My favorite version, for a few reasons. I love the clarity of Upshaw's delivery but also because of how the timbre reflects not just the text but the setting and the story. She doesn't sound overly European in her performance and she comes across as young and impressionable, like the character who is telling the story.
I absolutely ADORE this!!! 😀😀😀😊😊😊😍😍😍 I regularly listen to heavy metal/ rock and lots of 80s pop stuff, but whenever I'm driving in the country with big open fields and American decor here in upstate NY, I pop this on and it makes my drive SO much more peaceful and thought-provoking
Upshaw understands so deeply Agee's text. And she evokes time, place, home -- with such depth and yet such a simplicity and clarity of interpretation. A perfect culmination of writer, singer, and conductor. Zinman's pace is right for every word; even the silences sing.
Who could top this? Dawn Upshaw is perfect. I have heard just about every version and this one shines the brightest. Upshaw's interpretation is the most sympathetic to the words and music - as previously remarked. The whole performance and orchestration is divine.
One of my favourite recordings of one of my favourite pieces. The summer following my father's death I went alone to Europe for the first time. One of the books I took with me was James Agee' s A Death in the Family. The prologue to that novel is the basis of this text.
It hurts my heart to think that had our conductor not chosen this piece, I may never have come across it. art this wonderful deserves to be shared with everyone and anyone.
This sublime work is and always be sacred to me. It’s inexpressible beauty breaks my heart and makes me cry. It rivals Barber’s other masterpiece, the Adagio for Strings
I was fortunate enough to play the solo flutist part in my youth symphony. Intonation with clarinet and oboe harder than it seems; that last note takes a diaphragm of steel!
This is the recording I have. Absolutely love it. First heard Dawn Upshaw when I bought the award-winning recording of Gorecki's Symphony No. 3 with Zinman. Just georgous. I just loved her voice.
I had this beautiful piece as an aural analysis on my AP Music Theory exam this morning. I knew I just had to look it up after I heard it; the vocal work--especially on this version--is superb!
Couldn't disagree more about Upshaw's "indifference". I find hers the least mannered and most natural of all. Let's celebrate that we have so many renditions for different hearts.
Totally agree - I think this should almost be spoken - it needs an intimate tone, like a story told by a grandmother to her children of 'how it used to be' - especially opening and closing sections. This is an almost perfect balance between technique and feeling.
@@teulusills-jones4358 I found it helpful to have the text in front of me as I listened. It is not exactly word for word as in the book. Some words are skipped, but it's easy to get on track. It also added to the experience to think of how Barber and Agee were born a year apart, 1910 and 1909, and my dad, a trombone player, was born in 1910. He may have had some similar childhood experiences in 1915. Very meditative. Good for the soul.
I agree, I love her performance. The faithfulness to the words, the enunciation, the mindfulness of the text, that's what shines through in Upshaw's performance.
Completely agree. The narrator is the child remembering through the adult. When the adult comes to the fore - 'and who shall ever tell the sorrow of being on this earth', the effect is devastating. There has to be a balance.
(From Wikipedia) Here is the background to the text: 1915 was a significant year for James Agee. He was six. It was the last year his family was intact; his father died in an automobile accident in 1916, and the remaining family members left Knoxville, never to return. According to Agee, it was the point around which his life began to evolve (Aiken,[page needed]). After Barber and Agee met, Barber noted that the two had much in common (Keller). "We are talking now of summer evenings in Knoxville, Tennessee in the time that I lived there so successfully disguised to myself as a child."...
The Seattle Festival Orchestra has just performed this with Megan Chenovick; I had never even heard of this piece until our orchestra received it. It's a stunning piece. If you're one of those people who think that JSBach's Ste. Matthaus Passione is about as good as it gets (like me), well: Knoxville is not going to displace that, but it's going to crawl into your top five. Who knew that Barber had this in him? I didn't. The Adagio for Strings is gorgeous, but Knoxville is astounding. If you've never heard this, you need to. It really is that good. Barber also re-scored this for piano and tenor, and Russell Thomas will bring your to your knees with his performance.
Yes, this is exquisite -- but Agee must be given equal credit with Barber -- his wonderful mood and language so closely followed by Barber's music, phrase by phrase. Paul Willen
HAH! Just before listening to this Upshaw/Zinman prize for the nth time, I was just writing to another member of an "essays reading group" who was recommending Agee's essay that "who's he kidding? Barber stole the moral if not copyrights to this definitively and poor old Agee has only minimal claim by this time...." (Only kidding....)
I had this piece too!! Luckily one of my classmates found what the name of this song was because it is amazing! By any chance, does anyone know what the piece with the baritone singer and brass is called? (it was on the test)
Yes, it was from Mendelssohn's Elija. "As the lord God of Israel liveth..." Sort of surprised that Mendelssohn wrote with all the tritones, but who knew.
This is Steber's piece. Upshaw comes in at a close second. Unfortunately, the orchestra/voice balance is awry. Might be the download. But, everyone. Do yourself a musical favor, listen to Steber.
