DOCSLIB.ORG

Übungsbeispiele

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Übungsbeispiele Übungsbeispiele: A) Praktischer Teil: Mozart, W. A.: Le nozze di Figaro. – Erich Kleiber (1955) S. 2 - 4 Mozart, W. A.: Le nozze di Figaro. – Fritz Busch (1934) S. 5 - 7 Der Stein der Weisen. (Pasticcio nach E. Schikaneder) S. 8 - 11 Harmoniemusik. – Mozzafiato. – Sony + Enth. Werke nach RAK-UW S. 12 - 16 Mozart, W. A. : Harmoniemusiken zu Le Nozze di Figaro u. La S. 17 - 18 Clemenza di Tito. – Bläser der Berliner Philharmoniker. – Orfeo Mozart, W. A.: Harmoniemusiken. – Consortium Classicum. H-Satz S. 19 - 21 und U-Satz Folge 2 Mozart, W. A.: Le nozze di Figaro DVD). – N. Harnoncourt (Salzburg, S. 22 - 25 2006) H-Satz M Mozart 22, U-Satz B) Beispiele aus der Präsentation (theoretischer Teil): Mozart, W. A. : Harmoniemusiken zu Le Nozze di Figaro u. La S. 26 - 27 Clemenza di Tito. – Bläser der Berliner Philharmoniker. – Orfeo „Ecco la marcia“ – zu Beginn der Veranstaltung Famous Horn and Trumpet Concertos S. 28 - 29 Musorgskij, Modest P. : Bilder einer Ausstellung, Promenade S. 30 - 31 Original für Klavier + Orch. v. M. Ravel Elektronische Bearbeitung von I. Tomita S. 32 - 33 Beethoven, L.v.: Chorphantasie S. 34 - 36 Beethoven, L. v.: Konzert für Klavier u. Orchester op. 61a S. 37 - 38 1 Feldname MAB2 Inhalt IDNR 001-1 |a AC08210613 Ländercode 036a1 |a DE Sprachencode 037b1 |a ita Datenträger 050-1 |||||aa||||||| Veröff.Angaben beg 051-1 s|||z|| Fachgruppe 076s1 |a 46 1. Person in AF 100-1 |a Mozart, Wolfgang Amadeus |9 118584596 2. Person in AF 104b1 |a Da Ponte, Lorenzo |9 118678841 |b [Textverf.] 2 3. Person in AF 108e1 |a Poell, Alfred |9 116248726 |b [Interpr.] 4. Person in AF 112e1 |a Della Casa, Lisa |9 118679333 |b [Interpr.] 5. Person in AF 116e1 |a Güden, Hilde |9 123998255 |b [Interpr.] 6. Person in AF 120e1 |a Siepi, Cesare |9 12452091X |b [Interpr.] 7. Person in AF 124e1 |a Danco, Suzanne |9 134043227 |b [Interpr.] 8. Person in AF 128e1 |a Rössl-Majdan, Hilde |9 13041185X |b [Interpr.] 9. Person in AF 132e1 |a Corena, Fernando |9 128697695 |b [Interpr.] 10. Person in AF 136e1 |a Dickie, Murray |9 124128777 |b [Interpr.] 11. Person in AF 140e1 |a Meyer-Welfing, Hugo |9 13446205X |b [Interpr.] 12. Person in AF 144e1 |a Felbermayer, Anny |9 123899753 |b [Interpr.] 13. Person in AF 148e1 |a Pröglhöf, Harald |9 134652967 |b [Interpr.] 14. Person in AF 152e1 |a Kleiber, Erich |9 118723448 |b [Interpr.] 1. Körp. in AF 200e1 |a Wiener Staatsoper / Chor |9 802137-5 2. Körp. in AF 204e1 |a Wiener Philharmoniker |9 2017806-2 Haupt-Sach Tit. VF 331a1 |a <<Le>> nozze di Figaro Allg.Material-B 334-1 |a Tonträger Zusätze 335-1 |a opera comica in quattro atti Verfasserangabe 359-1 |a Wolfgang Amadeus Mozart. Libretto di Lorenzo da Ponte dalla commedia di Pierre-Augustin Caron de Beaumarchais Ort(e) 1. n.spez. 410u1 |a Hamburg Name 1. n.spez. 412u1 |a Universal Music Ersch. Jahr(e) 425-1 |a © 1999 Ersch. Jahr(e) 425p1 |a P 1955 3 Ersch. Jahr(e) 425a1 |a 1999 Umfangsangabe 433c1 |a 3 CDs in Box (Gesamtspielzeit 172' 28") Ill., Tech. Ang. 434d1 |a stereo, ADD Formatangabe 435a1 |a 12 cm Ang. von Beg.M. 437-1 |a Beih. (mit engl., ital. Libretto) 1.GT in Vorl. 451b1 |a Decca legends Ang. Ersch.verm. 511-1 |a P 1955. Ang. Schrift etc. 516-1 |a Ital. gesungen. - Beih.: Einführung dt., engl. u. franz., Libretto ital. u. engl. Ang. Interpr. 