Bernard Herrmann Moby Dick Cantata 1938

>> YOUR LINK HERE: ___ http://youtube.com/watch?v=gLR2L4Mb7Yc

Bernard Herrmann (born Max Herman; June 29, 1911 – December 24, 1975) was an American composer known for his work in composing for motion pictures. As a conductor, he championed the music of lesser-known composers. • Please support my channel: • https://ko-fi.com/bartjebartmans • Moby Dick, Cantata for two tenors, two basses, male chorus, and orchestra (1937-38) • Libretto by Clark Harrington based on Herman Melville's novel Moby-Dick, or The Whale (1851) • Dedication: Charles Ives • 1. Maestoso. And God Created Great Whales . (0:00) • Call me Ishmael (1:11) • 2. Hymn. Slowly and Somberly (4:30) • 3. Moderato assai. At Last Anchor Was Up . (10:45) • Send everyone aft! (12:01) • 4. Allegro marcato. Hist, boys! (23:39) • 5. Slowly and Tranquilly. It Was a Clear Steel-blue Day (31:59) • 6. Molto allegro. There She Blows! (41:05) • John Amis, Robert Bowman, Aeolian Singers, London Philharmonic Orchestra conducted by Bernard Herrmann • Hermann originally conceived Moby Dick as an opera, but found the novel too vast in scope and instead asked the librettist Clark Harrington to help him adapt the work into a cantata. While composing the work, Herrmann and Harrington took trips to Massachusetts in the summers of 1937 and 1938 to research the novel. Herrmann later revised the work in 1973, having previously recorded it with the London Philharmonic Orchestra in 1967. The completed work lasts approximately 45 minutes in performance and is composed primarily in tonal Romanticism. James Leonard of the AllMusic Guide has compared the work to that of Herrmann's 20th-century contemporaries Arnold Bax, Frederick Delius, and Ralph Vaughan Williams. • Phillip Scott of Limelight praised the work as dramatic and skilfully orchestrated, befitting a born film composer, with tension deftly maintained throughout the work's 46 minutes. Andrew Clements of The Guardian described the cantata as being much closer to the world of Herrmann's later film music and a mix of imposing choral set-pieces, orchestral interludes and solo narrations. Mark Swed of the Los Angeles Times also praised the work, calling it an unjustly neglected cantata. Malcolm Riley of Gramophone similarly opined, It is a remarkably vivid piece, displaying the dramatic skills learnt in the composing atelier of a radio studio, and deserves to be much better known and more often performed.

#############################

New on site