Jan DeGaetani, mezzo soprano; Arthur Bloom, clarinet; Raymond Des Roches, marimba; Fred Sherry, cello; David Gilbert, conductor; William Metcalf, baritone; Ronald Roseman, oboe; Isidore Cohen, violin; Karen Phillips, viola; Fritz Jahoda, conductor; Elinor Basescu, reader; Juilliard Ensemble: Anne Diener Giles, flute; Virgil D. Blackwell, clarinet; Ronald Murray Romm, trumpet; Max Lifchitz, piano; Richard Fitz, percussion; Romuald G. Teco, violin; Fred Sherry, cello; Dennis Davies, conductor
About her music, Miriam Gideon writes:
“The Hound Of Heaven, composed in 1945, is a setting for solo voice and chamber group, a combination which I have used many times subsequently. This work, for voice, oboe, and string trio utilizes several lines from the poem of that title by Francis Thompson, expressing profound life experiences, which mar, in order to make, the human being: 'Ah! must Thou char the wood ere Thou canst limn with it?' Of this work George Perle has written: ‘The texture . . . is strikingly personal, characterized by lightness, the sudden exposure of individual notes, constantly shifting octave rela- tionships ... This is a technique that may be indefinitely expanded and within which a composer may grow.'
“Rhymes From The Hill is a song cycle, composed in 1968, comprising five poems from the Galgenlieder (Gallows Songs) by Christian Morgenstern, set in the original German for solo voice, clarinet, cello and marimba. On the first appearance of these poems in Germany in 1905 a critic spoke of the 'magnificent subtle humor of the heart behind these crazy verse fancies.'
Burrill Phillips writes:
“Canzona III is so named because it was the third such form I had written, the other two being the titles of movements in other works. My wife, Alberta Phillips, wrote the verses that are read by the actress. She has written many other poems and libretti for my setting...
“The five movements of the work employ a tonal and rhythmic language which tends to emphasize the color potential of the seven instruments, singly and in combination. These instruments are abstracted asymmetrically from the traditional woodwind, brass, percussion, and strings of the orchestra. The first movement uses all of the instruments, as do the third and fifth movements, but in each case in an obviously different way: simultaneously, serially, and both combined. The second movement is a scherzo for the low- pitched instruments only of the group, while the fourth movement is a scherzo using only the high-pitched instruments. Sometimes the meaning of the recited words comments satirically, sometimes lyrically, sometimes very obliquely on the musical movements which follow the verses."
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Full liner notes are accessible via the link above.
Music of Miriam Gideon & Burrill Phillips
| MP3/320 | $13.00 | |
| FLAC | $13.00 | |
| WAV | $13.00 | |
| CD-R | $13.00 |
A *.pdf of the notes may be accessed here free of charge.
Track Listing
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Rhymes From The Hill: I. Bundeslied der Galgenbrueder
Miriam Gideon
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Rhymes From The Hill: II. Galgenkindes Wiegenlied
Miriam Gideon
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Rhymes From The Hill: III. Die Korfsche Uhr
Miriam Gideon
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Rhymes From The Hill: IV. Palmstroems Uhr
Miriam Gideon
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Rhymes From The Hill: V. Der Seufzer
Miriam Gideon
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The Hound of Heaven
Miriam Gideon
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Canzona III: I. Alternating Block Patterns
Burrill Phillips
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Canzona III: II. Low Scherzo
Burrill Phillips
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Canzona III: III. Ostinato Concertante
Burrill Phillips
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Canzona III: IV. High Scherzo
Burrill Phillips
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Canzona III: V. Finale
Burrill Phillips
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