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Ottorino Respighi, Musicista Geniale Ed Estroverso a 130 Anni Dalla Nascita
Ottorino Respighi, musicista geniale ed estroverso a 130 anni dalla nascita. di Giuseppe Testa Ottorino Respighi è, tra i compositori italiani del secolo scorso, quello che trovò diffusione e fama internazionale sin dall’inizio della sua carriera. E’ ricordato soprattutto per i tre poemi sinfonici romani, capolavori della letteratura sinfonica del ‘900 italiano, ma è anche stato un apprezzato musicologo. Respighi nasce a Bologna il 9 luglio 1879, inizia gli studi del pianoforte e del violino con il padre Giuseppe, studi che continua al liceo musicale di Bologna, dove è allievo di F. Sarti per il violino e la viola, C. Dall’Olio per il contrappunto e la fuga, L. Torchi e di G. Martucci per la composizione. E’ proprio Martucci che lo interessa alle forme sinfoniche e cameristiche dei romantici tedeschi, sino ad allora poco praticate in Italia. Si Diploma in violino nel 1899 e in composizione nel 1901 al liceo musicale di Bologna. Subito dopo si trasferisce in Russia dove ricopre il posto di prima viola dell’orchestra del Teatro Imperiale a San Pietroburgo, studiando per cinque mesi con Nikolaj Rimskij-Korsakov con cui può approfondire lo studio della sinfonia e del poema sinfonico, evidenziando la tendenza al descrittivismo e l’abilità nel trattamento dell’orchestra. Nel 1902 è accompagnatore in una scuola di canto a Berlino, dove conosce Ferruccio Busoni ed ha modo di studiare con Max Bruch. Ma la sua attività principale fino al 1908 è quella di violista, solo dopo si dedica alla composizione. Nel 1911 torna in Italia per sostituire il suo maestro L. -
Emile Jaques-D Alcroze' S Influence on Frank Martin
EMILE JAQUES-DALCROZE' S INFLUENCE ON FRANK MARTIN: 1924-1937 DANIEL I. RUBINOFF A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO DECEMBER, 2011 Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-90332-2 Our file Notre reference ISBN: 978-0-494-90332-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Il Recupero Dell'antico Nell'opera Di Ottorino
SCUOLA DI DOTTORATO IN STORIA E CRITICA DEI BENI ARTISTICI , MUSICALI E DELLO SPETTACOLO XXII CICLO IL RECUPERO DELL’ANTICO NELL’OPERA DI OTTORINO RESPIGHI E L’ARCHIVIO DOCUMENTARIO ALLA FONDAZIONE “GIORGIO CINI” DI VENEZIA Coordinatore: prof. ALESSANDRO BALLARIN Supervisore: prof. ANTONIO LOVATO Dottoranda: MARTINA BURAN DATA CONSEGNA TESI 30 giugno 2010 2 A Riccardo e Veronica 3 4 INDICE PREMESSA ………………………………………..…………………………..……. p. 9 I. IL FONDO “OTTORINO RESPIGHI ” ………………………………………… » 13 1. Configurazione originaria del fondo ………………………………………… » 14 2. Interventi di riordino …………………………………………………………. » 16 3. Descrizione del contenuto ……………………………………………………. » 20 II. RITRATTO DI OTTORINO RESPIGHI ……………………………..……..... » 31 1. L’infanzia e le prime opere …………………………………………………... » 32 2. I primi passi verso il recupero dell’antico …………………………………… » 35 3. L’incontro con Elsa …………………………………………………………... » 38 4. Le trascrizioni di musiche antiche e Casa Ricordi …………………………... » 40 5. Il “periodo gregoriano” ……………………………………………………... » 42 6. L’incontro con Claudio Guastalla …………………………………………… » 44 7. Le opere ispirate al gregoriano ……………………………………………… » 46 8. La nomina all’Accademia d’Italia e il Manifesto…………………………….. » 48 9. La fiamma e l’elaborazione dell’Orfeo ………………………………………. » 53 10. Lucrezia ……………………………………………………………………... » 58 III. IL CONTESTO ………………………………………..………………...……… » 63 1. Il recupero dell’antico ………………………………………………………... » 63 1.1 La rinascita del gregoriano …………………………………………. » 64 1.2 Angelo De Santi, Giovanni Tebaldini e Lorenzo Perosi ……………. -
