DOCSLIB.ORG

|||GET||| Harrison Birtwistle: the Mask of Orpheus 1St Edition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
|||GET||| Harrison Birtwistle: the Mask of Orpheus 1St Edition HARRISON BIRTWISTLE: THE MASK OF ORPHEUS 1ST EDITION DOWNLOAD FREE Jonathan Cross | 9781351564137 | | | | | Sir Harrison Birtwistle: The Mask of Orpheus Archived from the original on 17 January Nine episodes of the myth are presented in an artificial time-sequence, which starts by receding into the past, then comes forward into the future and finally begins to return to the past. As the Oracle instructed, he walks backwards, always facing the sun he is leaving behind; during his descent there are many obstacles because it is forbidden for the living to enter the Underworld. One version of the Orpheus story is that he is then killed by a thunderbolt thrown by Zeuswhile another is that he is dismembered by the women of Dionysus. Not even Orpheus can dispel this atmosphere with his love-song for Eurydice. Through a clarinet scholarship, he entered the Royal Manchester College of Musicwhere his contemporaries included Harrison Birtwistle: The Mask of Orpheus 1st edition composers Alexander Goehr and Peter Maxwell Davies. They enact a ritual of the Tree of Life. Parodos Apollo presides at the birth of Orpheus and gives him the gifts of speech, poetry and music. I understand. The composer in Arch Order. He has a second vision of Eurydice. Arch Ropes. Scored for massive orchestral forces, The Mask of Orpheus, explores the contradictions in the various versions of the famous Greek tragedy, building a three-dimensional picture that leads us from inconsolable grief to acceptance and transformation. The earth turned barren at the crime. BBC Music Magazine. But the god himself finally silences Orpheus for rivalling his own oracle at Delphi. Arch 6: Wings. Follow us. The recording, direct and pungent but by no means lacking in Harrison Birtwistle: The Mask of Orpheus 1st edition the electronic tape is pervasive in the right sense: it is the voice of Apolloleaves nothing to be desired. Orpheus Man, exhausted, has a deep and terrible sleep, in which he dreams that he, as Orpheus Hero, descends through the arches into the Underworld. Operas based on myths and legends Take a look at some of these best known operas based on myths and legends. Composer or Director: Harrison Birtwistle. Retrieved 16 August Eurydice wanders by the river. In the wedding ceremony, Hymen God of Marriage is invoked and the priests ask ritual questions; but there are bad omens: Hymen arrives late and Eurydice stumbles repeatedly over her answers in the ritual. Orpheus goes back for Euridice Harrison Birtwistle: The Mask of Orpheus 1st edition realises she cannot follow him. There are, for example, six scenes or interludes intended to be mimed by a separate cast which are accompanied by an electronic tape. Rhea released them and made Lycurgus so mad that he killed his own son thinking he was pruning a vine. Eurydice is transformed into myth. Read the introductory guide to The Mask of Orpheus. He sees a vision of Eurydice. Harrison Birtwistle: The Mask of Orpheus 1st edition staging was complex, involving suns, rivers, and a flying golden carriage. Episode 2 Orpheus Man sings of his imaginary descent to the Underworld. Arch Fear. Arch 9: Glass. He is surrounded by wispy shadows resembling Eurydice. He fails to see their resemblance to himself, Eurydice or the Oracle. Sir Orfeo c. Orpheus hangs himself. Birtwistle The Mask of Orpheus Orpheus challenges the sun-god with his song. She dies and he hangs himself. Venus loved the beautiful Adonis. The earth turned barren at the crime. Orpheus overcomes the same obstacles as on his descent: in turn they utter screams and disappear. Arch 9: Glass. Then time moves forwards as Orpheus leaves the Underworld again. Episode 9 The sacrifice of Orpheus Myth is continued as if the two previous episodes had not happened. Orpheus goes back for Euridice but realises she cannot follow him. Orpheus and Eurydice. Orpheus remembers his imaginary ascent from the Underworld. Follow us. Parodos Apollo presides at the birth of Orpheus and gives him the gifts of speech, poetry and music. She did not know that the nymph, Lotus, had been changed into the flower to escape the lust of Pryapus. Harrison Birtwistle: The Mask of Orpheus 1st edition are literally hundreds of depictions of the Orpheus myth in opera, and we've chosen four to stage as part of our Season. Third time distortion: Orpheus Hero is rejected by the Underworld and is re-born as a myth. Orpheus is unable to accept that he was powerless to save his wife. Arch 2: Crowds. His magic overcomes even the fiercest of the characters in the Underworld. The structure of the act is based on the movement of tides on an imaginary beach. Operas based on myths and legends Take a look at some of these best known operas