DOCSLIB.ORG

Tebaldo E Isolina

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Francesco Morlacchi (1784–1841) Tebaldo e Isolina Laura Polverelli • Sandra Pastrana • Anicio Zorzi Giustiniani Raúl Baglietto • Gheorghe Vlad • Annalisa D’Agosto Camerata Bach Choir, Poznań • Virtuosi Brunensis Antonino Fogliani CD1 78:11 * Ecco i bellici concenti 5:46 (Geroldo, Coro, Isolina, Ermanno, Francesco 1 Sinfonia Andantino scherzoso – Allegro 7:02 Tebaldo, Boemondo, Clemenza) MORLACCHI Act I CD2 64:47 (1784–1841) 2 No. 1. Introduzione: Da’ tuoi figli, dagli amici 7:56 Act II (Coro, Clemenza, Geroldo, Ermanno) 3 Recitativo: Cavalieri, oh! di quanto 2:12 No. 8. Scena ed Aria: Tebaldo e Isolina (Ermanno, Geroldo, Clemenza) 1 Oh, Sigerto!… Sigerto! 5:44 No. 2. Coro e Cavatina: (Isolina, Clemenza) Melodramma romantico in two acts (1822–25) (Dresden version, 1825) 4 Bella stella mattutina – 4:01 2 Ah! che intesi! me infelice!... 5:09 Libretto by Gaetano Rossi (1774–1855) Oh! come lieto il cor (Isolina, Clemenza, Coro, Ermanno) (Coro, Isolina) 3 Cara figlia!... 5:55 5 Ah lusinghiera imagine 5:01 (Ermanno, Isolina, Coro) Boemondo .......................................................................................... Anicio Zorzi Giustiniani, Tenor (Isolina, Coro) No. 9. Scena, Coro ed Aria: 6 Recitativo: Cavalieri, una figlia 2:50 4 Oh sposa!... Oh figlia!... – 4:09 ............................................................................................ Tebaldo Laura Polverelli, Mezzo-soprano (Isolina, Ermanno, Clemenza, Geroldo) Volto è all’occaso il dì Ermanno ................................................................................................Raúl Baglietto, Bass-baritone No. 3. Coro e Cavatina: (Boemondo, Coro) 7 Di tanti prodi al vincitore – 5 Fido a voi le mie vendette 4:40 Geroldo ..................................................................................................................... Gheorghe Vlad, Tenor Sì, ravvisa quel guerriero 3:58 (Boemondo, Coro) Isolina .............................................................................................................Sandra Pastrana, Soprano (Coro, Ermanno, Knight, Isolina, Tebaldo) 6 Ecco il primier momento 4:18 8 Questo brando, questo serto 4:07 (Boemondo, Coro) Clemenza ................................................................................................. Annalisa D’Agosto, Soprano (Isolina, Tebaldo, Coro) 7 Recitativo: Io più non reggo 1:50 9 Recitativo: Oh! torna a questo seno 2:13 (Isolina, Ermanno, Tebaldo) (Ermanno, Tebaldo, Isolina) No. 10. Scena e Duetto: Camerata Bach Choir, Poznań (Ania Michalak, Tomasz Potkowski, Chorus Masters) 0 No. 4. Terzettino: In quel soggiorno 3:37 8 Che dici?… Ah! no – Ah! t’intendo, (Tebaldo, Isolina, Ermanno) a me non lice 5:07 Virtuosi Brunensis (Karel Mitáš, Artistic Director) No. 5. Scena e Cavatina: (Isolina, Tebaldo, Clemenza) ! Tutto è silenzio... – Isolato sulla terra 5:59 9 La dolce immagine 5:09 Silvano Zabeo, Music Assistant and Fortepiano (Boemondo) (Tebaldo, Isolina) @ Recitativo: Per le segrete sotterranee vie 1:28 No. 11. Scena e Romanza: Antonino Fogliani (Boemondo, Tebaldo) 0 Notte, tremenda, orribil notte! (Tebaldo) 4:12 No. 6. Scena e Duetto: ! Lo conosco (Tebaldo) 3:55 Recorded: 25 and 27 July 2014 at the Trinkhalle, Bad Wildbad, Germany # Che fa egli!… e che mai?... 2:16 @ Vittoria! Vittoria! 5:18 during the XXVI ROSSINI IN WILDBAD Festival (Jochen Schönleber, Artistic Director) $ Questo acciaro, che del sangue 5:25 (Coro, Tebaldo, Ermanno, Boemondo, (Boemondo, Tebaldo) Isolina, Knights) A co-production with SWR % Padre!... 5:13 # Pera omai, pera l’indegno 3:55 Producer: Siegbert Ernst • Engineers: Norbert Vossen, Siggi Mehne (Tebaldo, Boemondo) (Coro, Ermanno, Isolina, Boemondo, Tebaldo) Editor: Dr Anette Sidhu-Ingenhoff • Booklet notes: Michael Wittman, Reto Müller ^ Recitativo: O padre, tu mi rendi 2:02 $ No. 12. Finale II: Come più dolce al core 4:44 New edition from the manuscripts by Florian Bauer for ROSSINI IN WILDBAD (Isolina, Ermanno, Geroldo, Clemenza, Tebaldo) (Ermanno, Boemondo, Tebaldo, Isolina, Coro) No. 7. Scena e Finale I: & Ed io… che orror! 