Choreographic Structure in Dances by Feuillet
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Monsieur De Pourceaugnac, Comédie-Ballet De Molière Et Lully
Monsieur de Pourceaugnac, comédie-ballet de Molière et Lully Dossier pédagogique Une production du Théâtre de l’Eventail en collaboration avec l’ensemble La Rêveuse Mise en scène : Raphaël de Angelis Direction musicale : Florence Bolton et Benjamin Perrot Chorégraphie : Namkyung Kim Théâtre de l’Eventail 108 rue de Bourgogne, 45000 Orléans Tél. : 09 81 16 781 19 [email protected] http://theatredeleventail.com/ Sommaire Introduction ......................................................................................................................................... 2 La farce dans l’œuvre de Molière ................................................................................................ 3 Molière : éléments biographiques ............................................................................................. 3 Le comique de farce .................................................................................................................... 4 Les ressorts du comique dans Monsieur de Pourceaugnac .............................................. 5 Musique baroque et comédie-ballet ........................................................................................... 7 Qui est Jean-Baptiste Lully ? ........................................................................................................ 7 La musique dans Monsieur de Pourceaugnac ..................................................................... 8 La commedia dell’arte ................................................................................................................. -
Les Opéras De Lully Remaniés Par Rebel Et Francœur Entre 1744 Et 1767 : Héritage Ou Modernité ? Pascal Denécheau
Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? Pascal Denécheau To cite this version: Pascal Denécheau. Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? : Deuxième séminaire de recherche de l’IRPMF : ”La notion d’héritage dans l’histoire de la musique”. 2007. halshs-00437641 HAL Id: halshs-00437641 https://halshs.archives-ouvertes.fr/halshs-00437641 Preprint submitted on 1 Dec 2009 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. P. Denécheau : « Les opéras de Lully remaniés par Rebel et Francœur : héritage ou modernité ? » Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? Une grande partie des œuvres lyriques composées au XVIIe siècle par Lully et ses prédécesseurs ne se sont maintenues au répertoire de l’Opéra de Paris jusqu’à la fin du siècle suivant qu’au prix d’importants remaniements : les scènes jugées trop longues ou sans lien avec l’action principale furent coupées, quelques passages réécrits, un accompagnement de l’orchestre ajouté là où la voix n’était auparavant soutenue que par le continuo. -
Commedia Dell'arte Au
FACULTÉ DE PHILOLOGIE Licence en Langues et Littératures Modernes (Français) L’IMPORTANCE DE LA COMMEDIA DELL’ARTE AU THÉÂTRE DE MOLIÈRE MARÍA BERRIDI PUERTAS TUTEUR : MANUEL GARCÍA MARTÍNEZ SAINT-JACQUES-DE-COMPOSTELLE, ANNéE ACADEMIQUE 2018-2019 FACULTÉ DE PHILOLOGIE Licence en Langues et Littératures Modernes (Français) L’IMPORTANCE DE LA COMMEDIA DELL’ARTE AU THÉÂTRE DE MOLIÈRE MARÍA BERRIDI PUERTAS TUTEUR : MANUEL GARCÍA MARTÍNEZ SAINT-JACQUES-DE-COMPOSTELLE, ANNÉE ACADEMIQUE 2018-2019 2 SOMMAIRE 1. Résumé…………………………………………………………………………………4 2. Introduction……………………………………………………………………………..5 3. De l’introduction de la commedia dell’Arte dans la cour française……………….6 a. Qu’est-ce que c’est la commedia dell’Arte ?............................................6 i. Histoire………………………………………………...……………....6 ii. Caractéristiques essentielles…………………………………….….6 b. Les Guerres d’Italie et les premiers contacts………………………..……..8 i. Les Guerres d’Italie………………………………………………......8 ii. L’introduction de la commedia dell’Arte à la cour française……..9 4. La commedia dell’Arte dans le théâtre français………...………………………...11 a. La comédie française………………………………………………………..11 b. Molière………………………………………………………………………..12 5. La commedia dell’Arte dans la comédie de Molière……………………………...14 a. L’inspiration…………………………………………………………………..14 b. La forme et contenu…………………………………………………..……..17 c. Les masques et l’art visuel………………………………………………….19 i. La disposition scénographique…………………………………….19 ii. Le mélange de genres…………………………………………......20 iii. Les lazzi……………………………………………………………...24 iv. Les masques………………………………………………………...26 1. Personnages inspirés aux masques italiens…………….26 2. Apparitions des masques de la commedia dell’Arte.......27 3. De nouveaux masques……….……………………………27 4. Le multilinguisme……..…………………………………….29 6. Conclusions…………………………………………………………………………...32 7. Bibliographie………………………………………………………………………….34 3 IJNIVERSIOAOF DF SANTIAGO DE COMPOSTElA FACULTADE DE l ,\C.lJL'JAlJL UL I ILUI U:\1,\ rllOLOXfA 2 6 OUT. -
