DOCSLIB.ORG

Schubertiade Music & Arts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Schubertiade Music & Arts Schubertiade Music & Arts LLC (617) 308 -4019, [email protected] www.SchubertiadeMusic.com By Appointment in Vestal, NY and in Boston, MA Member: ABAA, ILAB, PADA, MLA, MARIAB All autograph material unconditionally Guaranteed Authentic, without limit. SPRING 2013 SALE: 275 select items discounted from 30% to 70% FOR ONE WEEK ONLY! These discounts are available only for orders by Email/Phone and all orders must be received and paid in full by Monday, June 3. Images of all items in the PDF sale catalogue are available on the website through the search function. ALL items on the website will discount automatically at 20% at checkout. In this PDF Catalog, Discounts are as follows: 30% DISCOUNT, items 1-60 40% DISCOUNT, items 61 - 120 50% DISCOUNT, items 121 - 224 60% DISCOUNT, items 225 - 256 70% DISCOUNT, items 257 - 275 Spring 2013 SALE Schubertiade Music & Arts LLC (617) 308 -4019, [email protected] www.SchubertiadeMusic.com By Appointment in Vestal, NY and in Boston, MA Member: ABAA, ILAB, PADA, MLA, MARIAB All autograph material unconditionally Guaranteed Authentic, without limit. SPRING 2013 SALE: 275 select items discounted from 30% to 70% FOR ONE WEEK ONLY! These discounts are available only for orders by Email/Phone and all orders must be received and paid in full by Monday, June 3. 30% DISCOUNT FROM LISTED PRICE 1. Abendroth, Hermann. (1883-1956). Large Signed Photograph. A bold signature and inscription dated 1929 on an intense bust portrait from the great German conductor of the Leipzig Gewandhaus and others. Abendroth has signed in ink on the mount beneath the photograph, where the photographer, Fayer, has also signed (in pencil). Photograph measures 17 x 24 cm, mounted to 24 x 37 cm overall. Dark stains to right margin of mount, not affecting photograph or signatures. Abendroth was "trapped" in East Germany after the war and signed photographs are scarce. (640) $400.00 1 Spring 2013 SALE 2. [ACADÉMIE DU DISQUE FRANÇAIS]. Important Large Archive. A remarkable collection of letters, photographs and documents concerning the history of recordings in France. Ninety items in all, various sizes, Paris and elsewhere, c.1878-1983. The Académie du Disque Français was founded in Paris in 1951 by Colette, Maurice Yvain, Jean Fayard, and the poet Guy-Charles Cros, son of the inventor of the phonograph. Its founding president was Arthur Honegger and it included among its ranks other composers, men of letters, such as Cocteau, critics and discophiles. Einstein, a gifted amateur violinist had been a member of the Académie du Disque from September 1954 until his death in April 1955. Honegger died later the same year on 27 November. Details as follows: Académie du Disque. Important mission statement from the Académie du Disque, addressed to the Secretaire d'Etat au Budget, celebrating the recent statute to place the recording industry alongside that of book publishing in terms of national importance and budgetary support from the State. 1 page. Paris. 19 May, 1954. In part: “Le fonds musical et littéraire de notre pays étant notoirement l'un des plus riches du monde, alors que les moyens affectés a sa mise en valeur sont des plus modesties, une tell mesure aura pour effet immediate d'augmenter en France le nombre des discophiles, et a l'étranger la quantité et la variété des oeuvres enregistrées et exportées.” A remarkable letter, signed by Colette, Jean Cocteau, Arthur Honegger, Florent Schmitt, Georges Duhamel, Jean Fayard, Michel de Bry, Guy-Charles Cros, Maurice Garcon, Maurice Yvain and others. --------- Cocteau, Jean. (1889 - 1963) Autograph letter signed to Michel [de Bry]. 1 page, 2 December, 1954. A paean in praise of Honegger, discussing 'Les Six' and asking that the Académie remember the “seventh man.” -------- [Cocteau, Jean. (1889 - 1963)]Typed Letter addressed to Cocteau (“Mon Cher Jean”) from Michel de Bry. 2 pages. 30 November, 1955. Concerning the recent death of Honegger, asking that he add some additional information to his published tribute in the name of the Académie du Disque. He notes that it was almost precisely one year ago that they honored Honegger with a dinner at l'Academie du Disque and that it was Cocteau who was then seriously ill, unable to attend, but who sent a letter celebrating him in the name of the Groupe des Six [the autograph letter included here (above)]. ------ Honegger, Arthur. (1892 - 1955) 3 autograph letters and typed letters signed, written as president of the Académie du Disque: July, 1955. 