Goldschmidt, Berthold: Deux nocturnes (1995-6) 8'
Dramatic arias for soprano and orchestra
Music Text
Pierre le Moyne/Tristan Corbiere (F)
Scoring
2(II=picc).2(II=corA).1.bcl.2(II=dbn)-4.3.0.0-timp.perc(2):xyl/glsp/ susp.cym/SD/TD/tam-t-harp-strings.
Abbreviations (PDF).
Territory
This work is available from Boosey & Hawkes for the world.
World Premiere
8/26/1998
Royal Albert Hall, London
Rosemary Hardy, soprano / BBC Symphony Orchestra / Jiri Belohlavek
Repertoire Note
These two settings of French texts for soprano and orchestra were Goldschmidt final compositions. The first, Judith by Pierre le Moyne (1602-71), describes the Jewish woman who wreaks vengeance on her Assyrian captor Holofernes by creeping into his tent at night and cutting off his head with a sword. The second, Rondel, sets a poem by Tristan Corbiere (1845-75), a highly unconventional writer who spent his life in complete obscurity in Brittany and was posthumously discovered by Verlaine. Together, these ‘dramatic arias’ form a moving and fitting close to Goldschmidt’s compositional career with an economy of expression, line and gesture characteristic of his late style. Each aria may be performed separately if desired.
Dramatic arias for soprano and orchestra
Music Text
Pierre le Moyne/Tristan Corbiere (F)
Scoring
2(II=picc).2(II=corA).1.bcl.2(II=dbn)-4.3.0.0-timp.perc(2):xyl/glsp/ susp.cym/SD/TD/tam-t-harp-strings.
Abbreviations (PDF).
Territory
This work is available from Boosey & Hawkes for the world.
World Premiere
8/26/1998
Royal Albert Hall, London
Rosemary Hardy, soprano / BBC Symphony Orchestra / Jiri Belohlavek
Repertoire Note
These two settings of French texts for soprano and orchestra were Goldschmidt final compositions. The first, Judith by Pierre le Moyne (1602-71), describes the Jewish woman who wreaks vengeance on her Assyrian captor Holofernes by creeping into his tent at night and cutting off his head with a sword. The second, Rondel, sets a poem by Tristan Corbiere (1845-75), a highly unconventional writer who spent his life in complete obscurity in Brittany and was posthumously discovered by Verlaine. Together, these ‘dramatic arias’ form a moving and fitting close to Goldschmidt’s compositional career with an economy of expression, line and gesture characteristic of his late style. Each aria may be performed separately if desired.
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