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Le Petit Duc
LE PETIT DUC /''twi' --•i^^î'fcS , THEATRE W D AVIGNON ET DES PAYS DE VAUCLUSE Ik iiAH Ò a i s 0 n 1999/2000 i'it ' LE FORUM Restaurant - Bar - Cocktails - Glacier Au cœur d'AvignoUy place de l'Horloge face à rOpéra et ouvert après le spectacle Salle pour banquets et séminaires, Salle de conférences 100 places, Location de salle. Capacité d'accueil : 200 personnes Terrasse ombragée, _ Établissement climatisé ^^H 20, place de l'Horloge - 84000 AVIGNON Tél. 04 90 82 43 17 - Fax 04 90 82 28 37 Samedi 25 mars - 20h30 Dimanche 26 mars - I4h30 Nouvelle Production LE PETIT DUC Opéra-comique en trois actes Livret de Henri Meilhac et Ludovic Halévy Musique de Charles LECOCQ (Editions musicales Chappell) Production de l'Opéra-Théâtre de Metz en collaboration avec 'Opéra-Théâtre d'Avignon et des Pays de Vaucluse o [' Ê II A Théâtre DISTRIBUTION Direction musicale Bruno MEMBREY Etudes Musicales Marie-Charlotte LE ROUX Mise-en-scène et décors Eric CHEVALIER Chorégraphie Eric BELAUD Costumes Arthur ABALLAIN Eclairages Denis VIENS La Duchesse de Parthenay Mylène MORNET Diane de Château-Lansac Florence RAYNAL Melle Saint-Anémone/Marion Isabelle GUILLAUME Melle de la Roche Tonerre Béatrice MEZRICH Melle de Champlatré Catherine de Y Ninette Rolande GARCIA Mariette Vanina MERINIS Ninon Muriel PITT Hélène, demoiselle d'honneur Marie-Claude BURGER Première sous-maîtresse Catherine BENTEJAC Deuxième sous-maîtresse Victoria FERMENT Le Duc de Parthenay Eve CHRISTOPHE Montlandry Michel VAISSIERE Frimousse Christophe CRAPEZ Roger Isabelle GUILLAUME Gérard Béatrice -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
L'opérette Est-Elle Amenée À Disparaître ? Christiane Dupuy
L'opérette est-elle amenée à disparaître ? Christiane Dupuy-Stutzmann Un grand historien de la danse à dit : « la France a ceci de particulier, qu’elle possède une terre féconde, une terre qui crée beaucoup de choses dans tous les domaines, mais qui contrairement aux autres, oublie son passé ». Ce triste constat est également valable pour ce spectacle total qu’est l’opérette, dont l’influence universelle, née sur les bords de la Seine, a donné lieu à un répertoire immense. Le metteur en scène argentin Jérôme Savary décédé en 2013, disait à ce propos, « la France est un pays bizarre qui condamne son opérette en ne la faisant plus représenter alors que lorsqu’on me demande de mettre en scène au Théâtre du Châtelet ou au Théâtre des Champs-Elysées « La Vie Parisienne » ou « La Périchole», la billetterie est littéralement prise d’assaut par le public parisien dès le 1er jour d’ouverture de la location ! » Comme on peut le constater, le goût du public n’est nullement en cause ! Les amateurs d’opérette, certes plus nombreux parmi les séniors, réclament inlassablement le retour d’une programmation même restreinte ! L’argument de ses détracteurs consiste à faire passer l’opérette pour un genre dépassé qui ne serait plus du goût des jeunes générations alors qu’en réalité, c’est plutôt par ignorance de ce répertoire et parce qu’on ne le programme plus que les jeunes ne s’y intéressent plus ! Il est avéré que l’opérette n’est pratiquement plus programmée dans les saisons lyriques de nos théâtres français. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
“L'art N'a Pas De Patrie?” Musical Production and Resistance in Nazi
Title Page “L’art n’a pas de patrie?” Musical Production and Resistance in Nazi-Occupied Paris, 1940-1944 by Julie Ann Cleary B.M. in Clarinet Performance, Rhode Island College, 2012 M.F.A. in Historical Musicology, Brandeis University, 2014 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Membership Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Julie Ann Cleary It was defended on April 22, 2019 and approved by Dr. Olivia Bloechl, Professor, Department of Music Dr. Lisa Brush, Professor, Department of Sociology Dr. Michael Heller, Associate Professor, Department of Music Dr. Deane L. Root, Professor, Department