2 pages, autograph letter signed by Honegger and addressed “Mon cher Charles [Munch], Messieurs les Artistes du Boston Symphony Orchestra.” A very important letter, sending congratulations to the BSO for winning the Grand Prix of the Académie du Disque for their recording of Berlioz's “Roméo et Juliette.” Honegger remarks that the BSO, among all international orchestra, has always maintained a special relationship with France and discusses its history of close contact among the players and conductors of the orchestra. He notes too that he owes a great debt to the conductor and orchestra, as they were the first to play his works in America and it was for the BSO's 50th anniversary, that he wrote his First Symphony. He goes on to discuss his other contacts with the BSO, including his 1928 performances and relationship with Koussevitzky. He writes that Munch is for him “a well-loved brother, admired with tenderness, who has been the most certain and faithful defendant of his music,” and thanks the orchestra (“magnificent artists”) for their “joy and intelligence.” 23 May, 1955. 1 page, Typed letter signed by Honegger and Maurice Yvain. Concerning the market regression of recordings of French repertoire, saying that it is the mission of the Académie du Disque to strongly urge music editors to reorient their recording projects to restore a better “equilibrium” for their patrimony, French composers and artists. 15 June, 1955. 1 page, Typed letter signed by Honegger and addressed to M. Edgar Faure, Président du Conseil des Ministres. Concerning awards given by the Académie du Disque, asking him to sign the certificates and to give the stamp of the State's approval. ------- Auric, Georges. (1899 - 1983) Typed letter, signed. 1 page, addressed to Max Fischer. 22 November, 1966. Inviting him to be a “member titulaire” of the Académie du Disque, under the category of “Discophiles.” Together with Fisher's signed letter of acceptance. ------- Gaxotte, Pierre. (1895 - 1982). Two autograph manuscript essays regarding “Disques de Ballet.” 4; 5 pages. Both undated, ca. 1950. Fascinating commentary on the Ballets Russes, standard dance repertory (Delibes, Rimsky-Korsakov, Tchaikovsky, Debussy, Stravinsky, Roussel) conductors etc. ------ 2 [King Frederik IX of Denmark. (1899 - 1972)]. Typed letter draft with numerous edits throughout in blue in, from Arthur Honegger and Maurice Yvain. 3 pages, dated 8 July, 1955. Discussing the mission of the Académie du Disque, saluting several great Danish composers, and inviting the King (who was famed as an excellent and serious conductor) to take the recently vacated position in the Académie after the death of Albert Einstein. In part: “Nous avons été amenés a considerer Sa Majesté non pas comme un monarque accessoirement musicien, mais comme un musicien éminemment éclairé, un chef d'orchestre de grand talent, - qui se trouve porter une couronne.” Together with 2 typed signed letters (11 July 1955; 27 August,1955) regarding the King's acceptance, both from the Ambassador, E. Waerum. -------- Milhaud, Darius. (1892 - 1974) Autograph letter draft, signed. 2 pages, no date. Regarding the organization of and governmental support for the Académie du Disque Français. Together with a typed copy of the letter. -------- Ibert, Jacques. (1890 - 1962) Typed memorial letter, with autograph corrections. 3 pages. 2 December, 1955. A very moving tribute, addressed “Mon cher Arthur,” penned a few days after the death of Arthur Honegger. Together with a typed cover letter, noting that Ibert is in very ill health and cannot attend the memorial service for his friend, but is sending this message to be read in his name. -------- Fauchois, René. (1882 - 1962). Typed memorial letter, with autograph corrections. 2 pages. 1 December, 1955. A tribute to Arthur Honegger from the popular writer/actor, four days after Honegger's death. ---------- Sauguet, Henri. (1901 - 1989) Autograph signed items, including letters and manuscripts: Autograph letter, signed. 2 pp. Paris, 1/11/54. Addressed “Mon cher Ami” [Michel de Bry]. A detailed letter, his enthusiastic appraisal (and recommendation for an award) of a recent recording by mezzo-soprano, Flore Wend. 4-page autograph manuscript of a talk about Georges Auric and his involvement with the Académie du Disque Français. Together with a related autograph signed note and a copy of a letter to the Minister of Culture regarding Auric. 7-page autograph signed manuscript of a talk on the occasion of their Award Ceremony, paying tribute in particular to the recently deceased Charles Munch. Dated November, 1968. Autograph Letter, signed. 2 pages. Paris. 14 November, 1970. Addressed “Cher Ami” [Michel de Bry]. An interesting letter regarding problems in the distribution of recordings to voting members of the Académie du Disque Français. Autograph Letter, signed. 2 pages. Paris. 28 November, 1970. Addressed “Cher Ami” [Michel de Bry]. A second interesting letter regarding problems in the distribution of recordings to voting members of the Académie du Disque Français. Autograph Letter, signed. 2 pages. 1 January, 1981. Addressed “Cher Ami” [Michel de Bry]. Noting that he will be unable to attend a meeting because he will be assisting in the preparation of a performance of his 2nd Quartet, and sending his very interesting endorsement of Benjamin Britten for that year's “Prix Ravel” from the Académie du Disque Français. Autograph Letter, signed. 1 page.