Carmen & Vivaldi
CARMEN & VIVALDI Zachary Schwartzman conductor Saturday, March 20, 2021 Performance # 164 Season 6, Concert 12 Livestreamed from the Fisher Center at Bard Sosnoff Theater SIGN UP FOR TŌN EMAIL by clicking here INSPIRE GREATNESS by making a donation at theorchestranow.org/support TABLE OF CONTENTS 4 CONCERT QUICK GUIDE 23 THE ADMINISTRATION 5 THE MUSIC 24 ABOUT BARD COLLEGE 6 ANTONIO VIVALDI CONCERTO FOR STRINGS IN G MINOR, RV 156 7 FRANK MARTIN PETITE SYMPHONIE CONCERTANTE 8 ARVO PÄRT CANTUS IN MEMORY OF BENJAMIN BRITTEN 9 RODION SHCHEDRIN CARMEN SUITE (AFTER BIZET’S OPERA) 10 THE ARTISTS 11 ZACHARY SCHWARTZMAN conductor 12 FRANK CORLISS piano 13 TAYLOR ANN FLESHMAN TŌN ’22 harp 14 RENÉE ANNE LOUPRETTE harpsichord 15 ARVO PÄRT composer 16 RODION SHCHEDRIN composer 17 THE ORCHESTRA NOW 19 SER KONVALIN horn 20 CHARLES GILLETTE percussion 21 SUPPORT TŌN Rehearsals and performances adhere to the strict guidelines set by the CDC, with daily health checks, the wearing of masks throughout, and musicians placed at a safe social 22 THE TŌN FUND DONORS distance. Musicians sharing a music stand also share a home. Concert Quick Guide The Music The Artists ™ Support TŌN CONCERT QUICK GUIDE The TŌN Fund Donors The Administration About Bard College ZACHARY SCHWARTZMAN conductor CONCERT TIMELINE 1 hour and 40 minutes Petite symphonie Concerto concertante Cantus Carmen Suite 6 min 21 min 6 min 42 min Brief remarks by Ser Konvalin horn ANTONIO VIVALDI Born 3/4/1678 in Venice, Italy Died 7/27 or 28/1741 at age 63 in Vienna CONCERTO FOR STRINGS IN G MINOR, -
Ottorino Respighi
Ottorino Respighi Quartetto Dorico Violin Sonata in B minor Six pieces for violin and piano Quartetto della Scala Claudio Voghera, piano Ottorino Respighi Quartetto Dorico, Sonata in Si minore, Sei Pezzi (Bologna, 1879 - Rome 1936) Quartetto della Scala - Claudio Voghera, piano I primi due brani di questo CD cadono nel periodo artisticamente più fecondo di Respighi, convenzionalmente compreso tra Le fontane di Roma (1916) e il Concerto misolidio per pianoforte e orchestra (1924): il Quartetto Dorico precede solo di un anno il Concerto, presentato nel 1925 con grande successo da Willem Mengelberg alla Carnegie Hall con lo stesso autore al pianoforte, mentre la Sonata, la seconda dopo quella giovanile in 1. Quartetto Dorico Op. 144 Re minore (1897), è del 1917. La produzione cameristica di quegli anni, segnata da altri Doric String Quartet (1924) 21’59” importanti lavori orchestrali (le prime due serie delle Antiche danze ed arie per liuto) e per il teatro (la commedia lirica Belfagor), affianca a numerose liriche per voce e pianoforte 2-4. Sonata in Si minore per violino e pianoforte * un paio di “libere” trascrizioni per pianoforte - pagine organistiche di Frescobaldi - e per Sonata in B minor for violin and piano (1917) Ensemble d’archi - il corale di Bach «Nun komm, der Heiden Heiland». Sono circostanze - moderato 9’34” importanti perché rimandano a uno dei punti-chiave di quella che la storia della - andante espressivo 9’07” musica chiama “Generazione dell’Ottanta” alla quale oltre a Respighi apparterrebbero anche Pizzetti (1880), G. F. Malipiero (1882) e Casella (1883): volgere lo sguardo oltre - Passacaglia: allegro moderato ma energico 8’14” la tradizione classico-romantica, verso il mondo barocco, in modo da inserire la musica italiana contemporanea nell’alveo del neoclassicismo europeo degli anni Venti, un barocco 5-10. -
Rubinoff-Formatted Proceedings-8
