{"id":1996,"date":"2021-04-19T20:58:27","date_gmt":"2021-04-20T00:58:27","guid":{"rendered":"https:\/\/www.artsjournal.com\/uq\/?p=1996"},"modified":"2021-04-19T20:58:31","modified_gmt":"2021-04-20T00:58:31","slug":"a-soldiers-tale-for-today","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/uq\/2021\/04\/a-soldiers-tale-for-today.html","title":{"rendered":"A Soldier&#8217;s Tale for Today"},"content":{"rendered":"\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"https:\/\/m.media-amazon.com\/images\/I\/71833O+k3TL._SS500_.jpg\" alt=\"Stravinsky: The Soldier's Tale (Histoire du Soldat) (Complete) [Digital  Version] by Igor Stravinsky, Jeremy Irons, Columbia Chamber Ensemble,  Robert Craft on Amazon Music - Amazon.com\"\/><\/figure>\n\n\n\n<p>In the wake of World War I, Igor Stravinsky was living in Switzerland, cut off from his family estate in Russia. He was receiving no royalties from his publisher in Berlin. Stage performances of his music by Diaghilev\u2019s Ballet Russe were very infrequent. His concert works were virtually dormant. With the Swiss writer C. F. Ramuz, he conceived a small, portable entertainment, requiring neither a large theater nor a large orchestra, in fact suitable for outdoor performance. They imagined a small touring company of players \u2013 as an aspiration that proved impractical. But the work itself has vigorously survived.<\/p>\n\n\n\n<p>The pertinence of&nbsp;<em>A Soldier\u2019s Tale<\/em>&nbsp;today is self-evident. It is a Covid diversion: compact, flexible, rejecting Romantic symphonic upholstery in favor of a dry, caustic sonority conducive to bitter entertainments, light-hearted yet not evasive. For its return to live music with a live (outdoor) audience, PostClassical Ensemble will premiere a new version of <em>A Soldier&#8217;s Tale<\/em>. I have written an abridged, rhymed libretto with a new moral: SAVE THE ARTS. Our <strong><a href=\"http:\/\/www.postclassical.com\">performances <\/a><\/strong>are Saturday and Sunday, May 8 and. 9. The venue &#8212; Stone Hill, Va. &#8212; is verdant.<\/p>\n\n\n\n<p>Our PostClassical Ensemble program marries &nbsp;<em>A Soldier\u2019s Tale<\/em>&nbsp;with Daniel Schnyder\u2019s&nbsp;<em>Berlin<\/em>&nbsp;<em>Suite 1920<\/em>, in which the spirit of&nbsp;the Weill\/Brecht <em>Dreigroschenoper<\/em>&nbsp;&#8212; a work kindred to the Stravinsky &#8212; is omnipresent. Schnyder and the bass trombonist David Taylor, who also join us, are frequent PCE guests. Both are singular postclassical artists who straddle multiple musical worlds. We\u2019re also joined by the distinguished stage actor Edward Gero, who has previously played Dmitri Shostakovich and <a href=\"https:\/\/www.youtube.com\/watch?v=VkZGcJCGczs\">Senator Joseph McCarthy<\/a><strong> <\/strong>for PCE productions. <\/p>\n\n\n\n<p> <\/p>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In the wake of World War I, Igor Stravinsky was living in Switzerland, cut off from his family estate in Russia. He was receiving no royalties from his publisher in Berlin. Stage performances of his music by Diaghilev\u2019s Ballet Russe were very infrequent. His concert works were virtually dormant. With the Swiss writer C. F. 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