Load more

Recommended publications
  • Jean-Yves Mollier
    French publishing in World War Two: A habitus of submission? Jean-Yves Mollier The present article sets out to explore the situation of French publishing between June 1940 and August 1944. Before addressing the main argument, however, it is important to bear in mind that it is difficult to understand this key sector of French cultural life in the period immediately prior to the Nazi occupation without looking back at its development over the preceding decades and even centuries. Similarly, understanding the deeper meaning underlying the attitude of the leading publishers who occupied the higher echelons of the publishing union means bearing in mind their “centuries-old habitus of submission”1 to authority. Take for example the “voluntary delegation of notables representing Paris's industrial sector” led by the industrialists Emile Menier and Jean- François Cail and the printer Henri Plon to the Elysée Palace on December 19, 1851 to thank Louis- Napoléon Bonaparte for “guaranteeing the defence of order, family, and property” after seizing power in a coup seventeen days earlier.2 Though it is important not to overstate the importance of such an event in the contemporary context, it can be seen as symbolic of a craven attitude to power that remained largely unchanged in the summer of 1940. Napoleon I and his successors set up a system to police the book trade, with inspectors whose task it was to keep a close eye not only on ports and borders, but also printers, bookshops, pedlars, second-hand bookshops, and any other premises or itinerant points of sale where books could be acquired.
    [Show full text]
  • The Old and the New Magic
    E^2 CORNELL UNIVERSITY gilBRARY . GIFT OF THE AUTHOR Digitized by Microsoft® T^^irt m4:£±z^ mM^^ 315J2A. j^^/; ii'./jvf:( -UPHF ^§?i=£=^ PB1NTEDINU.S.A. Library Cornell University GV1547 .E92 Old and the new maj 743 3 1924 029 935 olin Digitized by Microsoft® This book was digitized by Microsoft Corporation in cooperation witli Cornell University Libraries, 2007. You may use and print this copy in limited quantity for your personal purposes, but may not distribute or provide access to it (or modified or partial versions of it) for revenue-generating or other commercial purposes. Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® Digitized by Microsoft® ROBERT-KCUIUT Digitized by Microsoft® THE OLDUI^DIMEJ^ MAGIC BY HENRY RIDGELY EVANS INTRODUCTION E1^ k -io^s-ji, Copyright 1906 BY The Open Court Publishing Co. Chicago -J' Digitized by Microsoft® \\\ ' SKETCH OF HENRY RIDGELY EVAXS. "Elenry Ridgely Evans, journalist, author and librarian, was born in Baltimore, ^Md., Xovember 7, 1861. He is the son 01 Henry Cotheal and Alary (Garrettson) Evans. Through his mother he is descended from the old colonial families of Ridgely, Dorsey, AA'orthington and Greenberry, which played such a prominent part in the annals of early Maryland. \h. Evans was educated at the preparatory department of Georgetown ( D. C.) College and at Columbian College, Washington, D. C He studied law at the University of Maryland, and began its practice in Baltimore City ; but abandoned the legal profession for the more congenial a\'ocation <jf journalism. He served for a number of }ears as special reporter and dramatic critic on the 'Baltimore N'ews,' and subsequently became connected with the U.
