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Edward Elgar - The Black Knight, Cantata for chorus and orchestra Op. 25 (1889-92)
Sir Edward William Elgar, 1st Baronet OM GCVO (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
The Black Knight, Cantata for chorus and orchestra Op. 25 (1889-93) in IV movements
London Symphony Chorus & Orchestra conducted by Richard Hickox
The Black Knight, Op. 25 is a symphony/cantata for orchestra and chorus written by Edward Elgar in 1889–93. The librettist borrows fro...
published: 28 May 2017
-
Edward Elgar (1857-1934) The Black Knight op. 25
E.Elgar (1857-1934)
The Black Knight op. 25
UniChor Mainz
UniOrchester Mainz
Leitung: Felix Koch
Live-Konzertmitschnitt vom 2. Februar 2020
kING Ingelheim
Tonmeister: Sebastian Kienel
Video/ Schnitt: Leon Müller, Tim Hänsler & Team
published: 08 Apr 2021
-
The Black Knight, Op. 25: Scene 1, 'Twas Pentecost
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 1, 'Twas Pentecost · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves · Royal Liverpool Philharmonic Choir
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David R. Murray
Master Chorus: Edmund Walters
Chorus: Liverpool Philharmonic Choir
Choir: Royal Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Lead Vocals: Royal Liverpool Philharmonic Orchestra
Lyricist: Ludwig Uhland
Composer: Sir Edward Elgar
Auto-generated by YouTube.
published: 07 Aug 2015
-
Edward Elgar – The Black Knight Op 25 Charles Groves & Royal Liverpool Philharmonic Orchestra, 1984
published: 16 Sep 2019
-
The Black Knight, Op. 25: Scene 2, To the Barrier of the Fight
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 2, To the Barrier of the Fight · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves · Royal Liverpool Philharmonic Choir
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David R. Murray
Master Chorus: Edmund Walters
Choir: Royal Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Lead Vocals: Royal Liverpool Philharmonic Orchestra
Lyricist: Ludwig Uhland
Composer: Sir Edward Elgar
Auto-generated by YouTube.
published: 07 Aug 2015
-
"The Black Knight" Symphony-Cantata - Edward Elgar
London Symphony Orchestra & Chorus conducted by Richard Hickox.
I - Scene I. "Twas Pentecost, the Feast of Gladness". Allegro maestoso - Molto maestoso - Più lento - (attacca): 0:00
II - Scene II. The Entry of the Black Knight. "To the barrier of the fight". Moderato - "When he rode into the lists". Allegro molto e fuoco - Meno mosso, poco a poco - Tempo I: 6:05
III - Scene III. The Dance. "Pipe and viol call the dances". Allegretto - Più moderato - Tempo I - "Doth with her the dance begin". Moderato: 12:51
IV - Scene IV. The Banquet. "To the sumptuous banquet came". Andante maestoso - "Twixt son and daughter all distraught". Allegretto - Poco più mosso - "Each the father’s breast embraces". Larghetto - "Woe! The blessed children both". Allegro molto - Andante - Lento - Allegro molto - T...
published: 02 Mar 2024
-
The Black Knight, Op. 25: Scene 4, To the Sumptuous Banquet
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 4, To the Sumptuous Banquet · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David Murray
Chorus: Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Composer: Edward Elgar
Poet: Ludwig Uhland
Auto-generated by YouTube.
published: 07 Aug 2015
-
The Black Knight, Op. 25: Scene 3, Pipe and Viol call the Dances
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 3, Pipe and Viol call the Dances · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves · Royal Liverpool Philharmonic Choir
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David R. Murray
Master Chorus: Edmund Walters
Choir: Royal Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Lyricist: Ludwig Uhland
Composer: Sir Edward Elgar
Auto-generated by YouTube.
published: 07 Aug 2015
-
The Black Knight, Op. 25, Scene 1: The Tournament. Twas Pentecost, the Feast of Gladness
Provided to YouTube by PIAS
The Black Knight, Op. 25, Scene 1: The Tournament. Twas Pentecost, the Feast of Gladness · Richard Hickox · London Symphony Orchestra · London Symphony Chorus
Elgar: The Black Knight & Scenes from the Bavarian Highlands
℗ Chandos Records
Released on: 1996-02-01
Choir: London Symphony Chorus
Conductor: Richard Hickox
Orchestra: London Symphony Orchestra
Composer: Sir Edward Elgar
Auto-generated by YouTube.
published: 09 Sep 2021
-
2017 - The Black Knight - Edward Elgar - scène II
Concert du 14 mai 2017, Salle de Musique, La Chaux-de-Fonds
Le Chœur du Van & la Fanfare l'Avenir Auvernier
published: 18 May 2017
36:13
Edward Elgar - The Black Knight, Cantata for chorus and orchestra Op. 25 (1889-92)
Sir Edward William Elgar, 1st Baronet OM GCVO (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and interna...
