DOCSLIB.ORG

La Damnation De Faust

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Hector Berlioz La damnation de Faust Leggenda drammatica in quattro parti Libretto di Hector Berlioz, Almire Gandonnière e Gérard de Nerval Personaggi Faust, Tenore Méphistophélès, Basso Marguerite, Mezzosoprano Brander, Basso Voix céleste, Mezzosoprano Contadini, bevitori, gnomi, silfi, studenti, soldati, fuochi fatui, vicine di Margherita, demoni, dannati, principi delle tenebre, spiriti celesti, fanciulli beati. Prima rappresentazione: Parigi, Opéra-comique, 6 dicembre 1846 Berlioz: La Damnation de Faust - Prima parte PRIMA PARTE Pianura d’Ungheria Scena I° Faust solo nei campi al sorgere del sole FAUST FAUST Al vecchio inverno si è sostituita la primavera Le vieil hiver a fait place au printemps Ringiovanita è la natura La nature s’est rajeunie; Immensa, infinita la cupola dei cieli Des cieux la coupole infinie Mille fuochi scintillanti lascia piovere. Laisse pleuvoir mille feux éclatants. Sento la brezza mattutina che scivola nell’aria Je sens glisser dans l’air la brise matinale; Un puro soffio spira dal mio petto ardente. De ma poitrine ardente un souffle pur s’exhale. Ecco intorno a me risvegliarsi gli uccelli, J’entends autour de moi le réveil des oiseaux, Il lungo mormorio delle piante e delle acque… Le long bruissement des plantes et des eaux… Dolce è vivere in seno a queste solitudini, Oh! qu’il est doux de vivre au fond des solitu- Lontano dai conflitti e dalle moltitudini! des, Loin de la lutte humaine et loin des multitudes! (Rumori lontani, di vita campestre e di guerra, cominciano a turbare la quiete della scena pastorale.) [Girotondo di contadini danzanti] CORO DI CONTADINI CHŒUR DES PAYSANS Lasciano i pastori gli armenti e i greggi Les bergers quittent leurs troupeaux; Ora si fanno belli per la festa; Pour la fête ils se rendent beaux; Di fior di campo si ornano, e di nastri. Fleurs de champs et rubans sont leur parure; Eccoli tutti qui sotto i tigli; Sous les tilleuls, les voilà tous, Saltano, danzano, di gioia impazzano Dansant, sautant comme des fous. Ha! Ha! Ha! Ha! Ha! Ha! Ha! Ha! Trallallallà Landerira! Su da bravi, tenete il tempo! Suivez donc la mesure! Trallallallà Tra la la la la! Ho! Ho! Ho! Ho! ho! ho! FAUST FAUST Che grida sono queste? E quel brusio lontano? Quels sont ces cris? quel est ce bruit lointain? CORO CHŒUR Trallallallà! Ho! Ho! Ho! Trallallallà! Ho! Ho! Ho! FAUST FAUST È gente del villaggio, destata di buon ora Ce sont des villageois, au lever du matin Che danza e canta sopra i verdi morbidi prati. Qui dansent en chantant sur la verte pelouse. Della loro letizia la mia miseria ha invidia. De leurs plaisirs ma misère est jalouse. CORO CHŒUR Lesti come il baleno; Ils passaient tous comme l’éclair, Vesti ondeggianti al vento della danza. Et les robes volaient en l’air; Ma presto, eccoli stanchi: Mais bientôt on fut moins agile; Rossi in fronte, il volto accaldato, Le rouge leur montait au front, 1 Berlioz: La Damnation de Faust - Prima parte L’uno sull’altro volteggiando cadono Et l’un sur l’autre dans le rond, Ha! Ha! Ha! Ecc. Ha! Ha! Ha! ecc Trallallallà! Landerira! L’uno addosso all’altro. Tous tombaient à la file, Ha! Ha! Ha! Ha! Trallallallà! Ha! ha! ha! ha! Landerira! “Giù le mani, non mi toccare!” “Ne me touchez donc pas ainsi!” “Su! Ti prego! Mia moglie non è qui! “Paix! ma femme