    [Show full text]
  • The Evolution of Eva Jessye's Programming As Evidenced in Her Choral Concert Programs from 1927-1982
    The Evolution of Eva Jessye's Programming as Evidenced in Her Choral Concert Programs from 1927-1982 Item Type text; Electronic Dissertation Authors Jenkins, Lynnel Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 23:30:45 Link to Item http://hdl.handle.net/10150/622962 THE EVOLUTION OF EVA JESSYE’S PROGRAMMING AS EVIDENCED IN HER CHORAL CONCERT PROGRAMS FROM 1927-1982 by Lynnel Jenkins __________________________ Copyright © Lynnel Jenkins 2016 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2016 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Lynnel Jenkins, titled The Evolution of Eva Jessye’s Programming as Evidenced in Her Choral Concert Programs from 1927-1982 and recommend that it be accepted as fulfilling the document requirement for the Doctor of Musical Arts Degree. ________________________________________________ Date: 10/14/16 Bruce Chamberlain ________________________________________________ Date: 10/14/16 Elizabeth Schauer ________________________________________________ Date: 10/14/16 John Brobeck Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • Philharmonic Au Dito R 1 U M
    LUBOSHUTZ and NEMENOFF April 4, 1948 DRAPER and ADLER April 10, 1948 ARTUR RUBINSTEIN April 27, 1948 MENUHIN April 29, 1948 NELSON EDDY May 1, 1948 PHILHARMONIC AU DITO R 1 U M VOL. XLIV TENTH ISSUE Nos. 68 to 72 RUDOLF f No S® Beethoven: S°"^„passionala") Minor, Op. S’ ’e( MM.71l -SSsr0*“” « >"c Beethoven. h6tique") B1DÛ SAYÂO o»a>a°;'h"!™ »no. Celeb'“’ed °P” CoW»b» _ ------------------------- RUOOtf bKch . St«» --------------THE pWUde'Pw»®rc’^®®?ra Iren* W°s’ „„a olh.r,„. sr.oi «■ o'--d s,°3"' RUDOLF SERKIN >. among the scores of great artists who choose to record exclusively for COLUMBIA RECORDS Page One 1948 MEET THE ARTISTS 1949 /leJ'Uj.m&n, DeLuxe Selective Course Your Choice of 12 out of 18 $10 - $17 - $22 - $27 plus Tax (Subject to Change) HOROWITZ DEC. 7 HEIFETZ JAN. 11 SPECIAL EVENT SPECIAL EVENT 1. ORICINAL DON COSSACK CHORUS & DANCERS, Jaroff, Director Tues. Nov. 1 6 2. ICOR CORIN, A Baritone with a thrilling voice and dynamic personality . Tues. Nov. 23 3. To be Announced Later 4. PATRICE MUNSEL......................................................................................................... Tues. Jan. IS Will again enchant us-by her beautiful voice and great personal charm. 5. MIKLOS GAFNI, Sensational Hungarian Tenor...................................................... Tues. Jan. 25 6. To be Announced Later 7. ROBERT CASADESUS, Master Pianist . Always a “Must”...............................Tues. Feb. 8 8. BLANCHE THEBOM, Voice . Beauty . Personality....................................Tues. Feb. 15 9. MARIAN ANDERSON, America’s Greatest Contralto................................. Sun. Mat. Feb. 27 10. RUDOLF FIRKUSNY..................................................................................................Tues. March 1 Whose most sensational success on Feb. 29 last, seated him firmly, according to verdict of audience and critics alike, among the few Master Pianists now living.