of Music Dissertation Director: M.A. James P. Cassaro, Professor, Department of Music ii Copyright © by Julie Ann Cleary 2019 iii Abstract “L’art n’a pas de patrie?” Music Production and Resistance in Nazi-Occupied Paris, 1940-1944 Julie Ann Cleary, Ph.D. University of Pittsburgh, 2019 Scholarship from various fields including history, Vichy studies, sociology, and musicology have dissected myths surrounding the Occupation of France (1940-1944), which fall into two generalities of total collaboration or total resistance. The reality lies in the middle, in which many individuals participated in resistance or collaboration in a variety of degrees. I argue that composing, performing, and listening to music are substantial resistant acts, using the resistance movements in Occupied Paris as a case study. This study has two overarching goals. -
Poetik Und Dramaturgie Der Komischen Operette
9 Romanische Literaturen und Kulturen Albert Gier ‚ Wär es auch nichts als ein Augenblick Poetik und Dramaturgie der komischen Operette ‘ 9 Romanische Literaturen und Kulturen Romanische Literaturen und Kulturen hrsg. von Dina De Rentiies, Albert Gier und Enrique Rodrigues-Moura Band 9 2014 ‚ Wär es auch nichts als ein Augenblick Poetik und Dramaturgie der komischen Operette Albert Gier 2014 Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deut- schen Nationalbibliographie; detaillierte bibliographische Informationen sind im Internet über http://dnb.ddb.de/ abrufbar. Dieses Werk ist als freie Onlineversion über den Hochschulschriften-Server (OPUS; http://www.opus-bayern.de/uni-bamberg/) der Universitätsbibliothek Bamberg erreichbar. Kopien und Ausdrucke dürfen nur zum privaten und sons- tigen eigenen Gebrauch angefertigt werden. Herstellung und Druck: Digital Print Group, Nürnberg Umschlaggestaltung: University of Bamberg Press Titelbild: Johann Strauß, Die Fledermaus, Regie Christof Loy, Bühnenbild und Kostüme Herbert Murauer, Oper Frankfurt (2011). Bild Monika Rittershaus. Abdruck mit freundlicher Genehmigung von Monika Rittershaus (Berlin). © University of Bamberg Press Bamberg 2014 http://www.uni-bamberg.de/ubp/ ISSN: 1867-5042 ISBN: 978-3-86309-258-0 (Druckausgabe) eISBN: 978-3-86309-259-7 (Online-Ausgabe) URN: urn:nbn:de:bvb:473-opus4-106760 Inhalt Einleitung 7 Kapitel I: Eine Gattung wird besichtigt 17 Eigentlichkeit 18; Uneigentliche Eigentlichkeit -
MAURICE RAVEL Orchestral Works Vol
MAURICE RAVEL Orchestral Works Vol. 2 Ma mère l’oye Pavane pour une infante défunte Shéhérazade: Ouverture Une barque sur l’océan L’éventail de Jeanne: Fanfare Menuet antique Radio-Sinfonieorchester Stuttgart des SWR Stéphane Denève 02 Maurice Ravel (1875 – 1937) Musikalische Maskenspiele 03 1 Pavane pour une infante défunte [06:12] 9 Une barque sur l’océan [07:29] Maurice Ravels erste veröffentlichte Komposition Celesta waren zwei Harfen vorgesehen sowie zu- erschien 1898 unter dem paradox-anachronisti- sätzlich zur großen Bläserbesetzung ein Sarruso- 10 Ma mère l’oye Shéhérazade. Ouverture de féerie [13:30] schen Titel Menuet antique. Dass das Menuett phon, das im 19. Jahrhundert in Frankreich als Ballett in 6 Bildern für Orchester [29:50] dem Namen nach erst seit dem 16. Jahrhundert kräftigere Alternative zu Oboe und Fagott entwi- Deutsch 2 Prélude [03:35] 11 Menuet antique [07:02] existierte, wusste Ravel selbstverständlich, als er ckelt worden war. Die Uraufführung am 27. Mai 3 Danse du rouet et scène [03:47] die Komposition für Klavier 1895 vollendete. 1899 war nicht nur Ravels Debüt als Dirigent, son- 4 Pavane de la Belle au bois dormant [02:49] 12 Fanfare pour l’éventail de Jeanne [01:50] Dennoch verlieh er der Musik durch bestimmte dern auch ein ziemliches Debakel: „Wenn Herr 5 Les entretiens de la Belle et de la Bête [05:28] harmonische Mittel – etwa durch die Vermeidung Ravel glaubt, dass dies eine Ouvertüre nach der 6 Petit poucet [05:05] des Leittons oder durch einen mixolydischen klassischen Struktur ist [so hatte der Komponist 7 Laideronnette, impératrice des pagodes [05:04] TOTAL TIME [66:20] Schluss – einen Charakter, der antiken Tonarten im Programmheft behauptet], so muss man zuge- 8 Apothéose. -