Sir Edward William Elgar, 1st Baronet OM GCVO (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
The Black Knight, Cantata for chorus and orchestra Op. 25 (1889-93) in IV movements
London Symphony Chorus & Orchestra conducted by Richard Hickox
The Black Knight, Op. 25 is a symphony/cantata for orchestra and chorus written by Edward Elgar in 1889–93. The librettist borrows from Longfellow's translation of the ballad Der schwarze Ritter by Ludwig Uhland.
Basil Maine, a leading Elgar biographer, believes the purpose of the work is to create a close mix of vocal and instrumental tones. Elgar’s need to organize the loose format of the cantata by shaping it to a more rigid form is also apparent. For example, Elgar divides the text into four contrasting scenes corresponding to the four movements of a typical symphony.
Elgar's The Black Knight tells the story of the intrusion of a mysterious stranger into a king's court with disastrous and gruesome result.
It starts with a medieval jousting competition held in honor of the feast of Pentecost: in the competition, the king’s son beats everyone in the lists until a mysterious knight arrives and challenges him, and with the sky darkening and the castle rocking, the strange knight fights and wins. Later that evening, during the banquet, the black knight returns to ask the king if he can marry his daughter and begins to dance with her, and as they dance, the little flowers in her hair mysteriously die. Later, noticing the paleness of the king's two children, the guest offers 'healing' wine to them, who collapse and die soon after drinking the poison. The old king begs the knight to kill him as he has nothing left to live for, but he refuses.
Music writer Diana McVeagh observes that there seems to be no moral cause or explanation for the gratuitous evil of the stranger.
Many believe the composer considers the chorus less important than the orchestra. For example, the chorus borrows the orchestra’s tunes or will often double the orchestra. The words are often weakly placed and do not seem as important as the underlying music. "Words serve a mechanical purpose ... [there is] no good reason why they should not be removed". The orchestral writing, however, is competent and characteristic. For example, fear at the Black Knight is expressed by harmonic sequences and appoggiaturas which resolve downward. The composer also uses Neapolitan sixth chords to express the wickedness of the knight. Due to this unexpected compositional technique, The Black Knight is still performed all over the world.
https://wn.com/Edward_Elgar_The_Black_Knight,_Cantata_For_Chorus_And_Orchestra_Op._25_(1889_92)
Sir Edward William Elgar, 1st Baronet OM GCVO (2 June 1857 – 23 February 1934) was an English composer, many of whose works have entered the British and international classical concert repertoire. Among his best-known compositions are orchestral works including the Enigma Variations, the Pomp and Circumstance Marches, concertos for violin and cello, and two symphonies. He also composed choral works, including The Dream of Gerontius, chamber music and songs. He was appointed Master of the King's Musick in 1924.
The Black Knight, Cantata for chorus and orchestra Op. 25 (1889-93) in IV movements
London Symphony Chorus & Orchestra conducted by Richard Hickox
The Black Knight, Op. 25 is a symphony/cantata for orchestra and chorus written by Edward Elgar in 1889–93. The librettist borrows from Longfellow's translation of the ballad Der schwarze Ritter by Ludwig Uhland.
Basil Maine, a leading Elgar biographer, believes the purpose of the work is to create a close mix of vocal and instrumental tones. Elgar’s need to organize the loose format of the cantata by shaping it to a more rigid form is also apparent. For example, Elgar divides the text into four contrasting scenes corresponding to the four movements of a typical symphony.
Elgar's The Black Knight tells the story of the intrusion of a mysterious stranger into a king's court with disastrous and gruesome result.
It starts with a medieval jousting competition held in honor of the feast of Pentecost: in the competition, the king’s son beats everyone in the lists until a mysterious knight arrives and challenges him, and with the sky darkening and the castle rocking, the strange knight fights and wins. Later that evening, during the banquet, the black knight returns to ask the king if he can marry his daughter and begins to dance with her, and as they dance, the little flowers in her hair mysteriously die. Later, noticing the paleness of the king's two children, the guest offers 'healing' wine to them, who collapse and die soon after drinking the poison. The old king begs the knight to kill him as he has nothing left to live for, but he refuses.
