DOCSLIB.ORG

Cambridge Opera Handbooks Richard Wagner Tristan Und Isolde

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cambridge Opera Handbooks Richard Wagner Tristan Und Isolde Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information Cambridge Opera Handbooks Richard Wagner Tristan und Isolde Wagner’s Tristan und Isolde occupies a singular position in the history of Western culture. What Nietzsche called the ‘terrible and sweet infinity’ of its basic nexus of longing and death has fascinated audiences since its first performance in 1865. At the same time, its advanced harmonic language, immediately announced by the opening ‘Tristan chord’, marks a defining moment in the evolution of modern music. This accessible handbook brings together seven leading international writers to discuss the opera’s genesis and the libretto’s relationship to late Romantic literary concerns, to present an analysis of the Prelude, the music of the drama itself, and Wagner’s innova- tive use of instrumental timbre, and to illustrate the production history and reception of the music-drama into the twenty-first century. The book includes the first English translation of Wagner’s prose draft of the libretto, a detailed discussion of Wagner’s orchestration, and rare pictures from important and influential productions. Arthur Groos is Avalon Foundation Professor in the Humanities at Cornell University, where he has taught since 1973. A member of the departments of German Studies, Medieval Studies, and Music, his musical interests focus on issues of music and culture, and opera, especially Wagner, Puccini, and modern opera. His books include Giacomo Puccini: La bohème (with Roger Parker, 1986) and Romancing the Grail: Genre, Science, and Quest in Wolfram’s Parzival (1995), as well as the collections Reading Opera (1988), Madama Butterfly: Fonti e documenti (2005), and seven other edited volumes. Founding co-editor of the Cambridge Opera Journal, he has served on the editorial/advisory boards of JAMS and Opera Quarterly. He is also general editor of Cambridge Studies in Opera, and co-editor of Transatlantische Studien. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information Published titles in this series Ludwig van Beethoven: Fidelio by Paul Robinson Vincenzo Bellini: Norma by David Kimbell Alban Berg: Lulu by Douglas Jarman Alban Berg: Wozzeck by Douglas Jarman Hector Berlioz: Les Troyens by Ian Kemp Georges Bizet: Carmen by Susan McClary Benjamin Britten: Billy Budd by Mervyn Cooke and Philip Reed Benjamin Britten: Death in Venice by Donald Mitchell Benjamin Britten: Peter Grimes by Philip Brett Benjamin Britten: The Turn of the Screw by Patricia Howard Claude Debussy: Pelléas et Mélisande by Roger Nichols and Richard Langham Smith C. W. von Gluck: Orfeo by Patricia Howard Leoš Janácˇek: Kát’a Kabanová by John Tyrrell Claudio Monteverdi: Orfeo by John Whenham W. A. Mozart: La clemenza di Tito by John Rice W. A. Mozart: Cos`ı fan tutte by Bruce Alan Brown W. A. Mozart: Don Giovanni by Julian Rushton W. A. Mozart: Die Entführung aus dem Serail by Thomas Bauman W. A. Mozart: Idomeneo by Julian Rushton W. A. Mozart: Le nozze di Figaro by Tim Carter W. A. Mozart: Die Zauberflöte by Peter Branscombe Giacomo Puccini: La Bohème by Arthur Groos and Roger Parker Giacomo Puccini: Tosca by Mosco Carner Richard Strauss: Arabella by Kenneth Birkin Richard Strauss: Elektra by Derrick Puffett Richard Strauss: Der Rosenkavalier by Alan Jefferson Richard Strauss: Salome by Derrick Puffett Igor Stravinsky: The Rake’s Progress by Paul Griffiths Giuseppe Verdi: Falstaff by James A. Hepokoski Giuseppe Verdi: Otello by James A. Hepokoski Richard Wagner: Der fliegende Holländer by Thomas Grey Richard Wagner: Die Meistersinger von Nürnberg by John Warrack Richard Wagner: Parsifal by Lucy Beckett Richard Wagner: Tristan und Isolde by Arthur Groos Kurt Weill: The Threepenny Opera by Stephen Hinton © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information Richard Wagner Tristan und Isolde Edited by ARTHUR GROOS © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Tokyo, Mexico City Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521437387 © Cambridge University Press 2011 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2011 Printed in the United Kingdom at the University Press, Cambridge A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Richard Wagner: Tristan und Isolde / edited by Arthur Groos. p. cm. – (Cambridge opera handbooks) Includes bibliographical references and index. ISBN 978-0-521-43138-5 1. Wagner, Richard, 1813–1883. Tristan und Isolde. 