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Carl Orffs Hesperische Musik
MATTHIAS JOHANNES PERNERSTORFER / WIEN Carl Orffs hesperische Musik Carl Orffs ‚Antigonae‘ (1940–49) und ‚Oedi pus der Tyrann‘ (1951– 58) nach Sophokles in der Übersetzung von Friedrich Hölderlin sowie der aischyleische ‚Prometheus‘ (1963–67) in der Originalsprache gehören zu den bedeutendsten Beiträgen zur musikalischen Rezeption der Antike im 20. Jahrhundert. Ich folge Stefan Kunze im Gebrauch der Bezeichnung Tragödien-Bearbeitungen für die genannten Bühnenwerke, da „kein musi- kalisches Werk (Vertonung) auf der Grundlage eines Tragödientextes … das Ziel [ist] …, sondern die [interpretative, Anm. d. A.1 ] Darstellung der Tragödie mit musikalischen Mitteln“.2 Es handelt sich um eine Form des Musiktheaters ganz eigener Art – „gleich weit entfernt vom Sprechtheater herkömmlicher Prägung wie von der Oper und von der … Bühnenmusik“.3 Auch wenn der Musikhistoriker Werner Schubert vor einigen Jahren dia- gnostizierte: „Daß es [Orff] … nicht um eine Rekonstruktion antiker Aufführungspraxis ging, muß man heute nicht mehr eigens betonen“,4 so möchte ich anmerken, daß die Tragödien-Bearbeitungen Orffs von vielen Philologen wie Theaterwissenschaftlern, die die musikwissenschaftliche Diskussion nicht mitverfolgen, wohl noch immer – sei es zustimmend oder ablehnend – als Rekonstruktionsversuche rezipiert werden. Der Grund dafür liegt in der zum Teil euphorischen Reaktion von zeitgenössischen Philologen, durch die Orffs Werke den Stellenwert von authentischen Wie- dergaben der altgriechischen Tragödien erreichten. Jahrzehntelang widmete sich Carl Orff den Tragödien-Bearbeitungen, wobei nicht von einem Weg des Komponisten in die Geistes- oder Musik- welt der Antike gesprochen werden kann. DieAntike diente ihm in Form —————————— 1 Zum Interpretationscharakter dieser „Darstellung der Tragödie“ s.u. 2 Kunze 1998, 547. 3 Schubert 1998, 405. 4 Schubert 1998, 403. 122 Matthias Johannes Pernerstorfer ihrer Texte als Medium, das er im Sinne von Höl derlins Antikerezeption mit Blick auf eine abendländische Gegenwart – deshalb ‚hesperisch‘ – gestaltete. -
The Princeton Artists Alliance Is Celebrating 25 Years of Artistry
For more information about the Princeton Artists Alliance please contact: Marie Sturken at - [email protected] Hetty Baiz at - [email protected] Shellie Jacobson - [email protected] ACP exhibitions and related educational programs are supported by funding from the Geraldine R. Dodge Foundation, New Jersey State Council on the Arts and Discover New Jersey Arts The Princeton Artists Alliance is Celebrating 25 Years of Artistry Paul Robeson Center for the Arts 102 Witherspoon Street, Princeton, NJ 08542-3204 609-924-8777 • www.artscouncilofprinceton.org Princeton Artists Alliance Members: Joanne Augustine 1 Hetty Baiz 2 Joy Barth 3 Anita Benarde 4 Zenna Broomer 5 Jennifer Cadoff 6 Rajie Cook 7 Clem Fiori 8 1989 / 2014 Thomas Francisco 9 Carol Hanson 10 Shellie Jacobson 11 Margaret Kennard Johnson 12 Nancy Lee Kern 13 Charles McVicker 14 Lucy Graves McVicker 15 Harry I Naar 16 James Perry 17 Richard Sanders 18 Madelaine Shellaby 19 Marie Sturken 20 Barbara Watts 21 Former members: 22 A BRIEF HISTORY OF THE PRINCETON ARTISTS ALLIANCE Twenty-five years ago, painter Charles McVicker felt isolated. He had heard tales of the Impressionist painters meeting in the cafes of Paris, and the Abstract Expressionists having heated discussions at the Cedar Tavern in Greenwich Village. But there was no such gathering place for the artists of Princeton. Hoping to change this situation, he asked four prominent local artists, Margaret Johnson, Marie Sturken, Jane Eccles, and Joanne Scott to meet for a brain - storming session. They all agreed that a working artists’ group would be a vital addition to the Princeton community. -
Brecht's Antigone in Performance
