Part I
1 	The Soldier's March 	
2 	Slogging Homeword 	
3 	Airs By A Stream 	
4 	As You Can Ear... 	
5 	The Soldier's March (Reprise) 	
6 	Eventually, Joseph Reaches His Home Village 	
7 	Pastorale 	
8 	The Soldier, Disconsolate 	
9 	Pastorale (Reprise) 	
10 	The Soldier, Slowly Coming Back To Himself 	
11 	Airs By A Stream (Reprise) : To Stretch Out On The Grass 	
12 	Hey Satan, You Bastard 	
13 	Airs By A Stream (2nd Reprise) 	
14 	Naught To Be Gained Here... 	

Part II
15 	The Soldier's March (2nd Reprise): Down A Hot And Dusty Track 	
16 	He Doesn't Even Know Himself... 	
17 	The Soldier's March (3rd Reprise): Will He Take The Road To Home 	
18 	He Doesn't Have A Home Anymore 	
19 	The Royal March 	
20 	So, All Was Arranged 	
21 	Later That Night... 	
22 	The Little Concert: Light Floods The Eastern Sky 	
23 	The Soldier, With A Confident Air... 	
24 	Three Dances: Tango (Part 1) 	
25 	Three Dances: Tango (Part 2) 	
26 	Three Dances: Waltz & Ragtime 	
27 	So, First A Tango 	
28 	The Devil's Dance 	
29 	The Devil, Confused 	
30 	The Little Chorale 	
31 	The Devil Recovers Some Of His Wits 	
32 	The Devil's Song: Alright! 	
33 	HM, A Fair Warning 	
34 	Grand Chorale (Part 1) 	
35 	Spring, Summer, Autumn. 	
36 	Grand Chorale (Part 2) 	
37 	Steady Now... 	
38 	Grand Chorale (Part 3) 	
39 	Steady, Just Smell The Flowers 	
40 	Grand Chorale (Part 4) 	
41 	Now I Have Everything 	
42 	Grand Chorale (Part 5) 	
43 	The Princess, All Excited 	
44 	Grand Chorale (Part 6) 	
45 	And So, Off They Go 	
46 	Triumphant March Of The Devil 	

With the new narration adapted and performed by Roger Waters. 
Bridgehampton Chamber Music Festival

In 1917, while the First World War continued, Igor Stravinsky composed the music for L’Histoire du soldat (The Soldier’s Tale) with the text being written by Charles Ferdinand Ramuz. It was translated into English by Michael Flanders and Kitty Black, and tells the tale of a Russian soldier, on leave, meeting and eventually making a deal with The Devil. It was intended to be performed with a septet and three actors (The Soldier, The Devil and The Narrator) and debuted in Switzerland in September 1918, two months before the Armistice at Compiègne, ending World War I.

Flash forward 100 years, as we approach the centenary of the end of World War I, and Roger Waters has resurrected this rather obscure classical piece in honour of Remembrance Day. Waters has a personal connection to both World Wars, and has written a great deal about them and the impact they had on his family. 1979’s The Wall is just one example. His grandfather was killed in World War I and his father in World War II. Waters obviously embraced this parable and in 2014 started work on it with The Bridgehampton Chamber Music Festival (BCMF) Musicians in Bridgehampton, New York. It is obvious that this is a very personal project for Waters.

Waters has adapted the original text, made the soldier British, and plays all three parts. There is no singing, no new Waters songs, this is his version of this classical piece. It is not his first foray into classical music. In 2005 he released his opera, Ça Ira (French for “It will be fine”, and the opera was subtitled “There is Hope”). Let us be honest, a great many songs from Waters, either with Pink Floyd or solo, are on the cusp of being classical. The music on this album was written for and is played by a septet. Waters remains pretty faithful to the original musical arrangements.

What we learn from listening to The Soldier’s Tale is that Waters may have missed his calling. His voices, and really his acting, is outstanding. He develops characters simply by the use of distinct accents. Waters is perfect as The Narrator, but it is when he gets into the characters that his true talent shines. His anger, humour, and pathos all come out throughout the work. It really is quite an accomplishment.

