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- The overture to The Wreckers evokes the twinned forces—the physically powerful sea and the socially powerful church—that govern the villagers’ lives. Its opening gesture, of three ascending notes followed by a torrent of dotted rhythms, arrives with the force of a wave crashing against a rocky shore.
www.bso.org/works/overture-to-the-wreckers
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Overture to The Wreckers, recorded in 1930 by the British Symphony Orchestra with Smyth conducting, for the Columbia Graphophone Company (78rpm: Columbia DX 287) [23] See also British Symphony Orchestra discography.
Oct 18, 2020 · The Overture is packed full of musical imagery and Smyth’s quintessential style of composition. From romantic string interludes to thrilling wind writing, The Wreckers Overture perfectly encapsulates the story of this opera.
Extra Information. Publication: original version vocal score without cuts in 1906 (See Hathitrust catalog entry and full view - Harvard); "On the Cliffs of Cornwell" - 1909 ; overture - 1911 (WorldCat) ; complete vocal score and "Ballade und Elegie" - published 1916.
- Lyrical Drama in Three Acts
- The Wreckers ; Standrecht
- Vykradači vraků; The Wreckers (opera)
Ethel Smyth - The Wreckers (Overture) (1906) Sir Alexander Gibson conducting the Royal Scottish National Orchestra...more.
- 10 min
- 43.1K
- Im Walde
- Structure
- Harmonic Language
- Rhythm/Meter
- Orchestration
While Smyth’s training may have been German and her nationality English, her approach here is distinctly Italian. This overture is essentially a collection of themes performed in succession, nested within a sort of ABCA’Coda form. This bombastic coda is of interesting note; looking at the score and listening to a recording, one would feel that the ...
Smyth was trained in Germany in the late 19th century, and certainly remained firmly planted in a late romantic idiom as the decades progressed. While some claims have arisen that she was too conservative for her time, she also was nearly 50 by the time The Wreckers premiered, less than a decade after the premiere of Elgar’s Variations on an Origin...
Like most of common practice western music, Smyth’s use of rhythm is subordinate to her harmonic, melodic, and formal objectives. That doesn’t mean it doesn’t merit our inspection; however, it does mean that it doesn’t hold as much structural importance at this point as it will to later composers (particularly those post-Stravinsky). As mentioned i...
Smyth makes use of the orchestra quite well and efficiently within the practice of late-19th century orchestration. Not quite as motivically dense as Wagner or Strauss, nor as pianistic as Brahms or Liszt, her writing for the orchestra resembles to my mind most clearly her countryman Elgar. While not perhaps groundbreaking, it is more than competen...
Jul 13, 2021 · Tallan starts a song about the need for a wind to drive a ship onto their rocks so that they can all avoid starvation, and the villagers all get drinks and join in – clearly they are wreckers, surviving on the plunder from ships which have foundered on their rocks.
The overture to The Wreckers evokes the twinned forces—the physically powerful sea and the socially powerful church—that govern the villagers’ lives. Its opening gesture, of three ascending notes followed by a torrent of dotted rhythms, arrives with the force of a wave crashing against a rocky shore.