6:14 (Tebaldo, Isolina, Ermanno, Boemondo, Clemenza, Coro) Francesco Morlacchi (1784–1841) after his second tour of Italy Morlacchi only presented to give him his due, he certainly did his best to do so. Tebaldo e Isolina serious topics on the Italian operatic stage. It is also We have a visible example in the case of the renaming of worth noting that of the seven operas he wrote for Italy, Tebaldo e Isolina, with a libretto by Gaetano Rossi, from a Francesco Morlacchi: a case for revising musical engaged as deputy music director in 1810. Following the Morlacchi only published two of them, Gianni di Parigi and melodramma eroico in Venice to a melodramma romantico in history? success of his Raoul de Crequi in 1811, he was appointed Colombo, in unchanged form in Germany. Tebaldo e Isolina Dresden. This was far more than a mere case of relabelling. music director for life. This meant that he found himself (1822–25) and I Saraceni in Sicilia (1828 and subsequently In Venice the opera was very deliberately customised for In 1836 the following entry could be read in the Damen in the well-nigh ideal position for an Italian composer of 1832 as Il rinnegato) were subjected to major revisions, the last of the great castrato, Giovanni Battista Velluti. In Conversations Lexikon (‘Ladies’ Conversation Lexicon’), operas of being excused the obligation of mass production while Boadicea, Donna Aurora and Ilda d’Avenel were Dresden circumstances inevitably dictated that this role be published by Carl Herloßsohn in Leipzig: ‘Morlacchi, and having largely free rein to compose as he chose. It is ultimately never performed in Germany at all. One look rewritten for a contralto. The retention of secco recitatives Francesco, principal Royal Saxon Kapellmeister. Born in therefore understandable that he remained in the post for at the performances of his own works in Dresden – ten was another typically Venetian element. This was less of a Perugia, Italy on 14 June 1784, educated there and having the rest of his life, even though he had the opportunity to productions over 21 years – shows moreover that Morlacchi, problem in Dresden, where audiences were familiar with the been decorated with the first blossoms of fame, he found succeed Rossini in Naples in 1822. for all Weber’s complaints, certainly never abused his own German Singspiel tradition and its spoken dialogue. The a second home in Germany, and was granted honorary The latter phase of the Napoleonic Wars proved in the position in the city to make himself the centre of attention. storyline is set in medieval times, in the region of Altenburg citizenship for his contributions to German art. M. was one meantime to be less than propitious for the production Carl Maria von Weber, alongside Rossini, was the other and Meissen: exotic places from a Venetian perspective, of the major opera composers of his homeland before the of operas in Dresden, with the result that there followed of the two rocks, so to speak, between which Morlacchi but in Dresden a story based near home. The plot of the age of Rossini, Bellini and Donizetti, but his intellect was a five-year period during which Morlacchi distinguished was necessarily obliged to manoeuvre his output. Older opera can be swiftly told: the story of Romeo and Juliet with less suited to ushering in a new era than to continuing an himself exclusively as a composer of sacred music. It was biographies of Weber tend to exaggerate the personal a happy ending. This latter, it should be said, is only made earlier one until the time was ripe for a new era. M’s talent not until 1816 that he resumed his composition of operas. animosity between the two composers. In reality, early possible by both family patriarchs Boemondo and Ermanno, was active in a number of areas; his compositions are Whereas in the 18th century the maintenance of an Italian difficulties between Morlacchi and the newly engaged as well as Tebaldo in a difficult inner struggle, having to evidence of his learned taste, and reveal the education of opera company would have been seen as an element no German Kapellmeister Weber gave way to a more than overcome their hatred and thirst for vengeance. A large the older, dignified Italian school, that rejected the frivolous, absolutist court could have been seen without, after the tolerable working relationship. Besides, any problems had part of this opera is therefore taken up by the depiction of ephemeral trends of the present while proving not quite Congress of Vienna this looked like an anachronism. Added nothing to do with personal rivalries: Saxony, thanks to the these inner struggles, and it says a great deal for Morlacchi’s capable of pursuing the supreme heights of its genius...’. to this was the shift in the reputation of ‘Italian opera’ in alliance with Napoleon, was one of the chief losers of the talent for characterisation that he took on this challenge. What is formulated here in condescending terms is in fact Germany, to a large extent caused by the works of Rossini, Congress of Vienna. Not only did the region lose large parts At the end all protagonists renounce their vendetta and a crushing verdict – Morlacchi, in accordance with the which was no longer viewed as a model to follow among of its territory, but the dominant position of the king was celebrate the family reconciliation. This resolution – and this prevailing aesthetic of artistic genius in the 19th century, is the musically educated, more as a caricature
Recommended publications
  • What Handel Taught the Viennese About the Trombone