Allemande Johann Herrmann Schein Sheet Music
Allemande Johann Herrmann Schein Sheet Music Download allemande johann herrmann schein sheet music pdf now available in our library. We give you 1 pages partial preview of allemande johann herrmann schein sheet music that you can try for free. This music notes has been read 4280 times and last read at 2021-09-29 13:16:38. In order to continue read the entire sheet music of allemande johann herrmann schein you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Bassoon Solo Ensemble: Mixed Level: Beginning [ READ SHEET MUSIC ] Other Sheet Music Canzon No 23 A Baroque Madrigal By Johann Hermann Schein For Brass Quintet Canzon No 23 A Baroque Madrigal By Johann Hermann Schein For Brass Quintet sheet music has been read 3565 times. Canzon no 23 a baroque madrigal by johann hermann schein for brass quintet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 17:32:11. [ Read More ] Allemande From The French Suite Number V By Johann Sebastian Bach Arranged For 3 Woodwinds Allemande From The French Suite Number V By Johann Sebastian Bach Arranged For 3 Woodwinds sheet music has been read 3664 times. Allemande from the french suite number v by johann sebastian bach arranged for 3 woodwinds arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-29 13:16:24. [ Read More ] Hinunter Ist Der Sonne Schein Fr Posaunenquartett Hinunter Ist Der Sonne Schein Fr Posaunenquartett sheet music has been read 3235 times. -
Harpsichord Suite in a Minor by Élisabeth Jacquet De La Guerre
Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar by David Sewell A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2019 by the Graduate Supervisory Committee: Frank Koonce, Chair Catalin Rotaru Kotoka Suzuki ARIZONA STATE UNIVERSITY December 2019 ABSTRACT Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B. i ACKNOWLEDGMENTS I would like to express my great appreciation to Professor Frank Koonce for his support and valuable advice during the development of this research, and also to the members of my committee, Professor Catalin Rotaru and Dr. -
THE SEVENTEENTH CENTURY PAUL SCOTT, University of Kansas
THE SEVENTEENTH CENTURY PAUL SCOTT, University of Kansas 1. GENERAL Orientalism and discussions of identity and alterity form part of an identifiable trend in our field during the coverage of the two calendar years. Another strong current is the concept of libertinage and its literary and social influence. In terms of the first direction, Nicholas Dew, Orientalism in Louis XlV's France, OUP, 2009, xv+301 pp., publishes an overview of what he terms 'baroque Orientalism' and explores the topos through chapters devoted to the production of texts by d'Herbelot, Bernier, and Thevenot which would have an important reception and influence during the 18th century. The network of the Republic of Letters was crucial in gaining access to and studying oriental works and, while this was a marginal presence during the period, D. reveals how the curiosity of vth-c. scholars would lay the foundations of work that would be drawn on by the philosophes. Duprat, Orient, is an apt complement to Dew's volume, and A. Duprat, 'Le fil et la trame. Motifs orientaux dans les litteratures d'Europe' (9-17) maintains that the depiction of the Orient in European lit. was a common attempt to express certain desires but, at the same time, to contain a general angst as a result of incorporating scientific progress and territorial expansion. Brian Brazeau, Writing a New France, 1604-1632: Empire and Early Modern French Identity, Farnham, Ashgate, 2009, x +132 pp., selects the period following the end of the Wars of Religion because this early period of colonization gave rise to some of the most enthusiastic accounts as well as the fact that they established the pioneering debate for future narratives. -
THE WOULD BE GENTLEMAN (Le Bourgeois Gentilhomme)