518a1 |p Interpr. |a Poell, Alfred [Conte di Almaviva]. DellaCasa, Lisa [Contessa]. Güden, Hilde [Susanna]. Siepi, Cesare [Figaro]. Danco, Suzanne [Cherubino, Giovinetta]. Rössl-Majdan, Hilde [Marcellina]. Corena, Fernando [Bartolo]. Dickie, Murray [Don Basilio]. Meyer-Welfing, Hugo [Don Curzio]. Felbermayer, Anny [Barbarina, Giovinetta]. Pröglhof, Harald [Antonio]. Kleiber, Erich [Dir]. Staatsoper <Wien> / Chor. Wiener Philharmoniker Ang. Interpr. 518b1 |p Aufn. |a Wien, Redoutensaal, Juni 1955. Verl.Pr.u.BestNr. 551a1 |a Decca 466 369-2 Artikelnummer 553-1 |a 028946636923 NBN-Nummer 574-1 |a 99,T11,0208 Katalogkarte: Mozart, Wolfgang Amadeus : Le nozze di Figaro : opera comica in quattro atti / Wolfgang Amadeus Mozart. Libretto di Lorenzo da Ponte dalla commedia di Pierre-Augustin Caron de Beaumarchais . - Hamburg : Universal Music , © 1999 . - 3 CDs in Box (Gesamtspielzeit 172' 28") + Beih. (mit engl., ital. Libretto) . - (Decca legends ) P 1955. - Ital. gesungen. - Beih.: Einführung dt., engl. u. franz., Libretto ital. u. engl. - Interpr.: Poell, Alfred [Conte di Almaviva]. DellaCasa, Lisa [Contessa]. Güden, Hilde [Susanna]. Siepi, Cesare [Figaro]. Danco, Suzanne [Cherubino, Giovinetta]. Rössl-Majdan, Hilde [Marcellina]. Corena, Fernando [Bartolo]. Dickie, Murray [Don Basilio]. Meyer- Welfing, Hugo [Don Curzio]. Felbermayer, Anny [Barbarina, Giovinetta]. Pröglhof, Harald [Antonio]. Kleiber, Erich [Dir]. Staatsoper <Wien> / Chor. Wiener Philharmoniker. - Aufn.: Wien, Redoutensaal, Juni 1955.. - 4 5 Feldname MAB2 Inhalt IDNR 001-1 |a AC08361545 Ländercode 036a1 |a DE Sprachencode 037b1 |a ita Datenträger 050-1 |||||aa||||||| Veröff.Angaben beg 051-1 s|||||| Fachgruppe 076s1 |a 46 1. Person in AF 100-1 |a Mozart, Wolfgang Amadeus |9 118584596 2. Person in AF 104b1 |a Da Ponte, Lorenzo |9 118678841 |b [Textverf.] 3. Person in AF 108e1 |a Busch, Fritz (Musiker) |9 118517872 |b [Dir] 4. Person in AF 112e1 |a Henderson, Roy |9 12943163X |b [Conte Almaviva] 5. Person in AF 116e1 |a Rautawaara, Aulikki |9 133629341 |b [Contessa Rosina] 6. Person in AF 120e1 |a Domgraf-Fassbaender, Willi |9 116176156 |b [Figaro] 7. Person in AF 124e1 |a Mildmay, Audrey |9 134577051 |b [Susanna] 8. Person in AF 128e1 |a Helletsgruber, Luise |9 124121209 |b [Cherubino] 9. Person in AF 132e1 |a Allin, Norman |9 134313232 |b [Bartolo] 10. Person in AF 136e1 |a Tajo, Italo |9 118874608 | b [Medico] 11. Person in AF 140e1 |a Willis, Constance |9 134577132 |b [Marcellina] 12. Person in AF 144e1 |a Nash, Heddle |9 134577078 |b [Don Basilio] 13. Person in AF 148e1 |a Dunlop, Fergus |9 134577000 |b [Antonio] 1. Körp. in AF 200e1 |a Glyndebourne Festival Opera / Chorus |9 803656-1 2. Körp. in AF 204e1 |a Glyndebourne Festival Opera / Orchestra |9 1211990-8 Haupt-Sach Tit. VF 331a1 |a <<Le>> nozze di Figaro 6 Allg.Material-B 334-1 |a Tonträger Zusätze 335-1 |a Oper in 4 Akten ; Gesamtausgabe in italienischer Sprache 1.Par.Tit. VF 341a1 |a (Die Hochzeit des Figaro) Verfasserangabe 359-1 |a Wolfgang Amadeus Mozart. Libretto von Lorenzo da Ponte Weitere Sacht. 