    [Show full text]
  • The History of Europe — Told by Its Theatres
    THE HISTORY OF EUROPE — TOLD BY ITS THEATRES Exhibition magazine CONTENT 4 Introductions We live in Europe, and it is therefore our task to make this part of the world work, in a peaceful way and for the best of all people liv - 6 Mediterranean experience ing here. To achieve this, we have to cooperate across borders, be - 10 religious impact cause only together we can solve the challenges we are facing together. For this, institutions are necessary that make cooperation 14 Changing society – possible on a permanent basis. For this, it is necessary to jointly changing building create an idea of how Europe shall develop now and in the future. 18 The Theatre royal, drury lane For this, it is necessary to remember where we come from – to remember our common history in Europe. 22 Max littmann For this, the touring exhibition The history of Europe – told by and the democratisation its theatres proposes a unique starting point: our theatres. And this of the auditorium is not a coincidence. Since the first ancient civilisations developed 24 Aesthetics and technology in Europe 2500 years ago, the history of Europe has also been the 28 The nation history of its theatre. For 2500 years, theatre performances have been reflecting our present, past and possible future. For the per - 34 Spirit of the nation set ablaze formances, this special form of a joint experience and of joint re - 38 To maintain the common flection, Europeans have developed special buildings that in turn identity – the Teatr Wielki mirror the development of society. And thus today we find theatre in Warsaw buildings from many eras everywhere in Europe.
    [Show full text]
  • 1895. Mille Huit Cent Quatre-Vingt-Quinze, 38 | 2002 Les Années Trente Entre Chanson Et Cinéma 2
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenEdition 1895. Mille huit cent quatre-vingt-quinze Revue de l'association française de recherche sur l'histoire du cinéma 38 | 2002 Musique ! Les années trente entre chanson et cinéma Giusy Pisano Édition électronique URL : http://journals.openedition.org/1895/357 DOI : 10.4000/1895.357 ISBN : 978-2-8218-1026-6 ISSN : 1960-6176 Éditeur Association française de recherche sur l’histoire du cinéma (AFRHC) Édition imprimée Date de publication : 1 octobre 2002 ISBN : 2-913758-35-5 ISSN : 0769-0959 Référence électronique Giusy Pisano, « Les années trente entre chanson et cinéma », 1895. Mille huit cent quatre-vingt-quinze [En ligne], 38 | 2002, mis en ligne le 08 mars 2007, consulté le 23 septembre 2019. URL : http:// journals.openedition.org/1895/357 ; DOI : 10.4000/1895.357 Ce document a été généré automatiquement le 23 septembre 2019. © AFRHC Les années trente entre chanson et cinéma 1 Les années trente entre chanson et cinéma Giusy Pisano 1 Qu’il s’agisse de peinture ou de musique, de théâtre ou de cinéma, la chronologie des années trente présente un nombre considérable d’événements. Leur degré d’importance et de créativité est très inégal, et reflète l’éclectisme qui a caractérisé la période. Cependant, d’une manière générale, il faut d’abord constater que les années trente ne sont pas au centre de mouvements et de recherches « révolutionnaires » dans le domaine des arts. Il s’agit plutôt d’années de synthèse. La France vit sur les innovations des périodes précédentes, ce qui est particulièrement flagrant dans le domaine de la création musicale « savante ».
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • Opera Europa Summer Conference Measuring the Arts Zurich, 28-30 June 2018
