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November 15, 1959 776Th Concert
NATIONAL GALLERY ORCHESTRA Richard Bales, Conductor Violins: Cellos: Mark Ellsworth Ana Drittelle Helmut Braunlich Helen Coffman Henri Sokolov Basses: Raul Da Costa Charles Hamer Dino Cortese Joseph Widens Michael Serber Oboes: THE A. W. MELLON CONCERTS Joel Berman Beth Sears Elinore Tramontana Donald Hefner Eugene Dreyer Bassoon: Isadore Glazer Dorothy Erler Maurice Myers Collin Layton Trumpets: National Gallery of Art Samuel Feldman Richard Smith George Gaul Charles Gallagher, Jr. Washington, D. C. Carmen Parlante Violas: Frank Perricone Leon Feldman T ympani: Barbara Grzesnikowski Walter Howe 776th Concert CHURCH OF THE REFORMATION CANTATA CHOIR Jule Zabawa, Minister of Music Sopranos Altos Tenors Basses Marilyn Krummel Mary Lou Alexander Otto Kundert Harald Strand Eleanor Pressly Mary Forsythe Stephen Beaudry Gerard Siems Handel Bicentennial Program Julia Fromm Blosson Athey Arleigh Green Gilbert Mitchell Julia Green Estella Hyssong Robert Ernst Donald Robinson Patricia Foote Virginia Jones Joseph Agee Richard Foote Dorothy Richardson Marion Kahlert Leslie Polk Glenn Dabbs Ruth Siems Betty Ann Dabbs John Nordberg Edward Bachschmid Sunday Evening Beatrice Shelton Marilyn Smith Charles Kalb Fred Bloch Virginia Mitchell Jane Bennett Donald Krummel Rudolf Michel November 15, 1959 Marion Bradley Barbara Bachschmid John Kjerland John Ramseth Dorothy Moser Jeanne Beaudry Hilman Lund Kay Sisson Mary Bentley Gerald Wolford Norma Grimes Lydia Bloch Austin Vicht Lydia Nordberg Phyllis Wilkes Marion Kalb Ruth Schallert Betty Schulz Lucy Grant AT EIGHT O’CLOCK Hazel Rust Beverly Isaacson Christine Agee Moreen Robinson Bertha Rothe Vivian Schrader Clara Rampendahl lone Holmes IN THE EAST GARDEN COURT Diane Diehl NATIONAL GALLERY ORCHESTRA GEORGE FREDERIC HANDEL CHURCH OF THE REFORMATION CANTATA CHOIR (1685-1759) Concerto Grosso in A Major, Opus 6, No. -
Handel's Sacred Music
The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have -
Female Soprano Roles in Handel's Operas Simple
Female Soprano Roles in Handel's 39 Operas compiled by Jennifer Peterson, operamission a recommended online source for plot synopses Key Character Singer who originated role # of Arias/Ariosos/Duets/Accompagnati Opera, HWV (Händel-Werke-Verzeichnis) Almira, HWV 1 (1705) Almira unknown 8/1/1/2 Edilia unknown 4/1/1/0 Bellante unknown 2/2/1/1 NOTE: libretto in both German and Italian Rodrigo, HWV 5 (1707) Esilena Anna Maria Cecchi Torri, "La Beccarina" 7/1/1/1 Florinda Aurelia Marcello 5/1/0/0 Agrippina, HWV 6 (1709) Agrippina Margherita Durastanti 8/0/0 (short quartet)/0 Poppea Diamante Maria Scarabelli 9/0/0 (short trio)/0 Rinaldo, HWV 7 (1711) Armida Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/1/2/1 Almirena Isabella Girardeau 3/1/1/0 Il Pastor Fido, HWV 8 (1712) Amarilli Elisabetta Pilotti-Schiavonetti, "Pilotti" 3/0/1/1 Eurilla Francesca Margherita de l'Épine, "La Margherita" 4/1/0/0 Page 1 of 5 Teseo, HWV 9 (1712) Agilea Francesca Margherita de l'Épine, "La Margherita" 7/0/1/0 Medea – Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/2 Clizia – Maria Gallia 2/0/2/0 Silla, HWV 10 (?1713) Metella unknown 4/0/0/0 Flavia unknown 3/0/2/0 Celia unknown 2/0/0/0 Amadigi di Gaula, HWV 11 (1715) Oriana Anastasia Robinson 6/0/1/0 Melissa Elisabetta Pilotti-Schiavonetti, "Pilotti" 5/1/1/0 Radamisto, HWV 12 (1720) Polissena Ann Turner Robinson 4/1/0/0 Muzio Scevola, HWV 13 (1721) Clelia Margherita Durastanti 2/0/1/1 Fidalma Maddalena Salvai 1/0/0/0 Floridante, HWV 14 (1721) Rossane Maddalena Salvai 5/1/1/0 Ottone, HWV 15 (1722) Teofane Francesca -
Handel MUSIC for QUEEN CAROLINE George Frideric Handel (1685 - 1759)
