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Product Details
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Track Listings
| 1. Job - A Masque For Dancing: Scene I: Introduction - Pastoral Dance - Satan's Appeal To God - Saraband Of The Sons Of God |
| 2. Job - A Masque For Dancing: Scene II: Satan's Dance Of Triumph |
| 3. Job - A Masque For Dancing: Scene III: Minuet Of The Sons Of Job And Their Wives |
| 4. Job - A Masque For Dancing: Scene IV: Job's Dream. Dance Of Plague, Pestilence, Famine And Battle |
| 5. Job - A Masque For Dancing: Scene V: Dance Of The Messengers |
| 6. Job - A Masque For Dancing: Scene VI: Dance Of Job's Comforters. Job's Curse. A Vision Of Satan |
| 7. Job - A Masque For Dancing: Scene VII: Elihu's Dance Of Youth And Beauty. Pavane Of The Sons Of The Morning |
| 8. Job - A Masque For Dancing: Scene VIII: Galliard Of The Sons Of Morning. Altar Dance And Heavenly Pavane |
| 9. Job - A Masque For Dancing: Scene IX: Epilogue |
| 10. The Lark Ascending |
Product Description
From Amazon.co.uk
Job--A Masque for Dancing was composed between 1927-30, inspired by the Old Testament and by William Blake's watercolours comprising his Book of Job, as well as by early English dance and the masques of the Restoration. This concert version was actually premiered with Vaughan Williams himself conducting, eight months before the stage version made its definitive mark on English ballet. Composed just prior to the Fourth Symphony, the work is itself of symphonic length, though divided into nine pictorial scenes, anticipates both the composer's commitment to film and his programmatic Sinfonia Antarctica. For this drama of the enduring power of faith, Vaughan Williams wrote for orchestra augmented by a wide range of percussion, organ, and as the voice of Satan, a sensuous, sinuous saxophone. The result is a poetic, richly imaginative work, which in this dynamic, detailed reading by David Lloyd Jones comes to fervent, ferocious yet intensely lyrical life. The coupling is the enduringly popular Lark Ascending, a pastoral romance for violin and orchestra. Here soloist David Greed seems to breathe the very essence of the English countryside, his violin singing in deeply expressive tones to express rapturously the timeless folk-like beauty of one of Vaughan Williams's best loved works. --Gary S. Dalkin
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