n’est point ici! Approfittiamo della circostanza!” Profitons de la circonstance!” Così lui la porta in disparte Dehors il l’emmena soudain E tutto va come doveva andare, Et tout allait, allait son train, Ha! Ha! Ha! Ha! Trallallallà! Ha! ha! ha! ha! Landerira! Mentre ferve la musica e la danza La musique et la danse. Trallallallà! Tra la la la! Ho! Ho! Ho! Ho! ho! ho! Scena II° Un’altra zona della pianura; un esercito che avanza. FAUST FAUST Lampi di guerra illuminano i campi. Mais d’un éclat guerrier les campagnes se Stanno per dar battaglia i figli del Danubio! parent. Oh, come fieri e lieti Ah! les fils du Danube aux combats se prépa- Portano l’armatura! rent! Quale fuoco negli occhi! Avec quel air fier et joyeux Freme ogni cuore al canto di vittoria; Ils portent leur armure! Solo il mio resta freddo; vana gli par la gloria. Et quel feu dans leurs yeux! Tout cœur frémit à leur chant de victoire; Le mien seul reste froid, insensible à la gloire. [Marcia ungherese] (Passano le truppe, Faust si allontana) 2 Berlioz: La Damnation de Faust - Seconda parte SECONDA PARTE Germania del Nord Scena III° Faust solo nel suo studio FAUST FAUST Senza rimpianti ho lasciato le ridenti campagne Sans regrets j’ai quitté les riantes campagnes Dove angoscia e mestizia mi sono state com- Où m’a suivi l’ennui. pagne. Sans plaisir je revois nos altières montagnes; Senza gioia rivedo le nostre orgogliose monta- Dans ma vieille ciré je reviens avec lui. gne; Oh! Je souffre, je souffre! et la nuit sans étoiles Tristemente ritorno nella mia vecchia città. Qui vinet d’étendre au loin son silence et ses Soffro, soffro! E la notte senza stelle, voiles, Che da lungi or ora ha disteso i suoi silenzi e i Ajoute encor à mes sombres douleurs. suoi veli, Ô terre! pour moi seul tu n’as donc pas de Aggiunge pena a questa cupa malinconia. fleurs! O terra! Per me solo, dunque, tu non hai fiori! Par le monde, où trouver ce qui manque à ma Dov’è, nel mondo, quello che manca alla mia vie? vita? Je chercherais en vain, tout fuit mon âpre Invano cercherei, se tutto mi delude! envie! Suvvia! Meglio finirla!… Allons! Il faut finir!… Ma io tremo… perché Mais je tremble… pourquoi Tremare dinanzi all’abisso che già si spalanca Trembler devant l’abîme entr’ouvert devant per me? moi? O coppa troppo lunga sottratta alle mie brame, Ô coupe trop longtemps à mes désirs ravie, O nobile cristallo, vieni, versa il veleno Viens, viens, noble cristal! verse-moi le poison Che deve illuminare la mia ragione, o ucciderla! Qui doit illuminer ou tuer ma raison! (Avvicina la coppa alle labbra) [Canto della festività di Pasqua] CORO CHŒUR Cristo è risorto! Christ vient de ressusciter! FAUST FAUST Che cosa odo? Qu’entends-je? CORO CHŒUR Uscito dalla tomba, Quittant du tombeau Dalla buia dimore, Le séjour funeste, Alla reggia celeste Au parvis céleste Sale trasfigurato. Il monte plus beau. Mentre a gloria immortale Vers les gloires immortelles Egli ascende veloce, Tandis qu’il s’élance à grands pas, I suoi fidi discepoli Ses disciples fidèles Languiscono quaggiù. Languissent ici-bas. Ahimè! Qui Egli ci abbandona Hélas! c’est ici qu’il nous laisse Alle ardenti saette della sventura. Sous les traits brûlants du malheur. O divino Maestro! La tua felicità Ô divin Maître! ton bonheur 3 Berlioz: La Damnation de Faust - Seconda parte È la causa del nostro dolore! Est cause de notre tristesse! O