In this episode of Arizona Encore, we’ll explore the profound and enduring relationship between music and storytelling. From ballet and opera to musical theater and film scores, music can serve as a vital narrator that contributes emotional depth to creative works across genres.
The program begins with the Russian ballet tradition, featuring piano transcriptions of Stravinsky’s rhythmically complex The Firebird and Tchaikovsky’s beloved The Nutcracker. We then transition into the world of opera, with the instrumental Intermezzo from Mascagni’s Cavalleria Rusticana and the poignant resonance of Higdon’s Cold Mountain.
One of opera’s ancestors is today’s culturally impactful musical theater genre, and we’ll hear arranged renditions of hits from The Greatest Showman and Hamilton. Finally, we delve into film music with Jonny Greenwood’s genre-blurring score for the 2007 film There Will Be Blood, which incorporates diverse influences to underscore the movie’s tale of early twentieth-century oil prospecting. Each of these diverse works demonstrates how music can provide essential emotional commentary to a wide range of narratives across disciplines.
Featured in this episode:
Stravinsky/Agosti – Three movements from The Firebird Suite – Anna Kesselman, piano
Tchaikovsky – Concert Suite from The Nutcracker – Jan Nikovich, piano
- Intermezzo
- Pas de deux
Mascagni – Intermezzo from Cavalleria Rusticana – Viviana Cumplido Wilson, flute; Heidi Hernandez, harp
Higdon – Aria from Cold Mountain – Christopher Creviston, saxophone; Hannah Creviston, piano
Pasek/Paul – This is Me from The Greatest Showman – Phoenix Children’s Chorus; Troy Meeker, conductor
Miranda – Dear Theodosia from Hamilton – Sqwonk Bass Clarinet Duo
Greenwood – There Will Be Blood, selections – Leslie Frey Anderegg, violin; Aaron Requiro, violin; Mark Dix, viola; Peter Lorenzo Anderegg, cello
- I. Oil
- II. HW/Hope of New Fields
- III. Future Markets
- IV. Prospectors Quartet
- V. Detuned Orchestra
