Chronology the Classical Era
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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Abstracts Papers Read
ABSTRACTS of- PAPERS READ at the THIRTY-FIFTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY SAINT LOUIS, MISSOURI DECEMBER 27-29, 1969 Contents Introductory Notes ix Opera The Role of the Neapolitan Intermezzo in the Evolution of the Symphonic Idiom Gordana Lazarevich Barnard College The Cabaletta Principle Philip Gossett · University of Chicago 2 Gluck's Treasure Chest-The Opera Telemacco Karl Geiringer · University of California, Santa Barbara 3 Liturgical Chant-East and West The Degrees of Stability in the Transmission of the Byzantine Melodies Milos Velimirovic · University of Wisconsin, Madison 5 An 8th-Century(?) Tale of the Dissemination of Musico Liturgical Practice: the Ratio decursus qui fuerunt ex auctores Lawrence A. Gushee · University of Wisconsin, Madison 6 A Byzantine Ars nova: The 14th-Century Reforms of John Koukouzeles in the Chanting of the Great Vespers Edward V. Williams . University of Kansas 7 iii Unpublished Antiphons and Antiphon Series Found in the Dodecaphony Gradual of St. Yrieix Some Notes on the Prehist Clyde W. Brockett, Jr. · University of Wisconsin, Milwaukee 9 Mark DeVoto · Unive Ist es genug? A Considerat Criticism and Stylistic Analysis-Aims, Similarities, and Differences PeterS. Odegard · Uni· Some Concrete Suggestions for More Comprehensive Style Analysis The Variation Structure in Jan LaRue · New York University 11 Philip Friedheim · Stat Binghamton An Analysis of the Beginning of the First Movement of Beethoven's Piano Sonata, Op. 8la Serialism in Latin America Leonard B. Meyer · University of Chicago 12 Juan A. Orrego-Salas · Renaissance Topics Problems in Classic Music A Severed Head: Notes on a Lost English Caput Mass Larger Formal Structures 1 Johann Christian Bach Thomas Walker · State University of New York, Buffalo 14 Marie Ann Heiberg Vos Piracy on the Italian Main-Gardane vs. -
Betulia Liberata
Wolfgang Amadeus Mozart Pietro Metastasio BETULIA LIBERATA 1771 Éditionsǀ ǀ Copyright © 2018 Nicolas Sceaux, Les Talens Lyriques – Christophe Rousset. Nicolasǀ ǀ Sheet music from http://nicolas.sceaux.free.fr typeset using LilyPond on 2018-11-16. Sceauxǀ ǀ Creative Commons Attribution-ShareAlike 4.0 License — free to download, distribute, modify and perform. 2 TABLE DES MATIÈRES Libretto .......................................... 3 1-0 Overtura ......................................... 12 Parte Prima 1-1 Recitativo. Ozia: Popoli di Betulia, ah qual v’ingombra . 23 1-10 Aria. Giuditta: Del pari infeconda ................... 79 1-2 Aria. Ozia: D’ogni colpa la colpa maggiore ............ 24 1-11 Recitativo. Ozia, Cabri, Giuditta: Oh saggia, oh santa, 1-3 Recitativo. Cabri, Amital: E in che sperar? ............ 47 oh eccelsa donna! ................................. 91 1-4 Aria. Cabri: Ma qual virtù non cede .................. 48 1-12 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 93 1-5 Recitativo. Ozia, Cabri, Amital: Già le memorie antiche . 54 1-13 Recitativo. Oh saggia, oh santa, oh eccelsa donna! ..... 100 1-6 Aria. Amital: Non hai cor, se in mezzo a questi ......... 56 1-14 Aria. Achior: Terribile d’aspetto ..................... 102 1-7 Recitativo. Ozia, Amital, Coro: E qual pace sperate ..... 65 1-15 Recitativo. Ti consola, Achior ....................... 112 1-8 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 67 1-16 Aria. Giuditta: Parto inerme, e non pavento ........... 114 1-9 Recitativo. Cabri, Amital, Ozia, Giuditta: Chi è costei, 1-17 Coro: Oh prodigio! Oh stupor! ....................... 133 che qual sorgente aurora ........................... 74 Parte Seconda 2-1 Recitativo. Achior, Ozia: Troppo mal corrisponde ...... 144 2-9 Recitativo. -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
L'opera Italiana Nei Territori Boemi Durante Il
L’OPERA ITALIANA NEI TERRITORI BOEMI DURANTE IL SETTECENTO V. 1-18_Vstupy.indd 2 25.8.20 12:46 Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento a cura di Milada Jonášová e Tomislav Volek ACADEMIA Praga 2020 1-18_Vstupy.indd 3 25.8.20 12:46 Il libro è stato sostenuto con un finanziamento dell’Accademia delle Scienze della Repubblica Ceca. Il convegno «Demofoonte come soggetto per il dramma per musica: Johann Adolf Hasse ed altri compositori del Settecento» è stato sostenuto dall’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca con un finanziamento nell’ambito del programma «Collaborazione tra le Regioni e gli Istituti dell’Accademia delle Scienze della Repubblica Ceca » per l’anno 2019. Altra importante donazione ha ricevuto l’Istituto della Storia dell’Arte dell’Accademia delle Scienze della Repubblica Ceca da Johann Adolf Hasse-Gesellschaft a Bergedorf e.V. Prossimo volume della collana: L’opera italiana – tra l’originale e il pasticcio In copertina: Pietro Metastasio, Il Demofoonte, atto II, scena 9 „Vieni, mia vita, vieni, sei salva“, Herissant, vol. 1, Paris 1780. In antiporta: Il Demofoonte, atto II, scena 5 „Il ferro, il fuoco“, in: Opere di Pietro Metastasio, Pietro Antonio Novelli (disegnatore), Pellegrino De Col (incisore), vol. 4, Venezia: Antonio Zatta, 1781. Recensori: Prof. Dr. Lorenzo Bianconi Prof. Dr. Jürgen Maehder Traduzione della prefazione: Kamila Hálová Traduzione dei saggi di Tomislav Volek e di Milada Jonášová: Ivan Dramlitsch -