    What Handel Taught the Viennese About the Trombone

    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
  • Quaderni Musicali Marchigiani 14

    Quaderni Musicali Marchigiani 14

    Quaderni Musicali Marchigiani 14 a cura di Concetta Assenza Pubblicazione dell’A.Ri.M. – Associazione Marchigiana per la Ricerca e Valorizzazione delle Fonti Musicali QUADERNI MUSICALI MARCHIGIANI 14/2016 a cura di Concetta Assenza ASSOCIAZIONE MARCHIGIANA PER LA RICERCA E VALORIZZAZIONE DELLE FONTI MUSICALI (A.Ri.M. – onlus) via P. Bonopera, 55 – 60019 Senigallia www.arimonlus.it [email protected] QUADERNI MUSICALI MARCHIGIANI Volume 14 Comitato di redazione Concetta Assenza, Graziano Ballerini, Lucia Fava, Riccardo Graciotti, Gabriele Moroni Realizzazione grafica: Filippo Pantaleoni ISSN 2421-5732 ASSOCIAZIONE MARCHIGIANA PER LA RICERCA E VALORIZZAZIONE DELLE FONTI MUSICALI (A.Ri.M. – onlus) QUADERNI MUSICALI MARCHIGIANI Volume 14 a cura di Concetta Assenza In copertina: Particolare dell’affresco di Lorenzo D’Alessandro,Madonna orante col Bambino e angeli musicanti, 1483. Sarnano (MC), Chiesa di Santa Maria di Piazza. La redazione del volume è stata chiusa il 30 giugno 2016 Copyright ©2016 by A.Ri.M. – onlus Diritti di traduzione, riproduzione e adattamento totale o parziale e con qualsiasi mezzo, riservati per tutti i Paesi. «Quaderni Musicali Marchigiani» – nota Lo sviluppo dell’editoria digitale, il crescente numero delle riviste online, l’allargamento del pubblico collegato a internet, la potenziale visibilità globale e non da ultimo l’abbattimento dei costi hanno spinto anche i «Quaderni Musicali Marchigiani» a trasformarsi in rivista online. Le direttrici che guidano la Rivista rimangono sostanzialmente le stesse: particolare attenzione alle fonti musicali presenti in Regione o collegabili alle Marche, rifiuto del campanilismo e ricerca delle connessioni tra storia locale e dimensione nazionale ed extra-nazionale, apertura verso le nuove tendenze di ricerca, impostazione scientifica dei lavori.
  • Oltrenota La Fondazione Informa

