Giuseppe Sarti
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
103 the Music Library of the Warsaw Theatre in The
A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska. -
Opera Olimpiade
OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello. -
Download Article
International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Russianness in the Works of European Composers Liudmila Kazantseva Department of Theory and History of Music Astrakhan State Concervatoire Astrakhan, Russia E-mail: [email protected] Abstract—For the practice of composing a conscious Russianness is seen more as an exotic). As one more reproduction of native or non-native national style is question I’ll name the ways and means of capturing Russian traditional. As the object of attention of European composers origin. are constantly featured national specificity of Russian culture. At the same time the “hit accuracy” ranges here from a Not turning further on the fan of questions that determine maximum of accuracy (as a rule, when finding a composer in the development of the problems of Russian as other- his native national culture) to a very distant resemblance. The national, let’s focus on only one of them: the reasons which out musical and musical reasons for reference to the Russian encourage European composers in one form or another to culture they are considered in the article. Analysis shows that turn to Russian culture and to make it the subject of a Russiannes is quite attractive for a foreign musicians. However creative image. the European masters are rather motivated by a desire to show, to indicate, to declare the Russianness than to comprehend, to II. THE OUT MUSICAL REASONS FOR REFERENCE TO THE go deep and to get used to it. RUSSIAN CULTURE Keywords—Russian music; Russianness; Western European In general, the reasons can be grouped as follows: out composers; style; polystyle; stylization; citation musical and musical. -
Joan of Arc's Operatic Debut
ALBERTO RIZZUTI JOAN OF ARC’S OPERATIC DEBUT (VICENZA, 1789 - VENICE, 1797) ESTRATTO da (IL) SAGGIATORE MUSICALE 2004/1 (gennaio/giugno) ~ a. 11 HMiiw Anno XI, 2004,2004, n.n. 11 >M?S; Leo S. Olschki Firenze Rivista semestrale di musicologia Anno XI, 2004, n. 1 Al lettore – Una stella e il suo futuro ........................... pag. 3 ARTICOLI REINHARD STROHM, ‘‘Les Sauvages’’, Music in Utopia, and the Decline of the Courtly Pastoral ....................................... » 21 ALBERTO RIZZUTI, Joan of Arc’s Operatic Debut (Vicenza, 1789 - Venice, 1797) » 51 MASSIMO DI SANDRO, Come Haydn prevede l’ascoltatore. Inganno e umorismo nei Quartetti op. 76 ..................................... » 77 DANIELA TORTORA, «Le voci del mondo»: genesi, scrittura e interpretazione dei ‘‘Canti del Capricorno’’ ................................... » 111 INTERVENTI DANIELE SABAINO, Musica, discipline musicali e formazione degli insegnanti. Note a margine d’una questione culturale ...................... » 143 I beni musicali: verso una definizione ............................ » 157 RECENSIONI FL.ALAZARD, Art vocal / Art de gouverner (S. Lorenzetti), p. 181 – G. ROSTIROLLA, Il ‘‘Mondo novo’’ musicale di Pier Leone Ghezzi (L. Lindgren), p. 189 – G. MORELLI, Very Well Saints; ST.WATSON, Prepare for Saints (G. Guanti), p. 204. SCHEDE CRITICHE A. Rusconi, R. Grisley, A. Chegai, Gr. Harwood, S. Ricciardi e D. Osmond-Smith sul Laudario di Cortona (p. 211), B. JANZ (p. 213), M. R. BUTLER (p. 215), C. SORBA (p. 216), J. ROSSELLI (p. 219) e F. ABBRI (p. 222). NOTIZIE SUI COLLABORATORI .................................. » 227 LIBRI RICEVUTI ............................................ » 229 La redazione di questo numero e` stata chiusa il 30 settembre 2004 Redazione Dipartimento di Musica e Spettacolo - Universita` di Bologna Via Barberia 4 - 40123 Bologna - Tel. 0512092000 - Fax 0512092001 E-mail: [email protected] Amministrazione CASA EDITRICE LEO S. -
Musik in Venedig Und Mailand Im Zeichen Napoleons
