In The Rubaiyat, a melodrama, a speaker intones from the Fitzgerald translation, as the orchestra provides a Tiomkin background of orientalia which enhance the poems not a jot. On the other hand, Hovhaness provides beautiful interludes for orchestra and solo accordion. It's almost as if Hovhaness doesn't understand the poetry he sets. Based on other texts and other works, I fail to see what the composer has in common with the poet's nihilistic hedonism or what in the verses impelled the composer to write the music. (...)
Klik hier om cookies te accepteren zodat de vertaalmodule kan worden geladen. Het kan zijn dat je de pagina moet herladen.