PERFORMANCE PHILOSOPHY RHYTHM AND STRUCTURE: BRECHT’S ANTIGONE IN PERFORMANCE BRUNO C. DUARTE FCSH UNIVERSIDADE NOVA DE LISBOA Brecht’s adaptation of Sophocles’ Antigone in 1948 was openly a political gesture that aspired to the complete rationalization of Greek Tragedy. From the beginning, Brecht made it his task to wrench ancient tragic poetry out of its ‘ideological haze’, and proceeded to dismantle and eliminate what he named the ‘element of fate’, the crucial substance of tragic myth itself. However, his encounter with Hölderlin's unorthodox translation of Antigone, the main source for his appropriation and rewriting of the play, led him to engage in a radical experiment in theatrical practice. From the isolated first performance of Antigone, a model was created—the Antigonemodell —that demanded a direct confrontation with the many obstacles brought about by the foreign structure of Greek tragedy as a whole. In turn, such difficulties brought to light the problem of rhythm in its relation to Brecht’s own ideas of how to perform ancient poetry in a modern setting, as exemplified by the originally alienating figure of the tragic chorus. More importantly, such obstacles put into question his ideas of performance in general, as well as the way they can still resonate in our own understanding of what performance is or might be in a broader sense. 1947–1948: Swabian inflections It is known that upon returning from his American exile, at the end of 1947, Bertolt Brecht began to work on Antigone, the tragic poem by Sophocles. Brecht’s own Antigone premiered in the Swiss city of Chur on February 1948. -
Kodály and Orff: a Comparison of Two Approaches in Early Music Education
ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir. -
The Shields of Achilles and Aeneas: the Worlds Portrayed by Homer and Vergil
Vanessa Peters The Shields of Achilles and Aeneas: The Worlds Portrayed by Homer and Vergil The epic simile is a common device in epic poetry; it forms a relationship between two un- likely things and causes one to be viewed through the lens of the other. Unlike a normal simile, an epic simile has a fully developed vehicle that reflects the complexity back on the tenor; that is, an epic sim- ile, in its increased length and depth, can have layers of complexity that a normal simile cannot. The shield of Achilles (Hom. Il. 18.558-709) in Book 18 of Homer’s Iliad and the shield of Aeneas (Verg. Aen. 8.738-858) in book 8 of Vergil’s Aeneid are examples of epic similes, in which the poet takes the role of the god who forges the shield and can comment on society unobtrusively.1 These shields convey different perspectives of Greek and Roman society. Whereas Homer shows the world of peace in con- trast to the world of war to illustrate the tragedy of the Iliad, Vergil expresses Roman triumphalism to glorify Rome and her people. Book 18 of the Iliad marks a turning point in the epic. In it, Achilles decides to return to bat- tle in order to avenge Patroclus’ death by killing Hector. Since he has lost his armour to the enemy, his mother Thetis, knowing that his fate is sealed, beseeches Hephaestus to forge him a new set (Il. 18.534). The god agrees to her request and sets out to work, creating a magnificent shield for Achilles to wear in battle. -
Wolf-Dieter Narr Niemands-Herrschaft
Wolf-Dieter Narr Niemands-Herrschaft Eine Einführung in Schwierigkeiten, Herrschaft zu begreifen Herausgegeben von Uta v. Winterfeld V VS Wolf-Dieter Narr Niemands-Herrschaft Wolf-Dieter Narr, Politikwissenschaftler, war von 1971 bis 2002 Professor am Otto-Suhr-Institut der Freien Universität Berlin, Mitgründer und Mitsprecher des Komitees für Grundrechte und Demokratie. Uta von Winterfeld, Politikwissenschaftlerin, ist Projektleiterin am Wuppertal Institut für Klima, Umwelt, Energie und Privatdozentin am Otto-Suhr-Institut der Freien Universität Berlin. Wolf-Dieter Narr Niemands-Herrschaft Eine Einführung in Schwierigkeiten, Herrschaft zu begreifen Herausgegeben von Uta v. Winterfeld VSA: Verlag Hamburg www.vsa-verlag.de Die Drucklegung wird finanziell gefördert von der Rosa-Luxemburg-Stiftung. © VSA: Verlag 2015, St. Georgs Kirchhof 6, 20099 Hamburg Alle Rechte vorbehalten Umschlaggestaltung unter Verwendung eines Bildes von Johann Heinrich Wilhelm Tischbein (1751-1829) mit dem Motiv »Odysseus flieht mit seinen Gefährten im Schiff vor Polyphem« Druck- und Buchbindearbeiten: CPI Books GmbH, Leck ISBN 978-3-89965-600-8 Inhalt Prolog ........................................................................................................................ 9 Kapitel I Jeder und Jedem ihre oder seine »Theorie« ? ................................................. 13 Theorie und Wirklichkeit ...................................................................................... 13 Theorie und Praxis ................................................................................................ -