based on myths and legends. Arch 3: Evening. View 13 images. Birtwistle communicates his refracted but gripping myth with, above all, orchestral colour: an orchestra of wind, percussion and plucked instruments plus tape, sampler and a small chorus used with vivid mastery. Episode 6 Orpheus Myth is sacrificed and dismembered by the Dionysiac women. Again, I think it important not to worry too much about these until the sound of the opera has worked its spell. Two versions of the death of Eurydice are presented simultaneously. The three versions of the character represent their human, heroic and mythical form. Orpheus then becomes the subject of a cult and an oracle. Orpheus crosses the River Styx. Composer or Director: Harrison Birtwistle. In both versions she dies from the bite of a water-snake. Act I Scene Harrison Birtwistle: The Mask of Orpheus 1st edition Orpheus falls in love with Eurydice. Scene 2: The Return Arch Buildings. He discovered wine and its effects. He leaves the ceremony to consult the Oracle of the Dead. However, the opera's story might be Harrison Birtwistle: The Mask of Orpheus 1st edition said to be as follows:. The ambitious piece explores the contradictions in various versions of the Orpheus myth. Aristaeus is punished by his bees. Episode 4 Orpheus Hero re-enacts his journey out of the Underworld with Harrison Birtwistle: The Mask of Orpheus 1st edition. Each singer wore and sang through a mask. Orpheus Man, exhausted, has a deep and terrible sleep, in which he dreams that he, as Orpheus Hero, descends through the arches into the Underworld. Orpheus Chaconne The recording, direct and pungent but by no means lacking in atmosphere the electronic tape is pervasive in the right sense: it is the voice of Apolloleaves nothing to be desired. But the music says far more than the sometimes enigmatic words, and the ceremonial retelling of the whole story in Act 3, a sequence of mysteriously dramatic episodes framed by verses of a song, would perhaps have less impact if the words of that song were comprehensible. Despite her warnings, he hunted wild boar and was fatally wounded in the genitals. An introduction to The Mask of Orpheus Orpheus consoles him. He is surrounded by wispy shadows resembling Eurydice. Lycurgus and his men fought Dionysus and captured his followers. Born in the Lancashire town of Accrington inHarrison Birtwistle was musically gifted from a young age. Jocelyn Herbert was commissioned to design the sets and costumes for the opera's premiere. Act III The structure of the act is based on the movement of tides on an Harrison Birtwistle: The Mask of Orpheus 1st edition beach. Orpheus challenges the sun-god with his song. Namespaces Article Talk. Orpheus sees those in torment as he passes. Apollo presides at the birth of Orpheus and gives him the gifts of speech, poetry and music. They enact a ritual of the Tree of Life. One version Harrison Birtwistle: The Mask of Orpheus 1st edition the Orpheus story is that he is then killed by a thunderbolt thrown by Zeuswhile another is that he is dismembered by the women of Dionysus. Read the introductory guide to The Mask of Orpheus. The ritual repetitions, the elaborate patternings and allegorical structures make their own effect. Opera by Harrison Birtwistle. A snake, which tries to silence the oracle, is killed by Apollo. An example of this process in action is the seduction of Euridice by Aristaeus. Woodwind : 3 piccolos 4 flutes 3 alto flutes bass flute 3 oboes oboe d'amore 3 English horns bass oboe 2 E-flat clarinets 3 clarinets 3 bass clarinets contrabass clarinet 3 bassoons 3 contrabassoons 3 soprano saxophones. But the music says far more than the sometimes enigmatic words, and the ceremonial retelling of the whole story in Act 3, a sequence of mysteriously dramatic episodes framed by verses of a song, would perhaps have less impact if the words of that song were comprehensible. And it is an opera in which everything happens in the music. The sacrifice of Orpheus Myth is continued as if the two previous episodes had not happened. Orpheus goes back for Euridice but realises she cannot follow him. Orpheus and Euridice fall in love and marry. Orpheus Hero re-enacts his journey out of the Underworld with Eurydice. Also, individual events may occur within the opera on several occasions, as they are being predicted, as they happen, and as they are being remembered. He makes his escape. What about your Juno from your Jupiter? As Orpheus emerges into the sunlight, he awakes. Harrison Birtwistle: The Mask of Orpheus 1st edition released them and made Lycurgus so mad that he killed his own son thinking he was pruning a vine. Scored for massive orchestral forces, The Mask of Orpheus, explores the contradictions in the various versions of the famous Greek tragedy, building a three-dimensional picture that leads us from inconsolable grief to acceptance and transformation.