Musik in Venedig und Mailand im Zeichen Napoleons Kompositionen von und um Giovanni Simone Mayr Musik- und Kulturleben im Spannungsfeld politischer Macht Habilitationsschrift zur Erlangung der Venia Legendi für das Fach Musikwissenschaft der Katholischen Universität Eichstätt-Ingolstadt vorgelegt von Iris Winkler aus Bochum Prof. Dr. Wolfgang Schönig Dekan der Philosophisch-Pädagogische Fakultät Katholische Universität Eichstätt-Ingolstadt Mitglieder des Fachmentorats: Prof. Dr. Peter Brünger, Vors. Musikpädagogik und Musikdidaktik Philosophisch-Pädagogische Fakultät Katholische Universität Eichstätt-Ingolstadt Prof. Dr. Heinz Hürten Geschichtswissenschaft Geschichts- und Gesellschaftswissenschaftliche Fakultät Katholische Universität Eichstätt-Ingolstadt Prof. Dr. Christoph Louven Musikwissenschaft Fachgebiet Musik und Musikwissenschaften Universität Osnabrück Prof. Dr. Reinhard Wiesend Musikwissenschaft Universität Mainz Prof. Dr. Michael Zimmermann Kunstgeschichte Sprach- und Literaturwissenschaftliche Fakultät Katholische Universität Eichstätt-Ingolstadt 2 In memoriam John Stewart Allitt 3 Inhalt Einleitung 6 I. Einführung in die Thematik 13 Napoleon-Rezeption und Napoleons Musikrezeption: Die Basis der Bewertung 13 Napoleon und die Kunst der Repräsentation 18 Napoleon und die Gewalt der Musik – Chantons du nouvel Alexandre 19 II. Facetten des kulturellen Lebens im „napoleonischen“Venedig 30 Politische Verhältnisse 38 Huldigungen, Huldigungsmusiken, Huldigungsprogramme 43 Huldigungskantaten in Venedig vor, nach und um Napoleon 48 -
The Howard Mayer Brown Libretto Collection
• The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali -
Sarti's Fra I Due Litiganti and Opera in Vienna
John Platoff Trinity College March 18 2019 Sarti’s Fra i due litiganti and Opera in Vienna NOTE: This is work in progress. Please do not cite or quote it outside the seminar without my permission. In June 1784, Giuseppe Sarti passed through Vienna on his way from Milan to St. Petersburg, where he would succeed Giovanni Paisiello as director of the imperial chapel for Catherine the Great. On June 2 Sarti attended a performance at the Burgtheater of his opera buffa Fra i due litiganti il terzo gode, which was well on its way to becoming one of the most highly successful operas of the late eighteenth century. At the order of Emperor Joseph II, Sarti received the proceeds of the evening’s performance, which amounted to the substantial sum of 490 florins.1 Fra i due litiganti, premiered at La Scala in Milan on September 14, 1782, had been an immediate success, and within a short time began receiving productions in other cities. It was performed in Venice under the title I pretendenti delusi; and it was the third opera produced in Vienna by the newly re-established opera buffa company there in the spring of 1783. By the time of Sarti’s visit to the Hapsburg capital a year later, Fra i due litiganti was the most popular opera in Vienna. It had already been performed twenty-eight times in its first season alone, a total unmatched by any other operatic work of the decade. Thus the Emperor’s awarding 1 Link, National Court Theatre, 42 and n. -
Call for Papers Luigi Marchesi (1754-1829), “Ocean of Sopranos”: Career of a Castrato Singer
CALL FOR PAPERS LUIGI MARCHESI (1754-1829), “OCEAN OF SOPRANOS”: CAREER OF A CASTRATO SINGER Bergamo, October 16-17, 2015 CFP deadline: March 30, 2015 Luigi Marchesi was one of the most famous singers of the second half of the Eighteenth Century, acclaimed performer of operas by Pasquale An- fossi, Domenico Cimarosa, Alessandro Tarchi, Johann Simon Mayr, Nic- colò Zingarelli, Antonio Salieri, Giuseppe Sarti, Francesco Bianchi, Josef Mysliveček, etc. The brilliant career of this emblematic castrato spread across Europe: enormous triumphs throughout Italy were followed by travels to St. Peter- sburg, London, Warsaw and Vienna. Thanks to his incredible coloratura, a legendary range, and a dazzling singing technique, Marchesi proved himself to be the perfect performer for extremely virtuosic and heroic roles. With Rubinelli and Pacchierotti he was universally considered one of the most important singers of his time. Marchesi was also fiercely criticized: his style in embellishments and his acting became topics for discussions strongly influenced by the incipient sunset of the castrati era in theatres. Stile Galante (Amsterdam) wishes to dedicate to Luigi Marchesi a two-day international conference, to be held in Bergamo on October 16-17, 2015. CONFERENCE BOARD Nicholas Baragwanath (University of Nottingham) Rosa Cafiero (Università Cattolica di Milano) Damien Colas (CNRS) Paolo Fabbri (Università degli Studi di Ferrara) Giulia Giovani (Centro Studi sulla Cantata Italiana) Claudio Toscani (Università degli Studi di Milano). The international conference Luigi Marchesi, “Ocean of Sopranos”: Career of a Castrato Singer is a part of The Luigi Marchesi Project (<www.luigimarchesimusic.com>). Conference proceedings are going to be published by February 2016. -
MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A. -
La Traviata March 5 – 13, 2011