    Oltrenota La Fondazione Informa

    OLTRENOTA LA FONDAZIONE INFORMA Fondazione Petruzzelli: presentata la Stagione d’Opera Balletto e Sinfonica 2013 Sarà l’Otello di Giuseppe Verdi, per la regia di Eimuntas Nekrosius e la direzione di Keri-Lynn Wilson, ad inaugurare, il 19 gennaio prossimo, la Stagione 2013 del Teatro Petruzzelli di Bari. La fondazione lirico sinfonica pugliese ha presentato oggi la sua prima stagione integralmente curata del Commissario Straordinario Carlo Fuortes, in carica dal mese di marzo 2012. Presenti anche l’assessore al Mediterraneo della Regione Puglia, Silvia Godelli ed il vice presidente della Provincia di Bari, Nuccio Altieri. Un cartellone ricco di appuntamenti, che nasce dall’incontro fra rispetto della tradizione e grande attenzione allo scambio culturale, nel segno dell’innovazione e del dialogo con realtà consolidate del panorama nazionale ed internazionale. “L’impegno preso nei confronti della città di Bari – ha sottolineato il Prof. Carlo Fuortes – è per noi in primo luogo quello di fare del Petruzzelli un Teatro a misura del proprio pubblico, che ne rispetti le esigenze, le aspirazioni, la passione. Il nostro primo auspicio è riuscire ad accogliere una platea sempre più ampia e di tutte le età, anche grazie ad un incremento delle proposte e delle recite in cartellone: nel 2013 la crescita della nostra produttività sarà pari circa al 50 per cento in più, rispetto agli ultimi anni”. Sei titoli d’opera (di cui cinque nuovi allestimenti), due dedicati alla grande danza, una rassegna di incontri alla scoperta del melodramma e ben dodici appuntamenti sinfonici. Fra i protagonisti della prossima annata del Politeama spiccheranno la nuova formazione orchestrale e corale del Teatro, risultato delle prime selezioni concorsuali realizzate da Fuortes e fortemente volute dal Ministero per i Beni e le Attività Culturali, nell’ottica di un primo passo verso la stabilizzazione delle masse artistiche.
  • Sacred Music, 136.4, Winter 2009

    Sacred Music, 136.4, Winter 2009

    SACRED MUSIC Winter 2009 Volume 136, Number 4 EDITORIAL Viennese Classical Masses? | William Mahrt 3 ARTICLES Between Tradition and Innovation: Sacred Intersections and the Symphonic Impulse in Haydn’s Late Masses | Eftychia Papanikolaou 6 “Requiem per me”: Antonio Salieri’s Plans for His Funeral | Jane Schatkin Hettrick 17 Haydn’s “Nelson” Mass in Recorded Performance: Text and Context | Nancy November 26 Sunday Vespers in the Parish Church | Fr. Eric M. Andersen 33 REPERTORY The Masses of William Byrd | William Mahrt 42 COMMENTARY Seeking the Living: Why Composers Have a Responsibility to be Accessible to the World | Mark Nowakowski 49 The Role of Beauty in the Liturgy | Fr. Franklyn M. McAfee, D.D. 51 Singing in Unison? Selling Chant to the Reluctant Choir | Mary Jane Ballou 54 ARCHIVE The Lost Collection of Chant Cylinders | Fr. Jerome F. Weber 57 The Ageless Story | Jennifer Gregory Miller 62 REVIEWS A Gift to Priests | Rosalind Mohnsen 66 A Collection of Wisdom and Delight | William Tortolano 68 The Fire Burned Hot | Jeffrey Tucker 70 NEWS The Chant Pilgrimage: A Report 74 THE LAST WORD Musical Instruments and the Mass | Kurt Poterack 76 POSTSCRIPT Gregorian Chant: Invention or Restoration? | William Mahrt SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gre- gory of America since 1915. Published quarterly by the Church Music Associ- ation of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistance: Janet Gorbitz and David Sullivan.
  • Eröffnungsvortrag: Haydns Opern in Ihrer Zeit Und Heute