Music writer Diana McVeagh observes that there seems to be no moral cause or explanation for the gratuitous evil of the stranger.
Many believe the composer considers the chorus less important than the orchestra. For example, the chorus borrows the orchestra’s tunes or will often double the orchestra. The words are often weakly placed and do not seem as important as the underlying music. "Words serve a mechanical purpose ... [there is] no good reason why they should not be removed". The orchestral writing, however, is competent and characteristic. For example, fear at the Black Knight is expressed by harmonic sequences and appoggiaturas which resolve downward. The composer also uses Neapolitan sixth chords to express the wickedness of the knight. Due to this unexpected compositional technique, The Black Knight is still performed all over the world.
- published: 28 May 2017
- views: 29033
32:10
Edward Elgar (1857-1934) The Black Knight op. 25
E.Elgar (1857-1934)
The Black Knight op. 25
UniChor Mainz
UniOrchester Mainz
Leitung: Felix Koch
Live-Konzertmitschnitt vom 2. Februar 2020
kING Ingelheim
To...
E.Elgar (1857-1934)
The Black Knight op. 25
UniChor Mainz
UniOrchester Mainz
Leitung: Felix Koch
Live-Konzertmitschnitt vom 2. Februar 2020
kING Ingelheim
Tonmeister: Sebastian Kienel
Video/ Schnitt: Leon Müller, Tim Hänsler & Team
https://wn.com/Edward_Elgar_(1857_1934)_The_Black_Knight_Op._25
E.Elgar (1857-1934)
The Black Knight op. 25
UniChor Mainz
UniOrchester Mainz
Leitung: Felix Koch
Live-Konzertmitschnitt vom 2. Februar 2020
kING Ingelheim
Tonmeister: Sebastian Kienel
Video/ Schnitt: Leon Müller, Tim Hänsler & Team
- published: 08 Apr 2021
- views: 4818
6:04
The Black Knight, Op. 25: Scene 1, 'Twas Pentecost
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 1, 'Twas Pentecost · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchest...
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 1, 'Twas Pentecost · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves · Royal Liverpool Philharmonic Choir
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David R. Murray
Master Chorus: Edmund Walters
Chorus: Liverpool Philharmonic Choir
Choir: Royal Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Lead Vocals: Royal Liverpool Philharmonic Orchestra
Lyricist: Ludwig Uhland
Composer: Sir Edward Elgar
Auto-generated by YouTube.
https://wn.com/The_Black_Knight,_Op._25_Scene_1,_'Twas_Pentecost
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 1, 'Twas Pentecost · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves · Royal Liverpool Philharmonic Choir
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David R. Murray
Master Chorus: Edmund Walters
Chorus: Liverpool Philharmonic Choir
Choir: Royal Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Lead Vocals: Royal Liverpool Philharmonic Orchestra
Lyricist: Ludwig Uhland
Composer: Sir Edward Elgar
Auto-generated by YouTube.
- published: 07 Aug 2015
- views: 636
6:11
The Black Knight, Op. 25: Scene 2, To the Barrier of the Fight
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 2, To the Barrier of the Fight · Liverpool Philharmonic Choir · Royal Liverpool Philharm...
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 2, To the Barrier of the Fight · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves · Royal Liverpool Philharmonic Choir
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David R. Murray
Master Chorus: Edmund Walters
Choir: Royal Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Lead Vocals: Royal Liverpool Philharmonic Orchestra
Lyricist: Ludwig Uhland
Composer: Sir Edward Elgar
Auto-generated by YouTube.
https://wn.com/The_Black_Knight,_Op._25_Scene_2,_To_The_Barrier_Of_The_Fight
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 2, To the Barrier of the Fight · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves · Royal Liverpool Philharmonic Choir
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David R. Murray
Master Chorus: Edmund Walters
Choir: Royal Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Lead Vocals: Royal Liverpool Philharmonic Orchestra
Lyricist: Ludwig Uhland
Composer: Sir Edward Elgar
Auto-generated by YouTube.
- published: 07 Aug 2015
- views: 353
36:05
"The Black Knight" Symphony-Cantata - Edward Elgar
London Symphony Orchestra & Chorus conducted by Richard Hickox.
