SYMPHONY Orcncstrh
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print. -
André-Ernest-Modeste Grétry
pour la cour qu’il créée Zemire et Azor en 1771, où Marmontel parodie La Belle et la Bête. Cette nouvelle œuvre dédiée à Madame Du Barry lui vaut l’admiration de la famille royale, des courtisans puis du public, l’aspect fantastique de l’œuvre attisant la curiosité de l’auditoire, confondu par la mystérieuse scène du tableau magique… Triomphe absolu, et là encore Grétry donne le sentiment de proposer un nouveau type de spectacle. 1773 voit le succès du Magnifique écrit avec Sedaine, suivi de La Rosière de Salency, et surtout du premier “Grand Opéra” de Grétry, représenté à l’Opéra Royal de Versailles pour le Mariage du Comte d’Artois : Céphale et Procris. La nouvelle Reine, Marie-Antoinette, s’est tellement entichée de Grétry qu’elle devient la marraine de sa troisième fille en 1774, justement prénommée Antoinette. En six ans à peine, le jeune liégeois arrivé inconnu à Paris en est devenu le principal compositeur, stipendié par la cour… André-Ernest-Modeste Grétry Mais la représentation d’Iphigénie en Aulide de Gluck, au printemps 1774, est une 1741-1813 déflagration de modernité, et lorsque juste après, Céphale et Procris est présenté à l’Académie Royale de Musique, le public est déçu de son manque d’audace. Grétry est éclipsé par le Chevalier Gluck… La fausse magie en 1775, tièdement accueillie, Né à Liège dans une famille de musiciens, il intègre la maîtrise de la Collégiale Saint- est suivie du rebond des Mariages Samnites en 1776, au moment où les œuvres Denis où son père était premier violon. -
In This Issue
WINTER 2020 IN THIS ISSUE ORLANDO CONSORT THE PASSION OF JOAN OF ARC February 4 MARK & MAGGIE O'CONNOR AMERICAN CLASSICS February 14 GRUPO CORPO February 20–22 NIYAZ THE FOURTH LIGHT PROJECT February 28 HÉLÈNE GRIMAUD March 4 Winter 2020 | Volume 16, No. 4 FEATURE In This Issue Feature 3 The Joy and Value of a Student Matinee Dialogue 9 Karen Lund Returns to ‘The Shop Around the Corner’ with ‘She Loves Me’ at Village Theatre 13 Rachel Atkins Makes ‘The Turn of the Screw’ Her Own at Book-It Intermission Brain Transmission 12 Test yourself with our trivia quiz! Upcoming Events 15 Winter 2020 PAUL HEPPNER President Encore Stages is an Encore arts MIKE HATHAWAY Senior Vice President program that features stories KAJSA PUCKETT Vice President, about our local arts community Sales & Marketing alongside information about GENAY GENEREUX Accounting & performances. Encore Stages is Office Manager a publication of Encore Media Production Group. We also publish specialty SUSAN PETERSON Vice President, Production publications, including the SIFF JENNIFER SUGDEN Assistant Production Manager Guide and Catalog, Official Seattle ANA ALVIRA, STEVIE VAN BRONKHORST Pride Guide, and the Seafair Production Artists and Graphic Designers Commemorative Magazine. Learn more at encorespotlight.com. Sales MARILYN KALLINS, TERRI REED San Francisco/Bay Area Account Executives Encore Stages features the BRIEANNA HANSEN, SHERRI JARVEY, following organizations: ANN MANNING Seattle Area Account Executives CAROL YIP Sales Coordinator Marketing SHAUN SWICK Brand & Creative Manager CIARA CAYA Marketing Coordinator Encore Media Group 425 North 85th Street • Seattle, WA 98103 800.308.2898 • 206.443.0445 [email protected] encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve performing arts events in the San Francisco Bay Area and Greater Seattle Area. -
Temporadas De Ópera Dimitri Cherniakov Vísperas De Monteverdi
