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La Generazione Dell'ottanta and the Italian Sound
LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND A DISSERTATION IN Trumpet Performance Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by ALBERTO RACANATI M.M., Western Illinois University, 2016 B.A., Conservatorio Piccinni, 2010 Kansas City, Missouri 2021 LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND Alberto Racanati, Candidate for the Doctor of Musical Arts Degree University of Missouri-Kansas City, 2021 ABSTRACT . La Generazione dell’Ottanta (The Generation of the Eighties) is a generation of Italian composers born in the 1880s, all of whom reached their artistic maturity between the two World Wars and who made it a point to part ways musically from the preceding generations that were rooted in operatic music, especially in the Verismo tradition. The names commonly associated with the Generazione are Alfredo Casella (1883-1947), Gian Francesco Malipiero (1882-1973), Ildebrando Pizzetti (1880-1968), and Ottorino Respighi (1879- 1936). In their efforts to create a new music that sounded unmistakingly Italian and fueled by the musical nationalism rampant throughout Europe at the time, the four composers took inspiration from the pre-Romantic music of their country. Individually and collectively, they embarked on a journey to bring back what they considered the golden age of Italian music, with each one yielding a different result. iii Through the creation of artistic associations facilitated by the fascist government, the musicians from the Generazione established themselves on the international scene and were involved with performances of their works around the world. -
The String Quartets of George Onslow First Edition
The String Quartets of George Onslow First Edition All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Edition Silvertrust a division of Silvertrust and Company Edition Silvertrust 601 Timber Trail Riverwoods, Illinois 60015 USA Website: www.editionsilvertrust.com For Loren, Skyler and Joyce—Onslow Fans All © 2005 R.H.R. Silvertrust 1 Table of Contents Introduction & Acknowledgements ...................................................................................................................3 The Early Years 1784-1805 ...............................................................................................................................5 String Quartet Nos.1-3 .......................................................................................................................................6 The Years between 1806-1813 ..........................................................................................................................10 String Quartet Nos.4-6 .......................................................................................................................................12 String Quartet Nos. 7-9 ......................................................................................................................................15 String Quartet Nos.10-12 ...................................................................................................................................19 The Years from 1813-1822 ...............................................................................................................................22 -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Rediscovering Frédéric Chopin's "Trois Nouvelles Études" Qiao-Shuang Xian Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Xian, Qiao-Shuang, "Rediscovering Frédéric Chopin's "Trois Nouvelles Études"" (2002). LSU Doctoral Dissertations. 2432. https://digitalcommons.lsu.edu/gradschool_dissertations/2432 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. REDISCOVERING FRÉDÉRIC CHOPIN’S TROIS NOUVELLES ÉTUDES A Monograph 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 Musical Arts in The School of Music by Qiao-Shuang Xian B.M., Columbus State University, 1996 M.M., Louisiana State University, 1998 December 2002 TABLE OF CONTENTS LIST OF EXAMPLES ………………………………………………………………………. iii LIST OF FIGURES …………………………………………………………………………… v ABSTRACT …………………………………………………………………………………… vi CHAPTER 1. INTRODUCTION…………………………………………………………….. 1 The Rise of Piano Methods …………………………………………………………….. 1 The Méthode des Méthodes de piano of 1840 -
La Société Philharmonique
