
Summer Nights
From a Great Gatsby party to the calm of Wallace Stevens's home - the writers include Carol Ann Duffy, John Clare, AE Housman, with music from Miles Davis to Vaughan Williams.
Simon Russell Beale and Sian Thomas read prose and poetry reflecting on the final hours on a summer’s day.
“Oh, how beautiful is the summer night, which is not night, but a sunless, yet unclouded day, descending upon earth with dews and shadows and refreshing coolness” was how the American writer Henry Wadsworth Longfellow described the twilight hours. The English landscape is evoked in Vaughan Williams' setting of “The Water Mill” by Fredegond Shove and in John Clare’s “Summer Evening” in which he captures the fearful animals, insects and birds disturbed by ‘proud man’.
American summers are evoked in the description of one of the famous parties in F. Scott Fitzgerald’s “The Great Gatsby” where, in Gatsby’s blue gardens, there is a “sea-change of faces and voices under the constantly changing light” heard with Miles Davis’ “Once upon a Summertime”. The overwhelming heat of New York is brilliantly caught by Langston Hughes and by Sara Teasdale’s description of the ‘fragrant darkness’ of the Hudson river.
T.S. Eliot’s mysterious evocation of the summer midnight rituals of man and woman “in daunsinge, signifying matrimonie” is heard with Philip Glass’ “Hymn to the Sun” from Akhnaten. Carol Ann Duffy’s” The Midsummer Night” is heard with Mendelssohn’s Notturno from “A Midsummer Night’s Dream”. Wallace Stevens’ poem, ”The House was Quiet and the World was Calm”, captures the calm of the poet’s home as he sits reading a book alongside the calm of the universe on a summer night and the poet’s desire to be one “to whom The summer night is like a perfection of thought”. The poem is heard with the American composer Samuel Barber’s “Nocturne”, a piano setting which may well be exploring a similar ‘access of perfection’ to Stevens’ poet’s dream.
Summer Nights ends with A. E. Housman’s “When Summer’s End is Nighing”, an elegy for lost youth which ends with the hope of a new beginning. As summer’s end nears the poet’s heart is reawakened:
‘The ear too fondly listens
For summer’s parting sighs,
And then the heart replies.’
Words and Music ends with Vaughan Williams' “The Lark Ascending”, his beautiful evocation of the English countryside, written on the eve of war in 1914 and imagining the losses to come
Readings:
Oh, how beautiful - Henry Longfellow
Night Drive - Seamus Heaney
Summer Evening - John Clare
The Prelude - William Wordsworth
Moonlight, Summer Moonlight - Emily Brontë
Song - Walt Whitman
The Great Gatsby - F Scott Fitzgerald
Summer Stars - Carl Sandburg
Summer Evening - Sara Teasdale
The Four Quartets - TS Eliot
The House Was Quiet - Wallace Stevens
Summer Night - Langston Hughes
Midsummer Night - Carol Ann Duffy
When summer's end is nighing - AE Housman
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Music Played
Timings (where shown) are from the start of the programme in hours and minutes
-
00:00
Toru Takemitsu
Toward the Sea The Night
Performer: Toronto New Music Ensemble.- NAXOS 8555859.
- Tr3.
-
Henry Longfellow
Oh, how beautiful, read by Sian Thomas
Seamus Heaney
Night Drive, read by Simon Russell Beale
00:04Gabriel Fauré
Après un Rêve
Performer: Veronique Gens (soprano); Roger Vignoles (piano).- VIRGIN CLASSICS VC5453602.
- Tr1.
John Clare
Summer Evening, read by Sian Thomas
00:07Ralph Vaughan Williams
The Water Mill
Performer: The Duke Quartet, Anthony Rolfe Johnson (tenor), Graham Johnson (piano).- COLLINS CLASSICS 14882.
- Tr4.
William Wordsworth
from The Prelude, read by Simon Russell Beale
00:12Zoltán Kodály
Summer Evening Meno mosso (bar 340) - Tempo I
Performer: Orpheus Chamber Orchestra.- DEUTSCHE GRAMMOPHON 4471092.
- Tr7.
Emily Brontë
Moonlight, Summer Moonlight, read by Sian Thomas
00:17Frederick Delius
Summer Night on the River
Performer: Academy of St Martin-in-the-Fields, Neville Marriner (conductor).- LONDON 4213902.
- Tr6.
Walt Whitman
Song read by Simon Russell Beale
00:23Maurice Ravel
String Quartet in F Major, 1903 Assez Vif
Performer: Avalon String Quartet.- CHANNEL CLASSICS CCS14898.
- Tr2.
