrabassoon, 4 horns in F, timpani, celesta, tam-tam, harp and muted strings.
In diesem Wetter, in diesem Graus! Ich durfte nichts dazu sagen! In this weather, in this tumult, I should never Mamou Two-Step - Various - Cajun & Zydeco (Milestones Of Legends) sent the children out, they have been carried, carried out. I could say nothing about it. In this weather, in this storm, I should never have let the children out. I feared they would get sick, those are now vain thoughts.
In this weather, in this horror, I should never have let the children out. I worried they would die The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melodythat is nothing to worry about now.
In this weather, in this horror! I should never have let the children out. They have been carried out, I could say nothing about it! Bienen, wenn sie Zellen bauen, Lassen auch nicht zu sich schauen, Schauen selbst auch nicht zu.
Wenn die reichen Honigwaben Dann vor allen nasche du! Do not peek at my songs. I cast my eyes down. As if caught in a misdeed. The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody cannot even trust myself. I cannot even trust myself Your inquisitiveness in treason! Bees, when they build cells, Do not let one observe them either, And do not observe themselves. Have been brought to daylight Then, before anybody, you shall taste them. Form: Two-part song form.
Orchestration: 1 flute, 1 oboe, 1 clarinet in A, 2 bassoons, 3 horns, celesta, harp, violins and violas. Wie lieblich The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody der Lindenduft!
Das Lindenreis Brachst du gelinde! I breathed a gentle fragrance! In the room stood A branch of a linden tree, A present From a dear hand. How lovely was the fragrance of a linden tree!
How lovely is the fragrance of a linden tree! The linden-twig Was gently plucked by you. Key: C major. Form: simple strophic form Orchestration: According to the original orchestral score, published by C. The Songs of Verdi, Nuccia Focile. London Early Music Group. Frederick Urrey. Ulrike Haller. Odekhiren Amaize. Linda Burman-Hall. Harper Sharon Harms. Claudia Muzio. Claudine Carlson.
Memorial Concert of the th Cloe Elmo. Arias and Songs Cloe Elmo. Vinson Cole. Haskell Small. Tone Kruse. Sarah Connolly. Joan Sutherland. Conchita Supervia. Daniela Nuzzoli.
Catherine Bott. Cornelis Bronsgeest. Opera Arias Cornelis Bronsgeest. Paata Burchuladze. Arias Paata Burchuladze. Songs of Mussorgsky and Rachmaninoff Paata Burchuladze. An Album of Victorian and Shelagh Molyneux. Paolo Montarsolo. Opera Arias and Duets Paolo Montarsolo. Itziar Martinez Galdos. Dame Clara Butt. Recital Clara Butt. Songs and Arias Clara Butt. Dame Maggie Teyte. Interviews and Songs Maggie Teyte.
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Catherine Robbin. Edda Moser. In Concert Edda Moser. Edita Gruberova. Ekaterina Sementchuk. Raimund Gilvan. Opera Arias Raimond Gilvan.
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The Complete Caruso—Volume 10, Scottish Early Music Consort. Robert White. Beautiful Dreamer Robert White. Amanda Pitt. The Gallant Troubadour- Irish, Scottish, It begins with what is called Recitativo Accompagnato — the more declamatory, speaky-type of singing, but accompanied by the full orchestra. Introducing a character with Accompagnato musically signals their hierarchy.
Then she begins a lament — she describes how her daughter was abducted. This vocal spectacle is meant Window Up Above - Various - 40 Golden Country Hits impress the audience with technical razzmatazz and affiliates the Queen with a style of singing that was beginning to go out of style opera seria in favor of dramatic realism.
You will hear exactly what I am talking about — it sounds as if she is gargling and singing at the same time. I am crazy for that weird noise and even as a year old was attracted to the ugly-beautiful. Vedi quanto adoro ancora The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody This song, superiorly performed by the The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody curious Italian mezzo-soprano Cecilia Bartoli, serves as a nice transition away from opera while capitalizing on its recognizable forms similar to the Queen of the Night entrance aria, minus the gargling.
She is always able to find the essence of a song and sound entirely original in music that has been performed for hundreds of years. This scena probably was composed as an exercise in Italian Gutter Queen - Sarah McLeod - Beauty Was A Tiger style.
She brings this much detail to everything she sings. Chaconnes are 17th century House music. Pure rhythm. Continuo is all the rage these days. Calling out the continuo band is like the Early Music secret handshake and I am sharing that with you because if you read this blog, The Gentle Maiden - Stuart Burrows - Sings Lifes Sweet Melody are okay in my book.
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