O p e r a B o x Teacher’s Guide TABLE OF CONTENTS Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Giuseppe Verdi – a biography ...............................50 Catalogue of Verdi’s Operas . .52 Background Notes . .54 2 0 1 0 – 2 0 1 1 S E A S O N The Real Traviata . .58 World Events in 1848 and 1853 . .64 ORPHEUS AND History of Opera ........................................68 URYDICE History of Minnesota Opera, Repertoire . .79 E SEPTEMBER 25 – OCTOBER 3, 2010 The Standard Repertory ...................................83 Elements of Opera .......................................84 Glossary of Opera Terms ..................................88 CINDERELLA OCTOBER 30 – NOVEMBER 7, 2010 Glossary of Musical Terms .................................94 Bibliography, Discography, Videography . .97 Word Search, Crossword Puzzle . .100 MARY STUART Evaluation . .103 JANUARY 29 – FEBRUARY 6, 2011 Acknowledgements . .104 LA TRAVIATA MARCH 5 – 13, 2011 WUTHERING mnopera.org HEIGHTS APRIL 16 – 23, 2011 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. -
"Ei, Dem Alten Herrn Zoll' Ich Achtung Gern'"
Christine Siegert, Kristin Herold Die Gattung als vernetzte Struktur Überlegungen zur Oper um 1800 In der zweiten Hälfte des 18. Jahrhunderts bildete sich ein Repertoire vor allem ita- lienischer Opern heraus, die in ganz Europa gespielt wurden. Dabei wurden sie bekanntermaßen an die jeweiligen Aufführungsbedingungen angepasst. Dass die so zustande gekommenen Bearbeitungen als konstitutiv für die Gattung Oper gelten können und dass Opern in jener Zeit daher als Werke angesehen werden müssen, die sich aus der Gesamtheit ihrer Quellen konstituieren, wurde an anderer Stelle zu zeigen versucht. Ein wesentliches Moment bei der Anpassung waren die sogenannten Einlagearien, die zusätzlich oder als Ersatz für andere Arien in die Opern eingefügt wurden. Es konnte sich sowohl um eigens für den neuen Kontext komponierte Arien handeln als auch um Arien, die ursprünglich aus anderen Opern stammten. Diese Arien wanderten also von einem Bühnenwerk in ein anderes – sei es auf der Basis des Notentextes, der verbreitet wurde, sei es auf der Basis des Materials, indem eine Arie einer Opernpartitur entnommen und in eine andere wieder eingefügt wurde. Gerade der letztere Vorgang zeigt, dass die Arien im Resultat beiden Opern zugehörten, der Oper, aus der sie ursprünglich stammten, und der Oper, der sie später angehören. Die Arien schaffen also eine Verbindung zwischen verschiedenen Werken der Gattung. Die Erforschung solcher Verbindungen hat sich bislang auf den Einzelfall beschränkt, etwa indem Einlagearien einer Oper als aus einer anderen Oper stammend identifiziert wurden. Indes wurde unseres Wissens noch nicht versucht, das Phänomen umfassend zu untersuchen. So haben auch wir bei unseren Recherchen zunächst begonnen, solche Einzelbeobachtungen zu sammeln. -
Le Musiche Di Palazzo Pitti Al Tempo Dei Granduchi Asburgo- Lorena
Stefania Gitto Le musiche di Palazzo Pitti al tempo dei granduchi Asburgo- Lorena. Storia della collezione musicale granducale1 Introduzione Le ricerche musicologiche sulla figura dell’abate Luigi Gatti, compositore mantovano divenuto maestro di cappella a Salisburgo al tempo del noto arci- vescovo Hieronymus di Colloredo, promosse dal Conservatorio di Mantova2 e la conseguente campagna di catalogazione e digitalizzazione delle composizioni del musicista custodite a Firenze, furono l’occasione iniziale per lo studio dell’in- tera, preziosa collezione musicale di Palazzo Pitti. Più noto oggi come fondo Pitti e dal 1862 custodito presso il conservatorio Luigi Cherubini di Firenze, l’archivio musicale degli Asburgo-Lorena fino allo scorso anno figurava solo nel catalogo generale a schede della biblioteca3, seb- bene ricco di importanti composizioni manoscritte e a stampa dei secoli XVIII e XIX. Grazie al sostegno della Galleria dell’Accademia e di Villa I Tatti4, il Conservatorio poté iniziare nel 2009 la catalogazione informatica5 del fondo mu- sicale, oggi completata e in parte già visibile anche sulla base dati nazionale SBN. Il progetto, oltre ad avere un valore biblioteconomico rilevante per la com- plessa casistica di materiale musicale presente e per le diverse possibilità di fru- izione e valorizzazione delle registrazioni catalografiche tramite il web, ha com- portato l’avvio di un’indagine, tuttora in corso, sull’inedita storia bibliografica e musicale della collezione palatina. Attraverso lo studio della stratificazione libraria e la fruizione delle stesse musiche presso la corte granducale si vorrebbe ricreare il contesto storico e cul- turale nel quale queste opere, giunte a Firenze da varie e spesso ancora miste- riose provenienze, si incontrarono e ‘concertarono’, per dare vita alla libreria granducale, in una complessità di relazioni fra musicisti, esecutori, donatori, intermediari, librai, archivisti, possessori e fruitori.