Sacre Celebration 2013 Rubinoff Frank Martin’s La nique à Satan: The Dalcroze Connection Daniel Rubinoff York University Abstract This presentation focuses on the creative affinity between Émile Jaques-Dalcroze (1865- 1950) and fellow Swiss composer Frank Martin (1890-1974). Early in his career, Martin forged close ties with Dalcroze’s Eurhythmics method, and in 1926, he enrolled in Dalcroze’s Geneva-based Institut Jaques-Dalcroze. He graduated with a Diplôme in 1928 and taught there as a professor of improvisation and rhythmic theory until 1937. During Martin’s tenure as professor of rhythmic theory and improvisation at Dalcroze’s Institut, he composed the score for La nique à Satan. Martin conceived of a popular theatre piece that included singing, mime, dance and elaborate costumes. He involved numerous Institut teachers and students in the Geneva première on February 25, 1933. Martin also dedicated the vocal/piano edition of the score to Dalcroze. This talk will explain how the songs in Martin’s composition resemble some of the prominent aspects of Dalcroze’s Eurhythmics method. The eurhythmic subjects of irregular beats, anacrusic rhythms, complementary rhythm and bodily gesture correspond with important aspects of Martin’s score. The presentation also includes footage from a 1998 performance of La nique à Satan by the Swiss ensemble, Choeur d’Avully. Introduction It’s a great pleasure to be a part of this group of papers that explores post-Rite artistic currents. My purpose today is to explore the connection between Émile Jaques-Dalcroze and fellow Swiss composer Frank Martin. I will discuss this connection in the context of Dalcroze’s eurhythmics method and its affinity with Martin’s theatrical piece, La nique à Satan. -
Respighi Ottorino
RESPIGHI OTTORINO Compositore e strumentista italiano (Bologna 9 VI 1879 - Roma 18 IV 1936) 1 Nato da una famiglia di musicisti (il nonno Tommaso era organista del duomo di Fidenza) fu avviato alla musica dal padre, ottimo pianista e didatta. Iscritto al liceo musicale di Bologna (1891), studiò violino con F. Sarti, diplomandosi nel 1899, e contemporaneamente seguì le lezioni di contrappunto e fuga di C. Dall'Olio e di composizione di L. Torchi e G. Martucci. Nel 1900 fu a Pietroburgo, come orchestrale nella stagione operistica italiana dei teatri imperiali e conobbe Rimskij-Korsakov dal quale ebbe varie lezioni di composizione rimaste essenziali (come dichiarò lo stesso Respighi) per la sua formazione artistica. Tornato a Bologna, si diplomò in composizione nel 1901. L'anno dopo tornò in Russia come prima viola dell'Opera di Pietroburgo e vi rimase nove mesi, prendendo contatto con l'ambiente artistico che faceva capo ad A. Benois (il figlio Nicola sarà poi uno degli scenografi più cari a Respighi). Nel 1903 ritornò in Italia e l'anno dopo fu eseguita dal pianista F. Ivaldi a Bologna, sotto la direzione di B. Mugellini, la sua Fantasia in Sol minore per pianoforte ed orchestra che ottenne notevole successo. Nel 1905 la sua opera Re Enzo fu rappresentata dagli studenti dell'università di Bologna ed in quello stesso anno Respighi entrò come viola nel quintetto Mugellini per il quale compose il Quintetto in Fa. Nel 1908 R. Ferrari diresse al Metropolitan di New York il Notturno per orchestra e A. Nikish, a Berlino, la sua trascrizione per orchestra del Lamento di Arianna di Monteverdi. -
1 the Influences of Émile Jaques-Dalcroze's