2. Wagner, Richard, 1813–1883. 3. Opera – 19th century. I. Groos, Arthur. II. Title. III. Series. ML410.W1A295 2011 782.1–dc22 2010037296 ISBN 978-0-521-43138-5 Hardback ISBN 978-0-521-43738-7 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information Contents List of contributors page vii List of illustrations viii General preface xi Introduction 1 Synopsis: Wagner’s prose draft (1857) 4 1 Public and private life: on the genesis of Tristan und 19 Isolde and the Wesendonck Lieder JOHN DEATHRIDGE 2 Between memory and desire: Wagner’s libretto and 36 late Romantic subjectivity ARTHUR GROOS 3 The Prelude and the play 53 JOSEPH KERMAN 4 In the realm of the senses: sight, sound and the music 69 of desire in Tristan und Isolde THOMAS GREY 5 A mantle of sound for the night: timbre in Wagner’s 95 Tristan und Isolde JU¨ RGEN MAEHDER 6 Staging Tristan und Isolde 120 STEWART SPENCER © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information vi Contents 7 Tristan’s traces 142 STEVEN HUEBNER Notes 167 Select bibliography 199 Index 211 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information Contributors JOHN DEATHRIDGE is King Edward Professor of Music, King’s College London. THOMAS GREY is Professor of Musicology, Stanford University. ARTHUR GROOS is Avalon Foundation Professor in the Humanities, Cornell University. STEVEN HUEBNER is James McGill Professor of Musicology, McGill University. JOSEPH KERMAN is Professor of Musicology Emeritus, University of California, Berkeley. JÜRGEN MAEHDER is Professor of Musicology at the Freie Universität Berlin. STEWART SPENCER currently works as a translator. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information Illustrations 1. Set model for Act I by Angelo (ii) Quaglio page 121 (1829–90) for the Nationaltheater, Munich, 10 June 1865. Detta and Michael Petzet, Die Richard Wagner-Bühne König Ludwigs II. (Munich, 1970), 57 (Plate III). 2. Set design for Act II by Max Brückner (1836–1919) 125 and Gotthold Brückner (1844–92), Bayreuth Festival, 25 July 1886. Portfolio of designs published as Richard Wagner’s Werke im Bilde (Bayreuther Bühnenbilder)Tristan und Isolde (Leipzig: Eulenburg, n.d. [c. 1900]). 3. Set design for Act II by Adolphe Appia 127 (1862–1928), La Scala, Milan, 20 December 1923, Deutsches Theatermuseum, Inv. Nr: I 13299 F 436. Brigitte Heldt, Richard Wagner, Tristan und Isolde: Das Werk und seine Inszenierung (Laaber, 1994), 137. 4. Set designs for Acts I and II by Alexander 128–9 Shervashidse (1867–1949) for Vsevolod Meyerhold’s production at the Mariinsky Theatre, St Petersburg, 30 October 1909, St Petersburg State Museum of Theatre and Music. Heldt, Richard Wagner, 166 and 167. 5. Set designs for Acts I and III by Emil Preetorius 132 (1883–1973), Bayreuth Festival, 24 July 1938. Emil Preetorius, Das szenische Werk (Berlin and Vienna, 1944), 42 and plate facing page 32. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-43738-7 — Richard Wagner: Tristan und Isolde Edited by Arthur Groos Frontmatter More Information List of illustrations ix 6. Act II in the production by Wieland Wagner 135 (1917–66), Bayreuth Festival, 24 July 1962. This image dates from the 1963 revival. Heldt, Richard Wagner, 195. 7. Acts II and III in the production by Jean-Pierre 136–7 Ponnelle (1932–88), Bayreuth Festival, 25 July 1981 (photo: Siegfried Lauterwasser). 8. Act III in the production by Christoph Marthaler 139 (born 1951), Bayreuth Festival, 25 July 2005 (photo: Jochen Quast). © in this web service Cambridge University Press www.cambridge.org.