The Historic New Orleans Collection & Louisiana Philharmonic Orchestra Carlos Miguel Prieto Adelaide Wisdom Benjamin Music Director and Principal Conductor Pr eseNT Identity, History, Legacy La Société PhiLh ar monique Thomas Wilkins, conductor Walter Harris Jr., speaker Kisma Jordan, soprano Joseph Meyer, violin Jean-Baptiste Monnot, organ/piano Phumzile Sojola, tenor THursday, February 10, 2011 Cathedral-basilica of st. Louis, King of France New Orleans, Louisiana Fr Iday, February 11, 2011 slidell High school slidell, Louisiana The Historic New Orleans Collection and the Louisiana Philharmonic Orchestra gratefully acknowledge rev. Msgr. Crosby W. Kern and the staff of the st. Louis Cathedral for their generous support and assistance. The musical culture of New Orleans’s free people of color and their descendants is one of the most extraordinary aspects of Louisiana history, and it is part of a larger, shared legacy. Only within the context of the development of african music in the New World can the contributions of these sons and daughters of Louisiana be fully appreciated. The first africans arrived in the New World with the initial wave of spanish colonization in the early sixteenth century. Interactions among european, african, and indigenous populations yielded new forms of cultural expression—although african music in the New World remained strongly dependent on wind instruments (such as ivory trumpets), drums, and call-and-response patterns. as early as 1572, africans were gathering in front of the famous aztec calendar stone in Mexico City on sunday afternoons to dance and sing. When Viceroy antonio de Mendoza triumphantly entered Lima on august 31, 1551, his procession’s route was lined with african drummers. -
103 the Music Library of the Warsaw Theatre in The
A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska. -
Halle, the City of Music a Journey Through the History of Music
HALLE, THE CITY OF MUSIC A JOURNEY THROUGH THE HISTORY OF MUSIC 8 WC 9 Wardrobe Ticket office Tour 1 2 7 6 5 4 3 EXHIBITION IN WILHELM FRIEDEMANN BACH HOUSE Wilhelm Friedemann Bach House at Grosse Klausstrasse 12 is one of the most important Renaissance houses in the city of Halle and was formerly the place of residence of Johann Sebastian Bach’s eldest son. An extension built in 1835 houses on its first floor an exhibition which is well worth a visit: “Halle, the City of Music”. 1 Halle, the City of Music 5 Johann Friedrich Reichardt and Carl Loewe Halle has a rich musical history, traces of which are still Johann Friedrich Reichardt (1752–1814) is known as a partially visible today. Minnesingers and wandering musicographer, composer and the publisher of numerous musicians visited Giebichenstein Castle back in the lieder. He moved to Giebichenstein near Halle in 1794. Middle Ages. The Moritzburg and later the Neue On his estate, which was viewed as the centre of Residenz court under Cardinal Albrecht von Brandenburg Romanticism, he received numerous famous figures reached its heyday during the Renaissance. The city’s including Ludwig Tieck, Clemens Brentano, Novalis, three ancient churches – Marktkirche, St. Ulrich and St. Joseph von Eichendorff and Johann Wolfgang von Moritz – have always played an important role in Goethe. He organised musical performances at his home musical culture. Germany’s oldest boys’ choir, the in which his musically gifted daughters and the young Stadtsingechor, sang here. With the founding of Halle Carl Loewe took part. University in 1694, the middle classes began to develop Carl Loewe (1796–1869), born in Löbejün, spent his and with them, a middle-class musical culture. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
Music at the Gardner Fall 2019
ISABELLA STEWART GARDNER MUSEUM NON-PROFIT ORG. 25 EVANS WAY BOSTON MA 02115 U.S. POSTAGE PAID GARDNERMUSEUM.ORG PERMIT NO. 1 BOSTON MA JOHN SINGER SARGENT, EL JALEO (DETAIL), 1882 MUSIC AT THE GARDNER FALL 2019 COVER: PHOENIX ORCHESTRA FALL the Gardner at Music 2019 MEMBER CONCERT MUSIC AT THE GARDNER TICKET PRESALE: FALL 2019 JULY 24 – AUGUST 5 WEEKEND CONCERT SERIES / pg 2 The Gardner Museum’s signature series HELGA DAVIS GEORGE STEEL DANCE / pg 15 South Korean dance duo All Ready, 2019 Choreographers-in-Residence, FROM THE CURATOR OF MUSIC dazzles with a series of performances, including a world premiere The Gardner Museum is today much as it was in Isabella’s time — at once a collection of her treasures from around the world and a vibrant place where artists find inspiration and push forward in new creative directions. AT-A-GLANCE / pg 16 TICKET INFORMATION / inside back cover This fall’s programming embodies that spirit of inspiration and creative vitality. It’s a season of firsts — including the Calderwood Hall debut by Randall Goosby, a rising international star of the violin, and premieres of works by lesser-known composers Florence Price and José White Lafitte never before performed in Boston. 