370b1 |a <<Die>> Hochzeit des Figaro Ort(e) 1. n.spez. 410u1 |a Hamburg Name 1. n.spez. 412u1 |a Line Music Ersch. Jahr(e) 425-1 |a © 2001 Ersch. Jahr(e) 425p1 |a P 2001 Ersch. Jahr(e) 425a1 |a 2001 Umfangsangabe 433c1 |a 2 CDs Ill., Tech. Ang. 434d1 |a mono, AAD Formatangabe 435a1 |a 12 cm Ang. von Beg.M. 437-1 |a Beil. 1.GT in Vorl. 451b1 |a <<Die>> klassische Alternative : Historische Tondokumente Ang. Ersch.verm. 511-1 |a P 2001. Ang. Schrift etc. 516-1 |a Ital. gesungen Ang. Interpr. 518a1 |p Interpr. u.a. |a Roy Henderson [Conte Almaviva]. Aulikki Rautawaara [Contessa Rosina]. Willi Domgraf- Fassbaender [Figaro]. Audrey Mildmay [Susanna]. Luise Helletsgruber [Cherubino]. Norman Allin [Bartolo]. Italo Tajo [Medico]. Constance Willis [Marcellina]. Heddle Nash [Don Basilio]. Fergius Dunlop [Antonio]. Chor und Orchester des Glyndebourne Festivals. Fritz Busch [Dir]. Ang. Interpr. 518b1 |p Aufn. |a Glyndebourne, 1934. Verl.Pr.u.BestNr. 551a1 |a Cantus Classics 5.00196 Artikelnummer 553-1 |a 4032250019637 Katalogkarte: Mozart, Wolfgang Amadeus : Le nozze di Figaro : Oper in 4 Akten ; Gesamtausgabe in italienischer Sprache = (Die Hochzeit des Figaro) / Wolfgang Amadeus Mozart. Libretto von Lorenzo da Ponte . - Hamburg : Line Music , © 2001 . - 2 CDs + Beil. - (Die klassische Alternative : Historische Tondokumente ) P 2001. - Ital. gesungen . - Interpr. u.a.: Roy Henderson [Conte Almaviva]. Aulikki Rautawaara [Contessa Rosina]. Willi Domgraf-Fassbaender [Figaro]. Audrey Mildmay [Susanna]. Luise Helletsgruber [Cherubino]. Norman Allin [Bartolo]. Italo Tajo [Medico]. Constance Willis [Marcellina]. Heddle Nash [Don Basilio]. Fergius Dunlop [Antonio]. Chor und Orchester des Glyndebourne Festivals. Fritz Busch [Dir].. - Aufn.: Glyndebourne, 1934. 7 8 9 Feldname MAB2 Inhalt IDNR 001-1 |a AC02631473 Ländercode 036a1 |a US Sprachencode 037b1 |a ger Datenträger 050-1 |||||aa||||||| Veröff.Angaben beg 051-1 m|||||| Fachgruppe 076s1 |a 46 1. Person in AF 100-1 |a Schikaneder, Emanuel |9 11860757X |b [Textverf. Komp.] 2. Person in AF 104b1 |a Mozart, Wolfgang Amadeus |9 118584596 |b [Komp.] 3. Person in AF 108b1 |a Henneberg, Johann B. |9 104028521 |b [Komp.] 4. Person in AF 112b1 |a Schack, Benedikt |9 103943188 |b [Komp.] 5. Person in AF 116b1 |a Gerl, Franz Xaver |9 130590762 |b [Komp.] 6. Person in AF 120e1 |a Pearlman, Martin |9 134768701 |b [Dir.] 7. Person in AF 124e1 |a Streit, Kurt |9 133673413 | b [Interpr.] 8. Person in AF 128e1 |a Ewing, Alan |9 134814649 |b [Interpr.] 9. Person in AF 132e1 |a Lovat, Judith |9 135164079 |b [Interpr.] 10. Person in AF 136e1 |a Deas, Kevin |9 135012422 |b [Interpr.] 1. Körp. in AF 200e1 |a Boston Baroque |9 1703476-0 Haupt-Sach Tit. VF 331-1 |a <<Der>> Stein der Weisen oder Die Zauberinsel Allg.Material-B 334-1 |a Tonträger Zusätze 335-1 |a <<a>> fairy-tale opera from 1790 1.Par.Tit. VF 341a1 |a <<The>> philosopher's stone or The enchanted isle Verfasserangabe 359-1 |a Singspiel with music by Wolfgang Amadeus Mozart, Johann Baptist Henneberg, Benedikt Schack, Franz Xaver Gerl and Emanuel Schikaneder ; libretto by Emanuel Schikaneder Ort(e) 1. Verleger 410-1 |a Cleveland, Ohio Name 1. Verleger 412-1 |a Telarc Ersch. Jahr(e) 425a1 |a 1999 10 Ersch. Jahr(e) 425-1 |a © 1999 Ersch. Jahr(e) 425p1 |a P 1999 Umfangsangabe 433c1 |a 2 CDs mit Papierschuber (Gesamtspielzeit 124 ′20") Ill., Tech.