F. Scott Fitzgerald
from The Great Gatsby, read by Sian Thomas
00:30Miles Davis
Once upon a Summertime
Performer: Miles Davis with Gil Evans and his Orchestra.- CBS CD85556.
- Tr2.
Carl Sandburg
Summer Stars, read by Simon Russell Beale
00:34Claude Debussy
Nuits d'etoiles
Performer: Veronique Gens (soprano), Roger Vignoles (piano).- VIRGIN CLASSICS VC5453602.
- Tr15.
Sara Teasdale
Summer Evening, Riverside, read by Sian Thomas
00:38Erik Satie
Gymnopedie No. 1
Performer: Pascal Rogé (piano).- DECCA 4102202.
- Tr1.
T. S. Eliot
From The Four Quartets, read by Simon Russell Beale
00:43Philip Glass
'Hymn to the Sun' from Akhnaten
Performer: Paul Esswood (counter tenor), Stuttgart State Opera, Orchestra and Chorus,.- SONY SBK64133.
- Tr8.
Wallace Stevens
The House was Quiet, read by Simon Russell Beale
00:50Samuel Barber
Nocture, Op.33
Performer: Michael Landrum (piano).- SONO LUMINUS DSL92158.
- CD2 Tr7.
Langston Hughes
Summer Night, read by Sian Thomas
00:55Olivier Messiaen
Les Orioles
Performer: Orchestre Philharmonique de Radio France, Myung-Whun Chung (conductor).- DEUTSCHE GRAMMOPHNON 4716172.
- CD1 Tr2.
Carol Ann Duffy
Midsummer Night, read by Sian Thomas
00:57Felix Mendelssohn
A Midsummer Nights Dream Notturno
Performer: Wiener Philharmoniker, Andre Previn (conductor).- PHILIPS 420 161 2.
- Tr6.
A. E. Housman
Last Poems When summer's end is nighing, read by Simon Russell Beale
01:05Ralph Vaughan Williams
The Lark Ascending
Performer: English Chamber Orchestra, Pinchas Zukerman (violin), Daniel Barenboim (conductor).- DEUTSCHE GRAMMOPHON 419 748 2.
- Tr1.
Producer's Notes
“Oh, how beautiful is the summer night, which is not night, but a sunless, yet unclouded day, descending upon earth with dews and shadows and refreshing coolness” was how the American writer Henry Wadsworth Longfellow described the twilight hours. For this week’s Words and Music I’ve chosen poetry, prose and music reflecting the final hours on a summer’s day. The English landscape is evoked in Vaughan Williams' setting of “The Water Mill” by Fredegond Shove and in John Clare’s “Summer Evening” in which he captures the fearful animals, insects and birds disturbed by ‘proud man’. William Wordsworth’s moonlit journey up the mountainside from “ The Prelude” leads to Zoltan Kodaly’s “Summer Evening”, a work the composer described as being “conceived on summer evenings, amidst harvested cornfields, over the ripples of the Adriatic”.
American summers are evoked in the description of one of the famous parties in F. Scott Fitzgerald’s “The Great Gatsby” where, in Gatsby’s blue gardens, there is a “sea-change of faces and voices under the constantly changing light” heard with Miles Davis’ “Once upon a Summertime”. The overwhelming heat of New York is brilliantly caught by Langston Hughes and by Sara Teasdale’s description of the ‘fragrant darkness’ of the Hudson river.
T.S. Eliot’s mysterious evocation of the summer midnight rituals of man and woman “in daunsinge, signifying matrimonie” is heard with Philip Glass’ “Hymn to the Sun” from Akhnaten. Carol Ann Duffy’s” The Midsummer Night” is heard with Mendelssohn’s Notturno from “A Midsummer Night’s Dream”. Wallace Stevens’ poem, ”The House was Quiet and the World was Calm”, captures the calm of the poet’s home as he sits reading a book alongside the calm of the universe on a summer night and the poet’s desire to be one “to whom The summer night is like a perfection of thought”. The poem is heard with the American composer Samuel Barber’s “Nocturne”, a piano setting which may well be exploring a similar ‘access of perfection’ to Stevens’ poet’s dream.
Summer Nights ends with A. E. Housman’s “When Summer’s End is Nighing”, an elegy for lost youth which ends with the hope of a new beginning. As summer’s end nears the poet’s heart is reawakened:
‘The ear too fondly listens
For summer’s parting sighs,
And then the heart replies.’Words and Music ends with Vaughan Williams' “The Lark Ascending”, his beautiful evocation of the English countryside, written on the eve of war in 1914 and imagining the losses to come.
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