    Opera Europa summer conference Measuring the arts Zurich, 28-30 June 2018 Country Town Opera Company Name Title Albania Tirana Albanian National Opera Klejvis Saliaj Marketing Director Albania Tirana Albanian National Opera Serxhio Haxhiaj International Relations Office Albania Tirana Albanian National Opera Zana Çela General Director Austria Graz Oper Graz Marlene Hahn Dramaturg Austria Graz Oper Graz Nora Schmid Intendantin Austria Salzburg Salzburger Landestheater Carl Philip von Maldeghem Intendant Austria Vienna Die Neue Merker Klaus Billand Journalist Austria Vienna Theater an der Wien Renate Futterknecht Deputy Director Austria Vienna Volksoper Wien Christoph Ladstätter Commercial Director Austria Vienna Volksoper Wien Malte Puls Director of Artistic Administration Austria Vienna Wiener Staatsoper Stephanie Wippel Planning/Casting National Opera and Ballet Theatre of the Belarus Minsk Republic of Belarus Hanna Yarashevich Deputy Head of International Relations National Opera and Ballet Theatre of the Belarus Minsk Republic of Belarus Sviatlana Kaziulina Deputy General Director Belgium Antwerp/Ghent Kunsthuis Opera Vlaanderen Aviel Cahn Intendant Belgium Antwerp/Ghent Kunsthuis Opera Vlaanderen Bart Van der Roost General Manager Belgium Antwerp/Ghent Kunsthuis Opera Vlaanderen Jan Henric Bogen Deputy Artistic Director Belgium Antwerp/Ghent Kunsthuis Opera Vlaanderen Naomi Russell Head of Audiences / Development & Change Manager Belgium Brussels La Monnaie De Munt Aurore Aubouin Artistic Planning & Production Manager Belgium Brussels
    [Show full text]
  • Porgy and Bess» in Oltre Settant’Anni Di Interpretazioni DISCOGRAFIA SU «PORGY and BESS»
    1 Giovinezza di «Porgy and Bess» in oltre settant’anni di interpretazioni DISCOGRAFIA SU «PORGY AND BESS» di Aloma Bardi [all’interno di ciascun capitolo, le voci sono elencate secondo l’ordine cronologico delle registrazioni] I. «PORGY AND BESS» NELL’INTERPRETAZIONE DI GEORGE GERSHWIN Gershwin performs Gershwin: Rare recordings, 1931-1935. Registr. dal vivo delle prove di una selezione dell’opera; 19 luglio 1935. Introduction – Summertime (Abbie Mitchell); A woman is a sometime thing (Edward Matthews); Atto I, Scena I, Finale; My man’s gone now (Ruby Elzy); Bess, you is my woman now (Todd Duncan, Anne Brown); George Gershwin, pf., dir. e annunciatore; 18:07; MusicMasters 5062-2-C, 1991. Testimonianza memorabile per respiro melodico, scelta dei tempi e ritegno antisentimentalistico risultanti dalla concezione sinfonica della direzione, che pone le voci nel fitto tessuto strumentale. II. INCISIONI DELL’OPERA In Porgy and Bess, la definizione di opera integrale e di versione definitiva è articolata e richiede una precisazione: l’edizione per voce e pf., l’unica stampata e pubblicamente disponibile (Warner Bros., 1935) non è una riduzione della partitura orchestrale, bensì testimonia la fase precedente a quella dell’orchestrazione ed è legata agli abbozzi manoscritti; Gershwin orchestrò l’opera mentre tale ed. era già in stampa. Il testo definitivo è invece convenzionalmente – e discutibilmente – considerato quello stabilito durante le rappresentazioni del debutto a Broadway, risultante da tagli numerosi e talora estesi, per lo più effettuati allo scopo di abbreviare la durata dello spettacolo e di eliminare difficoltà per gli interpreti o complessità ritenute eccessive in quel particolare contesto. Porgy and Bess.
    [Show full text]
  • City Research Online
    Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Askin, C. (1996). Early Recorded Violinists. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/7937/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. EARLY RECORDED VIOLINISTS CIHAT AS KIN 1996 EARLY RECORDED VIOLINISTS Cihat Askin Thesis submitted in partial fulfilment of the requirements for the degree of Doctorate of Musical Arts City University Music Department April 1996 2 CONTENTS Acknowledgements 25 Abstract 26 Preface 27 Introduction 29 Abbreviations & Symbols 32 1. Joseph Joachim 33 1.1 A Short Biography 34 1.2 Joachim: Beethoven and Brahms Concertos 35 1.3 Joachim as Performer 39 1.4 Joachim as Teacher 40 1.5 Analysis of Joachim's Recordings 43 1.5.1 Bach Adagio and Tempo di Borea 44 1.5.2 Vibrato 60 1.5.3 Chords 61 1.5.4 Perfect Rubato 62 1.5.5 Agogic Accents 62 1.5.6 Intonation 63 1.6 Conclusion 66 2.
