It's very likely that John Rutter was there, as he was a graduate student at the time. I was there in either 1970 or 1971, and as they started, a bird - and I didn't see the color - flew up from behind the singers and quietly perched in a tree, as if to listen. The song traditionally started the second half, and they lit lanterns on the boats before singing it. My story: the Cambridge University Chamber Chorus used to (and still does?) include it in their May Week concert held on the river - literally, sitting in punts. I just came across this thread while researching the song. I was unaware of this even though we used to sing a lot of Stanford's choral music when I was a chorister at Worcester Cathedral 1947-56, Just heard it for the first time on ClassicFM. Sadly, the soprano is no longer with us, but I still treasure listening to the recording. The soprano soloist had an incredibly beautiful voice that soared as the rest of us provided the background. I've sung this beautiful piece with an excellent choir. Having been brought up as a chorister I have many deep rooted memories of singing Stanford works and agree there is much deemed currently out of fashion which is overlooked Brought back sweet memories of singing it at University on the river in the dark with candlelight - happy days. The Bluebird is indeed a treasure - I played it last night for friends who had never heard of it. Thank you, I just stumbled across your excellent article. "Thou art the everlasting son.") published some 13 years earlier. I wonder if the soaring motif in the soprano part was inspired by a strikingly similar one in Elgar's Te Deum (cf. Last line of both poem and song is: "It caught his image as he flew." But neither I nor we shall ever experience it except this way. And Stanford makes it happen, with that soaring treble, a cappella-still, like the setting. This piece proposes that we accept that a bird “caught” its image, for an instant became aware of itself. I see a lone bird of palest blue fly over the water now reflecting the sky’s blue-blue and blue-and at the last instant the bird catches its image in the water-the end, no denouement. I’m sitting beside a lake beneath the sky, framed by hills. If we can get into the imagery, then we’re led to a transcendent moment. I think what the music does with the verse is sublime, and to me it’s not at all second-rate. Thanks for the impression of Stanford and The Blue Bird. Perhaps this was potentiated by the book I’m reading – Juliet Nicholson’s Perfect Summer (about 1911).īoth works evoke for me a mix of beauty, melancholy and foreboding. I heard it on R3 last night which, not expecting it, touched me suddenly. for more details.Thank you! Your feelings about this piece echo my own. HEREĪll orders (including pre-orders) at require immediate payment. Not ordered from us before? Read our F.A.Q. Once it appears as out-of-stock we do not expect there to be more stock available. NOTE: This is a Limited Edition product not exclusive to any one retailer. Includes a 32-page booklet packed with character and design artwork, interviews with the cast and crew, storyboards and music score materials.Īlso included is an A3 poster of the film's beautiful key visual. These two distinct styles weave with stirring music to tell a touching coming-of-age story.Ĭontains the film on Blu-ray, featuring English and Japanese audio with English subtitles.Ĭomes packed in a rigid case with an Amaray case to hold the Blu-ray. Interspersed with the story is the fantasy tale of Liz, drawn like a storybook, contrasting with the crisp realism of the school. Though they play beautifully together and have been friends since childhood, Mizore and Nozomi find that with graduation looming and the duet proving difficult, their friendship begins to buckle under the pressure. Students and best friends Mizore Yoroizuka and Nozomi Kasaki prepare to play a complex musical duet, "Liz and the Blue Bird", for oboe and flute. A beautiful new tale from the world of Sound! Euphonium, directed by Naoko Yamada (A Silent Voice)
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