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The Chambers was built in the early 1890s, but it only became a concert hall when the Queensland Conservatorium opened there in 1957. Similarly, the nearby South Brisbane Technical College, which later functioned as a library and auditorium, hosted many civic and social events and performances. Until the formation of the Greater Brisbane City Council in 1925, South Brisbane had the status of an independent municipality, as signified by its Municipal Chambers.
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This varied program celebrates the musical heritage of South Brisbane and its public venues. Setting of Matthew Arnold’s poem for baritone and string quartetīarber ‘Under the willow tree’ from the opera ‘Vanessa’Īrranged by the composer for vocal ensemble and piano Mélodie for soprano, string quartet and piano on a text by Charles CrosĪmy Beach Selected songs including Chanson d’amour (1899) Op.21 No.1 Setting of a Scottish folksong for voice and pianoĮrnest Chausson Chanson perpétuelle (1898) Op.37 Song cycle for tenor, string quartet and piano on texts from Housman’s ‘A Shropshire lad’ Ralph Vaughan Williams On Wenlock Edge (1909) This program is framed by vocal ensemble works by Georges Hüe, a contemporary of Chausson and Ravel, and ‘Under the willow tree’ from Barber’s opera ‘Vanessa’. When Vaughan Williams heard ‘Dover Beach’ in 1932 before its public première the following year, he generously pronounced that the younger composer had ‘really got it’ in his setting of the early Victorian poem. Similarly, Samuel Barber was fully a product of his homeland, but his outlook was equally cosmopolitan. Her songs show deep insights and imagination in the combination of solo strings with piano and voice, including some settings of French poetry. The French school of the fin de siècle also inspired composers across the Atlantic.Īmy Beach was the first major American composer whose training did not include a European sojourn, but her works demonstrate that she was fully conversant with contemporary idioms. The newly honed clarity that emerged in this work was already evident in composers such as Chausson from around the turn of the century. Vaughan Williams’ embodiment of the English landscape and rural culture is nowhere more evident than in his ‘On Wenlock Edge’, which was composed after his studies with Ravel in 1908.
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These rarely heard works are full of ravishing textures and atmospheric touches that bring added poignancy to some fine English and French poetry. This program continues our ensemble’s exploration of vocal chamber music with repertoire that includes both strings and piano.