Load more

Recommended publications
  • 1 the Roots of Birtwistle's Theatrical Expression
    Cambridge University Press 978-0-521-89534-7 - Harrison Birtwistle’s Operas and Music Theatre David Beard Excerpt More information 1 The roots of Birtwistle’s theatrical expression: from Pantomime to Down by the Greenwood Side With six major operas, around eight music dramas, and a body of incidental music to his name, Harrison Birtwistle has made a significant contribution to contemporary opera and music theatre during a period that spans more than forty years. This study is concerned not only to reflect the importance of these stage works by examining them in some detail but also to convey their varied musical and intellectual worlds. Previous studies have rightly focused on Birtwistle’s perennial concerns, such as myth, ritual, cyclical journeys, varied repetition, verse–refrain structures, instrumental role-play, layers and lines.1 These characteristics highlight consistency throughout Birtwistle’s oeuvre and are a mark of his formalist stance. By contrast, this book is motivated by a belief that the stage works – in which instrumental and physical drama, song and narrative are combined – demand interpre- tation from multiple, inter-disciplinary perspectives. While not denying obvious or important relations between works, what follows is rather more focused on differences: Birtwistle’s choice of contrasting narrative subjects, his collaborations with nine librettists, his varied pre-compositional ideas and working methods, his experience with different directors, producers and others, all distinguish one stage work from another. A recurring theme is therefore a consideration of ways in which Birtwistle’s initial concepts are informed, altered or conveyed differently in each case. Moreover, as ideas evolve, from the composer’s musical sketches to the final production, mul- tiple meanings accrue that are particular to each drama.
    [Show full text]
  • The-Corridor-The-Cure-Programma
    thE Corridor & thE curE HARRISON BIRTWISTLE DAVID HARSENT LONDON SINFONIETTA INHOUD CONTENT INFO 02 CREDITS 03 HARRISON BIRTWISTLE, MEDEA EN IK 05 HARRISON BIRTWISTLE, MEDEA AND ME 10 OVER DE ARTIESTEN 14 ABOUT THE ARTISTS 18 BIOGRAFIEËN 16 BIOGRAPHIES 20 HOLLAND FESTIVAL 2016 24 WORD VRIEND BECOME A FRIEND 26 COLOFON COLOPHON 28 1 INFO DO 9.6, VR 10.6 THU 9.6, FRI 10.6 aanvang starting time 20:30 8.30 pm locatie venue Muziekgebouw aan ’t IJ duur running time 2 uur 5 minuten, inclusief een pauze 2 hours 5 minutes, including one interval taal language Engels met Nederlandse boventiteling English with Dutch surtitles inleiding introduction door by Ruth Mackenzie (9.6), Michel Khalifa (10.6) 19:45 7.45 pm context za 11.6, 14:00 Sat 11.6, 2 pm Stadsschouwburg Amsterdam Workshop Spielbar: speel eigentijdse muziek play contemporary music 2 Tim Gill, cello CREDITS Helen Tunstall, harp muziek music orkestleider orchestra manager Harrison Birtwistle Hal Hutchison tekst text productieleiding production manager David Harsent David Pritchard regie direction supervisie kostuums costume supervisor Martin Duncan Ilaria Martello toneelbeeld, kostuums set, costume supervisie garderobe wardrobe supervisor Alison Chitty Gemma Reeve licht light supervisie pruiken & make-up Paul Pyant wigs & make-up supervisor Elizabeth Arklie choreografie choreography Michael Popper voorstellingsleiding company stage manager regie-assistent assistant director Laura Thatcher Marc Callahan assistent voorstellingsleiding sopraan soprano deputy stage manager Elizabeth Atherton
    [Show full text]
