DOCSLIB.ORG

This PDF Contains Excerpts from the Score. for the Complete Score, Please Contact the Composer Directly At

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This PDF Contains Excerpts from the Score. for the Complete Score, Please Contact the Composer Directly At This PDF contains excerpts from the score. For the complete score, please contact the composer directly at www.mark-barden.com Diese PDF enthält Auszüge aus der Partitur. Für die vollständige Partitur, bitte kontaktieren Sie den Komponisten direkt über seine Webseite www.mark-barden.com Transposing Score Mark Barden TENEBRAE (2011) for James Turrell rit. moltiss. q = 54 a tempo (to x = 80) ord. (non vib.) N.B. all clarinet trills are timbre trills 12345(special fingerings are given in clarinet part) vib. Clarinet tune to in A A442 pp p mp ppp p pp sub. pp play: mp Natural tune to Horn A415 b in E pp sing: pp T-SHEET 2 bottom RH: wood wood gliss. along Reibestock strike flat end of Reibestock with hammer (T-Sheet locked into groove of Reibestock) (sound = percussive click with resonance) RH: (handle of pitches hammer) r u h i g Percussion notated at A442 RH holds both bows! ffff ppp pp LH: Reibestock (plastic, wide grooves) (begin piece with Reibestock already locked into left side of T-Sheet both in preparation for m.2 and to stabiliize T-Sheet for bowed sound in m.1) fingernail gliss on surface of keys (don't depress keys!) [ossia: plectrum or credit card] pp Baroque tune to pp p A415 p mp Organ colored air (no clear pitches! see notes.) ged. 4' | ged. 8' ged. 4' | ged. 8' pp p pp pp choose best 6 colored air sounds (stops set prior to performance) on instrument for beautiful contrasts rit. moltiss. q = 54 (to x = 80) a tempo III STx IV tune to wood bow near fingers A442 legno e crini, slow bow, weak & ghostly II Violin ff pppp ppp pp (vib.) 1 tune to wood SPx/N SP arco on front of mute +SPx (bow string and mute) ⁄2SP A430 I Baroque Viola sfpp ff pp p pp ppp (vib.) arco on front of mute +SPx (bow string and mute) pp p pp 1 tune to wood SPx/N SP ⁄2SP A442 Cello sfpp ff pppp pp STx bow near fingers tune to wood I legno e crini, slow bow, weak & ghostly A430 Baroque Double Bass (light pressure, no harmonic located here) pp p ppp pp sff Mark Barden © 2011 2 accel. - - - - - - - - - - - - - - - - q = 80 begin m.10 after percussion finishes 67slow trill 8fast trill A 101112 Cl. pp mp p ff play: pp sing: (no voice) sing +/- quartertone for beatings pp (very slight glissando) Hn. play:p f begin m.10 after mp percussion finishes (sing +/- quartertone for beatings) resynchronize with ensemble percussion only: no accel., maintain tempo! (use music below as a cue) Perc. p mp mf f cold, mechanical ff (Strings) Org. begin m.10 after (this notation doesn't specify the relative pitch. i.e., percussion finishes the second note isn't necessarily higher than the first!) (crescendo results naturally) accel. - - - - - - - - - - - - - - - - q = 80 III IV ppp poco 'vib.' (see notes) III (detuned harmonic sul D) (sudden bowstop on next beat) A IV Vln. begin m.10 after p pp mp ff percussion finishes ppp m e l t i n g III IV gliss. on lower note only, 14 (portato) observe bowing! IV (sudden bowstop on next beat) sim. III Vla. 14 begin m.10 after ppp m e l t i n g 333 3 3 3 percussion finishes p pp mf mf ff II III 14 31 (sudden bowstop on next beat) poco vib. II III Vc. 14 31 begin m.10 after ppp mp ff percussion finishes m e l t i n g ossia: III II I 14 (sudden bowstop on next beat) II III 14 DB begin m.10 after ppp mp p mf ff percussion finishes m e l t i n g 3 B 14 15 16 17 18 Cl. pp Hn. (pp) pp (sudden bowstop on BELL PLATES next beat [no accent]) (mid & high) CLAY DISC Perc. weak tone with bow noise pp p non dim. ged. 8' Org. pppp ppp (very weak pitches) pppp B LH (damp strings in upper third) finger tap SP 77 777 no tone! Vln. simile ppp p ppp p LH (damp strings in upper third) finger tap SP no tone! Vla. simile ppp p ppp LH (damp strings in upper third) finger tap SP 5 5 5 5 no tone! 5 Vc. simile ppp p ppp LH SP (damp strings in upper third) finger tap 3 33333333 no tone! DB simile ppp p ppp p ppp 4 6 <x=x> (q = 120) underblown 19dyad 20 21 22 23 24 25 26 air Cl. with organ Hn. non dim. "shadow" = complex noise sound on threshold of tone, i.e. just before tone fully speaks. the T-SHEET 5 side very short gestures here cut this blossoming process short and should sound "decapitated" air shadow Perc. pp p hold each note to form cluster, (colored air) release held notes at comma 6 pp this notation Org. simply reflects with horn the held notes (colored air) non dim. (pp) 6 <x=x> (q = 120) III IV Vln. ppp ST poco vib. non vib. III match clarinet's lower pitch (m.21) IV Vla. 14 ppp p II III Vc. 14 31 ppp (ossia come sopra) II III 14 DB ppp 5 C 28 29 30 Cl. p (nat.) slightly lower than clarinet Hn. pp 7 side 11 side shadow shadow Perc. (p) pp mf Org. sim. C III (ord. sul D) IV Vln. p III IV Vla. p STx III noise multiphonic (slow bow, continuous sound, IV like a very gentle scratch tone) Vc. 31 31 (finger 7th partial on III & IV, damp behind on both strings with thumb to "choke" harmonic. bow close to fingers.) IV V DB 14 (pp) 6 accel. - - - (q = 144) q = 120 subito flz. M ( = multiphonic) 31 32 33 34 35 36 15 D BASS CLARINET Cl. sfp ff flz. 15 (air) blend with organ Hn. pp ff pp not too fast, use heavy pressure for volume. 12 CLAY DISCS sound is as continuous as possible Perc. ff 2' (fully open) 2' (closed) 15 come (keep 4' & 8' settings) sopra ged. 4' | ged. 8' f Org. ged. 4' | ged. 8' accel. - - - (q = 144) q = 120 subito III SPx N 12 IV D (ord.) distort! 14 31 Vln. slow weak bow, sound is broken and perforated but almost continuous ("fast stutter") sfp ff ppp II N 12 III SPx 14 31 distort! Vla. slow weak bow, sound is broken and perforated but almost continuous ("fast stutter") sfp ff ppp 1 ⁄ ST FINGER SP 2 multiphonic (see notes) (bow mute) beautiful, intimate (no squeaks!) 15 air II Vc. mp f ff p mp SPx distort! 15 air (bow mute) DB pmp mp sfp ff 7 (air) 'ç' 38 blend with organ 39 40 41 (sempre blend with organ) B. Cl. (BASS CL.) pp p 'ç' 'ç' Hn. (sempre blend with organ) p 90° aim for very high, complex sound, THUNDERSHEET scrape quartertone dyad would be ideal knitting needle Perc. pppp ...sound comes in and out of focus...try to blend with violin & viola Org. (increase bow speed) ord. Vln. mp (increase bow speed) ord. Vla. mp ST ord., (non vib.) Vc. p f ' ' ST ord., (non vib.) DB p 'f ' 8 42 43 44 45 ord. B. Cl. pp 'ç' 'ç' Hn. (p) Perc. Org. (SPx) Vln. (SPx) Vla. air Vc. mp pp DB mp 9 accel. - - - - - - - - - - - - - - - - - q = 132 q=66 accel. - - - 46 47 48 50pure 51 air sub. E (non vib.) flz. sub. B. Cl. pp mp up and down ca. 1/6 tone very slow hand gliss. trill air (3/4 damped) Hn. ppp mp mp heartbeat (rest one mallet on head and strike it with other mallet) BASS DRUM 5 5 5 Perc. ppp pp palm air pp ( air) ged. 4' | ged. 8' LOWER: ged. 4' Org. palm ged. 4' | ged. 8' LOWER: ged. 8' sub. (8':) mp pp sub. accel. - - - - - - - - - - - - - - - - - q = 132 q=66 accel. - - - SPx p ST sub. E (damp all strings in middle third) FL legno, flaut. (no tone) IV (pinch string and lift it away from fingerboard) 3 14 Vln. ppp f p 'f ' SPx pp p (p) (air on mute) ST brüchig III 14 Vla. ppp ppp (ppp) p 3 III II FL pizz. (pinch string and lift it away from fingerboard) (laissez vibrer) Vc. f p ff mf p ' ' ' ' (damp all strings in upper third) legno, flaut. (no tone) III N SP DB 'f ' p p mf 10 q (accel.) - - - - - - = 80 (double timbre trill) sub. noisy! (might distort 52 53 54throat flz., 55.
