翻訳と辞書
Words near each other
・ I've Got News for You
・ I've Got No Strings
・ I've Got Nothing
・ I've Got Rings On My Fingers
・ I've Got So Much to Give
・ I've Got So Much to Give (album)
・ I've Got Something to Say
・ I've Got That Old Feeling
・ I've Got the Cure
・ I've Got the Joy Joy Joy Joy
・ I've Got the Key to the Kingdom
・ I've Got the Music in Me
・ I've Got the Music in Me (album)
・ I've Got the Next Dance
・ I've Got the Rock'n'Rolls Again
I've Got the Tune
・ I've Got the World on a String
・ I've Got to Be Somebody
・ I've Got to Go Now
・ I've Got to Have It
・ I've Got to Sing a Torch Song
・ I've Got to Use My Imagination
・ I've Got Two Legs
・ I've Got You
・ I've Got You Under My Skin
・ I've Got You Under My Skin (Angel)
・ I've Got You Under My Skin (disambiguation)
・ I've got your nose
・ I've Got Your Number (Cheyne Coates song)
・ I've Got Your Number (Cy Coleman song)


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I've Got the Tune : ウィキペディア英語版
I've Got the Tune

''I've Got the Tune'' is an American radio opera with words and music by Marc Blitzstein. Dedicated to Orson Welles, it was commissioned by CBS Radio for its experimental series, the ''Columbia Workshop''. Its first performance was broadcast October 24, 1937, with a cast that included the composer, Shirley Booth, Lotte Lenya and Norman Lloyd. The performance was conducted by Bernard Herrmann.
==Background==
Irving Reis had worked with Marc Blitzstein on the 1937 film ''The Spanish Earth''. As Reis was the founder of the Columbia Workshop, it is probably through their collaborative work on the film that they became acquainted with one another, and how the CBS commission came about. A contract was drawn up, dated August 12, 1937, requesting a "musical dramatic work … suitable for radio broadcasting" and specifying limits on the number of performers. Blitzstein wrote for seven principal players and an orchestra of twenty-four.
The work was dedicated to Orson Welles, who was to have played the role of the composer, Mr. Musiker, in the CBS Radio premiere. Blitzstein took over the part himself when Welles was consumed with rehearsals for the Mercury Theatre's debut stage production, ''Caesar''.〔
Along with ''The Cradle Will Rock'' and his subsequent work, ''No For an Answer'', ''I've Got the Tune'' represents a kind of lyric theatre that grew out of European and American traditions of the 1920s and came into its own by the mid-1930s. The resulting works were "unique amalgams of () own twentieth-century idiom with the adopted techniques clearly within the strict proletarian precepts he had formulated under the guidance of social concepts taught and practiced by Hanns Eisler, along with Bertolt Brecht and Kurt Weill."〔(Robert J. Dietz, "Marc Blitzstein and the "Agit-Prop" Theatre of the 1930's," ''Anuario Interamericano de Investigacion Musical'', vol. 6 (1970), p. 65. ) (JSTOR access by subscription)〕

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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