Load more

Recommended publications
  • Lesbian and Gay Music
    Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez.
    [Show full text]
  • Begging Questions in Wole Soyinkas Opera Wonyosi"
    Begging Questions in Wole Soyinkas u Opera Wonyosi" BERNTH LINDFORS IN AN ARTICLE published in The American Scholar in the sum• mer of 1963, Wole Soyinka, a young Nigerian dramatist whose first published plays had appeared in print just a few weeks earl• ier, castigated an older and better-known African author, Cam- ara Laye of Guinea, for pandering to European critical conde• scension by writing his second novel, The Radiance of the King, in a Western creative idiom. Soyinka deplored the fact that this allegedly indigenous piece of fiction was modelled so closely on Franz Kafka's The Castle, for he believed that : .. most intelligent readers like their Kafka straight, not geo• graphically transposed. Even the character structure of Kafka's Castle has been most blatantly retained — Clarence for Mr. K. ; Kafka's Barnabas the Messenger becomes the Beggar Intermedi• ary; Arthur and Jeremiah, the unpredictable assistants, are turned into Nagoa and Noaga. We are not even spared the role of the landlord — or innkeeper—take your choice! It is truly amazing that foreign critics have contented themselves with merely drop• ping an occasional "Kafkaesque" — a feeble sop to integrity — since they cannot altogether ignore the more obvious imitative- ness of Cámara Laye's technique. (I think we can tell when the line of mere "influence" has been crossed.) Even within the primeval pit of collective allegory-consciousness, it is self-destruc• tive to imagine that the Progresses of these black and white pil• grims have sprung from independent creative stresses.1 There are two points worth noting here.
    [Show full text]
  • Ellen T. Harris--1 Homosexual Context and Identity
    Ellen T. Harris--1 Homosexual Context and Identity: Reflections on the Reception of Handel as Orpheus With the publication in 2001 of my book Handel as Orpheus: Voice and Desire in the Chamber Cantatas (Cambridge, Mass.: Harvard University Press), I publicly entered the field of gay and lesbian studies for the first time. When I began my work for this project, I had not considered the idea of opening that particular door, but the research path led me there so dramatically that my decision was simply whether as an historian I would report my findings or not. I was aware that placing the composer of Messiah into the context of a homosexual culture would be disturbing to some, and I was also aware that authorial identity and advocacy, which always exist to some extent in historical writings, take on greater weight when the topic of sexuality enters the text. Like an innocent abroad, however, I had not realized to what extent the issue of personal identity—Handel’s and, to a lesser degree, my own—would play in the reception of this book. Despite the contextual and musical argument of my book, response to it often focused solely on whether or not Handel was “gay,” a question I had declined to answer for lack of definitive evidence (as exists, say, with Michelangelo or Tchaikovsky). And despite extensive experience with academic publication, I had never before been the object of such personal scrutiny: rather than engendering a serious discussion of the issues raised by its content, my work led in some quarters to questions about my biological gender and sexual orientation and to criticism of my motivation and scholarly integrity.