Les Arts Florissants William Christie Handel MUSIC FOR QUEEN CAROLINE George Frideric Handel (1685 - 1759) MUSIC FOR QUEEN CAROLINE !e King shall rejoice - Coronation Anthem, HWV 260 (1727) Te Deum in D major,“Queen Caroline”, HWV 280 (1714) !e ways of Zion do mourn - Funeral Anthem for Queen Caroline, HWV 264 (1737) LES ARTS FLORISSANTS William Christie,direction Caroline of Ansbach !by Enoch Seeman, c. 1720" Soloists for the Te Deum | solistes du Te Deum: Tim Mead,countertenor | contre-ténor Sean Clayton,tenor | ténor Lisandro Abadie,bass-baritone | baryton-basse !e wife of George II of England, a woman of great beauty and a defender of both science and the arts, Caroline of Ansbach was also a patron and close friend of Handel. !is recording brings together three of the composer’s works written for the major royal ceremonies which marked the life of Caroline from her arrival in England to her funeral. Épouse du roi George II d’Angleterre,femme d’une grande beauté,défenseur des arts et des sciences, Caroline d’Ansbach fut aussi la protectrice et l’amie intime de Handel. Cet enregistrement réunit trois œuvres du compositeur destinées aux grandes cérémonies royales qui, de l’arrivée de Caroline en Angleterre jusqu’à ses funérailles,ponctuèrent son règne. 1 7 | Tracklist | Liste des plages 10 | #e performers | Les interprètes 12 | Fit for a Queen | Des joyaux dignes d’une reine JOHN H. ROBERTS 21 | Sung texts | Textes chantés 26 | Portfolio 32 | Biographies 46 | Discography, DVDs and scores | Discographie, DVD et partitions 3 GEORGE FRIDERIC -
Judit Zsovár Anna Maria Strada Del Pò, Handel's Prima Donna: Portrait of an Uncommon Voice
Liszt Academy of Music Doctoral School (7.6 Musical Art) Judit Zsovár Anna Maria Strada del Pò, Handel’s Prima Donna: Portrait of an Uncommon Voice PhD Theses Supervisor: Dr. Gergely Fazekas 2016 1. RESEARCH BACKGROUND George Frideric Handel’s longest continuous collaboration with a leading singer took place between 1729 and 1737 with Anna Maria Strada del Pò (according to my research, her places and dates of birth and death are: Bergamo, 1703 ‒ Naples, 20 July 1775), who ʻseems to have pleased him most’. Charles Burney considered her as an artist ‘formed by the composer himself’. I have chosen to investigate Strada’s vocal activities in connection with the music written for her not only by Handel, but also by Antonio Vivaldi, Leonardo Leo, Leonardo Vinci, Domenico Sarro and others. This singer has become a research focus neither in Handel research nor in the field of eighteenth-century vocality until now. Her neglect by modern musicology, besides the scarcity of surviving period descriptions of her singing and private life, is mainly due to the popularity of her star-contemporaries, Francesca Cuzzoni and Faustina Bordoni, and of castrati such as Senesino, Farinelli and Carestini. Nevertheless, very important remarks have been made about her singing by writers including Ellen T. Harris (‘Das Verhältnis von Lautstärke und Stimmlage im Barockgesang’, In: Aufführungspraxis der Händel-Oper, 1988/1989; ‘Singing’, Grove Music Online), Reinhard Strohm (The Operas of Antonio Vivaldi, 2008; ‘Vivaldi’s career as an opera producer’, in: Essays on Handel and Italian Opera, 1985), Rodolfo Celletti (Storia del belcanto, 1983), Winton Dean (Handel’s Operas, 1726‒1741, 2006), J. -
Con Certgebouw Cahier
CONCERTGEBOUWCAHIER Georg Friedrich HÄNDEL — Ignace Bossuyt Voorwoord Beste lezer, In 2009 wordt Georg Friedrich Händel herdacht, 250 jaar na zijn over- lijden. Voor het Concertgebouw is deze herdenking een ideaal aan- knopingspunt voor een festival en een publicatie rond dit boegbeeld uit de barokperiode. In dit tweede Concertgebouwcahier wordt het veelzijdige en muzikaal hoogstaande oeuvre van Händel in zijn context geplaatst. De kosmopoliet Händel assimileerde de Duitse en Italiaanse muzikale praxis en ontpopte zich in Londen tot een ongeëvenaarde componist van - vooral - opera's en oratoria. Als