ANDREW NORMAN (b. 1979)Lullaby (2007)

2021 ◽  
pp. 172-175
Author(s):  
Jane Manning
Keyword(s):  
Ample Opportunity ◽  
American Composer ◽  
Voice And Piano ◽  
Good Number ◽  
Breath Control

This chapter focuses on American composer Andrew Norman’s Lullaby (2007). This early example of Norman’s writing for voice and piano is immediately engrossing and never loosens its hold on the listener. Norman manages to achieve a successful blend of the often-opposing twin virtues of highly disciplined structure and free-wheeling expressiveness. The volatile piano part carries a great deal of the action, but the singer, too, has ample opportunity to produce a full array of colours and to scale a broad range. A good number of long-spun phrases will test breath control. Intervals, occasionally angular, at other times close together, necessitate meticulous attention to tuning, especially when voice and piano clash chromatically. Starting peacefully, the song unfolds and builds with dazzling panache to a central climax, then gradually slows and calms, coming to a close with a succinct and memorable coda. Ultimately, this fascinating and highly individual setting of a well-known poem by W. H. Auden extends it considerably, thereby unpeeling new layers of meaning.

GEORGE ROCHBERG (1918–2005)Fantasies (1971)

2020 ◽  
pp. 261-264
Author(s):  
Jane Manning
Keyword(s):  
Diverse Range ◽  
Small Frame ◽  
George Rochberg ◽  
Voice And Piano ◽  
Breath Control

This chapter examines George Rochberg’s Fantasies, written as a present for his wife on their thirtieth wedding anniversary. A set of four haiku-like miniatures for medium voice and piano, Fantasies makes an ideal introduction to a modernist vocal idiom for those who have yet to lose their inhibitions and plunge into new territory. A flexible mezzo would perhaps be best suited to the diverse range of styles packed into such a small frame. Clear projection is essential, in view of the economy of the vocal writing, and a certain forthright strength, as well as a poised lightness. There are just a few moments of Sprechstimme, whispered as well as spoken, and a couple of long, arching melismas, which require considerable breath control. In contrast, speech rhythms are also deftly employed. It is the pianist, however, who has the lion's share in shaping the narrative and illustrating the texts, in a most satisfying part, full of wit and humour, and incorporating some challenging figurations.

RODNEY LISTER (b. 1951)Songs to Harvest (2006)

2021 ◽  
pp. 141-143
Author(s):  
Jane Manning
Keyword(s):  
Good Deal ◽  
Medium Range ◽  
American Composer ◽  
Voice And Piano ◽  
The Voice

This chapter focuses on American composer Rodney Lister’s Songs to Harvest (2006). As shown in this attractive cycle, Lister has a distinctive and fascinating way of writing for voice and piano. The voice projects succinct, shapely phrases, while linear piano parts weave a tapestry of sinuous counterpoint, frequently in two parts only, often with three-against-two rhythms. When the voice stops, the piano continues, its luminous texture ebbing and flowing. Ingeniously, it seems to give a subliminal commentary as well as an irresistible propulsion to the music. The prime test of the songsmith is to set words so that they can be heard easily, and Lister passes this with flying colours. A predominantly medium range guarantees comfortable articulation—the highest note occurs only once, fleetingly. The cohesive musical idiom is discreetly contemporary, disciplined, and carefully modulated. Pitching should be relatively unproblematic—there is a good deal of doubling with the piano, and plenty of time to plot each interval cleanly.

KATHERINE SAXON (b. 1981)Sea Fever (2008)

2021 ◽  
pp. 200-203
Author(s):  
Jane Manning
Keyword(s):  
Space Time ◽  
Musical Style ◽  
Balance Problem ◽  
American Composer ◽  
Voice And Piano ◽  
The Relationship

This chapter discusses American composer Katherine Saxon’s Sea Fever (2008). In this piece, the musical style is straightforward, uncluttered, and accessible, with elements of neoclassicism, and the four songs are well contrasted. The second has space-time notation, but the others are written conventionally, with key and time signatures. The relationship between voice and piano is well gauged, but there may be a few balance problem for lighter voices, especially when lines are low-lying. Verbal clarity is a crucial requirement. Words and music teem with watery images, and the sonic palette of John Masefield’s resonant poetry, full of alliteration and onomatopoeia, is a gift for composers, to which Saxon responds with empathy and panache. Some very fast articulation is called for, especially in the last song. The composer’s succinct instructions for mood and character are always pertinent.

The desperate plea of women with the nutcracker syndrome

Phlebologie ◽  
2010 ◽  
Vol 39 (02) ◽  
pp. 104-111
Author(s):  
J. L. Villavicencio
Keyword(s):  
Renal Vein ◽  
Imaging Techniques ◽  
Left Renal Vein ◽  
Diagnostic Tools ◽  
Nutcracker Syndrome ◽  
Treatment Techniques ◽  
Children And Young Adults ◽  
Good Number ◽  
Pelvic Congestion

Summary Objective: To increase awareness on the severe impact of the nutcracker syndrome in women with undiagnosed disease. Patients and methods: We reviewed the medical literature and analyzed six representative series with 73 patients with nutcracker syndrome. Women with left flank pain, dyspareunia, dysuria, dysmenorrhea, micro- or macrohaematuria and pelvic congestion symptoms, should be carefully investigated for evidence of meso aortic left renal vein compression. A good number of our colleagues do not believe in the existence of the nutcracker syndrome and send these patients in a long pilgrimage in search of someone who can help them to get relief to their pain. New and improved imaging techniques can assist in the diagnosis but retrograde reno-gonadal phlebography and renocaval gradient are the most reliable diagnostic tools. Results: Among an assortment of treatment techniques, renal vein transposition and endovenous stenting were the two most commonly used procedures. There are no long term studies on renal vein stenting in children and young adults. Its use in these cases should be carefully considered. The nutcracker syndrome may present with pelvic congestion symptoms and its diagnosis missed. The patient's age, severity of symptoms and haemo dynamic renal studies should guide the treatment. Conclusion: An increased awareness of the existence of the nutcracker syndrome may prevent many unfortunate undiagnosed women from spending many months and often years of suffering.

SOUTH AFRICA IN THE CINEMATIC IMAGINARY: THE STORY OF A WHITE YOUTH IN SKIN

2017 ◽  
Vol 14 (2) ◽  
pp. 170-178
Author(s):  
Khatija Bibi Khan
Keyword(s):  
South Africa ◽  
Spiritual Development ◽  
Black People ◽  
White Youth ◽  
Multiple Selves ◽  
Social Imaginaries ◽  
South Africans ◽  
Rapid Production ◽  
New Critics ◽  
Good Number

The rapid production of films of diversity in post-1994 South Africa has unfortunately not been matched by critical works on film. Part of the reason is that some of the films recycle old themes that celebrate the worst in black people. Another possible reason could be that a good number of films wallow in personality praise, and certainly of Mandela, especially after his demise. Despite these problems of film criticism in post-1994 South Africa, it appears that some new critics have not felt compelled to waste their energy on analysing the Bantustan film – a kind of film that was made for black people by the apartheid system but has re-surfaced after 1994 in different ways. The patent lack of more critical works on film that engages the identities and social imaginaries of young and white South Africans is partly addressed in SKIN – a film that registers the mental growth and spiritual development of Sandra’s multiple selves. This article argues that SKIN portrays the racial neurosis of the apartheid system; and the question of identity affecting young white youths during and after apartheid is experienced at the racial, gender and sex levels.

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