    [Show full text]
  • Nietzsche, Debussy, and the Shadow of Wagner
    NIETZSCHE, DEBUSSY, AND THE SHADOW OF WAGNER A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Tekla B. Babyak May 2014 ©2014 Tekla B. Babyak ii ABSTRACT NIETZSCHE, DEBUSSY, AND THE SHADOW OF WAGNER Tekla B. Babyak, Ph.D. Cornell University 2014 Debussy was an ardent nationalist who sought to purge all German (especially Wagnerian) stylistic features from his music. He claimed that he wanted his music to express his French identity. Much of his music, however, is saturated with markers of exoticism. My dissertation explores the relationship between his interest in musical exoticism and his anti-Wagnerian nationalism. I argue that he used exotic markers as a nationalistic reaction against Wagner. He perceived these markers as symbols of French identity. By the time that he started writing exotic music, in the 1890’s, exoticism was a deeply entrenched tradition in French musical culture. Many 19th-century French composers, including Felicien David, Bizet, Massenet, and Saint-Saëns, founded this tradition of musical exoticism and established a lexicon of exotic markers, such as modality, static harmonies, descending chromatic lines and pentatonicism. Through incorporating these markers into his musical style, Debussy gives his music a French nationalistic stamp. I argue that the German philosopher Nietzsche shaped Debussy’s nationalistic attitude toward musical exoticism. In 1888, Nietzsche asserted that Bizet’s musical exoticism was an effective antidote to Wagner. Nietzsche wrote that music should be “Mediterranized,” a dictum that became extremely famous in fin-de-siècle France.
    [Show full text]
  • 4. Wagner Prelude to Tristan Und Isolde (For Unit 6: Developing Musical Understanding)
    4. Wagner Prelude to Tristan und Isolde (For Unit 6: Developing Musical Understanding) Background information and performance circumstances Richard Wagner (1813-1883) was the greatest exponent of mid-nineteenth-century German romanticism. Like some other leading nineteenth-century musicians, but unlike those from previous eras, he was never a professional instrumentalist or singer, but worked as a freelance composer and conductor. A genius of over-riding force and ambition, he created a new genre of ‘music drama’ and greatly expanded the expressive possibilities of tonal composition. His works divided musical opinion, and strongly influenced several generations of composers across Europe. Career Brought up in a family with wide and somewhat Bohemian artistic connections, Wagner was discouraged by his mother from studying music, and at first was drawn more to literature – a source of inspiration he shared with many other romantic composers. It was only at the age of 15 that he began a secret study of harmony, working from a German translation of Logier’s School of Thoroughbass. [A reprint of this book is available on the Internet - http://archive.org/details/logierscomprehen00logi. The approach to basic harmony, remarkably, is very much the same as we use today.] Eventually he took private composition lessons, completing four years of study in 1832. Meanwhile his impatience with formal training and his obsessive attention to what interested him led to a succession of disasters over his education in Leipzig, successively at St Nicholas’ School, St Thomas’ School (where Bach had been cantor), and the university. At the age of 15, Wagner had written a full-length tragedy, and in 1832 he wrote the libretto to his first opera.
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Gustav Mahler, Alfred Roller, and the Wagnerian Gesamtkunstwerk: Tristan and Affinities Between the Arts at the Vienna Court Opera Stephen Carlton Thursby Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GUSTAV MAHLER, ALFRED ROLLER, AND THE WAGNERIAN GESAMTKUNSTWERK: TRISTAN AND AFFINITIES BETWEEN THE ARTS AT THE VIENNA COURT OPERA By STEPHEN CARLTON THURSBY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Dissertation of Stephen Carlton Thursby defended on April 3, 2009. _______________________________ Denise Von Glahn Professor Directing Dissertation _______________________________ Lauren Weingarden Outside Committee Member _______________________________ Douglass Seaton Committee Member Approved: ___________________________________ Douglass Seaton, Chair, Musicology ___________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above named committee members. ii To my wonderful wife Joanna, for whose patience and love I am eternally grateful. In memory of my grandfather, James C. Thursby (1926-2008). iii ACKNOWLEDGEMENTS The completion of this dissertation would not have been possible without the generous assistance and support of numerous people. My thanks go to the staff of the Austrian Theater Museum and Austrian National Library-Music Division, especially to Dr. Vana Greisenegger, curator of the visual materials in the Alfred Roller Archive of the Austrian Theater Museum. I would also like to thank the musicology faculty of the Florida State University College of Music for awarding me the Curtis Mayes Scholar Award, which funded my dissertation research in Vienna over two consecutive summers (2007- 2008).