I - Scene I. "Twas Pentecost, the Feast of Gladness". Allegro maestoso - Molto maestoso - Più l...
London Symphony Orchestra & Chorus conducted by Richard Hickox.
I - Scene I. "Twas Pentecost, the Feast of Gladness". Allegro maestoso - Molto maestoso - Più lento - (attacca): 0:00
II - Scene II. The Entry of the Black Knight. "To the barrier of the fight". Moderato - "When he rode into the lists". Allegro molto e fuoco - Meno mosso, poco a poco - Tempo I: 6:05
III - Scene III. The Dance. "Pipe and viol call the dances". Allegretto - Più moderato - Tempo I - "Doth with her the dance begin". Moderato: 12:51
IV - Scene IV. The Banquet. "To the sumptuous banquet came". Andante maestoso - "Twixt son and daughter all distraught". Allegretto - Poco più mosso - "Each the father’s breast embraces". Larghetto - "Woe! The blessed children both". Allegro molto - Andante - Lento - Allegro molto - Tempo I. Moderato: 21:25
Elgar's "The Black Knight" was begun in summer of 1889, but quickly left it aside as he worked on the Froissart Overture. In winter of 1891, Hugh Blair, acting organist at Worcester Cathedral and conductor of the Worcester Festival Choral Society, offered to perform the work if it was finished. Elgar returned to the piece and finished it in January 1893. It was premiered on April 18 of that year, performed at the Worcester Festival. While mostly forgotten today, the work is important as it is the first large-scale work of Elgar, who at the time was little known outside his natal Worcester.
The piece is an unusual hybrid of Symphony and Cantata, not fully admissible in just one of those genres. Elgar arranged Longfellow's ten six-line stanzas into four scenes, each of which is internally continuous. The story is a Longfellow's translation of the ballad "Der schwarze Ritter" by Ludwig Uhland. It tells the story of the intrusion of a mysterious stranger into a king's court with disastrous and gruesome result. It is based on an earlier German work telling of an Arthurian legend surrounding the second marriage of Alexander III of Scotland in 1285.
The first scene opens with a solemn and bright main theme, which Elgar had written as early as in 1879. The chorus contrapuntally sings the dramatic action: the king opens a medieval jousting competition held in honour of the feast of Pentecost and the bloom of spring. Hints of the mature Elgar can already be heard as brief musical flashes. Brass calls lead us to the joust, in which the king's son beats everyone in the lists as painted by the heroic tone of the music. The first stanza is then repeated in a majestic passage, culminating with the entrance of the organ. A calm transition leads us to the next part.
The second scene begins with a gallant theme, as a mysterious black knight arrives and challenges the king's son. The chorus demands his name, but only after a silence the knight refuses to answer by saying "I am a prince of mighty sway". He is represented through a sinister chromatic motif on the bass instruments, which darkens the entire atmosphere. As the duel begins, the sky becomes gloomy and the castle begins to shake, the music acquiring an almost apocalyptic tone. The black knight emerges victorious as the scene ends with a meditative coda.
The third scene opens with a graceful and light motive on woodwinds, which is followed by a slow court dance theme. It represents the banquet in the castle, as described by the chorus. The black knight appears along his ominous motive, and dances with the king's daughter after asking for her hand. A new dance theme of Spanish air is introduced, reminiscent of Elgar's "Sevillana". As they dance, the flowers in the girl's hair mysteriously die, the music turning more anguished as the knights motive reappears. The dance theme then gradually dissolves in the silence.
The fourth scene begins with a menacing gesture, followed by the arrival of the guests set to richly lyrical music of Wagnerian echoes. Themes from previous movements are continuously referenced. The music then becomes more dramatic, as the knight notices the paleness of the king's two children. The knight offers them golden wine in a forceful passage. They drink it and embrace the king, who sees them die in front of his eyes, as narrated poignantly by the chorus. The music rises in an expressive climax, followed by a furious passage in which the old king begs the knight to kill him, as he has nothing left to live for, portrayed through an expressive section. The knight's motive reappears as he replies "roses in the spring I gather". Themes from earlier movements are recalled once again, and the work ends with a contemplative coda.
[Activate the subtitle to follow the lyrics]
Picture: "The Black Knight" (1946) by the Austrian painter Alexander Rothaug.