  • Baroque 1590-1750 Classical 1750-1820
    Period Year Opera Composer Notes A pastoral drama featuring a Dafne new style of sung dialogue, 1597 Jacopo Peri more expressive than speech but less melodious than song The first opera to survive 1600 Euridice Jacopo Peri in tact The earliest opera still 1607 Orfeo Claudio Monteverdi performed today Il ritorno d’Ulisse in patria Claudio Monteverdi 1639 (The Return of Ulysses) L’incoronazione di Poppea 1643 (The Coronation of Poppea) Claudio Monteverdi 1647 Ofeo Luigi Rossi 1649 Giasone Francesco Cavalli 1651 La Calisto Francesco Cavalli 1674 Alceste Jean-Baptiste Lully 1676 Atys Jean-Baptiste Lully Venus and Adonis John Blow Considered the first English 1683 opera 1686 Armide Jean-Baptiste Lully 1689 Dido and Aeneas Henry Purcell Baroque 1590-1750 1700 L’Eraclea Alessandro Scarlatti 1710 Agrippina George Frederick Handel 1711 Rinaldo George Frederick Handel 1721 Griselda Alesandro Scarlatti 1724 Giulio Cesere George Frederick Handel 1728 The Beggar’s Opera John Gay 1731 Acis and Galatea George Frederick Handel La serva padrona 1733 (The Servant Turned Giovanni Battista Pergolesi Mistress) 1737 Castor and Pollux Jean-Philippe Rameau 1744 Semele George Frederick Handel 1745 Platee Jean-Philippe Rameau La buona figliuola 1760 (The Good-natured Girl) Niccolò Piccinni 1762 Orfeo ed Euridice Christoph Willibald Gluck 1768 Bastien und Bastienne Wolfgang Amadeus Mozart Mozart’s first opera Il mondo della luna 1777 (The World on the Moon) Joseph Haydn 1779 Iphigénie en Tauride Christoph Willibald Gluck 1781 Idomeneo Wolfgang Amadeus Mozart Mozart’s
    [Show full text]
  • The Anguished Cry of Orpheus Has Haunted Harrison Birtwistle All His Composing Life
    Hilary Finch The Times 17 August 2009 Euridice! The anguished cry of Orpheus has haunted Harrison Birtwistle all his composing life. This summer he wrote a new Orpheus piece; and, while we wait for a long-overdue new production of his great opera The Mask of Orpheus (premiered in 1986), the Proms has boldly presented a semi-staging of its central act. This focuses on Orpheus’ journey to the Underworld to retrieve Euridice, except that this time he never gets there. It’s all a dream — with some of Birtwistle’s most sensuously lyrical and light-dappled music turning to a nightmare of rhythmic distortion, layering, and electronic sampling — and with a strangely potent awakening. Thanks to the superb playing of the BBC Symphony Orchestra under Martyn Brabbins, the skilful sound design of Ian Dearden and thoughtful stage direction by Tim Hopkins — including a glittering of hand mirrors — this was unforgettable. Paul Driver Sunday Times 23 August 2009 Orpheus made an overt connection with a work by Harrison Birtwistle in that BBCSO concert: his prodigious electro-acoustic opera, The Mask of Orpheus, whose relentlessly dissonant, hour-long central act (The Arches) was given a stunning concert rendering with the help of the BBC Singers. Andrew Clements Guardian ***** Monday 17 August 2009 The Mask of Orpheus is Harrison Birtwistle's masterpiece and the finest British opera of the last half-century, but the score's scale and complexity have conspired to limit its opportunities – there has been just one complete performance in concert since the premiere at ENO in 1986. Even as part of its celebration of Birtwistle's 75th birthday, the resources of the Proms couldn't run to programming the whole work, so Martyn Brabbins and Ryan Wigglesworth conducted just the hour-long second act, with the BBC Symphony Orchestra and BBC Singers, and a cast led by Alan Oke as Orpheus the Man.
