The Orchestra Of Opera North, David Lloyd-Jones - Constant Lambert: Tiresias & Pomona (1999)
BAND/ARTIST: The Orchestra Of Opera North, David Lloyd-Jones
- Title: Constant Lambert: Tiresias & Pomona
- Year Of Release: 1999
- Label: Hyperion
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:14:04
- Total Size: 231 mb
- WebSite: Album Preview
Tracklist
01. Pomona: I. Intrata. Andantino pastorale
02. Pomona: II. Coranto. Allegro deciso
03. Pomona: III. Pastorale. Andante tranquillo
04. Pomona: IV. Menuetto. Allegretto
05. Pomona: V. Passacaglia. Serioso
06. Pomona: VI. Rigadoon. Vivace
07. Pomona: VII. Siciliana. Andantino dolce
08. Pomona: VIII. Marcia (Finale). Allegro
09. Tiresias: Prelude: a. Maestoso
10. Tiresias: Prelude: b. Allegro marcato
11. Tiresias: Prelude: c. Vivo
12. Tiresias: Prelude: d. Tiresias's Entry. Giocoso
13. Tiresias: Prelude: e. Tiresias's Solo
14. Tiresias, Act I: No. 1, Entry of the Warriors. Allegro giusto
15. Tiresias, Act I: No. 2, Sword Dance
16. Tiresias, Act I: No. 3, Cortege. Entrance of the Young Virgins and Dance of the Priestesses
17. Tiresias, Act I: No. 4, Snakes. Calme
18. Tiresias, Act I: No. 5, Tiresias Gets Angry, Beats Snakes and Changes into a Woman
19. Tiresias, Act I: No. 6. Interlude
20. Tiresias, Act II: No. 1, The Female Tiresias's Solo. Piacevole
21. Tiresias, Act II: No. 2, Dance of the Shepherds and Shepherdesses. Piacevole
22. Tiresias, Act II: No. 3, Pas de deux. Andante
23. Tiresias, Act II: No. 4a, Bacchanale. Vivo
24. Tiresias, Act II: No. 4b, Return of the Snakes. Lento
25. Tiresias, Act II: No. 5, Interlude
26. Tiresias, Act III: No. 1, Hera and Zeus. Allegro marciale
27. Tiresias, Act III: No. 2, The Old Tiresias. Maestoso e marciale
28. Tiresias, Act III: No. 3, The Male Tiresias Remembered. Pesante
29. Tiresias, Act III: No. 4, The Female Tiresias Remembered. Piacevole
30. Tiresias, Act III: No. 5, Hera Strikes Tiresias Blind
31. Tiresias, Act III: No. 6, Tiresias Receives the Gift of Prophecy. Maestoso
32. Tiresias, Act III: No. 7, Tiresias Accepts His Fate – Entry of Priestesses. Andante
33. Tiresias, Act III: No. 8, Final Apotheosis and Departure of the Blind Tiresias. Maestoso
Constant Lambert—like his colleague Peter Warlock—tends to be remembered more for his personal charisma and tragically early death than for his music. Yet the twenty or so extended scores which he did compose (The Rio Grande and Summer's Last Will and Testament being perhaps the most well known) are every bit as worthy as those of his more famous contemporaries.
The bulk of Lambert's output was directed at the ballet, and he was the first Englishman ever to be commissioned by Diaghilev and the Ballets Russes– quite an achievement for a twenty-year-old. As a result of this, Nijinska commissioned Pomona, a ballet rich in the atmosphere of neoclassicism and the French dance music of the 1920s. Pomona shares with Tiresias a thread of sexual intrigue, indeed the stage requirements of the latter suggest it as a particularly improbable ballet subject: the lead changing sex, two snakes copulating, an argument about which of the sexes enjoys the sexual act the most … The work enjoyed considerable success during the early 1950s, but then fell from the repertory. This is its first recording, and uses the reconstructed score commissioned by the BBC in 1995.
01. Pomona: I. Intrata. Andantino pastorale
02. Pomona: II. Coranto. Allegro deciso
03. Pomona: III. Pastorale. Andante tranquillo
04. Pomona: IV. Menuetto. Allegretto
05. Pomona: V. Passacaglia. Serioso
06. Pomona: VI. Rigadoon. Vivace
07. Pomona: VII. Siciliana. Andantino dolce
08. Pomona: VIII. Marcia (Finale). Allegro
09. Tiresias: Prelude: a. Maestoso
10. Tiresias: Prelude: b. Allegro marcato
11. Tiresias: Prelude: c. Vivo
12. Tiresias: Prelude: d. Tiresias's Entry. Giocoso
13. Tiresias: Prelude: e. Tiresias's Solo
14. Tiresias, Act I: No. 1, Entry of the Warriors. Allegro giusto
15. Tiresias, Act I: No. 2, Sword Dance
16. Tiresias, Act I: No. 3, Cortege. Entrance of the Young Virgins and Dance of the Priestesses
17. Tiresias, Act I: No. 4, Snakes. Calme
18. Tiresias, Act I: No. 5, Tiresias Gets Angry, Beats Snakes and Changes into a Woman
19. Tiresias, Act I: No. 6. Interlude
20. Tiresias, Act II: No. 1, The Female Tiresias's Solo. Piacevole
21. Tiresias, Act II: No. 2, Dance of the Shepherds and Shepherdesses. Piacevole
22. Tiresias, Act II: No. 3, Pas de deux. Andante
23. Tiresias, Act II: No. 4a, Bacchanale. Vivo
24. Tiresias, Act II: No. 4b, Return of the Snakes. Lento
25. Tiresias, Act II: No. 5, Interlude
26. Tiresias, Act III: No. 1, Hera and Zeus. Allegro marciale
27. Tiresias, Act III: No. 2, The Old Tiresias. Maestoso e marciale
28. Tiresias, Act III: No. 3, The Male Tiresias Remembered. Pesante
29. Tiresias, Act III: No. 4, The Female Tiresias Remembered. Piacevole
30. Tiresias, Act III: No. 5, Hera Strikes Tiresias Blind
31. Tiresias, Act III: No. 6, Tiresias Receives the Gift of Prophecy. Maestoso
32. Tiresias, Act III: No. 7, Tiresias Accepts His Fate – Entry of Priestesses. Andante
33. Tiresias, Act III: No. 8, Final Apotheosis and Departure of the Blind Tiresias. Maestoso
Constant Lambert—like his colleague Peter Warlock—tends to be remembered more for his personal charisma and tragically early death than for his music. Yet the twenty or so extended scores which he did compose (The Rio Grande and Summer's Last Will and Testament being perhaps the most well known) are every bit as worthy as those of his more famous contemporaries.
The bulk of Lambert's output was directed at the ballet, and he was the first Englishman ever to be commissioned by Diaghilev and the Ballets Russes– quite an achievement for a twenty-year-old. As a result of this, Nijinska commissioned Pomona, a ballet rich in the atmosphere of neoclassicism and the French dance music of the 1920s. Pomona shares with Tiresias a thread of sexual intrigue, indeed the stage requirements of the latter suggest it as a particularly improbable ballet subject: the lead changing sex, two snakes copulating, an argument about which of the sexes enjoys the sexual act the most … The work enjoyed considerable success during the early 1950s, but then fell from the repertory. This is its first recording, and uses the reconstructed score commissioned by the BBC in 1995.
As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
- Unlimited high speed downloads
- Download directly without waiting time
- Unlimited parallel downloads
- Support for download accelerators
- No advertising
- Resume broken downloads