The Little Sweep A Boy was Born A Shepherd´s Carol

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The Little Sweep A Boy was Born A Shepherd´s Carol

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dc.contributor.other Benjamín Britten es
dc.contributor.other Choral Scholars of King´s College, Cambridge es
dc.contributor.other Paul Robertson es
dc.contributor.other David Matthews es
dc.contributor.other John Constable es
dc.contributor.other Francis Grier es
dc.contributor.other Sir Philip Ledger es
dc.coverage.spatial London - England es
dc.date.accessioned 2012-07-29T05:29:17Z
dc.date.available 2012-07-29T05:29:17Z
dc.date.copyright 2008 es
dc.date.issued 2012-07-29
dc.identifier.uri http://hdl.handle.net/123456789/1749
dc.description.abstract With the arrival of Benjamin Britten on the international music scene, many felt that English music gained its greatest genius since Purcell. A composer of wide-ranging talents, Britten found in the human voice an especial source of inspiration, an affinity that resulted in a remarkable body of work, ranging from operas like Peter Grimes (1944-1945) and Death in Venice (1973) to song cycles like the Serenade for tenor, horn, and strings (1943) to the massive choral work War Requiem (1961). He also produced much music for orchestra and chamber ensembles, including symphonies, concerti, and chamber and solo works. Britten's father was a prosperous oral surgeon in the town of Lowestoft, Suffolk; his mother was a leader in the local choral society. When Benjamin's musical aptitude became evident, the family engaged composer Frank Bridge to supervise his musical education. Bridge's tutelage was one of the formative and lasting influences on Britten's compositional development; Britten eventually paid tribute to his teacher in his Op. 10, the Variations on a Theme by Frank Bridge (1937). Britten's formal training also included studies at the Royal College of Music (1930-1933). Upon graduation from the RCM, Britten obtained a position scoring documentaries (on prosaic themes like "Sorting Office") for the Royal Post Office film unit. Working on a tight budget, he learned how to extract the maximum variety of color and musical effectiveness from the smallest combinations of instruments, producing dozens of such scores from 1935 to 1938. He rapidly emerged as the most promising British composer of his generation and entered into collaborative relationships that exerted a profound influence upon his creative life. Among the most important of his professional associates were literary figures like W.H. Auden, and later, E.M. Forster. None, however, played as central a role in Britten's life as the tenor Peter Pears, who was Britten's closest intimate, both personally and professionally, from the late '30s to the composer's death. Pears' voice inspired a number of Britten's vocal cycles and opera roles, and the two often joined forces in song recitals and, from 1948, in the organization and administration of the Aldeburgh Festival. A steadfast pacifist, Britten left England in 1939 as war loomed over Europe. He spent four years in the United States and Canada, his compositional pace barely slackening, as evidenced by the production of works like the Sinfonia da Requiem (1940), the song cycle Seven Sonnets of Michelangelo (1940), and his first effort for the stage, Paul Bunyan (1940-1941). Eventually, the poetry of George Crabbe drew Britten back to England. With a Koussevitzky Commission backing him, the composer wrote the enormously successful opera Peter Grimes (1944-45), which marked the greatest turning point in his career. His fame secure, Britten over the next several decades wrote a dozen more operas, several of which—Albert Herring (1947), Billy Budd (1951), The Turn of the Screw (1954), A Midsummer Night's Dream (1960), Death in Venice (1973)—became instant and permanent fixtures of the repertoire. He also continued to produce much vocal, orchestral, and chamber music, including Songs and Proverbs of William Blake (1965), the three Cello Suites (1961-1964) and the Cello Symphony (1963), written for Mstislav Rostropovich, and the Third String Quartet (1975). Britten suffered a stroke during heart surgery in 1971, which resulted in something of a slowdown in his creative activities. Nonetheless, he continued to compose until his death in 1976, by which time he was recognized as one of the principal musical figures of the twentieth century. © Michael Rodman, All Music Guide es
dc.description.tableofcontents The little sweep Op.45 (Achildrenʼs opera in three scenes) Scene one: A January morning ; I The sweepʼs song: ʻ Sweep! Sweep! ʼ (Audience song I) (Audience/Clem/Black Bob), II Quartet: ʻSweep this chimneyʼ (Miss Baggott/Rowan/Cem/Black Bob), III Duet : ʻNow, little white boy!ʼ (Black Bob/Clem), IIIa Hide and seek: ʻJuliet! Juliet!ʼ (Children), IV Shanty: ʻPull the rope gentlyʼ (Children), V Ensemble: ʻIs he wounded?ʼ (Sam/Children), VI Marching song: ʻSootty tracks upon the sheetʼ (Children/Miss Baggot/Black Bob/Clem), VII Trio: ʻSam! Sam!ʼ (Black Bob/Clem/Miss Baggott), VIII Aria: ʻRun, poor sweepboyʼ (Rowan/Children), IX Sammyʼs bath: ʻThe kettles are singingʼ (Audience song II) (Audience/Rowan/Children)-- The little sweep Op.45 (Achildrenʼs opera in three scenes) Scene Two: Later ; X Esemble: ʻO why do you weep…ʼ (Rowan/Sam/Children), XI Pantomime and, XII Scene: ʻAh!... Blackguards (Miss baggott), XIII Finale: ʻHelp! Help! Sheʼs collapsed!ʼ (Miss baggott/Rowan/Children), XIV The night song: ʻThe owl, wide-wingingʼ (Audience song III) (Audience)-- The little sweep Op.45 (Achildrenʼs opera in three scenes) Scene Three: The next morning ; XV Aria: ʻSoon the coach will carry you awayʼ (Juliet), XVI Ensemble: ʻMorning, sammyʼ (Children/Sam), XVII Trio and ensemble : ʻReaddy, Alfred?ʼ (Tom/Alfred/Miss baggott/Rowan/Children), XIII Finale: Coaching song: ʻThe horses and champingʼ (Audience song IV) (Omnes/Audience)-- A boy was born Op. 3 (Choral variations for menʼs , Womenʼs and boysʼ voices) ; Theme a boy was born / Anon, Variation I Lullay jesu / Anon, Variation II Herold /Anon, Variation III Jesu (As thou art our savior / Anon, Johnathan Miller, treble, Variation IV The three kings / Anon, Variation V In the bleak mid-winter / Chistina Rossetti, Anon, Variation VI Noël! / Anon, Thomas Tugger, Francis Quarles-- A shepherdʼs carol / Auden, Sarah Leonard soprano, Susan Bickley mezzo-soprano, Peter Hall tenor, Gordon Jones baritone-- es
dc.format.medium 1 CD Rom (77 min., 50 seg.) : Stereo ; 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte fm stereo es
dc.subject.lcc 517545941 es
dc.subject.lcsh Variations es
dc.title The Little Sweep A Boy was Born A Shepherd´s Carol es
dc.title.alternative The Little Sweep A Boy was Born A Shepherd´s Carol es
dc.language.rfc3066 eng es
dc.rights.holder EMI Records Ltd. es
dc.identifier.classification 5099921752629 es
dc.subject.cdu Bri.03 es


Files in this item

Files Length Size Format View Description
1 - 10. the lit ... 5 Scene one - Completo.wav 20:42 208.8Mb WAV audio wav
11 - 15. the li ... Scene two - Completo.wav 12:55 130.4Mb WAV audio wav
16 - 19. the li ... Scene three - Completo.wav 10:29 105.8Mb WAV audio wav
20 - 26. Aboy was born Op.3 - Completo.wav 28:54 291.7Mb WAV audio wav
27. A shepherd´s carol - Completo.wav 4:05 41.21Mb WAV audio wav

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