    [Show full text]
  • Orfeo 20 Sa Pour
    SAISON 13-14 L’ORFEO DE MONTEVERDI Dossier Dossier Pédagogique Pour sa 20e édition, l’Académie baroque européenne d’Ambronay retourne aux sources de l’opéra. L’Orfeo, fable en musique écrite par Claudio Monteverdi en 1607, est souvent considéré comme le premier véritable opéra de l’histoire, une œuvre musicalement intense, dont le livret est directement inspiré des Métamorphoses d’Ovide. La richesse de l’orchestration, la virtuosité des pages chorales, la caractérisation très précise des différents rôles font de cette œuvre le terrain de jeu idéal pour ces talents émergents. Coproduction : Centre culturel de rencontre d’Ambronay, Théâtre de Bourg- SAMEDI 19 OCTOBRE : 20h30 en-Bresse, Opéra Théâtre de Saint-Étienne DIMANCHE 20 OCTOBRE : 15h30 et Opéra de Reims. Cette production SPECTACLE EN ITALIEN SURTITRE EN FRANÇAIS bénéficie du soutien de la fondation DUREE DU SPECTACLE : 2 HEURES AVEC ENTRACTE Orange. Sommaire L’ORFEO DE MONTEVERDI ................................................................................................................ 3 SYNOPSIS ......................................................................................................................................... 3 CLAUDIO MONTEVERDI 1567-1643 .............................................................................................. 5 LE LIBRETTISTE : ALESSANDRO STRIGGIO 1573-1630 ........................................................... 6 FICHE IDENTITE DE L’ŒUVRE .....................................................................................................
    [Show full text]
  • Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette
    Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette Master’s Thesis in The Department of Communication Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Media Studies) at Concordia University Montreal, Quebec, Canada August 2013 © Ryan Cadrette, 2013 iii Abstract Tracing Eurydice: Adaptation and Narrative Structure in the Orpheus Myth Ryan Cadrette The primary purpose of this thesis is to postulate a working method of critical inquiry into the processes of narrative adaptation by examining the consistencies and ruptures of a story as it moves across representational form. In order to accomplish this, I will draw upon the method of structuralist textual analysis employed by Roland Barthes in his essay S/Z to produce a comparative study of three versions of the Orpheus myth from Ovid’s Metamorphoses. By reviewing the five codes of meaning described by Barthes in S/Z through the lens of contemporary adaptation theory, I hope to discern a structural basis for the persistence of adapted narrative. By applying these theories to texts in a variety of different media, I will also assess the limitations of Barthes’ methodology, evaluating its utility as a critical tool for post-literary narrative forms. iv Acknowledgments I would like to thank my advisor, Peter van Wyck, for his reassurance that earlier drafts of this thesis were not necessarily indicative of insanity, and, hopefully, for his forgiveness of my failure to incorporate all of his particularly insightful feedback. I would also like to thank Matt Soar and Darren Wershler for agreeing to actually read the peculiar monstrosity I have assembled here.
