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This is evident in Isango Portobello's 2010 production of the play Aesop's Fables at the Fugard Theatre in Cape Town, South Africa. Based on a script by British playwright Peter Terson (1983), [43] it was radically adapted by the director Mark Dornford-May as a musical using native African instrumentation, dance and stage conventions. [44]
There have also been several verbal settings of Aesop's fable: By W. Langton Williams (c. 1832–1896) in his Aesop's Fables, versified & arranged for the piano forte (London, 1890) [34] In Aesop's Fables Interpreted Through Music for voice and piano (New York, 1920) by Mabel Wood Hill (1870–1954). In this the moral stated is that "Plodding ...
In February 2016, Aesop Rock released a music video for the song "Rings" and announced his seventh studio album The Impossible Kid, which was released on April 29, 2016. [32] "Rings" was featured in the video game Madden NFL 17. [33] In 2017, Aesop Rock scored his first film soundtrack for Bushwick. [34]
Settings of the Aesop version have been much rarer. It was among Mabel Wood Hill's Aesop's Fables Interpreted Through Music (New York, 1920). [68] It was also included among David Edgar Walther's 'short operatic dramas' in 2009. In 2010 Lefteris Kordis set the Greek text as the second fable in his "Aesop Project" for octet and voice. [69]
A musical, Aesop's Fables by British playwright Peter Terson, first produced in 1983, [151] was performed by the Isango Portobello company, directed by Mark Dornford-May at the Fugard Theatre in Cape Town, South Africa, in 2010. [152]
W. Langton Williams (c. 1832–1896) in his Aesop's Fables, versified & arranged for the piano forte (London, 1890) [18] Charles Lecocq, the third piece in his Six Fables de Jean de la Fontaine for voice and piano (1900) Mabel Wood Hill in her "Aesop's Fables Interpreted Through Music" (1920) [19]
Music for Earthworms was ultimately self-distributed. As an unsigned artist, Aesop Rock was responsible for cutting out the album covers and burning the album onto CD-Rs himself. [3] The tracks are organized under three subheadings: "Some recent tracks," "The Controls featuring Aesop Rock," and "Some dusty oldies from a few years back."
It was appreciation of the arguments employed in the fable and the belief that "musical elements lurk in gifted oratorical arguments" that later inspired the composer Jerzy Sapieyevski to feature it as the fifth piece in his Aesop Suite for brass quintet and narrator (1984), where great use is made of counterpointing. [12]