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Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Polish Musicians in the Concert Life of Interwar Paris: Short Press Overview and Extensive Bibliographic Guide1
Polish Musicians in the Concert Life of Interwar Paris: Short Press Overview and Extensive Bibliographic Guide1 Renata Suchowiejko ( Jagiellonian University, Kraków) [email protected] The 20-year interwar period was a crucial time for Polish music. After Poland regained independence in 1918, the development of Polish musical culture was supported by government institutions. Infrastructure serving the concert life and the education system considerably improved along with the development of mass media and printing industries. International co-operation also got reinvigorated. New societies, associations and institutions were established to promote Polish culture abroad. And the mobility of musicians considerably increased. At that time the preferred destination of the artists’ rush was Paris. The journeys were taken mostly by young musicians in their twenties or thirties. Amongst them were instrumentalists, singers and directors who wished to improve their performance skills and to try their skills before the public of concert halls. Composers wanted to taste the musical climate of the metropolis and to learn the latest trends in music of that time. They strongly believed that 1. This paper has been prepared within the framework of the research programme Presence of Polish Music and Musicians in the Artistic Life of Interwar Paris, supported from the means of the National Science Centre, Poland, OPUS programme, under contract No. UMO-2016/23/B/ HS2/00895. The final effect of the project is the publication of a study Muzyczny Paryż à la polonaise w okresie międzywojennym. Artyści – Wydarzenia – Konteksty [Musical Paris à la polonaise In the Interwar Period: Artists – Events – Contexts] by Renata Suchowiejko, Kraków, Księgarnia Akademicka, 2020. -
How to Cite Complete Issue More Information About This Article
Revista interdisciplinaria de estudios de género de El Colegio de México ISSN: 2395-9185 El Colegio de México A.C., Programa Interdisciplinario de Estudios de la Mujer Chibici-Revneanu, Claudia Migrating Towards Growth and Oblivion? A Contextual Account of the Lives and Work of Spanish-Mexican Composers María Teresa Prieto and Emiliana de Zubeldía Revista interdisciplinaria de estudios de género de El Colegio de México, vol. 6, e543, 2020, January-April El Colegio de México A.C., Programa Interdisciplinario de Estudios de la Mujer DOI: https://doi.org/10.24201/reg.v6i0.543 Available in: http://www.redalyc.org/articulo.oa?id=569562657012 How to cite Complete issue Scientific Information System Redalyc More information about this article Network of Scientific Journals from Latin America and the Caribbean, Spain and Journal's webpage in redalyc.org Portugal Project academic non-profit, developed under the open access initiative Revista Interdisciplinaria de Estudios de Género de El Colegio de México. 6, e543 e-ISSN 2395-9185 http://dx.doi.org/10.24201/reg.v6i0.543 Artículo Migrating Towards Growth and Oblivion? A Contextual Account of the Lives and Work of Spanish-Mexican Composers María Teresa Prieto and Emiliana de Zubeldía ¿Migrar hacia el crecimiento y el olvido? Un recuento contextual de la vida y obra de las compositoras hispano-mexicanas María Teresa Prieto y Emiliana de Zubeldía Claudia Chibici-Revneanu Escuela Nacional de Estudios Superiores, Universidad Nacional Autónoma de México, Unidad León. León, Guanajuato, México. email: [email protected]. https://orcid.org/0000-0003-0822-1169 Abstract Recibido: 17 de octubre de 2019 Drawing from an interdisciplinary methodology which brings together Aceptado: 21 de abril de 2020 feminist musicology, gender, and migration, as well as cultural studies, this Publicado: 8 de junio de 2020 article focuses on the lives and works of 20th-century Spanish-Mexican composers María Teresa Prieto and Emiliana de Zubeldía. -
Boston Symphony Orchestra Concert Programs, Season 48,1928-1929
SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 Boitoe INC. SERGE KOUSSEVITZKY, Conductor FORTY-EIGHTH SEASON, 192S-1929 Cfif^r^ WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1929, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA. Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1029 THE INSTRUMENT OF THE IMMORTALS "THE MAGIC TIRE SPELL," painted for tie STELNWAY COLLECTION bv N. C. WYETH It is generally conceded that in trie Fire JMusic to the present day, has been intimately from "Die TYalhure" Vvagner attained a new associated with the name of oteinway. level of orchestral tone-painting. The writhing, For 30, 40, or even 50 years and more whistling flames, the glittering sheets offire burn quenchlessly in this immortal score. It is un- the oteinway will continue to give in- the supreme achievements questionably one of comparable service, long alter a common- of program music. place instrument has gone its way. And there lies the true index of economy. THERE are few pleasures in this world You need never buy another piano. to compare with the ownership ol a line • • • piano. Its graceful, gleaming presence in A new Steinway piano can be bought from one's home, its lovely voice, its never-Iail- ing sympathy ana companionship place it $875 up high in the regard of cultivated people. -
Déodat De Séverac Et Les Musiciens Catalans 2 Et 3 Avril 2016
Déodat de Séverac et les musiciens catalans 2 et 3 avril 2016 Conférences, récitals, master class avec Vincent Berthier de Lioncourt Jean-Bernard Cahours d’Aspry Yves Duchâteau Guy Selva Laurent Martin François-Michel Rignol Un évènement MúSIC 14 rue Pierre Rameil 66400 CERET T 04 68 87 40 40 [email protected] www.music-ceret.com Les premières Journées Déodat de Séverac, en 2014, ont été une réussite à la fois par la qualité des conférenciers et artistes qui ont accepté de participer à cette manifestation mais également par la belle présence des publics. Cette deuxième édition poursuit la volonté initiale de MúSIC de réinscrire, au fil des éditions, ce compositeur à la place qu’il n’aurait jamais dû quitter, aux côtés de ses contemporains qui, eux, n’ont pas connu l’oubli, Debussy et Ravel. Conférences, récitals, master class qui constituent le programme de ces journées participent de l’intérêt que suscite à nouveau ce musicien au plan international d’abord. Cette dynamique ne peut qu’aider nos propres efforts et travaux locaux. Avec « Déodat de Séverac et les musiciens catalans », ces deuxièmes Journées ouvrent la ville de « Céret au temps de Déodat de Séverac ». Il s’agit là de permettre la réappropriation d’un pan important de l’histoire culturelle de la Cité pour les populations concernées, pan qui a forgé la physionomie actuelle de la ville et qui fut cependant, au moins au niveau musical, largement oublié ; sans doute l’ingratitude des mémoires sélectives a-t-elle joué… Ainsi, la conférence promenée et le pavoisement de la cité par des photos d’époque transférées sur bâches et exposées durant un mois dans les lieux importants de la vie de Déodat permettent-ils de poser les pas de nos festivaliers mais aussi de la population locale dans les pas du Maître. -
A Contextual Account of the Lives and Work of Spanish-Mexican Composers María Teresa Prieto and Emiliana De Zubeldía
Revista Interdisciplinaria de Estudios de Género de El Colegio de México. 6, e543 e-ISSN 2395-9185 http://dx.doi.org/10.24201/reg.v6i0.543 Artículo Migrating Towards Growth and Oblivion? A Contextual Account of the Lives and Work of Spanish-Mexican Composers María Teresa Prieto and Emiliana de Zubeldía ¿Migrar hacia el crecimiento y el olvido? Un recuento contextual de la vida y obra de las compositoras hispano-mexicanas María Teresa Prieto y Emiliana de Zubeldía Claudia Chibici-Revneanu Escuela Nacional de Estudios Superiores, Universidad Nacional Autónoma de México, Unidad León. León, Guanajuato, México. email: [email protected]. https://orcid.org/0000-0003-0822-1169 Abstract Recibido: 17 de octubre de 2019 Drawing from an interdisciplinary methodology which brings together Aceptado: 21 de abril de 2020 feminist musicology, gender, and migration, as well as cultural studies, this Publicado: 8 de junio de 2020 article focuses on the lives and works of 20th-century Spanish-Mexican composers María Teresa Prieto and Emiliana de Zubeldía. It aims to analyze their biographies within the context of the frequent under-representation of Esta obra está protegida bajo una women in discussions about migration and music. It will show how Licencia Creative Commons Atribución- NoComercial-SinDerivadas 4.0 Internacional (CC BY-NC-ND 4.0) geographical displacement enhanced their creative development and careers by allowing them to develop broad networks, giving them enriched processes CÓMO CITAR: Chibici-Revneanu, Claudia. (2020). Migrating Towards Growth and Oblivion? A Contextual Account of the Lives and Work of Spanish-Mexican Composers María Teresa Prieto and Emiliana de Zubeldía. -
Alfred Cortot: His Interpretive Art and Teachings