Load more

Recommended publications
  • THE OFFICIAL ORGAN OFTHE Bott
    Radio Times, July 24th, 1925. ____ DAVENTRY: THE WORLD'S GREATEST STATION. | i pegee iow pe} cok = eet rr { j _ . ARog hit : 2)atl Suwa = aE A oe oe [SEAT = 4 ee om eta i ba pet fnnen Fea 7 , Otago ean) - ree, hol Awr oe i ' Oras ie LELGS -a Broa ibao 7 HE ‘int heey1h, OF eiaas] SS4NCVESFE& BNE FEFret ee ey ae Loweory ae t=| a] i BOAAnoo ree ae eter —— gy ERR my f ; ia NFA THE OFFICIAL ORGAN OFTHE Bott. Karatsite al at the _Vol. 8.“No.96 : LEO ate Apes EVERY|FiRIDAY. Two Pence. ee == ——— OFFICIAL The Far Future of Radio. PROGRAMMES By Professor A. M. LOW. for the week commencing [Professor Low is one of the most notable similar at an-carly ee ¥; ae aah. authorities om wireless, and he is the inventor stage Of their ex- al the wireless-controlled aeroplane and torpeda. istence, arch it is He is particularly interested in the futare of mankind, and in his latest book, ‘‘ The Future, not Many Pears MAIN STAT IONS. he predicts marvellous changes that are to come. azo that people LONDON, CARDIFF, ABERDEEN, GLAS- The following article, giving his views on were “burnt ‘ative GOW, BIRMINGHAM, MANCHESTER, future of broadcasting, will read with interest for their. convic- by every listener] BOURNEMOUTH, NEWCASTLE; tion that the BELFAST. ROBABLYthe most remarkable thing workl was Hat. about radio broadcasting (15 the HIGH-POWER STATIONS. Many unfortunate extraordinary speed with which it has Individuals (Daventry and Chelmsford.) conquered the prejudice of the public suflered a.
    [Show full text]
  • Der Stein Der Weisen and Die Zauberflöte
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 12 | Issue 1 Article 3 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Mercer Greenwald Bard College Conservatory of Music Recommended Citation Greenwald, Mercer. “Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zaouberflöte.” Nota Bene: Canadian Undergraduate Journal of Musicology Vol. 12, no. 1 (2019): 30-45. https://doi.org/10.5206/notabene.v12i1.8145 Magic and Enlightenment auf der Weisen: Der Stein der Weisen and Die Zauberflöte Abstract This paper probes how the rational and the irrational interact in Enlightenment operatic plots, and explores the effect of this interaction on the Viennese public. To do this, I will investigate the fantastic worlds of two operas premiered by the same opera company, both with libretti written by Emanuel Schikaneder: Der Stein der Weisen oder Die Zauberinsel (1790) and Die Zauberflöte (1791). David J. Buch’s seminal book Magic Flutes and Enchanted Forests (2008) explores the intertextual threads of magical ideas in Der Stein der Weisen and Die Zauberflöte, that is, how librettists and composers translated and reprocessed magical themes. I will draw on Buch’s comparison to show how these intertextual connections can be read for their broad cultural resonances. In this paper, I will first establish the connections between Der Stein der Weisen and Die Zauberflöte in plot and in music. Then I will show how the later opera diverges from its predecessor and discuss how it manages to diminish the polarity of rationality and irrationality considered central to Enlightenment thinking. Ultimately, I argue, Die Zauberflöte facilitates its audience’s access to Enlightenment values by magical means.