    Eröffnungsvortrag: Haydns Opern in Ihrer Zeit Und Heute

    ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Wissenschaftliche Arbeiten aus dem Burgenland Jahr/Year: 1992 Band/Volume: 090 Autor(en)/Author(s): Feder Georg Artikel/Article: Haydns Opern in ihrer Zeit und heute. 9-20 Eröffnungsvortrag:© Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at Haydns Opern in ihrer Zeit und heute Georg FEDER, Köln “Joseph Haydn und die Oper seiner Zeit” so lautet das Thema unseres Symposions. Haydns Opern in ihrer Zeit und heute sind das Thema dieses ersten Vortrages. Mit ihm möchte ich versuchen, einen kurzen Überblick über Haydns Opernschaffen zu geben, einerseits in historischer Hinsicht, andererseits in Betrachtung der neueren Entwicklungen. Haydns Opernschaffen ist nach den Forschungen und Veröffentlichungen der letzten Jahrzehnte gut überschaubar; Umfang, Gliederung und zeitlicher Verlauf dieses Schaffens lassen sich mit klaren Linien skizzieren. (Vgl. die Tabelle.) Es erstreckte sich über einen Zeitraum von vier Jahrzehnten: von 1751/52 bis 1791. Schauplätze der Uraufführungen waren zuerst Wien, dann Eisenstadt und Esz­ terhäza. Die letzte Oper entstand in London. Den Werkgattungen nach gliedert sich Haydns Opernschaffen in die Gruppe der deutschen Singspiele, mit gespro­ chenen Dialogen, meist in der Sonderform der Marionettenoper, wobei unter lauter heiteren Singspielen ein ernstes vorkommt, und in die Gruppe der italie­ nischen Opern. Zu letzteren gehört zunächst die bei Haydn bald als Opera seria, bald als Dramma eroico oder Dramma per musica bezeichnete ernste Oper, die in kleinerer Form Festa teatrale oder Azione teatrale heißt. Daneben steht die heitere Oper, als Commedia, als Intermezzo, Opera buffa oder Burletta, einmal auch als Dramma giocoso per musica bezeichnet.
  • Maggio 2 Indice /Index Opening Piano Center Notturno Piano City Milano Fuori Porta P

    Maggio 2 Indice /Index Opening Piano Center Notturno Piano City Milano Fuori Porta P

    MAGGIO 2 INDICE /INDEX OPENING PIANO CENTER NOTTURNO PIANO CITY MILANO FUORI PORTA P. 34-25 Aziza Mustafa Zadeh P. 4 E PIANO ALBE P. 7 IN MOVIMENTO P. 14 – 15 INDICI PIANO CITY MILANO GIORNO VITA DI QUARTIERE P. 8 – 9 I NOSTRI PARTNER P. 16 – 17 Pianisti P.36-37 E NOTTE P. 5 Luoghi P. 38-39 PIANORAMA P. 10 – 11 PROGRAMMA DAY BY DAY PIANO CENTER DIURNO P. 6 House e cortili P. 18-19 GRAZIE A P. 39 P. 12 – 13 LEZIONI DI PIANO Concerti diffusi P. 20-33 /INTRO Colonna sonora IL FESTIVAL IL FESTIVAL della tua città YOUR CITY SOUNDTRACK Il programma che tenete fra le mani contiene The booklet you are currently holding contains le istruzioni per costruire da uno a infiniti percorsi the instructions on how to trace from one up to FATEVI GUIDARE per scoprire Milano e i suoi quartieri facendovi infinite paths across Milan and its neighborhoods. guidare dalla vostra curiosità, dai luoghi di questa Follow the compass of your curiousity, unveil the DAI PERCORSI MUSICALI: settima edizione del nostro festival o dalle tante map of locations of our festival's seventh edition, PIANO CITY MILANO proposte musicali con oltre cinquanta ore di musica discover the over fifty hours’ worth of music and e quattrocento concerti. four hundred concerts on offer. È LA MAPPA, LO SPARTITO Potete decidere di partire dal nostro Piano Center nei giardini You can decide to set off from our very own Piano Center, di Villa Belgiojoso per spostarvi appena fuori dal centro located within the gardens of Villa Belgiojoso, and step outside SU CUI COSTRUIRE nel cortile di un palazzo di ringhiera, fra inquilini in festa, of the city center, into the courtyard of a typical residential o direttamente dentro un appartamento ascoltando un setting, amidst its festive residents.
  • Sardinian Composers of Contemporary Music