Charles Roberts Autograph Letters Collection MC.100
Charles Roberts Autograph Letters collection MC.100 Last updated on January 06, 2021. Haverford College Quaker & Special Collections Charles Roberts Autograph Letters collection Table of Contents Summary Information....................................................................................................................................7 Administrative Information........................................................................................................................... 7 Controlled Access Headings..........................................................................................................................7 Collection Inventory...................................................................................................................................... 9 110.American poets................................................................................................................................. 9 115.British poets.................................................................................................................................... 16 120.Dramatists........................................................................................................................................23 130.American prose writers...................................................................................................................25 135.British Prose Writers...................................................................................................................... 33 140.American -
Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation. -
Swedish Royal Ancestry Book 4 1751-Present
GRANHOLM GENEALOGY SWEDISH ANCESTRY Recent Royalty (1751 - Present) INTRODUCTION Our Swedish ancestry is quite comprehensive as it covers a broad range of the history. For simplicity the information has been presented in four different books. Book 1 – Mythical to Viking Era (? – 1250) Book 2 – Folkunga Dynasty (1250 – 1523) Book 3 – Vasa Dynasty (1523 – 1751) Book 4 – Recent Royalty (1751 – Present) Book 4 covers the most recent history including the wars with Russia that eventually led to the loss of Finland to Russia and the emergence of Finland as an independent nation as well as the history of Sweden during World Wars I and II. A list is included showing our relationship with the royal family according to the lineage from Nils Kettilsson Vasa. The relationship with the spouses is also shown although these are from different ancestral lineages. Text is included for those which are highlighted in the list. Lars Granholm, November 2009 Recent Swedish Royalty Relationship to Lars Erik Granholm 1 Adolf Frederick King of Sweden b. 14 May 1710 Gottorp d. 1771 Stockholm (9th cousin, 10 times removed) m . Louisa Ulrika Queen of Sweden b. 24 July 1720 Berlin d. 16 July 1782 Swartsjö ( 2 2 n d c o u s i n , 1 1 times removed) 2 Frederick Adolf Prince of Sweden b. 1750 d. 1803 (10th cousin, 9 times removed) 2 . Sofia Albertina Princess of Sweden b, 1753 d. 1829 (10th cousin, 9 times removed) 2 . Charles XIII King of Sweden b. 1748 d. 1818 (10th cousin, 9 times removed) 2 Gustav III King of Sweden b. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
Josef Myslivećek (B. Prague, 9 March 1737 – D. Rome, 4 February 1781) Ezio Overture Preface Although Italian Composers Played
Josef Mysliveček (b. Prague, 9 March 1737 – d. Rome, 4 February 1781) Ezio Overture Preface Although Italian composers played a leading role in the creation of the symphony as a major musical genre in the mid-eighteenth century, traditions of instrumental composition in Italy fell into such a state of decline by the late eighteenth century that the most talented composer of orchestral music actually resident in the country during the 1770s was Josef Mysliveček (1737-1781). A composer of outstanding examples of the three- movement symphonies that were a specialty of Italian musical culture during the early classic period, Mysliveček also wrote overtures for dramatic works that could double as independent symphonies, a type of composition that was associated with the birth of the independent symphony in the 1730s. Along with Luigi Boccherini, J. C. Bach, and W. A. Mozart, Mysliveček produced the finest Italianate three-movement symphonies of the 1770s. The son of a prosperous miller in Prague, Mysliveček made his living in Italy as a composer, violin virtuoso, and music teacher after he left the Bohemian lands in 1763 with only a few years training in musical composition.1 Once established as a major composer of Italian serious opera with the success of his Bellerofonte at the Teatro San Carlo in Naples in 1767, he was able to earn considerable sums of money to help sustain his itinerant lifestyle. Nonetheless, he squandered all of his earnings and died in poverty in Rome in 1781. Only three trips north of the Alps are recorded after Mysliveček left Bohemia in 1763: a trip to his homeland in 1768, a trip that included a visit to Vienna in 1773, and an extended stay in Munich between the end of the year 1776 and the spring of 1778. -
Iphigénie En Tauride
Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.