    [Show full text]
  • 'The Philosopher's Stone': Mozart's Newly Discovered Opera
    Click here for Full Issue of EIR Volume 27, Number 4, January 28, 2000 Review ‘The Philosopher’s Stone’: Mozart’s newly discovered opera by David M. Shavin Philosopher’s Stone, the famous “Miau! Miau!” duet that opens the Finale of Act II. (This assumption had been based The Philosopher’s Stone, or upon a known copy of this “cat duet” in Mozart’s hand.) Since The Enchanted Isle Mozart had contributed individual works to several operas by Wolfgang Amadeus Mozart, Johann Baptist by others, nothing much was made of this. Now, Buch has Henneberg, Benedikt Schack, Franz Xaver Gerl, and Emanuel Schikaneder identified Mozart as the main composer of the Act II Finale, A fairy-tale opera from 1790, rediscovered by along with the Act II duet, “Nun, liebes Weibchen.” Schik- David J. Buch aneder, who is credited with two of the works in The Philoso- Boston Baroque, Martin Pearlman, Telarc CD pher’s Stone, was the creator of the comic figure Papageno, in The Magic Flute. Further, the other three collaborators inThe Philosopher’s The discovery of Mozart’s significant role in the opera The Stone also played major roles in The Magic Flute production Philosopher’s Stone casts a whole new light on his famous the following year. Johann Baptist Henneberg, who has 10 of opera The Magic Flute. This recording presents the long-lost the 24 attributions in The Philosopher’s Stone, including most half-sister. It is also something of a minor miracle that the of Act I, was the conductor for The Magic Flute (except when opera, a product of the collaboration of five composers, is as Mozart himself chose to conduct).
    [Show full text]
  • 2017-04-02 Messiah
    OLDHAM CHORAL SOCIETY PATRON: Jeffrey Lawton CHAIRMAN: Fred Jones Vice-Chair: Margaret Hood Vice-President: Nancy Murphy Hon. Secretary: Ray Smith Hon. Treasurer: John Price Music Director: Nigel P. Wilkinson Accompanist: Angela Lloyd-Mostyn Conductor Emeritus: John Bethell MBE Librarian: Tricia Golden / Janeane Taylor Ticket Sec.: Margaret Hallam Patrons’ Sec.: Sylvia Andrew Uniform Co-ordination: Val Dawson Webmaster: David Baird Concert Manager: Gerard Marsden Promotions Group: David Baird, Edna Gill, Margaret Hood, Fred Jones, Maggs Martin, Sue Morris, June O’Grady, Brenda Roberts, LIFE MEMBERS Eva Dale, Fred Jones, Margaret Hood, Alan Mellor, Nancy Murphy, Peter Quan, Eric Youd A MESSAGE FROM THE CHAIR One of the joys of being in a choir is that from time to time you get to sing your favourite work. That is my pleasure this evening. I have loved the "Messiah" for many years (not saying how many!). To my mind it is a pity that it is usually confined to the busy period of Christmas, so I am particularly pleased to have a Lenten performance. The emotion and drama of the Easter story are something quite special, and deserve to be savoured. Our wonderful soloists and the East Lancs Sinfonia will, I am sure, join with the choir to produce a magical musical experience. We will not be having our usual lighter-themed concert at Middleton Arena this year. Instead we will be holding a Choir "At Home" evening on Friday, 16th June in our regular rehearsal venue - the beautiful Ballroom of Chadderton Town Hall, from 7.30 to 10.30pm. You are invited to join us for a short concert, followed by some time for social and fund-raising activities.