    Sardinian Composers of Contemporary Music

    Interdisciplinary Studies in Musicology 12,2012 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2012 CONSUELO GIGLIO Music Conservatory, Trapani Sardinian composers of contemporary music ABSTRACT: The meeting point between the school headed by Franco Oppo and the rich traditional music of the island gave birth in Sardinia to an intense flowering in the field of New Music, with a strong feeling of belonging and a constant call for a positive concept of identity. Thus, since the time of Oppo (1935) and his contemporary Vittorio Montis, we come across many composers that differ between each other but are almost always recognizably “Sardinian”. Oppo has been one of the most interesting figures on the international scene during the last few decades. After his studies in Rome, Venice and Poland in the early 1960s, he remained, by his own choice, in his home territory, sharing his “Sardinian-ness” in a free and dialectic manner with the avant-garde. After formulating his own particular aleatory approach, Oppo reached a turning point halfway through the 1970s: in Musica per chitarra e quartetto d’archi, Praxodia and, finally, in Anninnia I, the meeting point between avant-garde research and the special phonic quality of tra­ ditional music became more and more close-knit and organic, at the same time also acting on the founding language structure whilst still remaining under the control of incisive and informed dis­ ciplines (during the same period, moreover, he put forward new methodologies of analysis which were also necessary for his teaching). In this sense the most important works are chamber pieces like Anninnia I and II (1978, 1982), Attitidu (1983) and Sagra (1985), the theatrical work Eleonora d’Arborea (1986), some piano “transcriptions” - the Three berceuses (1982), Gallurese and Baroniese (1989; 1993) - Trio III (1994), Sonata B for percussion and piano (2005) and the two Concerts for piano and orchestra (1995-97; 2002).
  • The Life of Haydn David Wyn Jones Index More Information

    The Life of Haydn David Wyn Jones Index More Information

    Cambridge University Press 978-0-521-89574-3 - The Life of Haydn David Wyn Jones Index More information index Abel, Carl Friedrich 125 Bach, Carl Philipp Emanuel 53–4, 140, Abingdon, Earl of 125, 168 175 Academy of Ancient Music 147 Versuch über die wahre Art das Clavier zu Adamberger, Valentin 115 spielen 53 Alba, Duke of 122 Bach, Johann Christian 125 Albert of Sachsen-Teschen, Prince 68, Bachmann, Gottlob 184 198 Baden 197, 203 Albrechtsberger, Johann Georg 130, 161 Bader, Philip Georg 85 Allegri, Gregorio 13 Badini, Francesco 171 Miserere 23 Bailleux 204 Allgemeine musikalische Zeitung 189, Banti, Brigida 171 204–5, 207, 208, 216, 220, Barmherzige Brüder 24, 50, 62, 112, 226 224 Alxinger, Johann Baptist von 188 Barthélemon, François-Hippolyte 187 Amorbach 204 baryton 56 Amsterdam 103, 218 Bath 168–9 Anacreontic Society 147 Battle of the Nile 194 André 183 Bayreuth 200 Anfossi, Pasquale 75, 84, 85, 87, 88, Beethoven, Ludwig van 1, 23, 116, 131, 98 143, 158, 160, 161, 176, 180, 222, Isabella e Rodrigo 100 223 Apponyi, Count Georg von 119, 188 Cantata on the death of Joseph II 144 Arnold, Samuel 197 Piano Concerto no. 1, 176 Artaria 91, 100, 103–10, 110, 115, 116, 119, Symphony no. 9 (‘Choral’) 116 121, 122, 128–9, 137, 185, 197, Benedict XIV, Pope 23 201, 213, 225 Bergen 211 Ascot 158 Berlin 22, 103 Ashe, Andrew 168, 173 Berwald, Johan Fredrik 195 Astarita, Genaro 88 Bianchi, Francesco 170 I visionari 84 Binder, Sebastien 223 Auenbrugger, Franziska 110 Bland, John 132–3, 137, 146, 149, 166, Auenbrugger, Maria Katherina 110 172, 202,
  • « Leopold Godowsky's Fifty-Three Studies on Chopin's Études »

    « Leopold Godowsky's Fifty-Three Studies on Chopin's Études »

    « Leopold Godowsky’s Fifty-Three Studies on Chopin’s Études » by « Younggun Kim » A thesis submitted in conformity with the requirements for the degree of « Doctor of Musical Arts » « Graduate Department of Music » University of Toronto © Copyright by « Younggun Kim » « 2017 » Leopold Godowsky’s Fifty-Three Studies on Chopin’s Études Younggun Kim Doctor of Musical Arts Graduate Department of Music University of Toronto 2017 Abstract Leopold Godowsky (1870-1937) composed works that require pianistic fluency of an exceptional order, including fifty-three Studies based on twenty-six of Frédéric Chopin’s twenty-seven Études. The purpose of this dissertation is to examine the significance of these Studies and to reveal the compositional techniques that Godowsky used to create them. This dissertation consists of a foreword and seven chapters. The foreword describes the unique position that Godowsky’s Studies occupy in the piano literature and argues that they deserve further scholarly research. Chapter one discusses Godowsky’s life and the composition of the Studies, and it provides a review of relevant literature. Chapter two is divided into ii two sections. The first section proposes five compositional techniques that are used to create the Studies: switch, condensation, superimposition/addition, reconstruction and merging. The second section examines Godowsky’s classification of the Studies into five categories: Strict Transcriptions, Free Transcriptions, Cantus Firmus Versions, Versions in Form of Variations and Metamorphoses. Chapters three, four and five are case studies of selected Studies, arranged by the compositional techniques presented in Chapter two. Chapter three deals with Studies that are composed using switch, superimposition/addition and merging technique.
  • Concerto Di Domenica 10 Giugno 2012, Ore 11,50