    [Show full text]
  • KURT WEILL NEWSLETTER Vol
    KURT WEILL NEWSLETTER Vol. 3, No. I Spring, 1985 Yale Press To Publish Essays Threepenny Opera at R & H Yale University Press has accepted for publica­ As of 11 December 1984, Rodgers & Ham­ tion a coUection of essays on Kurt Weill sched­ merstein Theatre Library has added The uled for completion in 1985. A New Orpheus: Threej>enny Opera to its catalogue of plays for Essays on Kurt Weill evolved primarily from stock and amateur licensing in the United papers presented at the Kurt Weill Conference States. The American version by Marc Blitz­ in 1983. It includes a contribution from virtually stein ran for seven years at New York's Theatre every active Weill scholar throughout the world. de Lys in the late Fifties and had been previ­ AU of the papers have been expanded and ously licensed by Tarns-Witmark Music Library, revised and represent the most extensive criti­ Inc. cal survey of WeiU's music and career to date. The Rodgers & Hammerstein Theatre The coUection, edited by Kim Kowalke, was Library is preparing new scripts and vocal accepted unanimously by the editorial board of scores which will be consistent with the high this most prestigious of scholarly publishers. quality of their other publications. Jn addition to Among the highlights of the anthology are David Threepenny, R & H also administers stock and Drew's definitive study of Der Kuhhandel, a key amateur rights to Knickerbocker Holiday, Lost in work in WeiU's ouevre that has remained unpub­ the St,ars, and Street Scene. lished and unperformed since 1935. The book ;,We are thrilled and excited to announce the will attract readers from diverse disciplines, addition of Threepenny to our catalog ," said The­ since the essays tackle many issues central to odore Chapin, Managing Director of R & H.
    [Show full text]
  • The Byrd Edition & English Madrigalists
    T74 (2020) THE BYRD EDITION and THE ENGLISH MADRIGALISTS (including the INVITATION Series) William Byrd 1543 — 1623 STAINER & BELL ORDERING INFORMATION This catalogue contains titles in print at the date of its preparation and provides details of volumes in The Byrd Edition, The English Madrigalists and the Invitation Series. A brief description of contents is given and full lists of contents may be obtained by quoting the CON or ASK sheet number given. Many items by William Byrd and composers included in The English Madrigalists are available as separate items and full details can be found in our Choral Catalogue (T60) and our Early Music Catalogue (T71). Items not available either separately or in a small anthology may be obtained through our ‘Made-to-Order’ Service. Our Archive Department will be pleased to help with enquiries and requests. Alternatively, Adobe Acrobat PDF files of individual titles from The Byrd Edition and The English Madrigalists are now available through the secure Stainer & Bell online shop. Please see pages 5 and 13 for full details. Other catalogues containing our library series which will be of interest are: T69 Musica Britannica T75 Early English Church Music T108 Purcell Society Edition Prices, shown in £ sterling, are recommended retail prices exclusive of carriage and are applicable from 1st January 2020. Prices and carriage charges are subject to change without notice. In case of difficulty titles can be supplied directly by the publisher if prepaid by cheque, debit or credit card or by sending an official requisition. Card payments (Visa, Mastercard, Maestro or Visa Debit) are accepted for orders of £5.00 or over and can be made via our secure online ordering system on our website (www.stainer.co.uk) or by letter, telephone, email or fax.