Actors on High: the Skene Roof, the Crane, and the Gods in Attic Drama
UC Berkeley Classical Papers Title Actors on High: The Skene Roof, the Crane, and the Gods in Attic Drama Permalink https://escholarship.org/uc/item/61w4628m Author Mastronarde, Donald J. Publication Date 1990-10-01 eScholarship.org Powered by the California Digital Library University of California Published as “Actors on High: The Skene Roof, the Crane, and the Gods in Attic Drama” in Classical Antiquity Volume 9, No. 2, October 1990, pages 247-294, ©1990 by The Regents of the University of California. Copying and Permissions notice: Authorization to copy this content beyond fair use (as specified in Sections 107 and 108 of the U. S. Copyright Law) for internal or personal use, or the internal or personal use of specific clients, is granted by the Regents of the University of California for libraries and other users, provided that they are registered with and pay the specified fee via Rightslink® on Caliber (http://caliber.ucpress.net/) or directly with the Copyright Clearance Center, http://www.copyright.com. [247]DONALD J. MASTRONARDE ACTORS ON HIGH: THE SKENE ROOF, THE CRANE, AND THE GODS IN ATTIC DRAMA* Many recent studies of Greek tragedy and comedy have shown a special interest in staging, not only with a view to antiquarian accuracy, but also in order to assess the playwrights’ techniques and skills in manipulating the visual elements of the performance for dramatic effect.1 The present study addresses a particularly controversial aspect of staging, the appearance of actors “on high.” It is generally agreed that the crane was available in the late fifth century, and it is also widely assumed that the wooden skene building of the late fifth and early fourth centuries had a flat roof, at least a part of which could serve as an additional acting space. -
Of Music PROGRAM
SHEPHERD SCHOOL SYMPHONY ORCHESTRA RICE CHORALE HOUSTON CHILDREN'S CHORUS CHAMBER CHOIR Larry Rachleff, conductor Friday, April23, 1993 8:00p.m. Stude Concert Hall "-' sfkteherd RICE UNIVERSITY Sc~ol Of Music PROGRAM Fanfare for a Great City Arthur Gottschalk (b. 1952) Variations on a Theme of Joseph Haydn, Op. 56a Johannes Brahms (1833-1897) INTERMISSION Carmina Burana Carl Orff ( 1895-1982) Rice Chorale Houston Children's Chorus Chamber Choir Kelley Cooksey, soprano Francisco Almanza, tenor Robert Ames, baritone In consideration of the performers and members of the audience, please check audible paging devices with the ushers and silence audible timepieces. The taking of photographs and the use of recording equipment are prohibited. SHEPHERD SCHOOL SYMPHONY ORCHESTRA Violin I Viola (cont.) Oboe Trumpet (cont.) Julie Savignon, Erwin Foubert Margaret Butler Troy Rowley concertmaster Patrick Horn Kyle Bruckmann David Workman Claudia Harrison Stephanie Griffin Jeffrey Champion Trombone Barbara Wittenberg Bin Sun Dione Chandler Wade Demmert Jeanine Tiemeyer Andrew Weaver Karen Friedman David Ford Kristin Lacey Sharon Neufeld ~ Brent Phillips Mihaela Oancea English Horn Cello Kyle Bruckmann Inga Ingver Tuba Katherine de Bethune, Yenn Chwen Er Clarinet Jeffrey Tomberg principal Yoong-han Chan Benjamin Brady Danny Urban ~ Jeanne Jaubert Magdalena Villegas Joanne Court Scott Brady Timpani and Tanya Schreiber Kelly Cramm Mary Ellen Morris Percussion Rebecca Ansel Martin van Maanen Robin Creighton Douglas Cardwell Eitan Ornoy X in-Yang Zhou Amy -
Athenian Democracy at War David M
Cambridge University Press 978-1-108-42291-8 — Athenian Democracy at War David M. Pritchard Frontmatter More Information i ATHENIAN DEMOCRACY AT WAR Classical Athens perfected direct democracy. Th e plays of this ancient Greek state are still staged today. Th ese achievements are rightly revered. Less well known is the other side of this success story. Democratic Athens completely transformed warfare and became a superpower. Th e Athenian armed forces were unmatched in size and professionalism. Th is book explores the major reasons behind this military success. It shows how democracy helped the Athenians to be better soldiers. For the fi rst time David M. Pritchard studies, together, all four branches of the armed forces. He focuses