Le premier Opéra d'Ezra Pound "Le Testament" réedité en CD

Second Evening Art Publishing

Le Seul éditeur  de musiques d’Ezra Pound

 

Series Editors
Robert Hughes and Margaret Fisher

New!

Le premier opera d’Ezra Pound enfin disponible

Le Testament
2008
Introduction par R. Murray Schafer

                                                                Double cd
                                         avec la restauration du concert de
                                  1926 à la Salle Pleyel de Paris  concert  et la

                                      version intégrale d’Ezra Pound de 1933

En vente : 1. Cavalcanti: A Perspective on The Music of Ezra Pound; edition of 200, 442 pp, pb, 2003 ISBN 0-9728859-0-0 list $111.00

2. Complete Violin Works of Ezra Pound; edition of 300, 160 pp, pb, 2004 ISBN 0-9728859-2-7 list $33.00

3. The recovery of Ezra Pound's third opera 'Collis O Heliconii', Settings of poems by Catullus and Sappho; edition of 200, 180 pp, pb, 2005 ISBN 0-9728859-3-5 list $47.00

4. Le Testament "Paroles de Villon"; edition of 200, 270 pp, pb, 2008 ISBN 978-0-9728859-4-2 list $85.00ABOUT OUR PUBLISHED TITLES:

Le Testament "Paroles de Villon"

Engraved full music scores in a first edition of 200
Introduction by R. Murray Schafer

The one-act 50-minute opera dramatizes the return of exiled poet François Villon to Paris in 1461 to write his ribald and enduring final will and testament.

Double volume:

I. The editor's reconstruction of the 1926 Salle Pleyel Concert version of Le Testament. In 1926 Pound rented the Salle Pleyel in Paris to preview 9 numbers from his opera and a newly composed overture for a long horn he called the "cornet de dessus," to demonstrate his theory of Great Bass. Pound revised the rhythms from the 1923 score—fiercely difficult irrational meters edited by George Antheil for what is now considered to be the urtext of the opera—on a new, 5/8 basis and reduced the performing forces to tenor, bass-baritone, violin, harpsichord, 2 trombones, and kettle drums. Virgil Thomson was in the audience, "The music was not quite a musician's music, though it may well be the finest poet's music since Thomas Campion. . . .It bore family resemblances unmistakable to the Socrate of Satie; and its sound has remained in my memory" (Virgil Thomson).

II. Pound's 1933 final, complete version of the opera was to provide a practical performing edition. The composer continued to revise the rhythms of the numbers, many on a 3/4 and 4/4 basis, though he retained the signature irrational meters of the opera's middle numbers, Heaulmière's aria, Or y penser, and Dame du ciel from earlier versions. Performing forces are for 9 or more singers, 10–12 instruments.

13 facsimile reproductions of Pound's holograph scores, staging instructions, libretto, background, editor's notes.

Pound's first opera is "a modernist triumph ..."[the poet's] claim to musical immortality" (Richard Taruskin, New York Times, 27 July 2003).

"Of all the poets who've dabbled in music, Ezra Pound was the most ambitious. ...The performances have a strange intensity, like a cross between Carmina Burana and Diamanda Galas. ...There's a passion in this music which is compelling" (Ivan Hewett, BBC Music Magazine, August 2003).

Pound's music is "fresh and fascinating. ...No one ... is claiming that Pound belongs in the pantheon of great composers, but this idiosyncratic body of work proves to be full of rare pleasures and well worth hearing" (Joshua Rosenblum, Opera News, August 2003).

Cavalcanti: A Perspective on the Music of Ezra Pound

Essay and full music score in a first edition of 200

The three-act one hour opera is a dramatization of the life of the Florentine poet Guido Cavalcanti (1250-1300), friend of Dante, through eleven of his canzone and ballate. Two additional numbers are settings of poems in Provençal by Sordello.

Part I. A systematic analysis of Pound's music training, the application of his musico-poetic theories, methods of composition, and a music analysis of the opera; the genesis and sources of Pound's Great Bass theory.

Part II. The definitive performance edition of Pound's "Cavalcanti," drawn from the uncatalogued and dispersed music manuscripts in the Beinecke Manuscript and Rare Book Library (Yale University). This is the full music score with piano reduction and stage instructions. All music is composed by Ezra Pound. Additional narrator's script, dialogue, and stage instructions are by Pound; editorial notes by Robert Hughes.

Complete Violin Works of Ezra Pound, 1923-1933,
First edition of 300, commentary with music scores.
Robert Hughes, Editor.

Part I: A literary and technical study of Ezra Pound's solo violin works, many of which were composed for the American specialist in new music, violinist Olga Rudge.

Part II: Thirteen engraved performance scores and seven facsimile reproductions of Pound's holograph scores. Among the eight original compositions is Sestina: Altaforte, the only instance of a musical setting of his own poetry. The volume also includes Pound's settings of poems by Froissart, Dante, and Cavalcanti as well as arrangements of 12th- and 15th-century vocal works for violin. 

The recovery of Ezra Pound's third opera: Collis O Heliconii, settings of poems by Catullus and Sappho
First edition of 200, commentary with music scores.
By Margaret Fisher

Part I: Analysis of Pound's musical treatment of his favored poems of antiquity: Catullus carmen LXI ("Collis O Heliconii") and Sappho, fragment 1 ("Poikilothron' athanat' Aphrodita").

Part II: The engraved performance edition for violin and voice includes excerpts from the 2 principal arias, 3 incidental numbers, a transcription of Pound's unfinished translation of carmen LXI and Pound's scenario for his dramatic setting of the Catullan poem

Information complèmentaire sur le lien suivant :

http://www.ezrapoundmusic.com/