zelfbewuste kunste- naar die zich erg onafhankelijk opstelde, was hij zowel componist als manager. De ‘ups en downs’ die hiermee gepaard gingen, maken van zijn levensloop een intrigerend verhaal. De uitgebreide en overzichtelijke biografie biedt een inkijk in het leven en de carrière van Georg Friedrich Händel. In een tweede deel worden de belangrijkste genres beknopt besproken. De evolutie en de stijl van Händels composities worden aan de hand van enkele representatieve voorbeelden concreet belicht. De keuze voor Ignace Bossuyt als auteur was een evidentie. Ignace Bossuyt wakkert al decennialang het muzikale vuur aan bij melomanen, niet alleen als wetenschapper en docent, maar ook als auteur en inlei- der. Zijn gedrevenheid en talent om het muzikale repertoire krachtig en helder toe te lichten, spreekt uit elke pagina. Dit cahier is dan ook een ideaal vertrekpunt om de muziek van Georg Friedrich Händel voor een breed publiek te ontsluiten. Deze introductie wil vooral ook een stimulans zijn om de platgetreden paden van het 'populaire' Händel- repertoire te verlaten en in het schitterende oeuvre van Händel nieuwe horizonten te ontdekken. -
1 the Character of The
Cambridge University Press 0521836360 - Handel: Water Music and Music for the Royal Fireworks Christopher Hogwood Excerpt More information 1 The character of the man The Figure’s odd; yet who wou’d think? (Within this Tunn of Meat & Drink) There dwells the Soul of soft Desires, And all that HARMONY inspires. ‘I am myself alone’ reads the Shakespearian inscription on a scroll decorating Goupy’s caricature of Handel as a bewigged and well-dressed hog playing the organ, with the remnants of gluttony evident all around him (Plate 1). Joseph Goupy, painter and scene designer, was a close friend of Handel until (so Walpole tells us) this caricature and inscription created a rift – based on the ‘evidence’ that Goupy received no legacy in Handel’s will; but many other close friends were not mentioned in that document. By the standards of eighteenth-century satire, the verses accompanying ‘The Charming Brute’ were both critical and complimen- tary; another, more exotic version reads: Strange Monsters have Adorn’d the Stage, Not Afric’s Coast produces more, And yet no Land nor Clime nor Age, Have equal’d this Harmonious Boar.1 Maybe he was di½cult, unusual, over-interested in food, indepen- dent, larger than life in all senses and short-tempered with it – but as a musician, the verses emphasise, he was unique and unrivalled. He was also private, and to many people, then as now, not easily explained; in spite of becoming a national monument, he was (and remains) an inter- national enigma. Handel’s self-su½ciency had been noted for years. -
Tailor-Made: Does This Song Look Good on Me? the Voices That Inspired Vocal Music History
ABSTRACT Title of Dissertation: TAILOR-MADE: DOES THIS SONG LOOK GOOD ON ME? THE VOICES THAT INSPIRED VOCAL MUSIC HISTORY Theresa Rose Bickham, Doctor of Musical Arts in Vocal Performance, 2019 Dissertation directed by: Professor Carmen Balthrop, School of Music The history of tailor-made repertoire is celebrated, and, in many cases, the composer and the works live on in perpetuity while the performing artist is remembered only in historical documents. Timbres, agilities, ranges, and personalities of singers have long been a source of inspiration for composers. Even Mozart famously remarked that he wrote arias to fit singers like a well-tailored suit. This dissertation studies the vocal and dramatic profiles of ten sopranos and discovers how their respective talents compelled famed composers to create music that accommodated each singer’s unique abilities. The resulting repertoire advanced the standard of vocal music and encouraged new developments in the genres and styles of compositions for the voice. This is a