1 THE WOULD BE GENTLEMAN (Le Bourgeois Gentilhomme) by MOLIÈRE (Jean-Baptiste Poquelin, 1622-1673) Comedy-Ballet presented at Chambord, for the entertainment of the King, in the month of October 1670, and to the public in Paris for the first time at the Palais-Royal Theatre, 23 November 1670. The Cast Monsieur Jourdain, bourgeois. Madame Jourdain, his wife. Lucile, their daughter. Nicole, maid. Cléonte, suitor of Lucile. Covielle, Cléonte’s valet. Dorante, Count, suitor of Dorimène. Dorimène, Marchioness. Music Master. Pupil of the Music Master. Dancing Master. Fencing Master. Master of Philosophy. Tailor. Tailor’s apprentice. Two lackeys. Many male and female musicians, instrumentalists, dancers, cooks, tailor’s apprentices, and others necessary for the interludes. The scene is Monsieur Jourdain’s house in Paris. 2 ACT ONE SCENE I (Music Master, Dancing Master, Musicians) PUPIL: Hums while composing MUSIC MASTER: (To Musicians) Come, come into this room, sit there and wait until he comes. MUSIC MASTER: (To Pupil) Is it finished? PUPIL: Yes. MUSIC MASTER: Let’s see … It’s fine. DANCING MASTER: Is it something new? MUSIC MASTER: Yes, it’s a melody for a serenade that I asked him to compose, while we are waiting for our man to wake up. DANCING MASTER: May I see it? MUSIC MASTER: You’ll hear it, with the dialogue, when he comes. He won’t be long. DANCING MASTER: We’re both very busy these days. MUSIC MASTER: That’s true. Here we’ve found the kind of man we both need. This Monsieur Jourdain, with his dreams of nobility and elegance, is a nice source of income for us. -
Johann Sebastian Bach Orchestral Suite No. 3 in D Major, BWV No. 3 in D Major, BWV 1068
PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Orchestral Suite No. 3 in D Major, BWV 1068 Although the dating of Bach’s four orchestral suites is uncertain, the third was probably written in 1731. The score calls for two oboes, three trumpets, timpani, and harpsichord, with strings and basso continuo. Performance time is approximately twenty -one minutes. The Chicago Sympho ny Orchestra’s first subscription concert performances of Bach’s Third Orchestral Suite were given at the Auditorium Theatre on October 23 and 24, 1891, with Theodore Thomas conducting. Our most recent subscription concert performances were given on May 15 , 16, 17, and 20, 2003, with Jaime Laredo conducting. The Orchestra first performed the Air and Gavotte from this suite at the Ravinia Festival on June 29, 1941, with Frederick Stock conducting; the complete suite was first performed at Ravinia on August 5 , 1948, with Pierre Monteux conducting, and most recently on August 28, 2000, with Vladimir Feltsman conducting. When the young Mendelssohn played the first movement of Bach’s Third Orchestral Suite on the piano for Goethe, the poet said he could see “a p rocession of elegantly dressed people proceeding down a great staircase.” Bach’s music was nearly forgotten in 1830, and Goethe, never having heard this suite before, can be forgiven for wanting to attach a visual image to such stately and sweeping music. Today it’s hard to imagine a time when Bach’s name meant little to music lovers and when these four orchestral suites weren’t considered landmarks. -
L ' O P E R a a U S a L
L ' O P E R A A U S A L O N ܟ a suite with airs from the great french baroque operas of the siècle d'or français Des éclats la sombre origine, Les progrès, l'éclat, la ruine Repassent encore sous nos yeux ; Et, présents à tout, nous y sommes Contemporains de tous les hommes, Et citoyens de tous les lieux. A. H. de La Motte ܟ Scène I Heureux qui peut être assuré de disposer de son coeur à son gré ! C'est un secret digne d’envie ; Mais de tous les secrets, c'est le plus ignoré. Ph. Quinault OUVERTURE (from "Roland" LWV 65, J.-B. Lully) MENUETS I & II (from "L'Europe galante", A. Campra) RITOURNELLE (from "Alcyone", M. Marais) PETIT AIR (from "Phaëton", J.-B. Lully) AIR DES FURIES (from "Sémélé", M. Marais) Scène II Chacun porte en son cœur son plus grand ennemi. Ph. Quinault PRÉLUDE POUR LE PREMIER CAVALIER ESPAGNOL (from "L'Europe galante") AIR POUR LE DEUXIMÈME CAVALIER ESPAGNOL (from "L'Opera galante") AIR POUR LES DÉMONS ET LES MONSTRES (from "Amadis", J.-B. Lully) Scène III Le dépit est plus fort, moins il est apparent, et l'orage est à craindre où le calme est trop grand. Ph. Quinault PRÉLUDE (from "Alcyone") TREMBLEMENT DE TERRE (from "Sémélé") TEMPÊTE (from "Alcyone") Scène IV Mort, le dernier pas qu'on fait, et souvent un faux pas. Ph. Quinault SOMMEIL (from "Atys", J.-B. Lully) CHACONNE (from "Sémélé", M. Marais) ܟ Featured composers in this programme: Jean-Baptiste Lully (1632 – 1687); Marin Marais (1656 – 1728); André Campra (1660 – 1744) ܟ In the French Golden Age, during the reign of Louis XIV, «the Sun King», France becomes the most powerful nation in Europe. -
Baroque Dance