    [Show full text]
  • Komponisten 1618Caccini
    © Albert Gier (UNIV. BAMBERG), NOVEMBER 2003 KOMPONISTEN 1618CACCINI LORENZO BIANCONI, Giulio Caccini e il manierismo musicale, Chigiana 25 (1968), S. 21-38 1633PERI HOWARD MAYER BROWN, Music – How Opera Began: An Introduction to Jacopo Peri´s Euridice (1600), in: The Late Italian Renaissance 1525-1630, hrsg. von ERIC COCHRANE, London: Macmillan 1970, S. 401-443 WILLIAM V. PORTER, Peri and Corsi´s Dafne: Some New Discoveries and Observations, Journal of the American Musicological Society 17 (1975), S. 170-196 OBIZZI P. PETROBELLI, L’ “Ermonia“ di Pio Enea degli Obizzi ed i primi spettacoli d´opera veneziani, Quaderni della Rassegna musicale 3 (1966), S. 125-141 1643MONTEVERDI ANNA AMALIE ABERT, Claudio Monteverdi und das musikalische Drama, Lippstadt: Kistner & Siegel & Co. 1954 Claudio Monteverdi und die Folgen. Bericht über das Internationale Symposium Detmold 1993, hrsg. von SILKE LEOPOLD und JOACHIM STEINHEUER, Kassel – Basel – London – New York – Prag: Bärenreiter 1998, 497 S. Der Band gliedert sich in zwei Teile: Quellen der Monteverdi-Rezeption in Europa (8 Beiträge) sowie Monteverdi und seine Zeitgenossen (15 Beiträge); hier sollen nur jene Studien vorgestellt werden, in denen Libretto und Oper eine Rolle spielen: H. SEIFERT, Monteverdi und die Habsburger (S. 77-91) [faßt alle bekannten Fakten zusammen und fragt abschließend (S. 91) nach möglichen Einflüssen Monteverdis auf das Wiener Opernschaffen]. – A. SZWEYKOWSKA, Monteverdi in Polen (S. 93-104) [um 1600 wirken in Polen zahlreiche italienische Musiker, vor allem in der königlichen Hofkapelle; Monteverdi lernte den künftigen König Wladyslaw IV. 1625 in Venedig kennen. Marco Scacchi, der Leiter der Kapelle, deren Mitglieder auch drammi per musica komponierten (vgl.
    [Show full text]
  • A C AHAH C (Key of a Major, German Designation) a Ballynure Ballad C a Ballynure Ballad C (A) Bal-Lih-N'yôôr BAL-Ludd a Capp
    A C AHAH C (key of A major, German designation) A ballynure ballad C A Ballynure Ballad C (A) bal-lih-n’YÔÔR BAL-ludd A cappella C {ah kahp-PELL-luh} ah kahp-PAYL-lah A casa a casa amici C A casa, a casa, amici C ah KAH-zah, ah KAH-zah, ah-MEE-chee C (excerpt from the opera Cavalleria rusticana [kah-vahl-lay-REE-ah roo-stee-KAH-nah] — Rustic Chivalry; music by Pietro Mascagni [peeAY-tro mah-SKAH-n’yee]; libretto by Guido Menasci [gooEE-doh may-NAH-shee] and Giovanni Targioni-Tozzetti [jo-VAHN-nee tar-JO- nee-toht-TSAYT-tee] after Giovanni Verga [jo-VAHN-nee VAYR-gah]) A casinha pequeninaC ah kah-ZEE-n’yuh peh-keh-NEE-nuh C (A Tiny House) C (song by Francisco Ernani Braga [frah6-SEESS-kôô ehr-NAH-nee BRAH-guh]) A chantar mer C A chantar m’er C ah shah6-tar mehr C (12th-century composition by Beatriz de Dia [bay-ah-treess duh dee-ah]) A chloris C A Chloris C ah klaw-reess C (To Chloris) C (poem by Théophile de Viau [tay- aw-feel duh veeo] set to music by Reynaldo Hahn [ray-NAHL-doh HAHN]) A deux danseuses C ah dö dah6-söz C (poem by Voltaire [vawl-tehr] set to music by Jacques Chailley [zhack shahee-yee]) A dur C A Dur C AHAH DOOR C (key of A major, German designation) A finisca e per sempre C ah fee-NEE-skah ay payr SAYM-pray C (excerpt from the opera Orfeo ed Euridice [ohr-FAY-o ayd ayoo-ree-DEE-chay]; music by Christoph Willibald von Gluck [KRIH-stawf VILL-lee-bahlt fawn GLÔÔK] and libretto by Ranieri de’ Calzabigi [rah- neeAY-ree day kahl-tsah-BEE-jee]) A globo veteri C AH GLO-bo vay-TAY-ree C (When from primeval mass) C (excerpt from
    [Show full text]
  • The House Composers of the Theater Auf Der Wieden in the Time of Mozart (1789-91)1
    The House Composers of the Theater auf der Wieden in the Time of Mozart (1789-91)1 DAVID J. BUCH Some of the most important theatrical music in Europe was produced at the Theater auf der Wieden in suburban Vienna in the years 1789 to 1801. Beginning with the immensely popular Die zween Anton oder der dumme Gärtner aus dem Gebirge in July 1789, Emanuel Schikaneder produced one successful singspiel after another. The most successful of these were quickly staged in other European venues, both in the original German and in translation.2 Yet, until recently, we have known only a single opera from that period, Mozart’s Die Zauberflöte. Because scholars have not studied this repertory,3 a myth of singularity for Mozart’s singspiel has dominated the secondary literature. But Mozart’s opera was in fact the fourth in a series of fairy-tale singspiels based on texts associated with Christoph Martin Wieland. And the music of Mozart’s singspiel is firmly rooted in a unique style developed at the theater by a group of talented composers who interacted with Mozart, both learning from the master and influencing him in turn. Another myth about this theater has also persisted in modern literature, namely, that the music was of an inferior quality and that the performances were rather crude. While there is one derisive review of a performance at the Theater auf der Wieden by a north German commentator in 1793,4 most contemporary reviews were positive, noting a high standard of musical performance. In his unpublished autobiography, Ignaz von Seyfried recalled performances of operas in the early 1790s by Mozart, Süßmayr, Hoffmeister etc., writing that they were performed with rare skill (ungemein artig).