The band shows excellent musicality and instrumentation, and provide the perfect soundtrack for Waters. The music is arranged in such a way that it is not a distraction, but rather augments Waters’ words. BCMF are able to translate this complicated classical piece and incorporate many styles within the performance itself with ease. The recording, itself, is astounding and sounds fantastic.

The Soldier’s Tale may not be the actual followup to 2017’s Is This The Life We Really Want?, but it would be the perfect one to that album. Waters’ albums have a theme, a common theme that is found throughout all the albums he has released throughout his career. He struggles with man’s inhumanity to man. He uses war as the ultimate symbol of this, and where Is This The Life We Really Wanted? focused on Trump and where America has gone wrong, it still focuses on man’s inhumanity to man. It just so happens that he has had personal experience in this struggle as well. So although fans may be a little surprised when they slip this album onto their turntable, it makes sense in his catalogue and career. It is the perfect followup to his last studio album.

This is an important album for many reasons, not the least being it demonstrates Waters’ many talents and creativity, but it is also important given the anniversary of the Armistice on November 11, 2018. It has been 100 years and I am sure Waters would ask “what have we learned?” This album is his attempt to contribute to that answer. ---spillmagazine.com

Album „The Soldier’s Tale” („Historia żołnierza”) Igora Strawińskiego w doskonałym wykonaniu członków Bridgehampton Chamber Music Festival, zaś partię narratora wykonuje założyciel i twórca legendarnej grupy Pink Floyd Roger Waters.

Bohaterem opowieści (zaczerpniętej ze zbioru baśni Aleksandra Afanasjewa) jest żołnierz, który w zamian za czarodziejską księgę, spełniającą życzenia, oddaje diabłu swoje skrzypce (symbolizujące talent, sztukę i piękno). Bogactwo nie przynosi jednak żołnierzowi szczęścia, całkowicie izoluje go od rodziny, narzeczonej i przyjaciół.

Na wieść o chorobie królewny z odległego kraju żołnierz ponownie spotyka się z diabłem. Grając z nim w karty, stawia na szalę cały swój majątek, który przegrywa, odzyskując jednak instrument. Dźwiękiem skrzypiec uzdrawia królewnę, którą w nagrodę może poślubić. Kiedy jednak przekracza granice królestwa, aby odwiedzić swoją rodzinną wieś, diabeł porywa go w nieznane przy dźwiękach marsza triumfalnego. Jest to kara, jaką żołnierz ponosi za brak roztropności i umiaru.

Waters dokonał angielskiej adaptacji tekstu (oryginalny tytuł utworu „L’ histoire du Soldat”), nagrał wszystkie 3 postacie mówione, w doskonały sposób używając technik modulacji głosu. ---empik.com

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1.1 	The Gathering Storm 	1:38
1.2 	Overture 	4:06
1.3 	A Garden In Vienna 1765 	0:53
1.4 	"Madame Antoine, Madame Antoine..." 	2:53
1.5 	Kings, Sticks And Birds 	2:41
1.6 	"Honest Bird, Simple Bird..." 	2:10
1.7 	"I Want To Be King..." 	2:37
1.8 	"Let Us Break All The Shields..." 	1:45
1.9 	The Grievances Of The People 	4:40
1.10 	France In Disarray 	2:34
1.11 	"To Laugh Is To Know How To Live..." 	1:44
1.12 	"Slavers, Landlords, Bigots At Your Door..." 	3:36
1.13 	The Fall Of The Bastille 	1:34
1.14 	"To Freeze In The Dead Of Night..." 	2:19
1.15 	"So To The Streets In The Pouring Rain..." 	4:17
1.16 	Dances And Marches 	2:11
1.17 	"Now Hear Ye!..." 	2:18
1.18 	"Flushed With Wine..." 	4:31
1.19 	The Letter 	1:39
1.20 	"My Dear Cousin Bourbon Of Spain..." 	2:48
1.21 	"The Ship Of State Is All At Sea..." 	1:46
1.22 	Silver, Sugar And Indigo 	0:55
1.23 	"To The Windward Isles..." 	4:50
1.24 	The Papal Edict 	1:17
1.25 	In Paris There's A Rumble Under The Ground..." 	6:19

