Uploaded September 2010 | Updated September 2026, 5 days ago
Lutyens elaborated the libretto for her lyric drama "Isis and Osiris" from Plutarch and the Egyptian Book of the Dead. The opera was not a success on its only staging by Morley College in 1976, but the unaccompanied Lament she extracted especially for Jane Manning distills the symbolic character of the text and the hieratic quality of the music. Osiris, good of corn, wine and the waters of the Nile has been murdered by Seth representing the desert, sea salt, evil;. Isis, sister and wife of Osiris, Goddess of fertility and vegetation, mourns. The gentle Etesian winds she refers to brought rain from the North. The music, a finely balanced interplay of searing melismata and chant-like rhythms, gradually sinks in a ptch0-range as it ebbs in intensity, from to C at the beginning to low A flat at the end.
Lines taken and adapted from the Egyptian Book of the Dead:
Ah,
Nile has been overcome by Sea; The Etesian winds are stilled,
no rain does fall.
Osiris, Lord of the Rivers, now is dead.
The murderous heat of Seth does scorch my land.
The nights grow dark; the Moon has died.
Mourn, O mourn, the loss of my sweet Nile;
Morn, O mourn, the death of Northern winds;
Mourn, O mourn, the lengthening of the night.
And mourn, above all else, this sad Earth's denudation:
the grass no longer green,
the withering of all the trees,
the flowers that flower no more,
the shrubs that shet their leaves.
Then mourn, O mourn, the dying of the Nile.
Osiris, Lord and King, I weep for you.
Lutyens elaborated the libretto for her lyric drama "Isis and Osiris" from Plutarch and the Egyptian Book of the Dead. The opera was not a success on its only staging by Morley College in 1976, but the unaccompanied Lament she extracted especially for Jane Manning distills the symbolic character of the text and the hieratic quality of the music. Osiris, good of corn, wine and the waters of the Nile has been murdered by Seth representing the desert, sea salt, evil;. Isis, sister and wife of Osiris, Goddess of fertility and vegetation, mourns. The gentle Etesian winds she refers to brought rain from the North. The music, a finely balanced interplay of searing melismata and chant-like rhythms, gradually sinks in a ptch0-range as it ebbs in intensity, from to C at the beginning to low A flat at the end.
Lines taken and adapted from the Egyptian Book of the Dead:
Ah,
Nile has been overcome by Sea; The Etesian winds are stilled,
no rain does fall.
Osiris, Lord of the Rivers, now is dead.
The murderous heat of Seth does scorch my land.
The nights grow dark; the Moon has died.
Mourn, O mourn, the loss of my sweet Nile;
Morn, O mourn, the death of Northern winds;
Mourn, O mourn, the lengthening of the night.
And mourn, above all else, this sad Earth's denudation:
the grass no longer green,
the withering of all the trees,
the flowers that flower no more,
the shrubs that shet their leaves.
Then mourn, O mourn, the dying of the Nile.
Osiris, Lord and King, I weep for you.

![Wallingford Riegger, Fantasy for Orchestra and Organ (1931) - Part 1 of 2.mpg
Wallingford Constantine Riegger (April 29, 1885 - April 2, 1961) was a prolific American music composer, well known for orchestral and modern dance music, and film scores. He was born in Albany, Georgia, but lived much of his life in New York City. He is noted for his use of Arnold Schoenbergs twelve-tone technique.
Riegger was born in 1885 to Ida Wallingford and Constantine Riegger. After his fathers lumber mill burned down in 1888, his family moved to Indianapolis, and later to Louisville, finally settling in New York in 1900. A gifted cellist, he graduated from the first graduating class of the Institute of Musical Art, later known as the Juilliard School, in 1907, after studying under Percy Goetschius. He continued his studies at the Hochschule für Musik in Berlin for three years. After returning in 1910, he married Rose Schramm, with whom he later had three daughters, in 1911. For a time, he returned to Germany and accepted various conducting positions, but this was interrupted by the joining of America in World War I in 1917, after which he moved back to America. From 1918 to 1922, he taught music theory and violoncello at Drake University. During the greater part of the time from 1930 to 1956, he continued publishing music and taught at various universities in New York, notably the Institute of Musical Art and Ithaca College. In 1957, he was called before the House Un-American Activities Committee, which was investigating Communism in the musical world. In 1958, Leonard Bernstein honored him by conducting his Music for Orchestra with the New York Philharmonic Orchestra. He died in New York in 1961 when he tripped over the leashes of two fighting dogs, resulting in a fall and a head injury from which he did not recover despite treatment.