ALFRED CORTOT: HIS INTERPRETIVE ART AND TEACHINGS BY KAREN M. TAYLOR Submitted to the graduate faculty of the School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Piano Pedagogy and Literature Indiana University May, 1988 In memory of George C. Taylor iii TABLE OF CONTENTS List of Musical Examples viii List of Figures X Preface and Acknowledgments xi Introduction. Notes to the Introduction 11 Chapter One. Childhood and Background (187701887) 14 Musical Debuts Geneva An Unremarkable Entry Notes Chapter Two. The Paris ~onservatoireand the French 26 School of Piano Playing The Ecole franqaise de piano 29 The Conservatoire Towards the End of the 19th 33 Century: Policies and Teaching Conditions Piano Teaching at the Conservatoire: Attitudes and 42 Practices Notes 53 Chapter Three. Cortotts Studies at the Conservatoire 61 (1877-1896) Decombest Class 61 Di@merls Class 73 Cortotts Struggle for Academic Recognition: Some 87 Possible Explanations Notes 101 Chapter Four. Forging a Style: Influences and Initiatives (1896-1910) Pugno Risler Franck's Circle Wagner Cortot's Beethovenism Conductor, Animateur and Chamber Musician Notes Chapter Five. The Mature Artist: Repertoire, Musical and Interpretive Aesthetic, Technique I. ~epertoire Constants and Shifts in Repertoire 11. Cortot's Musical and Interpretive Aesthetic Cortot and the French Tradition Cortot and the Romantic Tradition Cortot's View of the Art of Interpretation and the Interpreter's Role 111. Cortot's Technique Instrument, Posture, Stage Demeanor Technical Resources: Variety of Power Sources, Coordinations, Touches Notes Chapter Six. Cortot's Performance Style: A Discussion 265 of the Major Features, with an Examination of Specific Interpretations Imagination (Chopin's Fantaisie, Op. -
Minnis, Timothy John All Rights Reserved the ORIGINAL SOLO PIANO MUSIC of ALBERT ROUSSEL
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Blanche Selva Naissance D’Un Piano Moderne
Blanche Selva naissance d’un piano moderne _warszawski-selva.indb 1 29/03/10 18:14:19 Symétrie ISBN 978-2-914373-21-0 30 rue Jean-Baptiste Say dépôt légal : avril 2010 69001 Lyon, France © Symétrie, 2010 [email protected] www.symetrie.com Crédits illustration de couverture : caricature de Blanche Selva au piano. Lithographie extraite de Schola cantorum, portfolio de 18 planches, monogrammé C.C.H. et daté de 1903 (collection Damien Top). conception et réalisation : Symétrie impression et façonnage : Présence Graphique, 2 rue de la Pinsonnière, 37260 Monts numéro d’imprimeur 041035013 _warszawski-selva.indb 2 29/03/10 18:14:19 Jean-Marc Warszawski direction scientifique Blanche Selva naissance d’un piano moderne Préface de Gilles Cantagrel Diane Andersen – Rémy Campos Luca Chiantore – Stéphan Etcharry – Yves Ferraton Claude Gay – Delphine Grivel – Ludivine Isaffo Florence Launay – Florence Le Doussal – Cécile Quesney Françoise Thinat – Damien Top – Jean-Marc Warszawski 2010 SYMÉTRIE ISBN 978-2-914373-21-0 _warszawski-selva.indb 3 29/03/10 18:14:19 Blanche Selva Jean-Marc Warszawski Blanche-Marie Selva naît à Brive-la-Gaillarde le 29 janvier 1884. Le milieu n’est pas musical, mais, sans doute soucieux de lui assurer une éducation soignée, ses parents lui font enseigner le piano. Selon ses propres souve- nirs, elle est âgée de quatre ans et demi lors de son premier contact avec le clavier. Le père, représentant de commerce, déplace sa famille au gré des régions de prospection. Blanche Selva change de professeur d’une ville à l’autre ; elle n’a pas toujours d’instrument à disposition pour assurer son travail personnel. -
Umi-Umd-3310.Pdf (2.110Mb)
ABSTRACT Title of dissertation: CHAMBER MUSIC IN FRANCE FEATURING FLUTE AND SOPRANO, 1850-1950, AND A STUDY OF THE INTERACTIONS AMONG THE LEADING FLUTISTS, SOPRANOS, COMPOSERS, ARTISTS, AND LITERARY FIGURES OF THE TIME Susan Nanette Hayes, Doctor of Musical Arts 2006 Dissertation directed by: Professor William L. Montgomery School of Music This dissertation, together with the accompanying recital recordings, constitute an examination of chamber music for flute, soprano, and piano and for flute, soprano, and chamber ensemble written by French composers between 1850 and 1950. This examination includes an annotated bibliography of the music, a written document studying the interactions of the leading flutists, sopranos, composers, artists, and literary figures of the time, and two recitals of representative works from the repertoire of about 120 minutes, which were recorded during performances at University of Maryland in March of 2004. The