Famous Composers and Their Music
iiii! J^ / Digitized by the Internet Archive in 2011 with funding from Brigham Young University http://www.archive.org/details/famouscomposerst05thom HAROLD BLEBLffiR^^ PROVO. UTAH DANIEL FRANCOIS ESPRIT AUBER From an engraving by C. Deblois, 7867. 41 .'^4/ rii'iiMia-"- '^'', Itamous COMPOSERS AND THEIR MUSIC EXTRA ILLUSTPATED EDITION o/' 1901 Edited by Theodore Thomas John Knowlej Paine (^ Karl Klauser ^^ n .em^fssfi BOSTON M'^ J B MILLET COMPANY m V'f l'o w i-s -< & Copyright, 1891 — 1894— 1901, By J. B. Millet Company. DANIEL FRANCOIS ESPRIT AUBER LIFE aiore peaceful, happy and making for himself a reputation in the fashionable regular, nay, even monotonous, or world. He was looked upon as an agreeable pianist one more devoid of incident than and a graceful composer, with sparkling and original Auber's, has never fallen to the ideas. He pleased the ladies by his irreproachable lot of any musician. Uniformly gallantry and the sterner sex by his wit and vivacity. harmonious, with but an occasional musical dis- During this early period of his life Auber produced sonance, the symphony of his life led up to its a number of lietier, serenade duets, and pieces of dramatic climax when the dying composer lay sur- drawing-room music, including a trio for the piano, rounded by the turmoil and carnage of the Paris violin and violoncello, which was considered charm- Commune. Such is the picture we draw of the ing by the indulgent and easy-going audience who existence of this French composer, in whose garden heard it. Encouraged by this success, he wrote a of life there grew only roses without thorns ; whose more imp^i/rtant work, a concerto for violins with long and glorious career as a composer ended only orchestra, which was executed by the celebrated with his life ; who felt that he had not lived long Mazas at one of the Conservatoire concerts. -
Jacques Offenbach : His Centenary
Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. JACQUES OFFENBACH : HIS CENTENARY By MARTIAL TENEO O N June the 20th, 1819, at Cologne, in the Glockengasse (now only a memory), was born Jacques Offenbach,whose renown, forty years later, was to overspreadthe world. To rehabilitate such an artist, still held in contempt at the present day by our musical "scientists," to restore him to his rightful place on the occasion of the centennial of his birth, is a task worthy of an unbiassed historian. -
The Emergence of Spanish Impressionism
Abstract Title of dissertation: THE EMERGENCE OF SPANISH IMPRESSIONISM AND ITS INTERACTION WITH FRENCH IMPRESSIONISM IN MUSIC AT THE TURN OF THE TWENTIETH CENTURY: SELECTIONS FROM THE SOLO AND COLLABORATIVE PIANO REPERTOIRE Harmony Yang, Doctor of Musical Arts, 2016 Dissertation directed by: Professor Rita Sloan School of Music French Impressionism is a term which is often used in discussing music originating in France towards the end of the nineteenth century. The term Spanish Impressionism could also be used when discussing Spanish music written by the Spanish composers who studied and worked in Paris at the same time as their French counterparts. After all, Spanish music written during this time exhibits many of the same characteristics and aesthetics as French music of the same era. This dissertation will focus on the French and Spanish composers writing during that exciting time. Musical impressionism emphasizes harmonic effects and rhythmic fluidity in the pursuit of evocative moods, sound pictures of nature or places over the formalism of structure and thematic concerns. The music of this time is highly virtuosic as well as musically demanding, since many of the composers were brilliant pianists. My three dissertation recitals concentrated on works which exhibited the many facets of impressionism as well as the technical and musical challenges. The repertoire included selections by Spanish composers Manuel de Falla, Isaac Albéniz, Enrique Granados, Joaquín Turina, and Joaquín Rodrigo and French composers Claude Debussy and Maurice Ravel. The recitals were on April 30, 2013, February 23, 2014 and October 11, 2015. They included solo piano works by Granados and Albéniz, vocal works by Debussy, Ravel, de Falla, Turina and Rodrigo, piano trios by Granados and Turina, instrumental duos by Debussy, Ravel and de Falla, and a two-piano work of Debussy transcribed by Ravel. -