BAROQUE DANCE To understand and interpret musical style of the Baroque era (1600 to 1750) we need to explore a wider field of the Baroque times – the social and political events, the art and architecture, and most importantly Baroque Dance. During the reign of Louis XIV (1638 – 1715) in France the arts flourished. Not only was the King a great patron of the arts, he was also a skilled performer as instrumentalist, singer and above all an outstanding ballet dancer. Dancing was popular not only at Louis XIV’s court but in many aristocratic ballrooms; the influence of Louis XIV’s court was widespread and French dancing masters (with their manuals) travelled throughout Europe. Dancing was considered to be healthful exercise for women, and was a necessary skill for men along with fencing and riding. The Dance Suite, rhythmic patterns from dances pervaded all Baroque music, and instrumental pieces inspired by court dances were frequently grouped into Suites. BAROQUE DANCES Dances from the Baroque period had a great influence on keyboard music. Dance forms included allemande, bourree, chaconne, courante, gavotte, gigue, hornpipe, minuet, musette, polonaise, rigaudon, sarabande, tambourin. Some of the dances were based on folk dances. Minuet the “queen of dances”, the most popular dance of aristocratic society – often performed by one couple at a time, after bowing to the King or whomever was presiding while others observed. The dance had small steps and a complex two bar foot pattern. Allemande of German origin, duple meter, intricate footwork. Courante (courir, to run) used mostly hop-step combinations Gavotte regular part of formal court balls; a joyful dance in duple meter, had “springing” steps Sarabande originally from Latin America and Spain, became very popular in Europe; is in triple meter with frequent accents and longer notes on second beat, a stately, dignified dance. -
Concerts of February 20 and 21, 2015 Notes on the Program by Ken
Concerts of February 20 and 21, 2015 Notes on the Program by Ken Meltzer Overture to Der Schauspieldirektor (The Impresario), K. 486 (1786) Wolfgang Amadeus Mozart was born in Salzburg, Austria, on January 27, 1756, and died in Vienna, Austria, on December 5, 1791. The first performance The Impresario took place at the Schönbrunn Palace, Vienna, on February 7, 1786. The Overture to Impresario is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. Approximate performance time is five minutes. 1786 was incredibly productive for Mozart, even by his lofty standards. During that year, Mozart completed his opera buffa masterpiece, Le nozze di Figaro, the singspiel, Der Schauspieldirektor, and a revision of his earlier opera seria, Idomeneo. Mozart also composed several chamber pieces, solo vocal works, his Fourth Horn Concerto, K. 495, and three Piano Concertos—No. 23 in A Major, K. 488, No. 24 in C minor, K. 491, and No. 25 in C Major, K. 503. Der Schauspieldirektor (The Impresario), alternating spoken dialogue and sung music, tells the story of an impresario’s struggles to control the egos of two operatic divas. With its humorous depiction of operatic backstage intrigue, The Impresario is a predecessor to Richard Strauss’s Ariadne auf Naxos (see, below). While The Impresario is rarely performed as a complete work, its vibrant Overture has long enjoyed a favored place in the concert hall. Le Bourgeois Gentilhomme (Der Bürger aus Edelmann), Suite, Opus 60 (1918) Richard Strauss was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. -
Historical Dance Classes
Historical Dance Classes at the Amherst Early Music Winter Weekend Workshop In historic Philadelphia January 12 - 15, 2018 Taught by Dorothy Olsson (New York Historical Dance Company) and Kaspar D. Mainz (Leipzig University, Germany) ! Baroque Dance Technique. 9:00-10:30 (Sat., Sun., Mon.) A gentle warm-up followed by a focus on step combinations from the passacaille, menuet, rigaudon, sarabande, bourée and other dance types. La bourëe de Mlle. Charollois. 11:00-12:30 (Sat., Sun., Mon.) Pécour’s charming duet, with music from Lully’s Isis (1677), will be taught from notation; this dance will be performed with live music on Monday, Jan. 15. La Menuet et La Contredance. 1:45-3:15 (Sat., Sun.) A menuet for two from a French source, and a contredanse from the Feuillet’s Recueil de Contredances (Paris 1706), to be performed with live music on Monday, Jan. 15. Beginning Baroque Dance. 3:30-4:30 (Sat., Sun.)(Olsson) An introduction to 18th-century dance forms—bourée, courante, sarabande, menuet, and others—with reference to musical characteristics. Open to all. Baroque Dance Topics. 3:30-4:30 (Sat., Sun.)(Mainz) A look at phrases of several dances from French sources, and a review of specific steps for timing and execution issues. No prior experience is necessary for these dance classes; bring comfortable shoes. Classes will be held in the Fine Arts Building on the Rutgers University campus in Camden NJ. Other events at the workshop include a Faculty Concert, instrumental and vocal ensemble classes, notation and more! ! Tuition: $275 for all 10 dance classes (incl.