    [Show full text]
  • Allez Viens Poupoule Septembre 1902. Après Être
    ALLEZ VIENS POUPOULE Septembre 1902. Après être passé par la scène de la Scala, le célèbre music-hall parisien du boulevard de Strasbourg où il interprète son répertoire Montmartrois, Félix Mayol enregistre son premier disque chez Zon O Phone. Son titre : Viens Poupoule. Cet ancien matelot de la Marine nationale arrivé huit ans plus tôt à la capitale pour chanter dans les cabarets se produi- sait déjà, adolescent, dans sa ville de Toulon sous le nom de « Petit Ludovic ». À trente ans, il est désormais une star reconnue, et reconnaissable, grâce au brin de muguet qu’il porte à la boutonnière et à la houppe qui trône au-dessus de sa tête. Mais c’est avec Komm Karlineken, un air créé par l’Allemand Adolf Spahn en 1898, que Mayol deviendra riche et très célèbre. Cet air, Mayol l’entend sur la scène de la Scala, interprété en conclusion de son tour de chant par un artiste venu d’outre-Rhin. Enthousiaste, il demande à son ami, le parolier Alexandre Trébitsch, de l’adapter. Mais le gros problème est de remplacer le prénom Karlineken par un prénom, ou un surnom : Lisette, Ninette, Poulette, rien ne vient, ou plutôt, rien ne va… jusqu’au jour où, à la sortie du cabaret, il entend un homme lancer à son épouse : « Allez, viens Poupoule »… 15 SI LE CURÉ N’AVAIT paS ÉTÉ LÀ Mars 1914. Costume de troufion sur le dos, Bach se présente sur la scène du café-concert l’Eldorado de Paris et chante devant les soldats en permission la nouvelle chan- son de son répertoire : c’est un succès ! Face à un public composé essentiellement de jeunes militaires partant à la guerre, La Madelon et, il faut bien le dire, son hilarante interprétation à la fois burlesque et théâtrale font mouche.
    [Show full text]
  • Renoir En Amérique Frank Curot
    Renoir en Amérique Frank Curot To cite this version: Frank Curot. Renoir en Amérique. Presses universitaires de la Méditerranée, 394 p., 2006, 2-84269- 727-8. hal-03149482 HAL Id: hal-03149482 https://hal.archives-ouvertes.fr/hal-03149482 Submitted on 15 Mar 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. PĹuĎbĘlĽiĂcĄaĹtĽiĂoŤnŇŽ ĂdĂe MĂoŤnĹtŊpĂeĚlĚlĽiĂeĽrĞ 3 — UŢnĂe ĂqĹuĂeŊsĹtĽiĂoŤn? UŢnĞ ŇpĹrĂoĘbĘlĄèŞmĂe? TĂéĚlĄéŊpŘhĂoŤnĂeĽz ĂaĹuĞ 04 67 14 24 06 ĂoŁuĞ 24 03. RĂeŞnĂoŁiĹr2 — DĂéŊpĂaĹrĹt ĹiŠmŇpĹrĹiŠmĂeĽrĹiĂe — 2006-11-10 — 8 ŘhĞ 15 — ŇpĂaĂgĄe 1 (ŇpĂaĂgĽiŠnĂéĄe 1) ŇsĹuĹrĞ 394 Dessin de couverture : Frank Curot PĹuĎbĘlĽiĂcĄaĹtĽiĂoŤnŇŽ ĂdĂe MĂoŤnĹtŊpĂeĚlĚlĽiĂeĽrĞ 3 — UŢnĂe ĂqĹuĂeŊsĹtĽiĂoŤn? UŢnĞ ŇpĹrĂoĘbĘlĄèŞmĂe? TĂéĚlĄéŊpŘhĂoŤnĂeĽz ĂaĹuĞ 04 67 14 24 06 ĂoŁuĞ 24 03. RĂeŞnĂoŁiĹr2 — DĂéŊpĂaĹrĹt ĹiŠmŇpĹrĹiŠmĂeĽrĹiĂe — 2006-11-10 — 8 ŘhĞ 15 — ŇpĂaĂgĄe 2 (ŇpĂaĂgĽiŠnĂéĄe 2) ŇsĹuĹrĞ 394 Cahiers Jean Renoir Direction Frank Curot Comité de lecture et de rédaction Guy Cavagnac, Frank Curot, Christopher Faulkner, Claude Gauteur, Daniel Serceau, Giorgio De Vincenti, Roger Viry-Babel Les documents écrits ou iconiques, déjà publiés ou non, doivent être assortis des autorisations de reproduction à titre gracieux des ayants droit. PĹuĎbĘlĽiĂcĄaĹtĽiĂoŤnŇŽ ĂdĂe MĂoŤnĹtŊpĂeĚlĚlĽiĂeĽrĞ 3 — UŢnĂe ĂqĹuĂeŊsĹtĽiĂoŤn? UŢnĞ ŇpĹrĂoĘbĘlĄèŞmĂe? TĂéĚlĄéŊpŘhĂoŤnĂeĽz ĂaĹuĞ 04 67 14 24 06 ĂoŁuĞ 24 03.
    [Show full text]