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Additionally, ballets and cantatas, as well as innumerable songs have been set to Pushkin's verse (including even his French-language poems, in Isabelle Aboulker's song cycle "Caprice étrange").
The Kundiman came around to be an art song at the end of the nineteenth century and by the early part of the twentieth century, its musical structure was formalised by Filipino composers such as Francisco Santiago and Nicanor Abelardo (February 7, 1893-March 21, 1934); they sought poetry for their lyrics, blending verse and music in equal parts.
There are no extractable "numbers" from this opera to speak of, although highlights include the orchestral passages that suggest the rustic scenery with a kind of barcarolle, and the intimate Latin prayer near the end (a setting of "Ave Maria"), which is reminiscent of the composer's art songs.
She also appeared in opera at The Crystal Palace between 1869 and 1871 as Arline in Wallace's Maritana and as Lady Edith in Randegger's Rival Beauties, but she was chiefly noted for her singing of art song and ballads.
Survey of the Art Song (EMS 501), recorded circa 1950 on EMS Recordings, Jack Skurnick's record label, included recordings of nine art songs by Edvard Grieg and eight by Charles Griffes, performed by Levenson in accompaniment with tenor Norman Myrvik.
On the charts, this art song did not perform substantially better than "(This So-Called) Miracle," failing to make any of the main singles charts.
While there continued to be a tradition of art song and choral compositions in Dutch, in the 20th and 21st century original Dutch language opera compositions were to remain rare, and such as in the case of Willem Pijper's Halewijn (1932–34, after the tale of Heer Halewijn) not always well received.
César Cui's 1895 book Russian Art Song: A Study of Its Development was translated in J.R. Walker’s Classical Essays on the Development of Russian Art Songs (Northfield, MN, 1993).
While parallels have been drawn with pioneering singer-songwriters such as Tom Waits, Jacques Brel, Gary Glitter Björk, and Joanna Newsom the influence of art-song composers such as György Kurtág, Claude Vivier, Salvatore Sciarrino is equally evident in her music.
Its first dean Francisco Santiago, who hails from the town of Sta. Maria, Bulacan, Philippines, is referred to as The Father of Kundiman Art Song.
Though the sleeve art, song format and titles are consistent with Ben Wallers' work under the name The Rebel, the music here is credited to Leighton Crook, Sophie Politowicz and Wallers.