    Concerto Di Domenica 10 Giugno 2012, Ore 11,50

    Domenica 10 giugno 2012, ore 11,50 Francesco libetta pianoforte PROGRAMMA camillo togni Seconda Partita corale su Preludi corali di Bach (1922-1993) (1976) Das Alte Jahr vergangen ist Alle Menschen müssen sterben Christ lag in Todesbanden Fughetta super: Gelobet seist du, Jesu Christ Der Tag, der ist so freudenreich Georg Friedrich Händel Suite n. 7 in si bemolle maggiore HWV 440 (1733) (1685-1759) Allemande Courante Sarabande Gigue Anton Webern Variationen für Klavier op. 27 (1936) (1883-1945) Sehr mäßig Sehr schnell Ruhig fließend Ildebrando Pizzetti Canti di ricordanza (1880-1968) Quattro variazioni per pianoforte su un tema del “Fra Gherardo” (1943) Molto largo Allegro moderato (quasi Marcia) Appassionato Andante largo Francesco libetta ato a Galatone (Lecce) nel 1968, Francesco Libetta è pianista, direttore d’orchestra Ne compositore. Nel 2009 la sua opera Ottocento, scritta in collaborazione con il co­ reografo Fredy Franzutti e dedicata all’assedio di Otranto del 1480, è stata rappresentata proprio a Otranto e a Roma, presso l’Auditorium di via della Conciliazione. Come diret­ tore d’orchestra ha lavorato a lungo con I Filarmonici di Verona, la Nuova Orchestra Scar­ latti di Napoli e l’Orchestra del Teatro Nazionale di Tirana, in Albania. Ma è soprattutto come pianista che Libetta si è imposto davanti a un pubblico molto vasto che include, oltre l’Europa, anche l’estremo Oriente (Hong Kong, Tokyo, Osaka) e gli Stati Uniti, dove Francesco Libetta ha suonato più volte nelle sedi più prestigiose, a cominciare dalla Car­ negie Hall di New York, ed è praticamente di casa dopo l’exploit che lo ha segnalato, nel 2000, al Miami International Piano Festival of Discovery.
  • Accepted Faculty of Graduate Studies

    Accepted Faculty of Graduate Studies

    ACCEPTED FACULTY OF GRADUATE STUDIES JOSEPH HAYDN AND THE DRAMMA GIOCOSO by Patricia Anne Debly Mus.Bac., University of Western Ontario, 1978 M.Mus., Catholic University of America, 1980 M.A., University of Victoria, 1985 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in the School of Music We accept this dissertation as conforming to the required standard I^an G. Lazarevich, Supervisor (Faculty of Graduate Studies) Dr. E. Schwandt, Departmental Member (School of Music] Dr. A. Q^fghes, Outside Member (Theatre Department) Dr. J. ..ujiey-r-Outside (History Department) Dr. M. Tér^-Smith, External Examiner (Music Department, Western Washington University) © PATRICIA ANNE DEBLY, 1993 University of Victoria All rights reserved. Dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. 11 Supervisor; Dean Gordana Lazarevich ABSTRACT Haydn's thirteen extant Esterhdzy operas, composed from 1762-85, represent a microcosm of the various trends in Italian opera during the eighteenth century'. His early operas illustrate his understanding and mastery of the opera seria, the intermezzo and the opera buffa traditions which he would utilize in his later draimi giocosi. In addition to his role as Kapellmeister Haydn adcpted and conducted over eighty-one operas by the leading Italian composers of his day, resulting in over 1,026 operatic performances for the period between 1780-90 alone and furthering his knowledge of the latest styles in Italian opera. This dissertation examines the five draimi giocosi which Haydn wrote, beginning with Le pescatrici {1769) through to La fedelta preiniata (1780), within the context of the draima giocoso tradition.
  • EJ Full Draft**

    EJ Full Draft**

    Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today.