The Influences of Émile Jaques-Dalcroze’s Eurhythmics Found in Frank Martin's 8 Préludes Pour Le Piano Item Type text; Electronic Dissertation Authors Poon, Chiew Hwa Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 15:12:28 Link to Item http://hdl.handle.net/10150/625643 1 THE INFLUENCES OF ÉMILE JAQUES-DALCROZE’S EURHYTHMICS FOUND IN FRANK MARTIN’S 8 PRÉLUDES POUR LE PIANO by Chiew Hwa Poon ______________________ Copyright © Chiew Hwa Poon 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Chiew Hwa Poon, titled The Influences of Émile Jaques-Dalcroze’s Eurhythmics found in Frank Martin’s 8 Préludes pour le piano and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Musical Arts. _____________________________________________________ Date: 5/1/17 Tannis Gibson _____________________________________________________ Date: 5/1/17 Lisa Zdechlik _____________________________________________________ Date: 5/1/17 Shelly Cooper Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. -
Frank Martin Golgotha New Amsterdam Singers
Frank Martin Golgotha New Amsterdam Singers Sunday, March 13, 2016 at 3 PM Trinity Church, Wall Street 74 Trinity Place Clara Longstreth, Music Director David Recca, Assistant Conductor Pen Ying Fang, Accompanist Golgotha An oratorio according to the Evangelists and texts of St. Augustine, for chorus and orchestra, by Frank Martin (1890 - 1974) Meredith Lustig, soprano Avery Amereau, mezzo-soprano Dann Coakwell, tenor (Pilate) **Tyler Duncan, baritone (Jesus) Kevin Deas, bass-baritone (High Priest) Part One 1. Prologue: Père, Père (Father, Father) chorus 2. Les Rameaux (The Palms) quartet, Jesus, chorus 3. Le Discours au Temple (The Speech at the Temple) Jesus, soprano 4. La Sainte Cène (The Last Supper) Jesus, tenor, bass 5. Gethsémané Jesus, tenor, bass, chorus Part Two 6. Méditation alto, chorus 7. Jésus devant le Sanhédrin (Jesus before the Sanhedrin) Jesus, soli, chorus 8. Jésus devant Pilate (Jesus before Pilate) Jesus, soli, chorus 9. Le Calvaire (Golgotha) Jesus, tenor, chorus 10. Epilogue: La Résurrection (The Resurrection) quartet, chorus **Tyler Duncan appears by kind permission of the Metropolitan Opera. Please turn off all phones and other devices during the performance. PROGRAM NOTES Martin was born in Geneva in 1890, the tenth child of a Calvinist minister of French and Dutch ancestry. He was the most musical child in the family, and sought refuge from the trials of the youngest in music. At age ten or eleven he attended a performance of Bach's St. Matthew Passion, which had an overwhelming effect on him. He called this "the event of my life. I followed the Passion from end to end, not knowing where I was; I was in any case no longer in the hall, I no longer recognized anyone, I was as transported to heaven." Much later, Martin said that when he wrote his oratorio, Golgotha, on the passion story, he had first to overcome an immense sense of unworthiness, His musical gifts were evident at the early age of eight or nine, and he was a performer and composer all his life, yet two-thirds of his works were written after he was fifty. -
Invention Through Synthesis: Former Composers Observed in Frank Martin’S Húit Préludes Pour Le Piano
INVENTION THROUGH SYNTHESIS: FORMER COMPOSERS OBSERVED IN FRANK MARTIN’S HÚIT PRÉLUDES POUR LE PIANO BY JOOEUN PAK Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music, Indiana University August, 2014 Accepted by the faculty of Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music _________________________________ Menahem Pressler, Research Director _________________________________ Edmund Battersby _________________________________ Jean-Louis Haguenauer ii Copyright © 2014 Jooeun Pak iii Acknowledgements I give my deepest gratitude to my teacher, musical father, and the biggest inspiration, Menahem Pressler. You showed me what I couldn’t see, and gave me encouragements more than I deserve. It has been the biggest privilege to study with you and to be next to you. Living up to be your student means so much to me, and it will continue to be for the rest