    [Show full text]
  • William Byrd Festival 2008
    This book has been published by the Church Music Association of America for distribution at the William Byrd Festival 2008. It is also available for online sales in two editions. Clicking these links will take you to a site from which you can order them. Softcover Hardcover A Byrd Celebration William Byrd 1540–1623 A Byrd Celebration LECTURES AT THE WILLIAM BYRD FESTIVAL EDITED BY RICHARD TURBET CMAA Church Music Association of America Cover picture is of the Lincoln Cathedral, England, where William Byrd was the choirmaster and organ- ist for nine years, 1563–1572. Copyright © 2008 Church Music Association of America Church Music Association of America 12421 New Point Drive Harbor Cove Richmond, Virginia 23233 Fax 240-363-6480 [email protected] website musicasacra.com TABLE OF CONTENTS Acknowledgments . .7 Preface . .9 BIOGRAPHY . .11 William Byrd: A Brief Biography . .13 Kerry McCarthy “Blame Not the Printer”: William Byrd’s Publishing Drive, 1588–1591 . .17 Philip Brett Byrd and Friends . .67 Kerry McCarthy William Byrd, Catholic and Careerist . .75 Joseph Kerman MASSES . .85 The Masses of William Byrd . .87 William Peter Mahrt Byrd’s Masses in Context . .95 David Trendell CANTIONES . .103 Byrd’s Musical Recusancy . .105 David Trendell Grave and Merrie, Major and Minor: Expressive Paradoxes in Byrd’s Cantiones Sacrae, 1589 . .113 William Peter Mahrt Savonarola, Byrd, and Infelix ego . .123 David Trendell William Byrd’s Art of Melody . .131 William Peter Mahrt GRADUALIA . .139 Rose Garlands and Gunpowder: Byrd’s Musical World in 1605 . .141 Kerry McCarthy The Economy of Byrd’s Gradualia . .151 William Peter Mahrt 5 6 — A Byrd Celebration ENGLISH MUSIC .
    [Show full text]
  • Baroque 1590-1750 Classical 1750-1820
    Period Year Opera Composer Notes A pastoral drama featuring a Dafne new style of sung dialogue, 1597 Jacopo Peri more expressive than speech but less melodious than song The first opera to survive 1600 Euridice Jacopo Peri in tact The earliest opera still 1607 Orfeo Claudio Monteverdi performed today Il ritorno d’Ulisse in patria Claudio Monteverdi 1639 (The Return of Ulysses) L’incoronazione di Poppea 1643 (The Coronation of Poppea) Claudio Monteverdi 1647 Ofeo Luigi Rossi 1649 Giasone Francesco Cavalli 1651 La Calisto Francesco Cavalli 1674 Alceste Jean-Baptiste Lully 1676 Atys Jean-Baptiste Lully Venus and Adonis John Blow Considered the first English 1683 opera 1686 Armide Jean-Baptiste Lully 1689 Dido and Aeneas Henry Purcell Baroque 1590-1750 1700 L’Eraclea Alessandro Scarlatti 1710 Agrippina George Frederick Handel 1711 Rinaldo George Frederick Handel 1721 Griselda Alesandro Scarlatti 1724 Giulio Cesere George Frederick Handel 1728 The Beggar’s Opera John Gay 1731 Acis and Galatea George Frederick Handel La serva padrona 1733 (The Servant Turned Giovanni Battista Pergolesi Mistress) 1737 Castor and Pollux Jean-Philippe Rameau 1744 Semele George Frederick Handel 1745 Platee Jean-Philippe Rameau La buona figliuola 1760 (The Good-natured Girl) Niccolò Piccinni 1762 Orfeo ed Euridice Christoph Willibald Gluck 1768 Bastien und Bastienne Wolfgang Amadeus Mozart Mozart’s first opera Il mondo della luna 1777 (The World on the Moon) Joseph Haydn 1779 Iphigénie en Tauride Christoph Willibald Gluck 1781 Idomeneo Wolfgang Amadeus Mozart Mozart’s
    [Show full text]
  • The Strategic Half-Diminished Seventh Chord and the Emblematic Tristan Chord: a Survey from Beethoven to Berg