    [Show full text]
  • Cambridge Introductions to Music: Opera Robert Cannon Index More Information
    Cambridge University Press 978-0-521-76302-8 - Cambridge Introductions to Music: Opera Robert Cannon Index More information Index Operas are included under their composer’s name. Tables have not been indexed. Adams, John 339–42, 367, 368 Bernstein, Leonard 396 Doctor Atomic 340 Birtwistle, Harrison 320, 375–9 The Death of Klinghoffer 340 The Mask of Orpheus 375, 377–9, 380 NixoninChina 340–2 Punch and Judy 375 Ades,` Thomas 342 Bizet, Georges 259 Ainsley, John Mark 252 Carmen 259 Alden, David 383 Brecht, Bertolt 335, 357–61, 369, see also Weill Algarotti, Francesco 51 Verfremdungseffekt 359 Angiolini, Gasparo 52, 61, 63, 175 Britten, Benjamin 236, 251, 293, 325–34, 335, Appia, Adolphe 296, 297 336, 344, 384, 386 Auber, Daniel 169 Albert Herring 329 La Muette de Portici 171, 176, 177–8 Billy Budd 317, 327 Auden, W. H. 82, 320, 335 Church Parables 327 Curlew River 327 Ballad opera 394 DeathinVenice 327 BalletcomiquedelaRoyne, see Circ´e Peter Grimes 326, 329–30, 338, 343 Bardi, Battista de’ and Pietro, 17 The Rape of Lucretia Bartoli, Cecelia 251 The Turn of the Screw 248 Baudelaire, Charles 284 Buchner,¨ Georg 304, 305 Beethoven, Ludwig van 113–18, 124, 318 Burke, Edmund 109 Fidelio 113–18, 121, 128, 347 Burton, Humphrey 384 Bel Canto 131 Belinsky, Vissarion 231 Caccini, Giulio 11, 17 Bellini, Vincenzo 128, 129 Le nuove musiche 11 Norma 135 Callas, Maria 241, 249, 250 La Sonnambula 148, 320 Calzabigi, Ranieri de’ 52, 61, 63, 325 Benda, Jirˇ´ı(Georg) 52, 60–1 Camerata, The Florentine 17, 61 Medea 60–1 Castrato 21 Berg, Alban 265, 293, 303–12,
    [Show full text]
  • 2001 Almanach Ges.Pdf
    ALMANACH ZWEITE EUROPÄISCHE OPERNAKADEMIE NEUMARKT I. D. OPF. / BAYERN 7.–16. SEPTEMBER 2001 ORPHEUS EWIGER SÄNGER ERSTER HELD O PERNS TUDIO DER REGION NÜRNBERG ZWEITE EUROPÄISCHE OPERNAKADEMIE NEUMARKT ORPHEUS EWIGER SÄNGER – ERSTER HELD Zweite Europäische Opernakademie Neumarkt i.d.OPf./Bayern 7.-16. September 2001 Schirmherr Staatsminister Hans Zehetmair DANK AN DIE FÖRDERER Die Zweite Europäische Opernakademie Neumarkt i.d.OPf./Bayern wird veranstaltet vom Kultur prägt die Qualität unseres Lebens. leiht der Opernakademie eine Zukunft. Helfen Sie uns auch in Zukunft für diese Wir würden uns freuen, wenn Sie in Künstlerische Leitung: Lebensqualität sorgen zu können. Jede Zukunft zu den Förderern der Opern- Michael Schmidt Unterstützung ist für uns wichtig und ver- akademie gehören. Sprechen Sie mit uns. Die Europäische Opernakademie 2001 Ebenso danken wir für die Unterstützung Die Arbeit des Opernstudios der Region wurde ermöglicht durch die Unterstützung diverser Firmen, den Inserenten des Alma- Nürnberg ist nur möglich durch die von: nachs, allen Familien die Kursteilnehmer Zuschüsse von: bei sich aufgenommen haben, dem Leiter der Musikschule Neumarkt Wolfgang Fuchs I Mittelfrankenstiftung für die Bereitstellung der Räumlichkeiten, „Natur-Kultur-Struktur“ allen Mitarbeitern und nicht zuletzt Herrn des Bezirks Mittelfranken Alwin Ferstl, dem technischen Leiter des Bayerisches Staatsministerium für Reitstadels, der uns unermüdlich zur Seite I Die Region Nürnberg e.V. Wissenschaft, Forschung und Kunst steht. I Großzügigen privaten Spendern Weitere Förderer der Opernakademie: Wir danken besonders auch den Medien- partnern: Stadt Neumarkt I DSC Bromberger GmbH, Digitaler Druck, Schwabach I Neumarkter Lammsbräu, Neumarkt I Fernsehfachgeschäft Dieter Callsen, Neumarkt I Blumen Striegel, Neumarkt INA-Holding Schaeffler KG I Bretschneider Bürobedarf, Neumarkt I Hotel-Gasthof Lehmeier, Neumarkt I Berggasthof Sammüller, Neumarkt I Pension Am Weiher, Neumarkt I Weinfachgeschäft Winzerland, Neumarkt Das Opernstudio der Region Nürnberg Die Region Nürnberg e.V.