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 51,1931
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTY-FIRST SEASON, 1931-1932 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1932, BY BOSTON SYMPHONY ORCHESTRA, INC. 757 THE TRUMPET 1 HE clarion of the Eleventh Century was the im- mediate predecessor of the trumpet. The early in- strument, also called claro y and clarino, was a short straight tube of brass with one end carrying a cup- shaped mouthpiece and the other widening out into a bell. In the Eighteenth Century, Meyer of Hamburg made what has been called the first improvement in the trumpet — he invented a practical mouthpiece. Then occured a series of revolutionary changes. In 1780 Wogel added " tubes"; Wiedenger, court- trumpeter in Vienna, added " stops" in 1801; next came the "keys," with Sattler of Leipzig turning out the first trumpets equipped with them; and finally Striegel, a German orchestra player, introduced cer- tain refinements in bore and tubing. The trumpet is truly a stately and heraldic instru- ment. It is the portrayer of tournaments and pro- cessions, of pageants with a martial and romantic tinge. Its great agility makes it admirably suited to rapid figures, arpeggios, and to repetitions. In addi- tion to its strident calls, it can produce effects either fantastic or of extreme sweetness. Berlioz wrote: "The quality of the trumpet tone is noble and brilliant . It lends itself to the expression of all energetic and lofty and grand sentiments and to the majority of tragic accents." * * * * 1 HERE are many ways in which the services of Old Colony Trust Company as Executor and Trustee can help you obtain a definite objective.
    [Show full text]
  • Newsletter Wednesday 10Th March 2021
    Winchester City Festival Choir NEWSLETTER WEDNESDAY 10TH MARCH 2021 Welcome to another edition of ramblings from the conductor! I hope the newsletter continues to find you well. When Vaughan Williams met Shakespeare I think Ralph Vaughan Williams (1872 – 1958) has the accolade of being the composer to gett the most mentions in these newsletters! I make no apology for this, or for bringing his music to your attention again this week! I’m going secular for a change, and focusing on some of his music which uses the words of William Shakespeare (1564 – 1616). I’m going slightly off track this week as the first piece isn’t technically written for a choir, so it isn’t choral, but it could be… and is often sung by choirs with four soloists. Before we get to our first piece of music, a little history of the English conductor Sir Henry Wood (1869 – 1944), best known for his association with London's annual series of promenade concerts, known as the Proms. Indeed, it has been said that Henry Wood made the Proms and the Proms made Henry Wood! Wood studied at the Royal Academy of Music and at first seems to have intended a career as a composer, but his conducting abilities were to win out, particularly from 1895 when still only 26, he assumed the conductorship of a new series of Promenade Concerts to be given at the recently built Queen’s Hall in Langham Place. Nobody would have guessed that the series would survive two world wars and (hopefully) a pandemic! That it did was testament to Henry Wood’s devotion and sheer hard work over a 50-year period.
