"WB Yeats: Words for Music Perhaps", Programme One Featuring DIT Conservatory of Music reconstructions & "Everlasting Voices" for RTE Lyric FM nearly there!

OK, as I write this, and upload these random iphone photographs of recordings of forgotten scores by Walter Morse Rummel, Edmund Dulac, and Dr. John Larchet for WB Yeats plays with the DIT Conservatory of Music [recorded and edited by DIT's Ben Rawlins],on April 19th and June 28th, Tom Hickey's narration of programme one is being mixed by sound engineer supremo John Davis.  Very exciting! I thought this day would never get here, but I think it is now safe to say that we are well and truly nearly there.  Huge thanks to all at DIT for their kind contribution to the programme - Kerry Houston, Cliona Doris, Julie Maisel, David Scott, Arun Rao, Tom Doorley, Noel Eccles and Ben Rawlins.  Also thanks to "Everlasting Voices" team William Brooks, Nuala Hayes, and Paul Roe.  All going according to plan, you will be able to hear the first of two one hour documentaries "WB Yeats: Words for Music Perhaps" on Friday week, November 8th on RTE Lyric FM in their 7pm "Lyric Feature" slot.  

DIT Conservatory of Music on June 28th, 2013

Singer David Scott, June 28th, 2013

Cliona Doris, Julie Maisel, & Noel Eccles on June 28th, 2013

Here is what to expect: In WB Yeats: Words for Music Perhaps Jim Flannery, Bill Whelan, Donnacha Dennehy, DIT Conservatory of Music, and other Yeats luminaries shine light on the little known role of music in Yeats’ “magical revolution”.  Programme One narrated by Tom Hickey.

In the hope of effecting a democratic, “magical revolution”, not only did WB Yeats evolve a philosophy of chanting his verse, but he also commissioned avant-garde composers Walter Morse Rummel and George Antheil to write music for his plays. What was his relationship to music?  Riverdance composer Bill Whelan and director Jim Flannery reconsider their 1990s Yeats season at the Abbey in light of the first ever recordings of Rummel’s and Edmond Dulac’s forgotten scores, performed by DIT Conservatory of Music. What was WB Yeats – said by many to be tone deaf - hearing in his inner ear? Contributors include Ron Schuchard, Margaret Mills Harper, Donnacha Dennehy, Cliona Doris, Noel Eccles, Olwen Fouere, Harry White, Emilie Morin, Charles Timbrell, and Declan Kiberd.

DIT Conservatory of Music, June 28th, 2013

Walter Morse Rummel's as yet unheard score for "The Dreaming of the Bones"

Cliona Doris & Tom Doorley, April 19th, 2013

RIAM Rehearsal of "Everlasting Voices" by William Brooks, Oct 23rd, 2013

"Everlasting Voices"

"Everlasting Voices"

We were also extremely lucky to find "Everlasting Voices" a new composition by William Brooks, featuring Nuala Hayes on auto-harp, and clarinettist Paul Roe, inspired by WB Yeats and Florence Farr's experiments on "Speaking to the Psaltery".  They kindly allowed us to record their rehearsal at Dublin's Royal Irish Academy of Music last Wednesday, October 23rd  before their lunchtime lecture/performance there.  Here are some pictures of their most fascinating and rather beautiful project:

Nuala Hayes plays auto-harp in "Everlasting Voices"

Margaret Mills Harper, Director of the Yeats Summerschool

Florence Farr, and her Psaltery, made by Arnold Dolmetsch

WB Yeats in 1923

"Everlasting Voices" by William Brooks at RIAM

Thanks too, to Irish Theatre Institute for allowing us to rehearse the VO for programme one there.