    [Show full text]
  • Der Auf Orpheus (Und/Oder Eurydike)
    Reinhard Kapp Chronologisches Verzeichnis (in progress) der auf Orpheus (und/oder Eurydike) bezogenen oder zu beziehenden Opern, Kantaten, Instrumentalmusiken, literarischen Texte, Theaterstücke, Filme und historiographischen Arbeiten (Stand: 5. 10. 2018) Für Klaus Heinrich Da das primäre Interesse bei der folgenden Zusammenstellung musikgeschichtlicher Art ist, stehen am Anfang der Einträge die Komponisten, soweit es sich um musikalische Werke handelt – auch dann, wenn die zeitgenössische Einschätzung wohl eher den Librettisten die Priorität eingeräumt hätte. Unter einem bestimmten Jahr steht wiederum die Musik an erster Stelle, gefolgt von Theater, Film, Dichtung und Wissenschaft. Vielfach handelt es sich um Nachrichten aus zweiter Hand; ob etwa die genannten Stücke sich erhalten haben, ließ sich noch nicht in allen Fällen ermitteln. Doch ist u.U. die bloße Tatsache der Aufführung schon Information genug. Musik- bzw. literaturwissenschaftliche Sekundärliteratur zu einzelnen Stücken bzw. Texten wurde in der Regel nicht verzeichnet. Die Liste beruht nicht auf systematischen Erhebungen, daher sind die Angaben von unterschiedlicher Genauigkeit und Zuverlässigkeit. Ergänzungen und Korrekturen werden dankbar entgegengenommen. Eine erste rudimentäre Version erschien in: talismane. Klaus Heinrich zum 70. Geburtstag , hsg. v. Sigrun Anselm und Caroline Neubaur, Basel – Frankfurt/M. 1998, S.425ff. Orphiker: Schule philosophierender Dichter, benannt nach ihrem legendären Gründer Orpheus – 8./7. Jh. v. Chr. Ischtars Fahrt in das Land ohne Heimkehr (altsumerische Vorform des Mythos, ins dritte vorchristliche Jahrtausend zurückreichend) – aufgezeichnet im 7. Jh. v. Chr. Ibykos (Lyriker), Fragment aus zwei Worten „berühmter Orpheus“ – 6. Jh. v. Chr. Unter den Peisistratiden soll Onomakritos am Tyrannenhof die Orphischen Gedichte gesammelt haben – 6. Jh. v. Chr.? Simonides v. Keos (?), Fragment 62 (bzw.