performance dissertation and each singer is depicted through the presentation of repertoire originally created for and by them. The recital series consisted of one lecture recital and two full recitals performed at the University of Maryland, College Park. I was joined in the performance of these recitals by pianist Andrew Jonathan Welch, clarinetist Melissa Morales, and composer/pianist Dr. Elaine Ross. The series was presented chronologically, and the first recital included works of the Baroque and Classical music eras written for Marie Le Rochois, Faustina Bordoni, Catarina Cavalieri, and Adriana Ferrarese del Bene. The second recital advanced into the nineteenth-century with repertoire composed for Anna Milder-Hauptmann, Giulia Grisi, and Mary Garden. -
Magyar Zenetudományi És Zenekritikai Társaság Komlós Katalin Tiszteletére Rendezett Konferenciá- Ján, 2015
324 MÛHELYTANULMÁNY Zsovár Judit G. F. HÄNDEL ÉS ANNA MARIA STRADA MÛVÉSZI SZIMBIÓZISA* 1729 februárjában Georg Friedrich Händel két évtized után ismét Itáliába utazott, hogy új londoni operatársulatához, a „Második Akadémiához” (Second Academy) személyesen szerzôdtessen megfelelô énekeseket. Az „Elsô Akadémia”, a Royal Academy of Music 1728- as felbomlása után, illetve a két híres- hírhedt díva, Fran- cesca Cuzzoni és Faustina Bordoni távozását követôen kulcskérdés volt a prima donna személye. Körútjának vége felé Nápolyban talált rá a zeneszerzô arra a szop- ránra, akiben egyesülni látta Bordoni virtuozitását és Cuzzoni lírai érzékenységét. A lombardiai Anna Maria Strada del Pò (1703–1775) 1720- ban Vivaldi felfedezett- jeként kezdte pályáját Velencében. Korai repertoárja a dallamkezelést illetôen kife- jezetten magas, hajlékony koloratúr szoprán hangra utal; erôs, fényes hangadással és tiszta intonációval: a neki írott szólamokban gyakoriak a gyors tempóban elô- forduló szext- szeptim- és oktávugrások, valamint magas hangok rendszeresen ütem- és szöveghangsúlyokon. Strada volt az elsô magas szoprán, akivel Vivaldi opera- szerzôként találkozott, így mindjárt karrierje kezdetén kiderült, hogy hangi adott- ságai komoly inspirációt jelentenek a komponisták számára.1 Késôbb, a nápolyi Teatro San Bartolomeo társulatában, Farinelli partnereként eltöltött évek során (1724–26) kezdett bôvülni a hangterjedelme és erôsödni a mellregisztere; a neki komponált, szélesebb legatót igénylô, ritmikailag cizellált, gáláns stílusú andante áriák pedig jelzik, -
The Vocal Duets of G. F. Handel and His Italian Contemporaries (C. 1706–1724)
3. Dramatic Duet 3. 1. defInItIons, typoLogIes and methodoLogy This third chapter (at the same time also the second main part of this study) devotes itself to the dramatic duets by Handel and his Italian contemporar- ies in the period 1706–1724, with occasional excursions into earlier years all the way back to 1690 for comparative purposes, in order to see how the way some of these composers wrote duets developed up to the main period in question. As such it will concentrate on duets in the various Italian vocal dramatic genres already outlined in Chapter 1.2, but the fo- cus will be on opera duets. The reasons for this are not only that they are usually the most numerous dramatic duets in the opuses of the composers under question due to the status of opera as a genre, but also their public nature, which facilitates the investigation of context. It is also impossible to avoid certain key issues in the development of opera seria, the genre to which most of the duets examined in this chapter belong. Reference sources repeat these slightly commonplace but nonetheless true topoi on ensembles in opera of the first half of the 18th century: Reforms to the opera seria in the early 18th century (reducing the number of characters) […] made ensembles rarer in serious genres, Typologies and Methodology / 3. 1. Definitions, but they remained important in comic works and it is there that they attracted the richest and most varied treatment. During the first half of the 18th century the duet was the most common ensemble in all types of opera, typically for the main lovers in strong emotional situations. -