Load more

Recommended publications
  • Recommended Solos and Ensembles Tenor Trombone Solos Sång Till
    Recommended Solos and Ensembles Tenor Trombone Solos Sång till Lotta, Jan Sandström. Edition Tarrodi: Stockholm, Sweden, 1991. Trombone and piano. Requires modest range (F – g flat1), well-developed lyricism, and musicianship. There are two versions of this piece, this and another that is scored a minor third higher. Written dynamics are minimal. Although phrases and slurs are not indicated, it is a SONG…encourage legato tonguing! Stephan Schulz, bass trombonist of the Berlin Philharmonic, gives a great performance of this work on YouTube - http://www.youtube.com/watch?v=Mn8569oTBg8. A Winter’s Night, Kevin McKee, 2011. Available from the composer, www.kevinmckeemusic.com. Trombone and piano. Explores the relative minor of three keys, easy rhythms, keys, range (A – g1, ossia to b flat1). There is a fine recording of this work on his web site. Trombone Sonata, Gordon Jacob. Emerson Edition: Yorkshire, England, 1979. Trombone and piano. There are no real difficult rhythms or technical considerations in this work, which lasts about 7 minutes. There is tenor clef used throughout the second movement, and it switches between bass and tenor in the last movement. Range is F – b flat1. Recorded by Dr. Ron Babcock on his CD Trombone Treasures, and available at Hickey’s Music, www.hickeys.com. Divertimento, Edward Gregson. Chappell Music: London, 1968. Trombone and piano. Three movements, range is modest (G-g#1, ossia a1), bass clef throughout. Some mixed meter. Requires a mute, glissandi, and ad. lib. flutter tonguing. Recorded by Brett Baker on his CD The World of Trombone, volume 1, and can be purchased at http://www.brettbaker.co.uk/downloads/product=download-world-of-the- trombone-volume-1-brett-baker.
    [Show full text]
  • Performance Commentary
    PERFORMANCE COMMENTARY . It seems, however, far more likely that Chopin Notes on the musical text 3 The variants marked as ossia were given this label by Chopin or were intended a different grouping for this figure, e.g.: 7 added in his hand to pupils' copies; variants without this designation or . See the Source Commentary. are the result of discrepancies in the texts of authentic versions or an 3 inability to establish an unambiguous reading of the text. Minor authentic alternatives (single notes, ornaments, slurs, accents, Bar 84 A gentle change of pedal is indicated on the final crotchet pedal indications, etc.) that can be regarded as variants are enclosed in order to avoid the clash of g -f. in round brackets ( ), whilst editorial additions are written in square brackets [ ]. Pianists who are not interested in editorial questions, and want to base their performance on a single text, unhampered by variants, are recom- mended to use the music printed in the principal staves, including all the markings in brackets. 2a & 2b. Nocturne in E flat major, Op. 9 No. 2 Chopin's original fingering is indicated in large bold-type numerals, (versions with variants) 1 2 3 4 5, in contrast to the editors' fingering which is written in small italic numerals , 1 2 3 4 5 . Wherever authentic fingering is enclosed in The sources indicate that while both performing the Nocturne parentheses this means that it was not present in the primary sources, and working on it with pupils, Chopin was introducing more or but added by Chopin to his pupils' copies.