25 YEARS OF ARTISTS-IN-RESIDENCE This season also finds meaning through Isabella’s collection. Claremont Performances celebrating the Museum’s fall special Trio will help celebrate 25 years of our Artists-in-Residence program exhibition, which highlights our 25-year history with a selection of works distinctly connected to Isabella, and South of fostering relationships with contemporary artists Korean duo All Ready — 2019 Choreographers-in-Residence — will Monday, October 14, 10 am – 4 pm perform new works created especially for the Museum. -
Franz Anton Hoffmeister’S Concerto for Violoncello and Orchestra in D Major a Scholarly Performance Edition
FRANZ ANTON HOFFMEISTER’S CONCERTO FOR VIOLONCELLO AND ORCHESTRA IN D MAJOR A SCHOLARLY PERFORMANCE EDITION by Sonja Kraus Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2019 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Emilio Colón, Research Director and Chair ______________________________________ Kristina Muxfeldt ______________________________________ Peter Stumpf ______________________________________ Mimi Zweig September 3, 2019 ii Copyright © 2019 Sonja Kraus iii Acknowledgements Completing this work would not have been possible without the continuous and dedicated support of many people. First and foremost, I would like to extend my deepest gratitude to my teacher and mentor Prof. Emilio Colón for his relentless support and his knowledgeable advice throughout my doctoral degree and the creation of this edition of the Hoffmeister Cello Concerto. The way he lives his life as a compassionate human being and dedicated musician inspired me to search for a topic that I am truly passionate about and led me to a life filled with purpose. I thank my other committee members Prof. Mimi Zweig and Prof. Peter Stumpf for their time and commitment throughout my studies. I could not have wished for a more positive and encouraging committee. I also thank Dr. Kristina Muxfeldt for being my music history advisor with an open ear for my questions and helpful comments throughout my time at Indiana University. I would also like to thank Dr. -
Gothic Riffs Anon., the Secret Tribunal
Gothic Riffs Anon., The Secret Tribunal. courtesy of the sadleir-Black collection, University of Virginia Library Gothic Riffs Secularizing the Uncanny in the European Imaginary, 1780–1820 ) Diane Long hoeveler The OhiO STaTe UniverSiT y Press Columbus Copyright © 2010 by The Ohio State University. all rights reserved. Library of Congress Cataloging-in-Publication Data hoeveler, Diane Long. Gothic riffs : secularizing the uncanny in the european imaginary, 1780–1820 / Diane Long hoeveler. p. cm. includes bibliographical references and index. iSBn-13: 978-0-8142-1131-1 (cloth : alk. paper) iSBn-10: 0-8142-1131-3 (cloth : alk. paper) iSBn-13: 978-0-8142-9230-3 (cd-rom) 1. Gothic revival (Literature)—influence. 2. Gothic revival (Literature)—history and criticism. 3. Gothic fiction (Literary genre)—history and criticism. i. Title. Pn3435.h59 2010 809'.9164—dc22 2009050593 This book is available in the following editions: Cloth (iSBn 978-0-8142-1131-1) CD-rOM (iSBn 978-0-8142-9230-3) Cover design by Jennifer Shoffey Forsythe. Type set in adobe Minion Pro. Printed by Thomson-Shore, inc. The paper used in this publication meets the minimum requirements of the american national Standard for information Sciences—Permanence of Paper for Printed Library Materials. ANSi Z39.48-1992. 9 8 7 6 5 4 3 2 1 This book is for David: January 29, 2010 Riff: A simple musical phrase repeated over and over, often with a strong or syncopated rhythm, and frequently used as background to a solo improvisa- tion. —OED - c o n t e n t s - List of figures xi Preface and Acknowledgments xiii introduction Gothic Riffs: songs in the Key of secularization 1 chapter 1 Gothic Mediations: shakespeare, the sentimental, and the secularization of Virtue 35 chapter 2 Rescue operas” and Providential Deism 74 chapter 3 Ghostly Visitants: the Gothic Drama and the coexistence of immanence and transcendence 103 chapter 4 Entr’acte. -
La Sonnambula 3 Content
Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera.