DOCSLIB.ORG

Dans Manon Lescaut De L'abbé Prévost

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dans Manon Lescaut De L'abbé Prévost La rhétorique de la “ tendre amitié ” dans Manon Lescaut de l’abbé Prévost Mellie Mattana-Basset To cite this version: Mellie Mattana-Basset. La rhétorique de la “ tendre amitié ” dans Manon Lescaut de l’abbé Prévost. Littératures. 2021. dumas-03251442 HAL Id: dumas-03251442 https://dumas.ccsd.cnrs.fr/dumas-03251442 Submitted on 7 Jun 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. La rhétorique de la « tendre amitié » dans Manon Lescaut de l’abbé Prévost Mellie MATTANA-BASSET Sous la direction de Cécile Lignereux, Maître de conférences en Langue et littérature françaises d’Ancien Régime Laboratoire : LITT&ARTS Centre de recherche RARE - Rhétorique de l’Antiquité à la Révolution UFR LLASIC - Département Lettres Modernes Domaine « Arts, Lettres, Langues » Mention « Arts, Lettres, Civilisation » Mémoire de recherche Master 2 - 27 crédits Parcours : « Littérature : Critique et Création » Année universitaire 2020-2021 La rhétorique de la « tendre amitié » dans Manon Lescaut de l’abbé Prévost Mellie MATTANA-BASSET Sous la direction de Cécile Lignereux Maître de conférences en Langue et littérature françaises d’Ancien Régime Laboratoire : LITT&ARTS Centre de recherche RARE - Rhétorique de l’Antiquité à la Révolution UFR LLASIC - Département Lettres Modernes Domaine « Arts, Lettres, Langues » Mention « Arts, Lettres, Civilisation » Mémoire de recherche Master 2 - 27 crédits Parcours : « Littérature : Critique et Création » Année universitaire 2020-2021 Remerciements Je tiens d’abord à remercier très chaleureusement ma directrice de mémoire, Cécile Lignereux. À l’image de Tiberge, vous avez été une conseillère dévouée. Votre esprit avisé m’a guidée de manière exemplaire dans toutes les étapes de mon travail. Vos remarques et vos suggestions m’ont initiée au « regard rhétorique », essentiel à la bonne compréhension d’un texte. Si j’ai apprécié mes premiers pas dans le monde de la recherche, c’est en grande partie grâce à votre rigueur et à votre bienveillance. Je vous dois beaucoup et j’espère avoir fait preuve d’une meilleure écoute que Des Grieux. Ma reconnaissance va également à Stéphane Macé. Merci pour les articles et ouvrages conseillés, pour votre lecture et vos cours d’agrégation qui m’ont donné le goût pour la stylistique. Doivent naturellement figurer en bonne place celles qui, par leur soutien indéfectible, m’ont épaulée. Ma maman et ma sœur, pour leurs innombrables encouragements et leur réconfort dans les moments difficiles. Je n’aurais jamais pu rédiger ce mémoire si je n’avais pas bénéficié de votre amour. Je me tourne enfin vers Élie Génin, avec qui j’ai eu de nombreux échanges instructifs. Merci pour ta relecture attentive et tes reformulations qui ont contribué à rendre mon expression plus limpide. Déclaration anti-plagiat Document à scanner après signature et à intégrer au mémoire électronique __________________________________________________ DÉCLARATION 1. Ce travail est le fruit d’un travail personnel et constitue un document original. 2. Je sais que prétendre être l’auteur d’un travail écrit par une autre personne est une pratique sévèrement sanctionnée par la loi. 3. Personne d’autre que moi n’a le droit de faire valoir ce travail, en totalité ou en partie, comme le sien. 4. Les propos repris mot à mot à d’autres auteurs figurent entre guillemets (citations). 5. Les écrits sur lesquels je m’appuie dans ce mémoire sont systématiquement référencés selon un système de renvoi bibliographique clair et précis. NOM : Mattana-Basset PRENOM : Mellie DATE : 3 mai 2021 SIGNATURE : Je suis gêné devant ce livre ; il a trop de lecteurs, et des pires ; je préfère ne l’aimer point. — En le lisant vous versiez bien des larmes ! — Précisément, je lui en veux un peu de cela. S’il touchait d’abord mon esprit, je lui permettrais plus volontiers de toucher aussi bien mon cœur. André Gide, Nouvelle Revue Française, n° 52, avril 1913, p. 538. 5 Sommaire Introduction .......................................................................................................................... 8 1. État de l’art ................................................................................................................. 10 1.1 Les travaux d’histoire littéraire ...................................................................................................... 10 1.1.1 Sources et modèles ..................................................................................................................... 10 1.1.2 L’histoire éditoriale .................................................................................................................... 14 1.1.3 La réception ................................................................................................................................ 17 1.2 Les approches thématiques .............................................................................................................. 21 1.2.1 La passion amoureuse ................................................................................................................ 21 1.2.2 L’argent, le jeu et la tricherie ..................................................................................................... 24 1.2.3 La déchéance morale .................................................................................................................. 29 1.3 Les analyses narratologiques ........................................................................................................... 34 1.3.1 L’enchâssement narratif ............................................................................................................. 34 1.3.2 Un récit à la première personne .................................................................................................. 36 1.3.3 L’inscription du dialogue dans la narration ................................................................................ 39 1.4 Les études stylistiques ...................................................................................................................... 42 1.4.1 Une syntaxe qui sert l’analyse psychologique ........................................................................... 42 1.4.2 Des figures évoquant la violence des passions ........................................................................... 44 1.4.3 Une stratégie énonciative ambiguë ............................................................................................ 48 2. Pour une approche rhétorique des discours rapportés .......................................... 51 2.1 La rhétorique appliquée .................................................................................................................. 52 2.1.1 Rhétorique et roman aux siècles classiques ............................................................................... 52 2.1.2 Un roman qui provoque une réflexion sur les pouvoirs et les limites de la rhétorique .............. 54 2.2 Formes et enjeux des discours cités ................................................................................................ 56 2.2.1 L’importance des discours rapportés dans l’économie narrative ............................................... 56 2.2.2 Pour une description rhétorique des discours ............................................................................. 61 2.3 Quatre discours amicaux qui incitent à la vertu ........................................................................... 62 2.3.1 Genre et sous-genres du délibératif ............................................................................................ 63 2.3.2 Les discours d’un ami ................................................................................................................ 68 Chapitre 1. Préambule ....................................................................................................... 71 1.1 Les pratiques amicales au XVIIIe siècle ............................................................................................. 73 1.2 La parrêsia : une éthique de la vérité ................................................................................................. 75 1.3 Sur la voie de la prudence ................................................................................................................... 77 1.4 L’idéal moral et social de la tempérance ............................................................................................ 79 Chapitre 2. Le discours de dissuasion .............................................................................. 82 2.1 Situation pragmatique et but persuasif ............................................................................................... 84 2.2 L’ethos ................................................................................................................................................ 85 2.3 Le logos .............................................................................................................................................. 86 2.4 Le pathos ...........................................................................................................................................
Load more

Recommended publications
  • Macfarren 2 660306-07 Bk Macfarren 16/08/2011 14:22 Page 16
    660306-07 bk Macfarren 2_660306-07 bk Macfarren 16/08/2011 14:22 Page 16 2 CDs George Alexander MACFARREN Robin Hood Spence • Jordan • Ashman • Mackenzie-Wicks Hulbert • Molloy • Hurst • Knox John Powell Singers Victorian Opera Chorus and Orchestra 8.660306-07 16 Ronald Corp 660306-07 bk Macfarren 2_660306-07 bk Macfarren 16/08/2011 14:22 Page 2 George Alexander MACFARREN (1813-1887) Robin Hood A romantic English Opera in three acts Libretto by John Oxenford (1812-1877) Performing Edition by Valerie Langfield Robin Hood (in disguise as Locksley) . Nicky Spence, Tenor Sir Reginald d’Bracy (Sheriff of Nottingham) . George Hulbert, Baritone Hugo (Sompnour, Collector of Abbey dues) . Louis Hurst, Bass Allan-a-Dale (a young peasant) . Andrew Mackenzie-Wicks, Tenor Little John John Molloy, Bass (Outlaws) Much, the Miller’s son} { Alex Knox, Baritone Marian (daughter of Sheriff) . Kay Jordan, Soprano Alice (her attendant) . Magdalen Ashman, Mezzo-soprano Villagers, Citizens and Greenwood men . John Powell Singers and Victorian Opera Chorus Knighted at Windsor Castle on the same day in 1883 George Macfarren was knighted for his services to English music at the same time as Arthur Sullivan, composer (another Royal Academy of Music alumnus), and George Grove, first director of the Victorian Opera Orchestra Royal College of Music and Grove!s Musical Dictionary founder. Ronald Corp Musical Director: Ronald Corp Assistant Conductor: Duncan Ward • Chorus-masters: Marc Hall and John Powell Executive Producer: Raymond J Walker • Research: David Chandler
    [Show full text]
  • The Maid of Artois (Canpion Cameo - Cam€O 2042-3)
    L7 Kay Jordan does very well indeed with a title-role straight out of the Guinness Book of Records, the beautiful sounds she makes truly evoke the glamour of its unique progenitor and would have justified this project even if the orchestra and conductor had not been so good. In fact both are excellent. The presentation of the recording, its packaging, its sound quality, its notes with complete libretto, all are first-rate. As an example of resource, of clarity, of sheer resiliance, Victorian Opera from its Northem fastness shows the inert Metropolis what can be done with modest means. Is it too much to hope that the latter will one day learn some lessons? A\ry The Maid of Artois (Canpion Cameo - Cam€o 2042-3) We live in a strange land whcre the collective mind seems to revolve around cars, beer to excess, the latest chipboard kilchens, golf and the media. The remarkable thing is that amidst this cultural desert there are people who care and who have an enthusiasm that often puts oth€l nations io shame. I think of the Avison Ensemble in Newcastle reviving the music of Charles Avison (1709-1790), a fine baroque comlnser who proves that there were others than simply Handel composing music of worth in 'the land without music'. Now we can add to Newcastle, Wilmslow. Wilmslow? Where's that? It's somewhere up North. What good has ever come out of Wilmslow? Quite simply the revival of William Balfe's The Maid ol Artois! But then I guess most people in this educationally impoverished country have never heard of Balfe, less still of his opera composed for Malibran in 1836.
    [Show full text]
  • Manon Lescaut : Wagner E Il Settecento
    3. MANON LESCAUT : WAGNER E IL SETTECENTO MANON E MANON LESCAUT Ora Puccini era pronto per confrontarsi col capolavoro di Massenet, per di più trattando un soggetto tipicamente francese. Il romanzo di Prévost risaliva al 1731, ed era stato portato all’attenzione dei romantici nel 1820 dall’adattamento drammatico di Étienne Gosse, Manon Lescaut et le chévalier Des Grieux. L’attualità della vicenda stava nella tematica trattata, l’eterno scontro fra vizio e virtù nell’orbita di una passione romantica ante litteram. Non poco peso nella scelta di Puccini dovette avere il fatto che il vero protagonista fosse Des Grieux, in cui poté identificarsi. Prévost finse infatti, come avrebbe fatto Merimée in Carmen, che la storia gli fosse stata raccontata da un giovane sventurato che l’aveva vissuta in prima persona. Ciononostante fu la figura femminile a imporsi fin dal primo importante adattamento per le scene liriche, l’opéra-comique di Scribe per Auber (1856).1 Allo stesso genere apparteneva Manon di Massenet, e anche Puccini dichiarò a Praga che «era sua intenzione musicare un’opera comica nel senso classico della definizione» (ADAMI, pp. 42-3). Le differenze fra i due lavori sono profonde. Manca in Puccini la figura chiave del Conte des Grieux, padre di Renato, che pone fine alla felicità della coppia riprendendosi il figlio con la forza. Solo in conseguenza di questo gesto, di cui è stata forzosamente complice, Manon accetta, con scarso entusiasmo, l’offerta di essere l’amante di Brétigny. Massenet frappone sempre uno schermo galante fra la realtà e la forza dei sentimenti, attribuendo un peso maggiore all’ambiente di nobili e cortigiane in cui gravita la protagonista, mentre Puccini, attenuando il peso delle costrizioni sociali, rende Manon, sazia di 1 In precedenza il soggetto era stato trattato nei due balli pantomimici Manon Lescaut di Jean Pierre Aumer (1830) e di Giovanni Casati (1846), per la musica rispettivamente di Jacques-François-Fromental Halévy e dei fratelli Bellini.
    [Show full text]
  • (“You Love Opera: We'll Go Twice a Week”), Des Grieux Promise
    MANON AT THE OPERA: FROM PRÉVOST’S MANON LESCAUT TO AUBER’S MANON LESCAUT AND MASSENET’S MANON VINCENT GIROUD “Vous aimez l’Opéra: nous irons deux fois la semaine” (“You love opera: we’ll go twice a week”), Des Grieux promises Manon in Histoire du Chevalier des Grieux et de Manon Lescaut, as the lovers make plans for their life at Chaillot following their first reconciliation.1 Opera, in turn, has loved Manon, since there exist at least eight operatic versions of the Abbé Prévost’s masterpiece – a record for a modern classic.2 Quickly written in late 1730 and early 1731, the Histoire du Chevalier des Grieux et de Manon Lescaut first appeared in Amsterdam as Volume VII of Prévost’s long novel Mémoires d’un homme de qualité.3 An instantaneous success, it went 1 Abbé Prévost, Histoire du Chevalier des Grieux et de Manon Lescaut, ed. Frédéric Deloffre and Raymond Picard, Paris: Garnier frères, 1965, 49-50. 2 They are, in chronological order: La courtisane vertueuse, comédie mȇlée d’ariettes four Acts (1772), libretto attributed to César Ribié (1755?-1830?), music from various sources; William Michael Balfe, The Maid of Artois, grand opera in three Acts (1836), libretto by Alfred Bunn; Daniel-François-Esprit Auber, Manon Lescaut, opéra comique in three Acts (1856), libretto by Eugène Scribe; Richard Kleinmichel, Manon, oder das Schloss de l’Orme, romantic-comic opera in four Acts (1887), libretto by Elise Levi; Jules Massenet, Manon, opéra comique in five Acts and six tableaux (1884), libretto by Henri Meilhac and Philippe Gille; Giacomo Puccini, Manon Lescaut, lyrical drama in four Acts (1893), libretto by Domenico Oliva, Giulio Ricordi, Luigi Illica, Giuseppe Giacosa, and Marco Praga; and Hans Werner Henze, Boulevard Solitude, lyric drama in seven Scenes (1951), libretto by Grete Weil on a scenario by Walter Jockisch.
    [Show full text]
  • Citation for Cecilia Bartoli Honorary Conferring Presented by Professor Harry White, UCD School of Music
    Citation for Cecilia Bartoli Honorary Conferring Presented by Professor Harry White, UCD School of Music President, Your Excellencies, distinguished guests and colleagues: it is a supreme privilege as well as a great pleasure to present Cecilia Bartoli to you today and to welcome her most warmly to University College Dublin. Although this great artist has been showered with honours from France, Spain, the United Kingdom, the Netherlands and of course from Italy, this is the first occasion, so far as I am aware, that she has consented to accept the degree of Doctor of Music, honoris causa. On that account alone, it is especially fitting that she should appear in this capacity solo e pensoso, and that the University should assemble this convocation especially in her honour. As everyone here will know, the acclaim which has greeted this uniquely gifted, uniquely thoughtful Roman Ambassador of music throughout Europe and North America rests upon her recordings, her recitals and her appearances in the great opera houses of the world over the past two decades. But the fame which Cecilia Bartoli enjoys as one of the greatest singers of the age – attested by the stupendous success of her recordings which have made her the best-selling classical artist of her day – is more than a matter of supreme artistry. The triumph of popular culture in general, and of popular musical culture in particular makes it all the more remarkable that Cecilia Bartoli’s voice, lustrous, beautiful and incomparable in terms of technique and expression, should be heard above this clamour by millions of ordinary people.
    [Show full text]
  • Operagram January 2020 Document
    JANUARY 2020 VOLUME 14 ISSUE 4 REGISTER TODAY FOR THE ANNUAL LUNCHEON ANNUAL LUNCHEON ELDORADO HOTEL, ANASAZI BALLROOM 309 WEST SAN FRANCISCO STREET, SANTA FE DOORS OPEN AT 11:30AM $40 FOR MEMBERS, $50 FOR NON-MEMBERS The Santa Fe Opera Guild is delighted to host Robert Meya, the new General Director of The Santa Fe Opera, as our special guest at the Annual Luncheon on January 31, 2020. Mr. Menu Meya began his career with The Santa Fe Opera in 2012, serving most recently as its Entrées Director of External Affairs until October, 2018 when he assumed his new position. As the Spinach and Goat Cheese fourth General Director in the company’s 62-year history, he brings significant experience Chicken Breast with Sundried in fundraising, marketing, Board relations, finance, and other areas fundamental to the Tomato, & Pinõn Demiglace operation of a major opera company. Mr. Meya’s mandate is to provide executive Fingerling Potatoes & Shaved leadership, strategic direction, and administrative oversight for The Santa Fe Opera. This Brussel Sprouts luncheon provides a wonderful opportunity to learn what his creative vision is for The Lemon Herb Roasted Grouper Santa Fe Opera and how he plans to implement that vision. We encourage you to attend. with Sundried Tomato Pesto, Wild Rice & Grilled Asparagus The 2020 Annual Luncheon will be held in the Anasazi Ballroom of the Eldorado Hotel in House-made Swiss chard & Mushroom Ravioli with Pinõn downtown Santa Fe, a venue whose warm ambiance is familiar Brown Butter & Grilled to many local residents. The menu will include a choice of three Asparagus entrées, coffee and tea, and two options for dessert.
    [Show full text]
  • Abao-Olbe Presenta Manon Lescaut Protagonizada Por Ainhoa Arteta Y Gregory Kunde
    Ópera patrocinada por: ABAO-OLBE PRESENTA MANON LESCAUT PROTAGONIZADA POR AINHOA ARTETA Y GREGORY KUNDE • Debut de Pedro Halffter al frente de la Euskadiko Orkestra Sinfonikoa • Producción procedente del Teatro Regio di Parma, ideada por Stephen Medcalf Bilbao, 16 de febrero de 2016.- ABAO-OLBE (Asociación Bilbaína de Amigos de la Ópera) recupera tras trece años desde su última representación Manon Lescaut de Puccini. Los días 20, 23, 26 y 29 de febrero, con el patrocinio de la Diputación Foral de Bizkaia, sube a escena esta fascinante y trágica historia que encumbró al maestro toscano como uno de los referentes de la escuela verista. La pasión, la virtud, el deseo, la templanza y el amor desesperado y urgente de la juventud atraviesan las escenas de esta tragedia lírica inspirada en un personaje literario considerado uno de los grandes mitos de la historia moderna: la mujer fatal. Manon es una mujer que posee una personalidad magnética y se mueve entre la ingenuidad, la falta de moral, la ternura y el engaño llevando la desgracia a sí misma y a quienes la rodean. Para dar vida a los personajes de esta ópera, ABAO-OLBE ha reunido un elenco encabezado por la soprano guipuzcoana Ainhoa Arteta, recientemente galardonada con la Medalla de Oro al Mérito de las Bellas Artes, quien regresa a Bilbao para poner voz a ‘Manon Lescaut’. A su lado y completando el dúo protagonista el tenor norteamericano Gregory Kunde, distinguido como mejor cantante masculino en los Premios Líricos Teatro Campoamor por su interpretación de ‘Canio’ y ‘Turiddu’ en la producción de ABAO de Cavalleria Rusticana y Pagliacci entre otras, se hace cargo del rol del enamorado ‘Renato des Grieux’.
    [Show full text]
  • Manon Lescaut Madama Butterfly
    Fondazione Giacomo Puccini LIRICA 2004-5 Lucca Centro Studi G. Puccini COMUNE DI LUCCA TEATRO DEL GIGLIO Teatro di Tradizione LIRICA 2005-6 MANON LESCAUT MADAMA BUTTERFLY COMITATO NAZIONALE CELEBRAZIONI PUCCINIANE 2004-2008 TEATRO DEL GIGLIO Teatro di Tradizione STAGIONE LIRICA 2005-6 In collaborazione con Ministero per i Beni e le Attività Culturali Regione Toscana Amministrazione Provinciale di Lucca Comune di Lucca Teatro del Giglio Centro studi Giacomo Puccini Fondazione Giacomo Puccini Lucca MANON LESCAUT AZIENDA TEATRO DEL GIGLIO Ilaria Del Bianco Presidente Gianni Simonetti Vice Presidente Lorenzo Azzi Marcello Petrozziello Luigi Viani Consiglieri Aldo Tarabella Direttore artistico Luigi Angelini Direttore generale TEATRO DEL GIGLIO - Teatro di Tradizione Stagione Lirica 2005-6: 16 settembre 2005 - 12 marzo 2006 Pubblicazione del Teatro del Giglio Numero unico, novembre 2005 A cura del TEATRO DEL GIGLIO e del CENTRO STUDI GIACOMO PUCCINI Ricerca iconografica Simonetta Bigongiari Progetto grafico Marco Riccucci Stampa Nuova Grafica Lucchese - Lucca - novembre 2005 Sommario 9 Introduzione del Sindaco di Lucca 11 Premessa del Presidente del Teatro del Giglio 15 Arthur Groos Manon Lescaut e il corso di una «passione disperata» 21 Adriana Guarnieri Corazzol Le polifonie di Manon Lescaut 39 La vicenda 41 Manon Lescaut facsimile del libretto Ricordi (1893) 103 Manon Lescaut a Lucca 107 Walter Pagliaro «Passione disperata» (Appunti di regia) Fondazione Teatro della Città di Livorno «C. Goldoni» Presidente Marco Bertini Direttore amministrativo
    [Show full text]
  • Euro = US$ X 1.2961 Pound = US$ X 1.9657 US$ = Euro X .7716 US$ = Pound X .5087 for More Info, See Tutorial
    TITLE YEAR NAT SIZE DESCRIPTION COND PRICE $* PRICE €* PRICE £* DLR M R1996 US 24x34 PETER LORRE NM € 50 KA M 1951 BEL 14x22 PETER LORRE EXC € 150 DB M R1960 GER 23x33 PETER LORRE F € 180 KA M R1965 GER 23x33 SCHMIDT ART; F/VF € 120 KA M R1965 GER 24x33 PETER LORRE EXC $96 MAS M R1970 GER 23x33 PETER LORRE F € 70 KA M R1978 GER 23x33 PETER LORRE F € 40 KA M. BUTTERFLY 1993 US 27x40 JEREMY IRONS VG-E $20 TCT M. BUTTERFLY 1993 US 27x40 IRONS; LONE A € 30 INT M. BUTTERFLY 1993 US 27x40 IRONS; LONE EXC $25 BPM M. BUTTERFLY 1993 GER 23x33 JEREMY IRONS VF € 20 KA M /OTHER 1999 FRE 16x23 COMBO; MIURA; A € 8 INT M3: THE GEMINI STRAIN 1978 US 27x41 KATE REID E $15 TCT MA AND PA KETTLE 1949 US 27x41 VF $125 CLT MA BARKER 1959 US 11x14 LCS; TUTTLE EXC $75 PW MA COUSINE DE VARSOVIE 1932 FRE 94x126 EXC € 300 DB MA FEMME EST FORMIDABLE 1951 FRE 47x63 GRAVEY; VALERE A € 80 INT MA FEMME EST UNE ACTRICE 2001 SWI 27x41 EXC $20 MAS MA MERE 2004 FRE 16x23 A € 8 INT MA NUIT CHEZ MAUD 1969 US 27x41 GARREL; HUPPERT A € 90 INT MA NUIT CHEZ MAUD 1969 FRE 23x31 GARREL; HUPPERT A € 120 INT MA NUIT CHEZ MAUD 1969 FRE 47x63 GARREL; HUPPERT A € 120 INT MA NUIT CHEZ MAUD 1969 GER 17x25 GARREL; HUPPERT EXC $120 MAS MA NUIT CHEZ MAUD 1969 IT 13x28 GARREL C € 40 INT MA NUIT CHEZ MAUD 1969 IT 39x55 GARREL; HUPPERT A € 55 INT MA NUIT CHEZ MAUD 1969 POL 23x31 GARREL; HUPPERT A € 200 INT MA PETITE FOLIE 1954 FRE 47x63 EXC $120 MAS MA POMME 1950 BEL 14x22 CHEVALIER; DESMARETS A € 45 INT MA POMME 1950 FRE 23x31 CHEVALIER; DESMARETS A € 150 INT MA VRAIE VIE A ROUEN 2002 FRE 16x23
    [Show full text]
  • Biographical Sketches and Anecdotes of Celebrated Violinists (1877)
    CORNELL UNIVERSITY LIBRARY MUSIC QJatttgU UnittBraitg Slihrarg Mlfnta, EJeat fork FROM THE BENNO LOEWY LIBRARY COLLECTED BY BENNO LOEWY 1854.1919 BEQUEATHED TO CORNELL UNIVERSITY ""'™"'*y ML 415.P57*" '-"'ranr ^''^wlililiM'Liiiiiii'tei,.?.^^^^^ 3 1924 022 410 124 The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022410124 CELEBEATED YIOLmiSTS. BIOGRAPHICAL SKETCHES AND ANECDOTES OF CELEBRATED VIOLINISTS. BY Dr. T. L. PHIPSON. LONDON: RICHARD BENTLEY AND SON, 1877. (AllHghls reserved.) PREFACE. WELL-KNOWN statesman once said that the violin had done as much for civilisation as the steam-engine ; and I am certainly not prepared to con- tradict this assertion. It naturally follows that a great violinist may exercise as beneficial an in- fluence on mankind as a great engineer or a great philosopher. Of this we shall be better able to judge presently. It is perhaps weU to seize upon this oppor- tunity for a few words on the difference between a violin and a, fiddle. It is not at all an unusual thing to hear ignorant or vulgar-minded persons speak of both these instruments as one and the PREFACE. same production. But the fiddle is a much older instrument than the violin. A kind of fiddle was used in fairs and shows by the Anglo-Saxons as early as the tenth century. Some believe it to have originated in England or Wales ; whilst the violin came to us from France and Italy many hundred years later, and did not attain its full degree of perfection till the seventeenth century.