    International Journal ofMusicology 4 . 1995 139 Mark DeVoto (Medford, Massachusetts) The Strategic Half-diminished Seventh Chord and The Emblematic Tristan Chord: A Survey from Beethoven to Berg Zusammenfassung: Der strategische halbverminderte Septakkord und der em­ blematische Tristan-Akkord von Beethoven bis Berg im Oberblick. Der halb­ verminderte Septakkord tauchte im 19. Jahrhundert als bedeutende eigen­ standige Hannonie und als Angelpunkt bei der chromatischen Modulation auf, bekam aber eine besondere symbolische Bedeutung durch seine Verwendung als Motiv in Wagners Tristan und Isolde. Seit der Premiere der Oper im Jahre 1865 lafit sich fast 100 Jahre lang die besondere Entfaltung des sogenannten Tristan-Akkords in dramatischen Werken veifolgen, die ihn als Emblem fUr Liebe und Tod verwenden. In Alban Bergs Lyrischer Suite und Lulu erreicht der Tristan-Akkord vielleicht seine hOchste emblematische Ausdruckskraft nach Wagner. If Wagner's Tristan und Isolde in general, and its Prelude in particular, have stood for more than a century as the defining work that liberated tonal chro­ maticism from its diatonic foundations of the century before it, then there is a particular focus within the entire chromatic conception that is so well known that it even has a name: the Tristan chord. This is the chord that occurs on the downbeat of the second measure of the opera. Considered enharmonically, tills chord is of course a familiar structure, described in many textbooks as a half­ diminished seventh chord. It is so called because it can be partitioned into a diminished triad and a minor triad; our example shows it in comparison with a minor seventh chord and an ordinary diminished seventh chord.
    [Show full text]
  • Aleksei Returns to London! the Official Launch of the London Firebird Orchestra
    Aleksei Returns to London! The official launch of the London Firebird Orchestra Tuesday 12 June 2012, 7.30pm St Paul's Covent Garden, London (Pimm's available on the lawn, in the church's private garden, from 7pm) London Firebird Orchestra Patron: Dame Judi Dench CH DBE Chairman & Ar!s!c Director: Marc Corbe!Weaver Principal Conductor: Achim Holub Solo Cello: Aleksei Kiseliov Soprano: Julie!a Demetriades Beethoven Overture to the Creatures of the Prometheus, Op. 43 Elgar Cello Concerto in E minor, Op. 85 Wagner Vorspiel und Liebestod (from 'Tristan und Isolde') Stravinsky The Firebird Suite (1919) Tickets: £35, £25, £15 To book, please email: [email protected] www.FirebirdOrchestra.com "I am delighted to travel to London to support my friends Marc Corbe!-Weaver and Achim Holub in their exci"ng new orchestral venture and look forward to playing with many talented friends!" Aleksei Kiseliov Principal Cello of the Royal Sco"sh Na#onal Orchestra "Aleksei Kiseliov's performance was simply sublime. Clearly a great future awaits him." Dame Judi Dench Those were the words of Dame Judi Dench a"er hearing Aleksei perform in London in November 2007. Now, five years on, Aleksei is the principal cello of the Royal Sco#sh Na!onal Orchestra and has a world-renowned reputa!on as one of the most exci!ng cellists of his genera!on. Aleksei says "When I heard that my friends Marc Corbe$-Weaver and Achim Holub, - two musicians with whom I have collaborated many !mes over the years - had created a new orchestra, I was delighted to accept their invita!on to travel to London to be with them and support it.
    [Show full text]