Meredith Monk (20 novembre 1942) esegue Gotham Lullaby al Lensic Center for the Performing Arts di Santa Fe (New Mexico) nel 2004.
Valborg Aulin (1860-1928): Sonata in fa minore per pianoforte op. 14, Grande Sonate sérieuse (1885). Lucia Negro.
I. Adagio – Allegro
II. Andante molto espressione [a 9:31]
III. Scherzo capriccioso: Tempo di mazurka, giocoso [a 16:09]
IV. Finale: Presto [a 24:42]
Anna Amalia di Prussia (9 novembre 1723 – 1787): Sonata in fa maggiore per oboe (originariamente per flauto traverso) e basso continuo H. 264. Birgit Welpmann, oboe; Anneliese Funke, organo.
II. Allegretto [a 3:30]
III. Allegro ma non troppo [a 6:12]
Miriam Gideon (23 ottobre 1906-1996): Of Shadows Numberless, suite per pianoforte (1966) ispirata dall’Ode to a Nightingale di John Keats. Paula Ennis-Dwyer.
I. Allegretto: « …magic casements opening on seas of perilous foam »
II. Animato: « …the blushful Hippocrene » [a 1:50]
III. Ritornelle: « …magic casements opening » [a 3:17]
IV. Presto: « …the murmurous haunt of flies on summer eves » [a 3:55]
V. Tranquillamente: « …white hawthorne and the pastoral eglantine » [a 5:57]
VI. Moderato: « …Adieu! Thy plaintive anthem fades past the near meadows » [a 9:27]
Ode to a Nightingale
My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
‘Tis not through envy of thy happy lot,
But being too happy in thy happiness,—
That thou, light-wingèd Dryad of the trees,
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summer in full-throated ease.
Oh for a draught of vintage! that hath been
Cool’d a long age in the deep-delvèd earth,
Tasting of Flora and the country green,
Dance, and Provençal song, and sunburnt mirth!
Oh for a beaker full of the warm South,
Full of the true, the blushful Hippocrene,
With beaded bubbles winking at the brim,
And purple-stainèd mouth;
That I might drink, and leave the world unseen,
And with thee fade away into the forest dim:
Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
Where youth grows pale, and spectre-thin, and dies
Where but to think is to be full of sorrow
And leaden-eyed despairs;
Where Beauty cannot keep her lustrous eyes,
Or new Love pine at them beyond to-morrow.
Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy,
Though the dull brain perplexes and retards:
Already with thee! tender is the night,
And haply the Queen-Moon is on her throne,
Cluster’d around by all her starry Fays;
But here there is no light,
Save what from heaven is with the breezes blown
Through verdurous glooms and winding mossy ways.
I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the boughs,
But, in embalmèd darkness, guess each sweet
Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
Fast-fading violets cover’d up in leaves;
And mid-May’s eldest child,
The coming musk-rose, full of dewy wine,
The murmurous haunt of flies on summer eves.
Darkling I listen; and for many a time
I have been half in love with easeful Death,
Call’d him soft names in many a musèd rhyme,
To take into the air my quiet breath;
Now more than ever seems it rich to die,
To cease upon the midnight with no pain,
While thou art pouring forth thy soul abroad
In such an ecstasy!
Still wouldst thou sing, and I have ears in vain—
To thy high requiem become a sod.
Thou wast not born for death, immortal Bird!
No hungry generations tread thee down;
The voice I hear this passing night was heard
In ancient days by emperor and clown:
Perhaps the selfsame song that found a path
Through the sad heart of Ruth, when, sick for home
She stood in tears amid the alien corn;
The same that ofttimes hath
Charm’d magic casements, opening on the foam
Of perilous seas, in faery lands forlorn.
Forlorn! the very word is like a bell
To toll me back from thee to my sole self.
Adieu! the Fancy cannot cheat so well
As she is famed to do, deceiving elf.
Adieu! adieu! thy plaintive anthem fades
Past the near meadows, over the still stream,
Up the hillside; and now ‘tis buried deep
In the next valley-glades.
Was it a vision, or a waking dream?
Fled is that music:—do I wake or sleep?
Emilia Gubitosi (1887-1972): Concerto per pianoforte e orchestra (1917). Sergio Fiorentino, pianoforte; Orchestra della Rai di Roma, dir. Peter Maag.
I. Maestoso – Allegro ma non troppo
Isabella Colbran (1784-7 ottobre 1845): So che un sogno è la speranza, da Sei Canzoncine ou Petits Airs Italiens, 3ème recueil (1809); testo di Pietro Metastasio, dal Ruggero (aria di Bradamante, atto I, scena 9a). Maria Chiara Pizzoli, soprano; Marianne Gubri, arpa.
So che un sogno è la speranza
So che spesso il ver non dice
Ma pietosa ingannatrice
Consolando il cor mi va.
Fra quei sogni non ha pace
E capace almen si rende
Di sue barbare vicende
A soffrir la crudeltà.
Stephanie Ann Boyd (1990): Concerto per violino e orchestra, Sybil (2010-15). Eunae Koh, violino; New England Conservatory Philharmonia, dir. Nathan Aspinall.
II. Elegia (Lullaby for a Tempestuous Heart)