    [Show full text]
  • Sándor Szabolcs: Puccini Egyéni Stílusának Kialakulása 2 Valamilyen Vallásos Vagy Mitológiai Témát Ábrázoltak Inkább Emberléptékű, Mintsem Monumentális Módon
    SÁNDOR SZABOLCS GIACOMO PUCCINI EGYÉNI STÍLUSÁNAK KIALAKULÁSA ÉS A MANON LESCAUT ELEMZÉSE DOKTORI ÉRTEKEZÉS 2017 Liszt Ferenc Zeneművészeti Egyetem 28. számú művészet- és művelődéstörténeti tudományok besorolású doktori iskola GIACOMO PUCCINI EGYÉNI STÍLUSÁNAK KIALAKULÁSA ÉS A MANON LESCAUT ELEMZÉSE SÁNDOR SZABOLCS TÉMAVEZETŐ: VAJDA JÁNOS DLA DOKTORI ÉRTEKEZÉS 2017 iii Tartalomjegyzék Köszönetnyilvánítás .................................................................................................................. iv Előszó ......................................................................................................................................... v I. FEJEZET ................................................................................................................................. 1 1. Befolyásoló tényezők ............................................................................................................. 1 1.1. A 19. századi korszellem ................................................................................................. 1 1.2. Száz év operái és stílusirányzatai ................................................................................... 17 1.3. Közvetlen hatások, és az egyéni stílus különös ismertetőjegyei .................................... 29 1.4. Az első kompozíciók elemzése a fordulópontig, 1893-ig .............................................. 42 II. FEJEZET ............................................................................................................................
    [Show full text]
  • Irish Culture in Britain a Centenary Celebration
    Irish Culture in Britain A Centenary Celebration Festival Artistic Director John Gilhooly Supported by Culture Ireland as part of the Ireland 2016 Centenary Programme A Message from President Michael D. Higgins a mhaith liom tréaslú leo siúd a d’eagraigh an mórcheolchoirm seo anocht agus, dar ndóigh, leis na ceoltóirí, damhsóirí agus na h-ealaínteoirí ar fad atá ag glacadh páirt sa chéiliúradh céad bhliain seo B den chultúr Ghaelach sa Bhreatain. I would like to extend my congratulations to the organisers and many artists involved in tonight’s Gala Concert, Irish Culture in Britain: A Centenary Celebration. If it is in the shadow of each other we live, it is in the cultural space we celebrate our heritage of words and music, a heritage in which we are both intertwined. As we commemorate the courage, dignity and ideals that characterised the events and people of 1916, we also celebrate the depth of connection between Ireland and Britain. Tonight you celebrate not only the rich cultural tradition across these islands, but also its contemporary expression, our new imaginings, and the many creative ways to sustain the artistic work that will form the next chapter of our shared story. Sabina and I would like to thank and congratulate all of those involved in tonight’s performance for their dedication and hard work in bringing about such a special evening, and in particular to John Gilhooly, who has made such an important contribution to the Ireland 2016 centenary programme. I wish to also congratulate Ann Murray on the presentation of the Wigmore Medal, in recognition of her significant international career.
    [Show full text]