    [Show full text]
  • FURIOS Richard Wagners Frühwerk
    AUSGABE 32 . MAI / JUNI / JULI 2018 FANTASIEVOLL Ein sprechender Fisch im Musiktheater für Kinder „Gold“ FASZINIEREND Die schlechteste Sängerin der Welt in „Souvenir“ FABELHAFT Die Wiederentdeckung von Schikaneders Singspiel „Der Stein der Weisen“ FEINFÜHLIG Das neue Tanzstück: „Die lautlose Welt der Anne Frank“ FURIOS Richard Wagners Frühwerk RIENZI1 Editorial VEREHRTES PUBLIKUM! in nächster Höhepunkt im Programm der Tanzcompany steht bevor: Marie Stock- hausen hat erneut einen sensiblen und berührenden Tanzabend für die Kammer- Espiele in der Messe geschaffen: Die lautlose Welt der Anne Frank ist das Porträt des jüdischen Mädchens, dessen Tagebuch-Aufzeichnungen aus der Zeit des Nationalsozialis- mus’ bis heute die Welt bewegen. Weltklasse ist weiterhin im Großen Haus zu erleben, wenn bei Masterpieces hochkarätige Choreografen Innsbruck die Ehre geben: Jiří Kyliáns ästhetische und trotzdem humorvolle Tanzstücke Petit morte und Six dances stehen neben Ohad Naharins mitreißendem, orgi- astischen Minus 16 – interpretiert von den wundervollen TänzerInnen unserer Company. In der kommenden Saison, die wir Ihnen in dieser Ausgabe des FIGARO! präsentieren, begehen wir ein besonderes Jubiläum. Seit zehn Jahren bin ich nun als Direktor der Tanz- company Innsbruck tätig. Und ich möchte mich an dieser Stelle herzlichst bei Ihnen bedan- ken: Für Ihr Vertrauen, Ihre Treue und Ihre Begeisterung, mit der Sie unsere Tanzcompany und mich all die Jahre begleitet haben und hoffentlich noch weiter begleiten werden. Zehn Jahre voller Besonderheiten, Erfahrungen
    [Show full text]
  • Dossier 2014 Pédagogique
    DOSSIER 2014 PÉDAGOGIQUE Die Zauberflöte Musique de Wolfgang Amadeus Mozart Livret d’Emmanuel Schikaneder DOSSIER PÉDAGOGIQUE sommaire Sommaire Préambule A lire avant le spectacle I. Présentation de l’œuvre...............................................................p. 4 1. Contexte de création de l’œuvre ........................................................................................p. 4 2. Argument...............................................................................................................................p. 5 3. Les personnages..................................................................................................................p. 6 II. Autour de l’œuvre.......................................................................p. 12 1. La Flûte enchantée et le contexte théâtral viennois de la fin du XVIIIème siècle..........p. 12 2. Mozart et la Franc-Maçonnerie...........................................................................................p. 17 III. La production au Festival d’Aix-en-Provence............................p. 18 1. Les productions de Die Zauberflöte depuis 1948...............................................................p. 19 2. La distribution de Die Zauberflöte en 2014.........................................................................p. 20 3. Le Grand Théâtre d’Aix-en-Provence..................................................................................p. 23 4. Aperçu en images..................................................................................................................p.
    [Show full text]
  • Columbia Records Catalogue 1922
    Complete to Supplement No. 60.1 CURRENT PRICES OF COLUMBIA RECORDS. DARK BLUE LABEL (Doable,S,ided)v__I'sges_60 to 103 10 inch 3/6 12-inch 516 .. ... Hebrew-Jewish Records-see page 110. Wm. McEwan Sacred Album 42/- . each The Children's Bo:-" (see 103) 21/- page - LIGHT BLUE LABEL ('J Pc.'er 9 42 uble-Sided; , to 10-inch 5/- each 12-inch 7/6 ea -a "Daughter of Madame Angot " A1Lum 13 s."."EEN LABEL. Pages 43 to 59 PINK LABS L, GRAND OPERA (Single-Side d Page 1C 12-inch 1246 iva-dica only. ... .. ... each BROWN LAB-Z.. ITALIAN OPERA ;Double-Sided) 104 to :106 516 10-inch :3/6 each ... )'L iach eac" RMEN' Ai .um, compieta 0 1.'Sa i i)A " Aihurn, containing Complete Opera £ r "i?ICOLETfO"Album,containingCompleteOpera . £4 8n. `IteCards. '::tng txdn>,flcru/t4 ruder P.rittlA! CAUTION..--Cuwnrbta 3ety '4;,stralian Zealand Parents, naý" ný: b! aal for :slr! ar offered fir salt at less than Al autfori,ed pries: fixed tAo,* liaFls eannrrier respa,iaýrly. euir,{;;r rendering LRtk ells:- ant pýr'`arer to damage for infringe sent"-ssýwýwý++.ýmr ýrnllls.. ý7s8 BRIT'S}-?!NST;TUTE QE SOUND, 922 SUPPLEMENTARY CATALqQIWTION;(7DFD ROAD, i iris Supplementary Catalogue includes all Columbia Records issued in the supplements Nos. 61 to 65 and Special Issues. and with the 1922 Catalogue comprises the complete Columbia repertoire to the No. 65 and " Lady of re Rose " Supplements. I ORPLE LABEL-12-In. Single-Sided. 716 LIGHT BLUE LABEL-12-in.-contd. 72:18 (Carmen-My Mother I Behold ILe Chasseur Ntaudit (Tbe Accursed l Duct: Shaba Mullings and 1.1423{ Hunter).
    [Show full text]