    [Show full text]
  • Studio N. 114-2020/C
    Consiglio Nazionale del Notariato Studio n.114-2020/C IL CONTENUTO ATIPICO DEL TESTAMENTO di Vincenzo Barba (Approvato dalla Commissione Studi Civilistici il 13 ottobre 2020) Abstract Lo studio, movendo da una analisi storica della nozione di testamento intende dimostrare le sue straordinarie potenzialità, precisando che non è l’unico atto di ultima volontà. Si chiarisce che con il testamento la persona può regolare non solo i suoi interessi patrimoniali, ma anche tutti gli interessi non patrimoniali, anche oltre i casi previsti dalla legge. La distinzione tra contenuto tipico e atipico del testamento è servita storicamente per distinguere tra disposizioni patrimoniali e no; essa tuttavia non può servire, nella contemporaneità, né per definire il concetto di testamento, né per individuare la disciplina applicabile. Questa distinzione non serve per escludere la rilevanza testamentaria della regolamentazione degli interessi non patrimoniali, ma per affermare la possibilità di regolamentare questi interessi non soltanto con il testamento, ma anche con l’atto di ultima volontà, diverso dal testamento. Leggendo insieme gli artt. 587 e 588 Cod. civ. non può dirsi che il testamento è limitato al contenuto attributivo, ossia quello che si risolve nell’istituzione di erede o nel legato, ma che il testamento è l’atto regolativo della successione a causa di morte della persona e che al solo testamento è riservata la possibilità di contenere istituzioni di erede o di legato. Con intesa che tutti gli altri profili successori della persona e, in specie quelli non patrimoniali, e comunque, quelli non incidenti sulla delazione possono essere regolati anche con atti di ultima volontà diversi dal testamento, la cui forma deve essere valutata, salvo che non sia espressamente preveduta dalla legge, in ragione degli interessi che l’atto compone e della sua funzione.
    [Show full text]
  • The Italian Girl in Algiers
    Opera Box 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 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • Music Braille Code, 2015
    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
    [Show full text]
  • Kenneth E. Querns Langley Doctor of Philosophy
    Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c.
    [Show full text]
  • Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
    Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'.
    [Show full text]
  • Don Giovanni Press Release 10.9.18
    For Immediate Release October 9, 2018 Contact: Lana Sadowski, Director of Marketing, Hampton Roads P.O. BOX 2580 ● Norfolk, VA 23501 PHONE: 757.627.9545 X 3316 EMAIL: [email protected] Virginia Opera Presents W.A. Mozart’s Don Giovanni Tale of Merciless Seducer Returns in Sixth Company Production: Performances Statewide November 2–18 Hampton Roads, Richmond, Fairfax, Virginia (October 9, 2018) — As the second opera production in its 44th season, Virginia Opera announces a new production of Wolfgang Amadeus Mozart’s ever-popular opera Don Giovanni. Statewide performances begin November 2, and conclude November 18, 2018 (please see complete list of venue locations and dates below). First performed in 1787 as Il dissoluto punito ossia il Don Giovanni (The rake punished also Don Giovan- ni), Mozart’s two-act opera traces the storied tale of the merciless seducer Don Juan in what has be- come one of the top ten most globally performed and timeless morality tales in operatic history. Come- dy and tragedy intermingle in ways only supernatural forces can address in the narrative of the legend- ary Spanish nobleman’s compulsive and destructive amorous conquests, leaving his ultimate fate in the hands of demons from the underworld as it reminds audiences that even those most powerful cannot avoid the consequences of their actions. Virginia Opera’s 2018 production of Don Giovanni represents the sixth time the company has ap- proached the classic—the last occurring in 2010—and, with it, acclaimed director Lillian Groag’s 24th VO production. Groag’s beloved veteran status is bookended by the exciting collection of emerging vocal talents making VO company debuts within the production.