of my life. You are always in my heart. I thank my former teachers and doctoral committee members, Edmund Battersby and Jean-Louis Haguenauer. I am immensely thankful that you discovered what I could be, and I would not have made my way through without you believing in the best out of me. Thank you for your guidance, love and generous supports all these years. Thank you all for showing me the path, and helping me believe that I can walk through it. Words are not enough to tell you how blessed I feel. Thank you so much. iv Preface Frank Martin (1890-1974) gained a considerable recognition as an internationally renowned musician and one of the most celebrated composers of Switzerland during his lifetime.1 Nevertheless, Martin’s compositions face challenge in continuing the legacy, as his outputs struggle to make strong stance in the stream of major concert venues in America, with an exception of Petite Symphony Concertante, Op.54 (1944). -
Program Notes © 2018
23 Season 2017-2018 Friday, May 4, at 8:00 Saturday, May 5, at 8:00 The Philadelphia Orchestra Nicholas McGegan Conductor Peter Richard Conte Organ Respighi Ancient Airs and Dances for the Lute, Suite No. 1 I. Balletto detto Il Conte Orlando (Simone Molinaro) II. Gagliarda (Vincenzo Galilei) III. Villanella (Unknown) IV. Passo mezzo e mascherada (Unknown) Handel Organ Concerto in F major, Op. 4, No. 4 I. Allegro II. Andante III. Adagio IV. Allegro Locatelli Concerto grosso in F major, Op. 7, No. 4 I. Andante II. Largo III. Cantabile IV. Allegro molto First Philadelphia Orchestra performances Intermission 24 Rossini Overture to La Cenerentola Stravinsky Suite from Pulcinella I. Sinfonia (Overture) II. Serenata— IIIa. Scherzino— b. Allegro— c. Andantino IV. Tarantella— V. Toccata VI. Gavotta con due variazioni VII. Vivo VIIIa. Minuetto: Molto moderato— b. Finale: Allegro assai This program runs approximately 1 hour, 50 minutes. These concerts are part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. These concerts are sponsored by the Wyncote Foundation. The May 5 concert is also sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. 25 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Hans Haug: The Chamber Works Featuring the Guitar an Evolution of Style, Texture, and Form Adam Foster Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HANS HAUG: THE CHAMBER WORKS FEATURING THE GUITAR- AN EVOLUTION OF STYLE, TEXTURE, AND FORM By ADAM FOSTER A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the treatise of Adam Foster defended on March 24, 2011. _______________________________________ Evan Jones Professor Co-Directing Treatise _______________________________________ Bruce Holzman Professor Co-Directing Treatise _______________________________________ Leo Welch University Representative _______________________________________ Greg Sauer Committee Member The Graduate School has verified and approved the above-named committee members. ii To Stacey and M.T. iii ACKNOWLEDGEMENTS There are many people that need to be acknowledged. Thank you to my committee: Dr. Evan Jones, for his tireless editorial and musicological insights, Dr. Leo Welch, for providing extensive professional advice and mentorship, Professor Greg Sauer for advice and service to this and countless other projects, and to Professor Bruce Holzman, whose mentorship, honesty, integrity, and investment in my growth as a musician will forever be cherished. I must thank Hans Haug‘s daughter, Ms. Martine Haug, for her generosity in providing me the permissions to view Haug‘s unpublished catalogue of scores from the Catalogue du Fonds at the Bibliothèque cantonale et universitaire Lausanne.