Musical analysis partially written by myself. Source: https://tinyurl.com/2yzfj3ea
To check the score: https://tinyurl.com/2ctqccba
https://wn.com/The_Black_Knight_Symphony_Cantata_Edward_Elgar
London Symphony Orchestra & Chorus conducted by Richard Hickox.
I - Scene I. "Twas Pentecost, the Feast of Gladness". Allegro maestoso - Molto maestoso - Più lento - (attacca): 0:00
II - Scene II. The Entry of the Black Knight. "To the barrier of the fight". Moderato - "When he rode into the lists". Allegro molto e fuoco - Meno mosso, poco a poco - Tempo I: 6:05
III - Scene III. The Dance. "Pipe and viol call the dances". Allegretto - Più moderato - Tempo I - "Doth with her the dance begin". Moderato: 12:51
IV - Scene IV. The Banquet. "To the sumptuous banquet came". Andante maestoso - "Twixt son and daughter all distraught". Allegretto - Poco più mosso - "Each the father’s breast embraces". Larghetto - "Woe! The blessed children both". Allegro molto - Andante - Lento - Allegro molto - Tempo I. Moderato: 21:25
Elgar's "The Black Knight" was begun in summer of 1889, but quickly left it aside as he worked on the Froissart Overture. In winter of 1891, Hugh Blair, acting organist at Worcester Cathedral and conductor of the Worcester Festival Choral Society, offered to perform the work if it was finished. Elgar returned to the piece and finished it in January 1893. It was premiered on April 18 of that year, performed at the Worcester Festival. While mostly forgotten today, the work is important as it is the first large-scale work of Elgar, who at the time was little known outside his natal Worcester.
The piece is an unusual hybrid of Symphony and Cantata, not fully admissible in just one of those genres. Elgar arranged Longfellow's ten six-line stanzas into four scenes, each of which is internally continuous. The story is a Longfellow's translation of the ballad "Der schwarze Ritter" by Ludwig Uhland. It tells the story of the intrusion of a mysterious stranger into a king's court with disastrous and gruesome result. It is based on an earlier German work telling of an Arthurian legend surrounding the second marriage of Alexander III of Scotland in 1285.
The first scene opens with a solemn and bright main theme, which Elgar had written as early as in 1879. The chorus contrapuntally sings the dramatic action: the king opens a medieval jousting competition held in honour of the feast of Pentecost and the bloom of spring. Hints of the mature Elgar can already be heard as brief musical flashes. Brass calls lead us to the joust, in which the king's son beats everyone in the lists as painted by the heroic tone of the music. The first stanza is then repeated in a majestic passage, culminating with the entrance of the organ. A calm transition leads us to the next part.
The second scene begins with a gallant theme, as a mysterious black knight arrives and challenges the king's son. The chorus demands his name, but only after a silence the knight refuses to answer by saying "I am a prince of mighty sway". He is represented through a sinister chromatic motif on the bass instruments, which darkens the entire atmosphere. As the duel begins, the sky becomes gloomy and the castle begins to shake, the music acquiring an almost apocalyptic tone. The black knight emerges victorious as the scene ends with a meditative coda.
The third scene opens with a graceful and light motive on woodwinds, which is followed by a slow court dance theme. It represents the banquet in the castle, as described by the chorus. The black knight appears along his ominous motive, and dances with the king's daughter after asking for her hand. A new dance theme of Spanish air is introduced, reminiscent of Elgar's "Sevillana". As they dance, the flowers in the girl's hair mysteriously die, the music turning more anguished as the knights motive reappears. The dance theme then gradually dissolves in the silence.
The fourth scene begins with a menacing gesture, followed by the arrival of the guests set to richly lyrical music of Wagnerian echoes. Themes from previous movements are continuously referenced. The music then becomes more dramatic, as the knight notices the paleness of the king's two children. The knight offers them golden wine in a forceful passage. They drink it and embrace the king, who sees them die in front of his eyes, as narrated poignantly by the chorus. The music rises in an expressive climax, followed by a furious passage in which the old king begs the knight to kill him, as he has nothing left to live for, portrayed through an expressive section. The knight's motive reappears as he replies "roses in the spring I gather". Themes from earlier movements are recalled once again, and the work ends with a contemplative coda.
[Activate the subtitle to follow the lyrics]
Picture: "The Black Knight" (1946) by the Austrian painter Alexander Rothaug.