SCHERZO 25 AÑOS 1985 - 2 010 REVISTA DE MÚSICA Año XXV - Nº 256 - Octubre 2010 - 7 € DOSIER Año XXV - Nº 256 Octubre 2010 Temporadas de ópera ENCUENTRO Dimitri Cherniakov ACTUALIDAD Josep Soler Claudio Abbado REPORTA JE Hugo Wolf 150 años REFERENCIAS Vísperas de Monteverdi ENERO - FEBRERO 2011 ORQUESTA FILARMÓNICA NACIONAL DE RUSIA ANNA NETREBKO WIENER SYMPHONIKER FABIO LUISI RADIO- SINFONIEORCHESTER STUTTGART SIR ROGER NORRINGTON YUHA WANG LES MUSICIENS DU LOUVRE ANNE SOPHIE VON OTTER ROYAL PHILHARMONIC ORCHESTRA CHARLES DUTOIT TRONDHEIM SOLOISTS ORQUESTA FILARMÓNICA Anna Netrebko; Anne Sophie von Otter; Yuha Wang; Fabio Luisi; Sir Roger Norrington; Vladimir Spivakov; Charles Dutoit Charles Spivakov; Vladimir Norrington; Roger Sir Luisi; Fabio Wang; Yuha Otter; von Sophie Anne Netrebko; Anna DE GRAN CANARIA ELENA BASHKIROVA ORQUESTA SINFÓNICA DE TENERIFE Reservas para foráneos: [email protected] Tfno: 928 24 74 42 PUNTOS DE VENTA (a partir del 2 de noviembre) Las Palmas de Gran Canaria: Taquilla del Auditorio Alfredo Kraus. Venta Telefónica (La Caja de Canarias): 902 405 504. Red de expendedores de La Caja de Canarias Santa Cruz de Tenerife: Taquilla del Auditorio de Tenerife. Venta Telefónica (Auditorio de Tenerife): 902 317 327 Internet: www.festivaldecanarias.com 256-Pliego 1 22/9/10 11:21 Página 1 AÑO XXIV - Nº 256 - Octubre 2010 - 7 € 2 OPINIÓN DOSIER Temporadas de ópera CON NOMBRE 2010-2011 95 PROPIO 6 Josep Soler ENCUENTROS Josep Pascual Dimitri Cherniakov 8 Claudio Abbado Juan Antonio Llorente 116 Enrique -
2015. № 4. С. 64–107
64 сафонова алЕксандра анаТольЕвна alExandra а. safonoVa [email protected] [email protected] Аспирантка кафедры истории зарубежной му Postgraduate student at the Subdepartment of West зыки Московской государственной консервато ern European Music History, Moscow Tchaikovsky рии имени П. И. Чайковского Conservatory 125009, Москва, 13/6, Bolshaya Nikitskaya St., ул. Большая Никитская, 13/6 Moscow 125009 Russia анноТация Опера в программе «гуляний»: московские версии произведений Гретри В статье приведены результаты исследования редакций и сценических воплощений четырех опер с диалогами Гретри на основе архивных материалов и косвенных источников. Освещает ся фено мен перемещения французских опер в среду московского дворянского театра и самобытные черты русифицированных версий. Оперное представление являлось жемчужиной в программе праздне ства с чередой развлечений. На различных сценах театра графов Шереметевых в последней четвер ти XVIII века в переводе на русский язык ставились: «Опытъ дружбы» (L’Amitié à l’épreuve), «Браки самнитянъ» (Les Mariages samnites), «Люсиль» (Lucile) и «Говорящая картина» (Le Tableau parlant). Приводят ся сведения и о других операх композитора, к которым проявлял интерес граф Николай Петрович Шереметев, но постановки не были осуществлены. Ключевые слова: московская редакция, опера с диалогами, Гретри, «Опытъ дружбы», «Браки самнитянъ», «Люсиль», «Говорящая картина», театр графов Шереметевых, гуляния, празднества, русифицированная версия, феномен перемещения оперы в инокультурную среду absTracT Opera as a Heart of “Gulyanie” (Festive Gathering): Moscow Versions of Grétry’s Opera-Comiques Grétry’s four operacomiques on the stage of Moscow private theatre are the main subject of this paper based on the archival materials and other sources. The phenomenon of introduction of French operas to Moscow private theatre and the peculiar features of Russian versions are discussed. -
SALZBURG FESTIVAL 20 July – 31 August 2019 Young Singers Project