I continue to gravitate to Steber's classic account. And her conductor surpassed Zinman here in execution. Surprisingly Upshaw sounds too clinical, almost indifferent. As for Price, avoid. Too arch.
+doGreatartistsgrowontrees? Dawn Upshaw sounds like... Dawn Upshaw, wonderful skill, gorgeous voice, as ever. The orchestra sounds fine, but the limits are that YT can't stream 20-bit CD quality. Yet.
+doGreatartistsgrowontrees? I don't know what arch means in this context, but Leontyne's rendition is very authentic, Southern, superb, and the English is understandable.
I like Upshaw, but I don't find Price arch at all. At first, I thought Price seemed too mannered--operatic, given that the text has to come across as childlike without being childish. After more exposure to music in African-American churches, I've since come to think of the poise in Price's version as more natural--in fact, as one of the foundations of all truly American music. If Upshaw has, at worst, a studied simplicity, Price has the refinement of the child being channeled by the grown-up, yet somehow transcending both.
My favorite version, for a few reasons. I love the clarity of Upshaw's delivery but also because of how the timbre reflects not just the text but the setting and the story. She doesn't sound overly European in her performance and she comes across as young and impressionable, like the character who is telling the story.
One of the most beautiful poems ever written , along with the most beautiful music and voice. PURE MAGIC
I absolutely ADORE this!!! 😀😀😀😊😊😊😍😍😍 I regularly listen to heavy metal/ rock and lots of 80s pop stuff, but whenever I'm driving in the country with big open fields and American decor here in upstate NY, I pop this on and it makes my drive SO much more peaceful and thought-provoking
Upshaw understands so deeply Agee's text. And she evokes time, place, home -- with such depth and yet such a simplicity and clarity of interpretation. A perfect culmination of writer, singer, and conductor. Zinman's pace is right for every word; even the silences sing.
Who could top this? Dawn Upshaw is perfect. I have heard just about every version and this one shines the brightest. Upshaw's interpretation is the most sympathetic to the words and music - as previously remarked. The whole performance and orchestration is divine.
One of my favourite recordings of one of my favourite pieces. The summer following my father's death I went alone to Europe for the first time. One of the books I took with me was James Agee' s A Death in the Family. The prologue to that novel is the basis of this text.
one of the most beautiful works ever
It hurts my heart to think that had our conductor not chosen this piece, I may never have come across it. art this wonderful deserves to be shared with everyone and anyone.
Dawn Upshaw has the perfect voice for these lovely songs. Bravo!
One of my favorite works of American Classical music. A total masterpiece
This sublime work is and always be sacred to me. It’s inexpressible beauty breaks my heart and makes me cry.
It rivals Barber’s other masterpiece, the Adagio for Strings
I was fortunate enough to play the solo flutist part in my youth symphony. Intonation with clarinet and oboe harder than it seems; that last note takes a diaphragm of steel!
This music is truly great, and her voice and understang of the words, and the singing. I am not an American by passport but by heart.
This is the recording I have. Absolutely love it. First heard Dawn Upshaw when I bought the award-winning recording of Gorecki's Symphony No. 3 with Zinman. Just georgous. I just loved her voice.
We vibing to this rn in 2021
Heartbreakingly beautiful. I wept.
Me too, Ellen. Me too.
same here
me too.
Great pictures for the music. They really add to the mood.
I had this beautiful piece as an aural analysis on my AP Music Theory exam this morning. I knew I just had to look it up after I heard it; the vocal work--especially on this version--is superb!
haha me too dude, hope u scored well. seriously a beautiful piece
That's what I did too! I loved their selections...
the tibetan folk song? because i'd like to find it as well, ridiculously cool piece
Upshaw’s voice sound more innocent than any of the others. My first choice.
❤️
Performed this in college and was humming it today.... so looked this up. Great performance!
Meant to add that your choice of photos is superb. Most evocative of an era, a nation and a culture now practically lost.
It's so beautiful it hurts slightly
Achingly beautiful. Dawn Upshaw is perfection!
Aching yes unspeakable discomfort to listen to her lousy voice.
heart wrenching
ONE OF THE LOVLEYESSOPRANOS EVER. THERE IS NOTHING DAWN UPSHAW CANT SING.THIS IS ONE OF MY FAVORITES
What a genius Barber was. One of the best of the 20th century. He died a very depressed man at the end of his life.
Couldn't disagree more about Upshaw's "indifference". I find hers the least mannered and most natural of all. Let's celebrate that we have so many renditions for different hearts.
Totally agree - I think this should almost be spoken - it needs an intimate tone, like a story told by a grandmother to her children of 'how it used to be' - especially opening and closing sections. This is an almost perfect balance between technique and feeling.
@@teulusills-jones4358
I found it helpful to have the text in front of me as I listened. It is not exactly word for word as in the book. Some words are skipped, but it's easy to get on track. It also added to the experience to think of how Barber and Agee were born a year apart, 1910 and 1909, and my dad, a trombone player, was born in 1910. He may have had some similar childhood experiences in 1915. Very meditative. Good for the soul.