Of Handel, London Trumpeters, and Trumpet Music
1 OF HANDEL, LONDON TRUMPETERS, AND TRUM- PET MUSIC DONALD BURROWS The publication of Handel’s Trumpeter: the Diary of John Grano1 provides a useful op- portunity to review a number of issues concerning Handel, his trumpet music, and the professional circumstances of those who played it in London. It has to be said fi rst of all that Handel’s Trumpeter has no fi rst-hand anecdotes of meetings with the composer: the nearest we came to this are some encounters with his principal music copyist (and probably orchestral manager) John Christopher Smith the elder. Nor are there any fi rst-hand refer- ences to performances under the composer’s direction, for this is the journal of the sixteen months beginning on 30 May 1728 during which Grano was living “under the Rules” in the Marshalsea Prison, Southwark, to which he had been committed for debt. “Imprison- ment” does not seem to be quite the appropriate word for the curious world that the diary describes: although confi nement was one aspect of the regime, debtors who were able to live on the “Master’s side” of the prison had considerable freedom both in their social ar- rangements and in the liberty they had, under certain conditions, to pass considerable parts of the daytime in the outside world. Thus, although there are predictable social problems with the fellow-prisoners with whom Grano is thrown into close proximity, he sustains the fl ame of his professional skills and dignity, maintaining contact with other leading performers, preserving his technique by regular practice (his habit of doing so between 6 and 8 AM probably did not help his social relationships), taking pupils which he taught at the prison, composing new music and writing out performing parts, arranging (as far as was practicable) benefi t concerts for himself, and performing in a variety of events. -
Tamerlano: Comptes-Rendus / Reviews / Kritiken Pt1 FNAC, 02 04 2016
Tamerlano: comptes-rendus / reviews / Kritiken pt1 FNAC, 02_04_2016 Les perles Le Tamerlano qu'il vous faut 118 vues Une nouvelle version du Tamerlano de Georg Friedrich Haendel vient de sortir chez Naïve. C'est une fois de plus une initiative du contre-ténor Max-Emanuel Cencic et de Parnassus Arts Productions à qui nous devons notamment la re-création du magnifique Artaserse de Leonardo Vinci (maintenant disponible aussi en DVD) et d'un Alessandro de Haendel multi récompensé. Pourquoi une nouvelle version de Tamerlano dont il existe déjà plusieurs enregistrements, alors que d'autres opéras baroques sont encore inédits ? Quand on y regarde bien, peu de versions se rapprochent de la distribution vocale choisie par Haendel. Les versions de Malgoire en 1984 et de Gardiner en 1991 sont les seules dans lesquelles les deux rôles de Bajazet et d'Andronico soient tenus par des contre-ténors (des castrats à l'origine). Par ailleurs, Max-Emanuel Cencic, qui a chanté sur scène Tamerlano et Andronico en compagnie de certains des chanteurs choisis ici, souhaitait concrétiser ce travail scénique par un enregistrement. Les chanteurs sont accompagnés par l'ensemble Il Pomo d'Oro dirigé par Riccardo Minasi, partenaires de Cencic dans le récital Venezia. Tamerlano est un drame lyrique créé en le 31 octobre 1724 au King's Theater de Londres, la même année que le célèbre Giulio Cesare in Egitto, donné quelques mois plus tôt dans le même lieu. L'opéra reprend un thème assez utilisé à une époque où les turqueries étaient en vogue, la mort tragique du sultan turc Bajazet, vaincu par le souverain mongol Tamerlano.