    [Show full text]
  • Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M
    Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M. Groth B.M. University of Wisconsin, 2013 M.M. University of Missouri, 2017 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Musical Arts College of Music 2020 1 2 3 Abstract The purpose of this document is to identify and explain the key ideals of bel canto singing and provide reasoned suggestions of exercises, vocalises, and repertoire choices that are readily available both to teachers and students. I provide a critical evaluation of the fundamental tenets of classic bel canto pedagogues, Manuel Garcia, Mathilde Marchesi, and Julius Stockhausen. I then offer suggested exercises to develop breath, tone, and legato, all based classic bel canto principles and more recent insights of voice science and physiology. Finally, I will explore and perform a brief survey into the vast expanse of Italian repertoire that fits more congruently with the concepts found in bel canto singing technique in order to equip teachers with the best materials for more rapid student achievement and success in legato singing. For each of these pieces, I will provide the text and a brief analysis of the characteristics that make each piece well-suited for beginning university students. 4 Acknowledgements Ever since my first vocal pedagogy class in my undergraduate degree at the University of Wisconsin-Madison, I have been interested in how vocal pedagogy can best be applied to repertoire choices in order to maximize students’ achievement in the studio environment.
    [Show full text]
  • Generating Orchestral Sequences with Timbral Descriptors 1 Https
    Timbre 2018: Timbre Is a Many-Splendored Thing 4-7 July 2018, Montreal, Quebec, Canada Generating Orchestral Sequences with Timbral Descriptors Aurélien Antoine1†, Eduardo R. Miranda1, Jean-Michaël Celerier2, Myriam Desainte-Catherine2 1 Interdisciplinary Centre for Computer Music Research (ICCMR), Plymouth University, Plymouth, United Kingdom 2 Laboratoire Bordelais de Recherche en Informatique (LaBRI), University of Bordeaux, Talence, France † [email protected] Aims/goals This project aimed to develop a computing system capable of generating sequences of orchestral instrument combinations matching specific perceptual qualities represented by timbre properties. Background information One of the characteristics of orchestration is the ability to create unique sounds or textures, an outcome appreciated by composers and utilized to produce specific perceptual effects. This compositional practice involves writing for several instruments, which means a large number of potential combinations. The significant search space is challenging when developing computing system designed to aid in orchestral composition. The presented research combines the work on analysis and classification of timbre within orchestral audio and machine learning developed at Plymouth University’s ICCMR (Antoine et al. 2016; Antoine and Miranda 2017a; Antoine and Miranda 2017b) and the research into methods and tools to write and execute interactive scenarios developed at University of Bordeaux’s LaBRI, conducted under the OSSIA (Open Scenario System
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Repertory and rivalry : opera and the Second Covent Garden Theatre, 1830-56. Dideriksen, Gabriella The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 Repertory and Rivalry: Opera at the Second Covent Garden Theatre, 1830 to 1856 Gabriella Dlderlksen PhD, Historical Musicology King's College London, University of London June 1997 Abstract Victorian London has hitherto frequently been regarded as an operatic backwater without original musical or theatrical talent, and has accordingly been considered only marginally important to the history of 19th-century opera in general.
    [Show full text]
  • "Casta Diva" from Bellini's
    “Casta Diva” from Bellini's “Norma”--Rosa Ponselle; accompanied by the Metropolitan Opera Orchestra and Chorus, conducted by Giulio Setti (December 31, 1928 and January 30, 1929) Added to the National Registry: 2007 Essay by Judy Tsou (guest post)* Rosa Ponselle “Casta Diva” is the most famous aria of Vincenzo Bellini’s “Norma” (1831). It is sung by the title character, a Druidess or priestess of the Gauls, in the first act. The opera takes place in Gaul between 100 and 50 BCE when the Romans were occupiers. The Gauls want Norma to declare war on the Romans, who have been oppressing them. Norma is hesitant to do so because she is secretly in love with Pollione, the Roman proconsul, and with whom she has borne two children. She assuages the people’s anger and convinces them that this is not the right time to revolt. She asserts that the Romans will eventually fall by their own doing, and the Gauls do not need to rise up now. It is at this point that Norma sings “Casta Diva,” a prayer to the moon goddess for peace, and eventually, conquering the Romans. When things between her and Pollione go sour, Norma tries to kill their children but ultimately cannot bring herself to do so. Eventually, she confesses her relationship with Pollione and sacrifices herself on the funeral pyre of her lover. “Norma” was the first of two operas commissioned in 1830 for which Bellini was paid an unprecedented 12,000 lire. “Norma” premiered on December 26, 1831 at La Scala, and the second opera, “Beatrice di Tenda,” premiered in 1833, but in Venice (La Fenice).
    [Show full text]