His students included Alan Stout and Merton Brown. We have heard that when, toward the end of his life, George Gershwin told his friend (and tennis partner) Arnold Schoenberg that we wanted to study composition seriously, Schoenberg suggested that Gershwin study with Riegger. (We would very much like to confirm this story. The official version is that when Gershwin asked Schoenberg for composition lessons. Schoenberg refused, saying I would only make you a bad Schoenberg, and youre such a good Gershwin already. Again, what we heard was that Schoenberg then suggested Riegger.)
Riegger was known for his use of Schoenbergs twelve-tone system, but he did not use it in all of his compositions. For example, Dance Rhythms was not written in this style. Aside from Schoenberg, Riegger was also significantly influenced by his friends Henry Cowell and Charles Ives. Along with Cowell, Ives, Carl Ruggles, and John J. Becker, Riegger was a member of the group of American modernist composers known as the American Five.
Starting in the mid 1930s, Riegger began to write contemporary dance music. Later, as his career progressed, he began to use Schoenbergs twelve-tone technique more and more often, though he did occasionally revert to his earlier styles. From 1941 on, he focused almost solely on instrumental music, and his Symphony No. 3 received the New York Music Critics Circle Award and a Naumburg Foundation Recording Award.
[We apologize for the couple of skips in this very old LP.] Wallingford Riegger, Fantasy for Orchestra and Organ (1931) - Part 1 of 2.mpg](https://i.ytimg.com/vi/LH_Sw0t1YKc/mqdefault.jpg)



![Villa-Lobos, String Quartet No. 5 (1931), ii. Vivo e energico, Lento, Tempo Primo
I love to write quartets. One would say that it is a mania. Heitor Villa-Lobos made this confession, quoted by Pierre Vidal, in Paris in the spring of 1958. He had completed his seventeenth and final quartet the year before and had begun to sketch an eighteenth. Villa-Lobos attributed his knowledge of the string quartet to his study of Haydn.
The period from 1917 to 1931 saw the creation of major orchestral works, among them Uirapu, Amazonas and the six orchestral Choros. Much of that time was spent in Paris, where Villa-Lobos came in contact with Ravel, Dukas, Falla, Schmitt, Honegger, Stravinsky, Prokofieff, Casella and Varèse. His return to the string quartet in 1931 produced one isolated example, the fifth, or Quartetto Popular No. 1, among the most immediately appealling of all Villa-Loboss quartets and at the same time one of the most inventive. Its firm tonal sense and clearly drawn melodies, some of popular origin, coexist with extraordinary creativity and imagination. Departing from the composers usual and simpler tenary pattern, the quartets first movement consists of seven parts, arranged to suggest an overall tripartite structure. The second movement (presented in this installment) borders on the miraculous [we agree]. To begin, it quotes the first part of a nursery tune, cai, cai baiao, in dazzling fashion with descending scales and polyrhythms. Modulation from F major to d minor brings a soulful melody (foreshadowed in the first movement right after the modinha), while fantastic sul ponticello effects and swirling figurations screate an air or profound mystery.
The Danubius Quartet was established in 1983 under the artistic direction of the distinguished violinst Vilmos Tatrai, and has won awards in Trapani, Evian and Graz. Villa-Lobos, String Quartet No. 5 (1931), ii. Vivo e energico, Lento, Tempo Primo](https://i.ytimg.com/vi/LsKZ4-0IyTk/mqdefault.jpg)