    [Show full text]
  • Redalyc.Orfeo En El Discurso Artístico: La Pervivencia De Un Arquetipo
    RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas E-ISSN: 2395-7972 [email protected] Centro de Estudios e Investigaciones para el Desarrollo Docente A.C. México Sánchez Usón, María José Orfeo en el discurso artístico: la pervivencia de un arquetipo RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas, vol. 4, núm. 8, julio-diciembre, 2015 Centro de Estudios e Investigaciones para el Desarrollo Docente A.C. Disponível em: http://www.redalyc.org/articulo.oa?id=503950656014 Como citar este artigo Número completo Sistema de Informação Científica Mais artigos Rede de Revistas Científicas da América Latina, Caribe , Espanha e Portugal Home da revista no Redalyc Projeto acadêmico sem fins lucrativos desenvolvido no âmbito da iniciativa Acesso Aberto Revista Iberoamericana de las Ciencias Sociales y Humanísticas ISSN: 2395-7972 Orfeo en el discurso artístico: la pervivencia de un arquetipo Orpheus no discurso artístico: a sobrevivência de um arquétipo María José Sánchez Usón1 Universidad Autónoma de Zacatecas, México [email protected] Resumen Orfeo ha sido tratado como inspiración y temática por la gran mayoría de artistas de todos los géneros, tiempos y lugares, atraídos, sin duda, por el imperecedero hechizo de su lira. Ante esto, cabe preguntarse de dónde viene la fascinación que ha contribuido a popularizar y preservar la historia órfica, y la respuesta nos conduce a diferentes orígenes: Primeramente, de la atractiva dualidad que conjuga su mito, dos extremos: el amor y la muerte; la luz, representada en la naturaleza en todo su esplendor y en la radiante Eurídice, y la oscuridad, contenida en sucatábasis o descensus ad inferos.
    [Show full text]
  • SIR HARRISON BIRTWISTLE on HIS SONGS Interviewed by Stephan Meier
    SIR HARRISON BIRTWISTLE ON HIS SONGS Interviewed by Stephan Meier The part of this interview between ** can be heard as track R on the CD. Yesterday the Sinfonieorchester des Bayrischen Rundfunks premiered your piano concerto, entitled Responses: Sweet Disorder and the Carefully Careless.1 This weekend we have you as a guest in Hannover and on Monday you go to Porto to attend the next performances of the piano concerto. Touring round Europe – meanwhile, when do you compose? I’m composing now. I’m not being funny, but you know, then there is the whole question of sitting down and doing it. I’ve been busy this year because I had a birthday2 and there’s been a lot of celebrations around. But I’ve still been working and the important thing about working, which I suppose all of you, all you, everybody realises, is that you, even in small pieces, in small packets, if you’re consistent and keep at it, you can create a lot of work. But obviously, when you are moving around Europe, you can’t do that, but I’ve worked pretty hard this year – apart from being here, as it were. So would you, like Stravinsky, note something on a napkin? I don’t know I’d like to be like Stravinsky. For putting it on music-paper you go to your working place. Yes, and I’ve always had a special room, a space. For many years I built in three, maybe four, places octagonal studios, but my latest house doesn’t have that because (I don’t know if you have that in Germany) of building regulations on interesting buildings: as soon as you want to do anything interesting, you’re not allowed to do it; you’ve got to make it look as boring as everything else.
    [Show full text]
  • Adlington Text Make-Up
    The Music of Harrison Birtwistle Robert Adlington PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.5/13.5 pt in QuarkXPress® [SE] A catalogue record for this book is available from the British Library Library of Congress cataloguing in publication data Adlington, Robert. The music of Harrison Birtwistle / Robert Adlington. p. cm. – (Music in the twentieth century) Includes bibliographical references and index. ISBN 0 521 63082 7 – (hardback) 1. Birtwistle, Harrison–Criticism and interpretation. I. Title. II. Series. ML410.B605A35 2000 780Ј.92–DC21 00-22678 CIP ISBN 0 521 63082 7 hardback Contents Acknowledgements xi Abbreviations and note on sources xiv Introduction 1 1 Theatres 5 Violence 6 Myth 12 Music and drama 21 Narratives and rituals 26 2 Roles 38 Dramatic protagonists 39 Ceremonial actors 47 Negotiated identities 52 Soloists 61 3 Texts 68 Narration 68 Fragment 73 Pho¯ne¯78 Expression 82 4 Times 96 Time 96 Pulse 105 Journeys 112 5 Sections 121 Verse 122 Fragment 133 Context 142 6 Layers 156 Melody 156 Polyphony 164 Strata 180 7 Audiences 190 ix x Contents Notes 198 Chronological list of works 220 Bibliography 225 Index of works 232 General index 235 1 Theatres Nicholas Snowman has observed that, ‘For some composers, creating opera or music-theatre somehow requires a different, separate composi- tional process from the rest of their output.
    [Show full text]