text examines the various types of chamber works written during this period for flute and soprano, with and without additional accompaniment. The amount of repertoire written for flute and voice during this period by composers of a single nationality is exceptional in the history of music. The annotated bibliography lists about 100 pieces in the genre, a truly substantial repertoire. As a performer, I was intrigued by the possibility that several generations of highly gifted, individualistic performers may have inspired these composers to produce this tremendous outpouring of repertoire. With the proximity of so many great singers and flutists in Paris at the time, it can hardly be coincidental that so many composers, both the most well-known and some who are quite obscure today, produced so many exceptional works for these combinations of instruments with voice. -
Blanche Selva Et La Composition Musicale
Blanche Selva et la composition musicale En 1938, deux ans après son retour en France, Blanche Selva écrit : « Donc la composition musicale, qui avait pointé avant ma maladie, s'est accrue, de l'ordre même de mon médecin traitant, là-bas, durant cette maladie ». Ironie du sort, fallait-il donc qu'elle perde son extraordinaire pouvoir d'expression par le piano pour se tourner enfin vers une part d'elle-même si occultée jusqu'alors ? Une part d'elle-même qui lui permettait de surcroît de donner vie à sa conception apostolique de l'artiste créateur. Rappelons ce qu'elle écrira en juillet 1942, quelques semaines avant sa disparition, dans son journal : Ceci achevé de composé1, travailler musicalement à la composition de la réalisation musicale commençant au Colloqui con Dio (Novena di un' Anima) de Igino Giordani et Mario Barberis2. Cette réalisation faite également pour orchestre aussi restreint que possible, donnant toute l'expression et le coloris essentiel des textes et des peintures – de la réalité vitale par conséquent – qu'ils expriment si profondément. Mais ici emploi de deux chanteurs récitants : Jésus, baryton ; l'âme, mezzo soprano, qui interviendront en récitation combinée (facile) aux moments voulus par la musique instrumentale exprimant la Réalité spirituelle. Il ne s'agira, pour les chanteurs, que d'une récitation quasi parlée mais sur teneur mélodique harmoniquement soutenue instrumentalement ou l'inverse, la teneur vocale formant pédale harmonique de l'orchestre mélodiquement expressif – polyphonique – plus exactement, avec tout juste les inflexions et les volutes voulus par le sens des paroles. Une sorte de psalmodie libre et ornée très grégoriennement et modernement (naturellement humainement chrétienne !). -
Une Pianiste Précoce a 20 Ans, Première Intégrale Pour Clavier De
Une pianiste précoce Albéric Magnard, Jean Roger-Ducasse. Pour Déodat de Une pédagogue novatrice Séverac, ami et compositeur proche en esprit dont elle Blanche Selva, d’origine catalane, naît à Brive la Gaillarde en achève la dernière œuvre et écrit la biographie, elle crée aussi Intimement consciente et pénétrée de l’importance des 1884. Elle commence le piano à 4 ans 1/2 ; admise, avant plusieurs compositions pour piano. messages laissés par les maîtres classiques, et de leur pensée l’âge requis, en classe préparatoire du Conservatoire de métaphysique, Blanche Selva a voulu transmettre ce qu’elle Paris, elle y obtient une première médaille Elle en Isaac Albéniz lui demande la relecture d’Iberia dont elle avait expérimenté au cours de sa carrière d’interprète. Elle a démissionne à 12 ans, insatisfaite de l’enseignement. C’est maîtrise les difficultés et les nouveautés pianistiques. Elle en consigné par écrit ses découvertes qui permettaient donc une autodidacte qui travaille seule ses dons crée les cahiers. Elle interprète aussi Fauré, Debussy, Ravel, d’interpréter avec sincérité, éclat, sûreté les oeuvres du passé exceptionnels. Honegger, Migot, Chabrier, Castillon, Rachmaninov…. aussi bien que les créations de ses contemporains. Elle fut la première en France à A 13 ans, elle a déjà des élèves et donne son premier concert Elle-même compose des mélodies, des pièces pour piano et pratiquer une méthode public à Lausanne. Sa rencontre à 16 ans avec Vincent un oratorio. rationnelle, dégagée d’Indy est déterminante pour sa carrière. Il la nomme de tout empirisme, professeur de piano à la Schola Cantorum, à 18 ans ! Elle Admirée des grands pianistes de son temps basée sur une ap- partagera avec lui des valeurs essentielles sur l’Art au point proche corporelle et d’être considérée comme sa « fille spirituelle ».