Turandot on the Budapest Operetta Stage1
53 Péter BOZÓ TURANDO Institute for Musicology of the Research Centre for Humanities, Hungarian Academy of Sciences, HUNGARY T ON THE BUDA THE ON Turandot on the Budapest Operetta Stage1 P EST EST OP ABSTRACT. In my study I deal with the musicotheatrical context of a ERETTA failed operetta, premiered on 7th April 1888 at the Budapest Folk Theatre. S Its composer, Jenő Sztojanovits, was a distinguished church musician, critic TAG and music pedagogue of his time. The exotic piece in question bears the title E Peking rózsája (The Rose of Peking); it was performed only thirteen times and its sources have never been studied since then, despite the fact that they survive almost entirely in the Budapest Széchényi National Library. Written by a certain Miksa (Max) Rothauser, the libretto is based on a well-known story: Carlo Gozzi’s tragicomic fiaba teatrale, Turandot. Of course, this is a highly unorthodox and less bloodthirsty version of the subject than Gozzi’s piece or Puccini’s later opera. In the contemporary repertoire of the Folk Theatre we often find historical operettas whose plot takes place in the glorious past of the Hungarian nation (following Lecocq’s example whose historical opéra-comiques were regularly performed in the 1870s and 1880s). The most successful early Hungarian operettas were adaptations of French vaudeville comedies set to music by a Polish-born “Hungarian” composer, József Konti. But why create an exotic Chinese operetta in a country that had no colonies at all and had no connections with the Far East? I will show what kind of musical devices Sztojanovits used to depict the Chinese local colour. -
Georges Dandelot (1895-1975)
1/10 Data Georges Dandelot (1895-1975) Pays : France Langue : Français Sexe : Masculin Naissance : 02-12-1895 Mort : 17-08-1975 Note : Compositeur. - Critique musical. - Professeur au Conservatoire national supérieur de musique de Paris ISNI : ISNI 0000 0001 2123 2749 (Informations sur l'ISNI) Georges Dandelot (1895-1975) : œuvres (458 ressources dans data.bnf.fr) Œuvres musicales (217) Fantaisie et fugue Un vieux cimetière (1974) (1951) Le pont Mirabeau À Clotilde (1948) (1942) Symphonie. Ré mineur En vacances (1941) (1936) Chansons de Bilitis La belle Yolande (1929) (1924) "Sonates. Violoncelle, basse continue. Mi mineur. No 5. RV 40" de Antonio Vivaldi avec Georges Dandelot (1895-1975) comme Arrangeur Voir plus de documents de ce genre data.bnf.fr 2/10 Data Œuvres textuelles (13) Cent nouvelles dictées musicales à une voix, classées par Étude du rythme, en trois cahiers. 3e cahier. Rythmes ordre progressif (de moyenne force à très difficile). 2° simultanés recueil (1936) (1934) Théorie musicale. Questionnaire contenant quatre cents Cent dictées musicales assez faciles et de moyenne questions. à l'usage des élèves du degré supérieur difficulté classées par ordre progressif (1932) (1930) Vingt leçons de solfège en clé de sol, avec accompagnement de piano, classées par ordre progressif et précédées d'une notice sur les principes de la transposition Vingt leçons de solfège classées par ordre progressif (1929) (1929) Cent dictées musicales à une voix, classées par ordre progressif. Première partie : cinquante dictées faciles et de moyenne force. Deuxième partie : cinquante dictées assez difficiles et difficiles (1927) Voir plus de documents de ce genre Manuscrits et archives (227) "Dandelot, Georges (1895-1975).