Musical analysis partially written by myself. Source: https://tinyurl.com/2yzfj3ea
To check the score: https://tinyurl.com/2ctqccba
- published: 02 Mar 2024
- views: 1179
14:47
The Black Knight, Op. 25: Scene 4, To the Sumptuous Banquet
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 4, To the Sumptuous Banquet · Liverpool Philharmonic Choir · Royal Liverpool Philharmoni...
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 4, To the Sumptuous Banquet · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David Murray
Chorus: Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Composer: Edward Elgar
Poet: Ludwig Uhland
Auto-generated by YouTube.
https://wn.com/The_Black_Knight,_Op._25_Scene_4,_To_The_Sumptuous_Banquet
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 4, To the Sumptuous Banquet · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David Murray
Chorus: Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Composer: Edward Elgar
Poet: Ludwig Uhland
Auto-generated by YouTube.
- published: 07 Aug 2015
- views: 242
8:37
The Black Knight, Op. 25: Scene 3, Pipe and Viol call the Dances
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 3, Pipe and Viol call the Dances · Liverpool Philharmonic Choir · Royal Liverpool Philha...
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 3, Pipe and Viol call the Dances · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves · Royal Liverpool Philharmonic Choir
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David R. Murray
Master Chorus: Edmund Walters
Choir: Royal Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Lyricist: Ludwig Uhland
Composer: Sir Edward Elgar
Auto-generated by YouTube.
https://wn.com/The_Black_Knight,_Op._25_Scene_3,_Pipe_And_Viol_Call_The_Dances
Provided to YouTube by Warner Classics
The Black Knight, Op. 25: Scene 3, Pipe and Viol call the Dances · Liverpool Philharmonic Choir · Royal Liverpool Philharmonic Orchestra · Charles Groves · Royal Liverpool Philharmonic Choir
Elgar - Choral Works
℗ A Warner Classics release, ℗ 1984 Parlophone Records Limited
Conductor: Charles Groves
Producer: David R. Murray
Master Chorus: Edmund Walters
Choir: Royal Liverpool Philharmonic Choir
Orchestra: Royal Liverpool Philharmonic Orchestra
Lyricist: Ludwig Uhland
Composer: Sir Edward Elgar
Auto-generated by YouTube.
- published: 07 Aug 2015
- views: 678
6:10
The Black Knight, Op. 25, Scene 1: The Tournament. Twas Pentecost, the Feast of Gladness
Provided to YouTube by PIAS
The Black Knight, Op. 25, Scene 1: The Tournament. Twas Pentecost, the Feast of Gladness · Richard Hickox · London Symphony Orchest...
Provided to YouTube by PIAS
The Black Knight, Op. 25, Scene 1: The Tournament. Twas Pentecost, the Feast of Gladness · Richard Hickox · London Symphony Orchestra · London Symphony Chorus
Elgar: The Black Knight & Scenes from the Bavarian Highlands
℗ Chandos Records
Released on: 1996-02-01
Choir: London Symphony Chorus
Conductor: Richard Hickox
Orchestra: London Symphony Orchestra
Composer: Sir Edward Elgar
Auto-generated by YouTube.
https://wn.com/The_Black_Knight,_Op._25,_Scene_1_The_Tournament._Twas_Pentecost,_The_Feast_Of_Gladness
Provided to YouTube by PIAS
The Black Knight, Op. 25, Scene 1: The Tournament. Twas Pentecost, the Feast of Gladness · Richard Hickox · London Symphony Orchestra · London Symphony Chorus
Elgar: The Black Knight & Scenes from the Bavarian Highlands
℗ Chandos Records
Released on: 1996-02-01
Choir: London Symphony Chorus
Conductor: Richard Hickox
Orchestra: London Symphony Orchestra
Composer: Sir Edward Elgar
Auto-generated by YouTube.
- published: 09 Sep 2021
- views: 1036
7:06
2017 - The Black Knight - Edward Elgar - scène II
Concert du 14 mai 2017, Salle de Musique, La Chaux-de-Fonds
Le Chœur du Van & la Fanfare l'Avenir Auvernier
Concert du 14 mai 2017, Salle de Musique, La Chaux-de-Fonds
Le Chœur du Van & la Fanfare l'Avenir Auvernier
https://wn.com/2017_The_Black_Knight_Edward_Elgar_Scène_Ii
Concert du 14 mai 2017, Salle de Musique, La Chaux-de-Fonds
Le Chœur du Van & la Fanfare l'Avenir Auvernier
- published: 18 May 2017
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