Martin Dalby - Catalogue
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Catalogue
Dancer Eduardova, The (1978)
Programme Note available
Martin Dalby
Commissioned by Commissioned by the St Magnus Festival, Orkney Islands.
First performance:
The Fires of London, directed by Peter Maxwell Davies, St Magnus Cathedral, Kirkwall, 20 Jun 1978
Recording BBC / Martin Dalby MDCDOO6 / location: sound archive - YELLOW [enquire]
Score : Novello 1981 / Location: ref library [enquire]
Recording BBC (off air recording) / location: sound archive - C - DAL 2 a i [enquire]
Recording BBC / location: sound archive - SGW25 / 107L604 [enquire]
Programme Note availableMartin Dalby
Commissioned by Commissioned by the St Magnus Festival, Orkney Islands.
First performance:
The Fires of London, directed by Peter Maxwell Davies, St Magnus Cathedral, Kirkwall, 20 Jun 1978
Work Details
Category: chamber sextet mixed
Duration: 18'
Instrumentation: Fl (A-Fl Picc) Cl (B-Cl) Perc Pf (Cel) Vn Vc
Duration: 18'
Instrumentation: Fl (A-Fl Picc) Cl (B-Cl) Perc Pf (Cel) Vn Vc
SMC Holdings
Recording BBC / Martin Dalby MDCDOO6 / location: sound archive - YELLOW [enquire]
Score : Novello 1981 / Location: ref library [enquire]
Recording BBC (off air recording) / location: sound archive - C - DAL 2 a i [enquire]
Recording BBC / location: sound archive - SGW25 / 107L604 [enquire]Programme Note
The Dancer Eduardova (1978) Martin Dalby
The Dancer Eduardova was commissioned by the St. Magnus Festival Orkney Islands, with the financial assistance of the Scottish Arts Council and was performed for the first time in St. Magnus Cathedral, Kirkwall during the 1978 St. Magnus Festival. There the performers were the Fires of London and it is scored for them:Ñ flute doubling piccolo and alto flute; clarinet doubling bass clarinet; piano doubling celeste; percussion; violin and cello. It is dedicated to Sir Peter Maxwell Davies who conducted the Fires of London in that first performance.
It takes as its starting point a sequence of dreams related by Franz Kafka in his diaries of 1910. Eduardova was a Russian ballerina whom Kafka had seen dancing in Prague in the early part of this century. The music of The Dancer Eduardova is based on dancing, particularly the Czardas which in his dream Kafka had asked the dancer to perform just one time more. Kafka's dream sequences contain the uncomfortable contrasts of the grace of the dancer and the loathsome gestures of unconscious intriguers; there are abrupt changes of mood to sorrow and despair. Flowers presented by all the princes of Europe appear in the dreams, as do trains and trams on which Eduardova travels with two vigorous violinists. "There is no reason" says Kafka "why one should not play on the tram if the playing is good.............at full speed, in a strong breeze and on a silent street, it sounds quite nice."
MD
The Dancer Eduardova (1978) Martin Dalby
The Dancer Eduardova was commissioned by the St. Magnus Festival Orkney Islands, with the financial assistance of the Scottish Arts Council and was performed for the first time in St. Magnus Cathedral, Kirkwall during the 1978 St. Magnus Festival. There the performers were the Fires of London and it is scored for them:Ñ flute doubling piccolo and alto flute; clarinet doubling bass clarinet; piano doubling celeste; percussion; violin and cello. It is dedicated to Sir Peter Maxwell Davies who conducted the Fires of London in that first performance.
It takes as its starting point a sequence of dreams related by Franz Kafka in his diaries of 1910. Eduardova was a Russian ballerina whom Kafka had seen dancing in Prague in the early part of this century. The music of The Dancer Eduardova is based on dancing, particularly the Czardas which in his dream Kafka had asked the dancer to perform just one time more. Kafka's dream sequences contain the uncomfortable contrasts of the grace of the dancer and the loathsome gestures of unconscious intriguers; there are abrupt changes of mood to sorrow and despair. Flowers presented by all the princes of Europe appear in the dreams, as do trains and trams on which Eduardova travels with two vigorous violinists. "There is no reason" says Kafka "why one should not play on the tram if the playing is good.............at full speed, in a strong breeze and on a silent street, it sounds quite nice."
MD