2.1 	The Fugitive King 	2:21
2.2 	"But The Marquis Of Boulli Has A Trump Card Up His Sleeve..." 	4:27
2.3 	"To Take Your Hat Off..." 	2:40
2.4 	"The Echoes Never Fade From That Fusillade..." 	3:15
2.5 	The Commune De Paris 	2:43
2.6 	"Vive La Commune De Paris..." 	3:16
2.7 	"The National Assembly Is Confused..." 	2:41
2.8 	The Execution Of Louis Capet 	1:39
2.9 	"Adieu Louis For You It's Over..." 	3:45
2.10 	Marie Antoinette - The Last Night On Earth 	1:39
2.11 	"Adieu My Good And Tender Sister..." 	5:09
2.12 	Liberty 	2:51
2.13 	"And In The Bushes Where They Survive..." 	6:52

Bryn Terfel - baritone
Paul Groves - tenor
Ying Huang – soprano
Italia Conti Children's Choir 
London Oratory Choir 
London Voices 
Rick Wentworth - conductor

Ça Ira (French for "It will go", subtitled "There is Hope") is an opera in three acts by Roger Waters based on the French libretto co-written by Étienne and Nadine Roda-Gil on the historical subject of the early French Revolution. Roger Waters has long been known for his musical ambition. The bassist and leader of Pink Floyd made that band famous in the 1970s and 1980s with concept-heavy albums as well as a certain self-aggrandizing image--attributes he maintained in his solo career. No wonder, then, to see that he's written what he calls as an opera. But don't be fooled: Waters's work has little to do with contemporary operas by the likes of John Adams or John Corigliano--even if the latter's 1991 The Ghosts of Versailles is set in Marie-Antoinette's Versailles, just as Waters's Ça Ira takes place during the French queen's last years, as the French Revolution unfurls. Based on a clunky libretto by Etienne and Nadine Roda-Gil, the show could have been a successful musical theater-­opera hybrid in the vein of Sweeney Todd but it falls closer to Andrew Lloyd Webber's historical pageants, without their recognizable melodies. Thankfully the cast holds the material aloft, especially Welsh baritone Bryn Terfel (no stranger to the world of musical theater, as shown on albums such as his tribute to Rodgers & Hammerstein) and Chinese soprano Ying Huang. Note that this version comes as a double SACD set that includes a making-of DVD and a 60-page booklet.---Elisabeth Vincentelli

Ça Ira (fr. "uda się" lub "będzie dobrze", "pójdzie") – trzyaktowa opera kompozytora, basisty i lidera Pink Floyd - Rogera Watersa do libretta Étienna Roda-Gila i jego żony Nadine. Autor nadał operze podtytuł There is Hope, czyli po angielsku "jest nadzieja". Tytuł nawiązuje do pieśni Ah! ça ira sankiulotów, z czasów rewolucji francuskiej. Prace rozpoczęły się w roku 1987, w roku 1988 została nagrana pierwsza wersja, lecz dyrekcje teatrów operowych odmawiały Watersowi, i tak, do roku 1995 projekt był zamrożony. W Operze Paryskiej nie pomogło nawet wstawiennictwo zachwyconego dziełem François Mitterranda. Zrealizowana z rozmachem Ça Ira zebrała dobre recenzje. Mimo faktu, iż krytycy są podzieleni co do przejrzystości utworu, zgodni są co do profesjonalizmu i poziomu muzyki. Niektórzy mimo to mówią, że Waters mógł puścić wodze fantazji dalej, i stworzyć odważniejsze dzieło. Obawiając się krytyki za modernizm, autor stworzył dość konserwatywne w formie przedstawienie i ponoć, odetchnął z ulgą widząc reakcje krytyki na pokazie premierowym. Utwór zawiera motywy dotyczące rewolucji francuskiej. Premiera odbyła się w Rzymie 17 listopada 2005. Dwupłytowy album z nagraniem opery został wydany 26 września 2005, udział w nagraniu wzięli m.in. Bryn Terfel, Huang Ying i Paul Groves.

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