I agree, I love her performance. The faithfulness to the words, the enunciation, the mindfulness of the text, that's what shines through in Upshaw's performance.
Completely agree. The narrator is the child remembering through the adult. When the adult comes to the fore - 'and who shall ever tell the sorrow of being on this earth', the effect is devastating. There has to be a balance.
Upshaw has such a elegant Voice for this 6:12 is always my favorite part she has a way of warming your heart with those notes
(From Wikipedia) Here is the background to the text: 1915 was a significant year for James Agee. He was six. It was the last year his family was intact; his father died in an automobile accident in 1916, and the remaining family members left Knoxville, never to return. According to Agee, it was the point around which his life began to evolve (Aiken,[page needed]). After Barber and Agee met, Barber noted that the two had much in common (Keller).
"We are talking now of summer evenings in Knoxville, Tennessee in the time that I lived there so successfully disguised to myself as a child."...
Thanks for the wonderful selection of period pictures to complement this beautiful piece.
The Seattle Festival Orchestra has just performed this with Megan Chenovick; I had never even heard of this piece until our orchestra received it.
It's a stunning piece. If you're one of those people who think that JSBach's Ste. Matthaus Passione is about as good as it gets (like me), well: Knoxville is not going to displace that, but it's going to crawl into your top five.
Who knew that Barber had this in him? I didn't. The Adagio for Strings is gorgeous, but Knoxville is astounding.
If you've never heard this, you need to. It really is that good.
Barber also re-scored this for piano and tenor, and Russell Thomas will bring your to your knees with his performance.
I love Leontyne Price singing this. She was one of Barber's favorite sopranos.
It is unbelievable to difference in her tone here vs. her work in 'Winter Morning Walks' with Maria Schneider. What a versatile singer.
So beautiful
This is fantastic, and wonderfully put together . . Thanks for putting it up here ..
The American masterpiece - i love it
I actually prefer this to Steber. Dawn Upshaw makes what she sings her own - Gorecki's Third particularly. And this recording is lovely.
Yes, this is exquisite -- but Agee must be given equal credit with Barber -- his wonderful mood and language so closely followed by Barber's music, phrase by phrase.
Paul Willen
HAH! Just before listening to this Upshaw/Zinman prize for the nth time, I was just writing to another member of an "essays reading group" who was recommending Agee's essay that "who's he kidding? Barber stole the moral if not copyrights to this definitively and poor old Agee has only minimal claim by this time...." (Only kidding....)
After I discovered that the singer was singing in English I discovered a beautiful song! Absolutely gorgeous. Sounds a bit like Bartok with a swing.
Love the photgraphs from days gone by.
Kathleen Battle sings this beautifully too.
Yes this the best
^_^ Beautiful!
I had this piece too!! Luckily one of my classmates found what the name of this song was because it is amazing! By any chance, does anyone know what the piece with the baritone singer and brass is called? (it was on the test)
Yes, it was from Mendelssohn's Elija. "As the lord God of Israel liveth..." Sort of surprised that Mendelssohn wrote with all the tritones, but who knew.
0:54-1:07 goosebumps everytime
Knoxville, Summer of 1915 (Music of Barber, Menott, Harbison and Stravinsky), Dawn Upshaw, soprano; David Zinman conducting Orchestra of St. Luke's
This is so delicious.
Dawn Upshaw is second only to Steber in this piece.
This is Steber's piece. Upshaw comes in at a close second. Unfortunately, the orchestra/voice balance is awry. Might be the download. But, everyone. Do yourself a musical favor, listen to Steber.
I think it's the download because Upshaw is flawlessly amazing. I love the Steber version, but to me, you can't beat Dawn UpShaw.
I continue to gravitate to Steber's classic account. And her conductor surpassed Zinman here in execution. Surprisingly Upshaw sounds too clinical, almost indifferent. As for Price, avoid. Too arch.
+doGreatartistsgrowontrees? Dawn Upshaw sounds like... Dawn Upshaw, wonderful skill, gorgeous voice, as ever. The orchestra sounds fine, but the limits are that YT can't stream 20-bit CD quality. Yet.
+doGreatartistsgrowontrees? I don't know what arch means in this context, but Leontyne's rendition is very authentic, Southern, superb, and the English is understandable.
I like Upshaw, but I don't find Price arch at all. At first, I thought Price seemed too mannered--operatic, given that the text has to come across as childlike without being childish. After more exposure to music in African-American churches, I've since come to think of the poise in Price's version as more natural--in fact, as one of the foundations of all truly American music. If Upshaw has, at worst, a studied simplicity, Price has the refinement of the child being channeled by the grown-up, yet somehow transcending both.
she races through the final statement...totally misses the point of the work...
Dawn Upshaw is completely overrated a mediocre voice and I'm being generous. How the hell did she ever make the Met? Terrifying
Being tone deaf must be terrifying.