on the background of those who fought Athens’ wars and on what they thought about doing so. His book reveals the common practices that Athens used right across the armed forces and shows how Athens’ pro- war culture had a big impact on civilian life. Th e book puts the study of Athenian democracy at war on an entirely new footing. David M. Pritchard is an ancient historian at the University of Queensland (Australia). He has obtained ten research fellowships in Australia, Denmark, France, the United Kingdom and the United States of America. In 2018 Pritchard is again a research fellow in the University of Strasbourg’s Institute for Advanced Study. He has authored Sport, Democracy and War in Classical Athens (Cambridge, 2013) and Public Spending and Democracy in Classical Athens (2015), edited War, Democracy and Culture in Classical Athens (Cambridge, 2010), and co- edited Sport and Festival in the Ancient Greek World (2003). -
An Iliad by Lisa Peterson and Denis O’Hare Based on Homer’S the Iliad, Translated by Robert Fagles
AN ILIAD BY LISA PETERSON AND DENIS O’HARE BASED ON HOMER’S THE ILIAD, TRANSLATED BY ROBERT FAGLES DRAMATISTS PLAY SERVICE INC. AN ILIAD Copyright © 2013, Lisa Peterson and Denis O’Hare All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of AN ILIAD is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Authors’ agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for AN ILIAD are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. -
Technology Fa Ct Or
Art.Id Artist Title Units Media Price Origin Label Genre Release 056030 V/A Soulshine's Soulful...2 1 Cd € 20 Nld Cstar 2st 8/01/2003 029148 Adler, Larry Great Larry Adler 1 Cd € 19 Eu Flapp A/R 26/02/1996 076013 Aurelie Desde Que Naci 1 Cd € 16 Eu Swim A/R 21/12/2004 076478 Catching Flies Just a Phase 1 Cd € 19 Eu Arts A/R 31/12/1999 070884 City City City Dawn and the Blue Light D 1 Cd € 25 Imp Senpr A/R 29/03/2004 010387 For.Mat Media Circus 1 Cd € 18 Usa Setan A/R 30/06/1990 045097 Half Hour To Go Items For the Full Outfit 1 Cd € 21 Usa Grass A/R 18/06/1996 028140 Hurlements D'leo Ouest Terne 1 Cd € 25 Nld Wagra A/R 12/09/2008 053085 La Crus Dentro Me 1 Cd € 21 Eu Warne A/R 10/02/2000 064901 La Crus Dentro Me 1 Cd € 22 Eu Wealo A/R 10/02/2000 064921 La Crus Dietro La Curva Del Cuore 1 Cd € 22 Eu Warne A/R 9/02/1999 056224 Lawn Backspace 1 Cd € 20 Nld My Fi A/R 23/10/2003 036508 Maple It's My Last Night 1 Cd € 20 Usa Slab A/R 26/02/1996 015227 Modest Mouse This is a Long Drive 1 Cd € 20 Usa Up Re A/R 26/03/1996 040539 More Dogs Never Let Them Catch 1 Cd € 20 Usa Monit A/R 3/05/2005 051289 Nein Wrath of Circuits 1 Cd € 19 Usa So.Un A/R 17/05/2005 075942 Pee Now More Charm and More. -
Greek Religious Thought from Homer to the Age of Alexander
'The Library of Greek Thought GREEK RELIGIOUS THOUGHT FROM HOMER TO THE AGE OF ALEXANDER Edited by ERNEST BARKER, M.A., D.Litt., LL.D. Principal of King's College, University of London tl<s } prop Lt=. GREEK RELIGIOUS THOUGHT FROM HOMER TO THE AGE OF ALEXANDER BY F. M. CORNFORD, M.A. Fellow and Lecturer of Trinity College, Cambridge MCMXXIII LONDON AND TORONTO J. M. DENT & SONS LTD. NEW YORK: E. P. DUTTON tf CO. HOTTO (E f- k> ) loUr\ P. DOTTO/U TALKS ) f^op Lt=. 7 yt All rights reserved f PRINTED IN GREAT BRITAIN TO WALTER DE LA MARE INTRODUCTION The purpose of this book is to let the English reader see for himself what the Greeks, from Homer to Aristotle, thought about the world, the gods and their relations to man, the nature and destiny of the soul, and the significance of human life. The form of presentation is prescribed by the plan of the series. The book is to be a compilation of extracts from the Greek authors, selected, so far as possible, without prejudice and translated with such honesty as a translation may have. This plan has the merit of isolating the actual thought of the Greeks in this period from all the constructions put upon it by later ages, except in so far as the choice of extracts must be governed by some scheme in the compiler's mind, which is itself determined by the limits of his knowledge and by other personal factors. In the book itself it is clearly his business to reduce the influence of these factors to the lowest point; but in the introduction it is no less his business to forewarn the reader against some of the consequences.