SALZBURG FESTIVAL 20 July – 31 August 2019 Press Release of the Salzburg Festival Young Singers Project 2019 Supported by the Kühne Foundation photo: SF/Anne Zeuner (SF, 2 July 2019) “The lucky hand – or rather, lucky ear – of Evamaria Wieser, the director of the Young Singers Project, is demonstrated by the fact that the participants in the Young Singers Project achieve excellent results at competitions all over the world and are engaged by the best opera houses,” says Festival President Helga Rabl-Stadler. “This year, a total of 13 participants of the Young Singers Project will appear on the programme of the Salzburg Festival. Furthermore, I am particularly pleased that Joel Prieto, a 2008 YSP participant, will sing the title role in Orphée aux enfers.” With the Young Singers Project, the Salzburg Festival has created a high-carat platform for the support of young vocalists, which looks back upon eleven years of successful history in 2019. Since 2008, 157 young vocalists from 41 countries have participated in the Young Singers Project. This year, 13 young singers from eleven nations will take part. They are from Canada, Spain, the UK, France, Russia, Poland, the USA, Ukraine, Ireland and, for the first time, from Mexico and New Zealand. 1 SALZBURG FESTIVAL 20 July – 31 August 2019 The singers are chosen at international auditions. As part of their fellowship, they have the opportunity to work with Festival artists. Tuition includes not only music lessons and repertoire expansion, but also stage rehearsals, language coaching and lied interpretation. Its master classes and strong practical orientation make YSP an international model for young artist programmes. -
January 1936) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1936 Volume 54, Number 01 (January 1936) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 54, Number 01 (January 1936)." , (1936). https://digitalcommons.gardner-webb.edu/etude/840 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. | NEW YEAR JOY IN MUSIC THE SINGER'S ART" by Feodor Chal iapm NEW DITSON PUBLICATIONS CLUB OFFER BjARGAL MS Earn A Teacher’s Diploma (BIG SAVINGS ON ALLY OUR FAVORITE MAGAZINE :s) 1 IMPORTANT ADDITIONS TO MODERN PIANO PEDAGOGY | JUST IN TIME FOR or FOR THE PIANO A Bachelor’s Degree PlR ffi N: EWYEj ROBYN ROTE-CARDS TEACHING MUSICAL NOTATION WITH PICTURE In every community there are ambitious men and women, who know the ROBYN ROTE-CARDS Ri ■NEWA LS! advantages of new inspiration and ideas for their musical advancement, but SYMBOLS AND STORY ELEMENT still neglect to keep up with the best that is offered. They think they are too busy to study instead of utilizing the precious “Tell us a story” has been the cry of humanity since the world began. -
The Historical and Pedagogical Significance of Excerpts By
THE HISTORICAL AND PEDAGOGICAL SIGNIFICANCE OF EXCERPTS BY ANDRÉ-ERNEST-MODESTE GRÉTRY (1741–1813) Jennifer Marie Youngs, B.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2019 APPROVED: Carol Wilson, Major Professor Rebecca Geoffroy-Schwinden, Committee Member Jeffrey Snider, Committee Member Molly Fillmore, Chair of the Division of Vocal Studies Felix Olschofka, Interim Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Youngs, Jennifer Marie. The Historical and Pedagogical Significance of Excerpts by André-Ernest-Modeste Grétry (1741–1813). Doctor of Musical Arts (Performance), May 2019, 84 pp., 9 figures, bibliography, 50 titles. This collection of 9 vocal works, taken from the oœuvre of André-Ernest-Modeste Grétry (1741–1813), was chosen for their utility in teaching undergrad voice majors. This collection offers a group of songs that are attractive in their simplicity allowing the time in their lessons to be devoted to the instruction of French pronunciation. Grétry’s attention to detail in the setting of French prosody provides undergraduate singers with a collection of songs that offer an immediate understanding as to the nuances of the French language. With funding from an I-GRO grant through the University of North Texas, research was conducted in the archives of the Bibliothèque nationale de France, and work continued in the Grétry Museum in Liège, Belgium. The primary sources found within these locations formulated valuable insights into to the life and influence of Grétry, and provided first-hand experience with research techniques within foreign libraries. -
Evil Clown Ensembles
~wtj~ ~~@WITD Evil Clown Ensembles ~~Utffi OOL@ ~~ ®} Current: Chicxulub (since 2015} Leap of Faith ~~ ®} [f@flOOo ~[nXg] ~ ~~ Leap of Faith Orchestra Leap of Faith Orchestra & Sub-Units Mekaniks Metal Chaos Ensemble Black Metal Chaos Ensemble Space Metal Chaos Ensemble PEK Solo String Theory Turbulence Turbulence Doom Choir Turbulence Orchestra & Sub-Units Archival: Boston lmprovisors' Collective (through 2001) Bottom Feeder Composer's Orchestra Equalibrium Fractal Trance Ensemble Free Trance Ensemble Leaping Water Trio Mental Notes PEK and the Pointy Toes Ensemble Raqib Hassan Ensembles Skysaw Wind Contact Sparkles@GiantEvilClown Friend Sparkles Pek on Facebook, EvilClown on Facebook https://www.facebook.com/GiantEvilClown/ www.evilClown.rocks www.leapOfFaith.rocks www.stringTheory.rocks www.Turbulence.rocks www.metalchaosensemble.com www.mekaniks.rocks www.chicxulub.rocks www.giantevilclown.com Streaming, Downloads and CD mail order @ https://evilclown.bandcamp.com/ https://leapoffaithl.bandcamp.com/ https://metalchaosensemble.bandcamp.com/ https://stringtheory6.bandcamp.com/ https://turbulence2.bandcamp.com/ https://mekaniks.bandcamp.com/ https://chicxulubl.bandcamp.com/ https://evilclown.bandcamp.com/ soundcloud for streaming: https://soundcloud.com/pek-746320808 YouTube youtube.com/channel/UClfRITeeHnSxRsJTkFakiJw/videos youtube.com/channel/UCCprJy4kMIRs51FIFQF12dw/videos Sparkles, the Giant Evil Clown by Raffi Fractal Art by Martha and PEK this catalog updated 10/14/2018 Boston Improvisors' Collective Audio CD Evil Clown 5002 Boston -
Le Magnifique
André-Ernest-Modeste GRÉTRY (1741-1813) Le Magnifique Gonzalez Toro Calleo • Krull Thompson • Sulayman Williams • Scarlata Opera Lafayette Orchestra Ryan Brown 1 Ouverture 5:45 André-Ernest-Modeste GRÉTRY Act I 24:13 (1741-1813) 2 Scène 1: Marche: Andante 1:53 Le Magnifique (1773) 3 Tempo giusto 0:42 4 Marche 0:37 Libretto by Jean-Michel Sedaine (1719-1797) 5 Duo: Cʼest lui (Alix, Clémentine) 2:42 Dedicated to the Duc dʼAlbe 6 Scène 2: Pourquoi donc ce Magnifique (Clémentine) 4:55 7 Scène 4: Duo: Ma chère enfant (Aldobrandin, Clémentine) 5:47 First performed at the Paris Comédie-Italienne on 4th March, 1773 8 Scène 6: Ah, cʼest un superbe cheval ! (Fabio) 3:55 Edition by Ryan Brown based on the 18th-century parts from the Bibliothèque 9 Scène 7: Trio: Vous mʼétonnez, vous badinez municipale de Rouen, as well as the 18th-century score engraved by J. Dezauche (Aldobrandin, Le Magnifique, Fabio) 3:42 and printed by Montulay, Paris, 1773, and the 20th-century score published by Breitkopf and Härtel. Act II 29:56 Coaching in French diction has been provided by Denise Massé. The 18th-century parts used by the orchestra were made available by the Bibliothèque 0 Scène 3: Ah ! Si jamais je cours les mers (Laurence) 5:02 municipale de Rouen, with assistance from the musicologist Mr. Johann Elart. ! Scène 6: Duo: Je ne sais pourquoi je pleure (Clémentine, Alix) 3:55 @ Scène 10: Quelle contrainte ! (Clémentine) 3:37 Octave, Le Magnifique . Emiliano Gonzalez Toro, Tenor # Scène 11: Trio: Clémentine, mettez-vous là Clémentine, daughter of Horace. -
Translating, Adapting, and Performing Opera in Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte at the King's Theatre" (2017)
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Translating, Adapting, And Performing Opera In Eighteenth- Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Lily Tamara Kass University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Comparative Literature Commons, Music Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Kass, Lily Tamara, "Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre" (2017). Publicly Accessible Penn Dissertations. 2379. https://repository.upenn.edu/edissertations/2379 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2379 For more information, please contact [email protected]. Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Abstract This dissertation examines music and text circulation in cosmopolitan Europe during the last decades of the eighteenth century through the lens of translation. London in the late eighteenth and early nineteenth centuries was the largest center of Italian operatic performance outside of Italy. All performances sung at the King’s Theatre, London, were sung in Italian, the presumed language of opera, even when the works had been originated in other languages. This created the need for a culture of translation and adaptation of works from abroad, making them suitable for a London audience partially through the retention of foreignness and partially through domesticating practices. In the 1790s, a period of political tension between Britain and post-Revolution France, four French operas were presented at the King's Theatre in Italian translations attributed to the poet Lorenzo Da Ponte (1749-1838): Gluck's Iphig�nie en Tauride, Gr�try's Z�mire et Azor, Monsigny's La belle Ars�ne, and Sacchini's Arvire et �v�lina. -
Charlotta Wolff Grétry En Suède
This is a post-print version. Please refer to the published verision: Charlotta Wolff, ’Grétry en Suède. Réception et adaptations’, Grétry, un musicien des Lumières, ed. Bruno Demoulin et alii, Art&Fact. Revue des historiens de l’art, des archéologues et des musicologues de l’Université de Liège, vol. 32 (2013), p. 137–142. Charlotta Wolff Grétry en Suède : réception et adaptations Il y a deux cents ans, André Ernest Modeste Grétry était un des compositeurs les plus appréciés des Suédois. Comment expliquer la faveur dont les œuvres lyriques de Grétry jouissaient à la fin du dix- huitième siècle dans ce pays ? Si la réception des œuvres de Grétry en Suède ressemble en partie à la réception dans d’autres pays septentrionaux – la Russie, le Danemark, les principautés allemandes – nous tâcherons ici d’évoquer les conditions particulières à la Suède en plaçant les adaptations d’opéras dans un contexte historique et idéologique. Quelles sont les œuvres les plus jouées et pourquoi ? Dans un effort d’estimer le rôle du théâtre et de l’opéra dans la formation de l’opinion et de la sphère publique, nous nous interrogerons aussi sur la signification politique de certaines œuvres de Grétry, dans une Suède où l’opéra est instrumentalisé par la monarchie. Les opéras de Grétry et le développement du théâtre lyrique en Suède dans le dernier tiers du XVIIIe siècle L’appropriation de Grétry par les Suédois est liée au développement du théâtre lyrique en ce pays. Avant Grétry, le public de Stockholm connaissait déjà le genre de la comédie mêlée d’ariettes grâce aux troupes françaises qui y jouaient depuis le règne de Charles XII1.