divino Maestro! Ci abbandoni Ô divin Maître! tu nous laisses Alle ardenti saette della sventura! Sous les traits brûlants du malheur. FAUST FAUST Quali memorie! Ô souvenirs! CORO CHŒUR Cristo è risorto! Christ vient de ressusciter! Osanna! Hosanna! FAUST FAUST Anima mia tremante! Ô mon âme tremblante! Sull’ali di questi canti Sur l’aile de ces chants Stai per volare in cielo! Vas-tu voler aux cieux? La fede vacillante La foi chancelante Ritorna, ridonandomi Revient, me ramenant La pace dei giorni di innocente devozione, La paix des jours pieux, La mia felice infanzia, Mon heureuse enfance, La dolcezza della preghiera, La douceur de prier, La pura gioia La pure jouissance Di errare in sogno D’errer et de rêver Per i verdi prati Par les vertes prairies, Sotto la luce infinita Aux clartés infinies Di un sole primaverile! D’un soleil de printemps! O bacio d’amore celeste Ô baiser de l’amour céleste Ch’empiva il mio cuore di dolci presagi, Qui remplissais mon cœur de doux pressenti- E via scacciava ogni funesta brama! ments Et chassais tout désir, tout désir funeste! CORO CHŒUR Uscito dalla tomba, Quittant du tombeau Dalla buia dimore, Le séjour funeste, Alla reggia celeste Au parvis céleste Sale trasfigurato. Il monte plus beau. Mentre a gloria immortale Vers les gloires immortelles Egli ascende veloce, Tandis qu’il s’élance à grands pas, I suoi fidi discepoli Ses disciples fidèles Languiscono quaggiù. Languissent ici-bas. Ma crediamo alla Sua parola eterna. Mais croyons en sa parole éternelle. Un giorno lo seguiremo Nous le suivrons un jour, Nella dimora celeste, Au céleste séjour Dove ci chiama la Sua voce. Où sa voix nous appelle! Osanna! Osanna! Osanna! Hosanna! Hosanna! Hosanna! FAUST FAUST Ahimè! Dolci canti del cielo, perché nella sua Hélas! doux chants du ciel, pourquoi dans sa polvere poussière Risvegliate il dannato? O inni di preghiera, Réveiller le maudit? Hymnes de la prière, Perché venite a infrangere i miei piani? Pourquoi soudain venir ébranler mon dessein? I vostri dolci accordi ristorano il mio petto. Vos suaves accords rafraîchissent mon sein. 4 Berlioz: La Damnation de Faust - Seconda parte O canti più soavi dell’aurora, Chants plus doux que l’aurore, Vorrei udirvi ancora! Retentissez encore! Le mie lacrime scorrono, il cielo mi riconquista. Mes larmes ont coulé, le ciel m’a reconquis. Scena IV° Mefistofele, apparendo all’improvviso. MEFISTOFELE MÉPHISTOPHÉLÈS Pura emozione! Fanciullo della santa dimora! Ô pure émotion! Enfant du saint parvis! Io ti ammiro, dottore! I pio suono a distesa Je t’admire, docteur! Les pieuses volées Di queste campane d’argento De ces cloches d’argent Ha davvero sedotto Ont charmé grandement Le tue turbate orecchie! Tes oreilles troublées! FAUST FAUST E dunque tu chi sei? Tu che l’ardente sguardo Qui donc es-tu? toi, dont l’ardent regard Configgi in me come affilata lama? Pénètre ainsi que l’éclat d’un poignard, Sguardo che, come fiamma, Et qui, comme la flamme, Brucia e divora l’anima! Brûle et dévore l’âme! MEFISTOFELE MÉPHISTOPHÉLÈS Oh! Per un gran dottore, frivola è la domanda.
Recommended publications
  • Woodbridge, Boydell Press, 2017 Gaëlle Loisel

    Woodbridge, Boydell Press, 2017 Gaëlle Loisel

    Compte rendu de Music in Goethe’s Faust. Goethe’s Faust in Music, Lorraine Byrne Bodley (dir.), Woodbridge, Boydell Press, 2017 Gaëlle Loisel To cite this version: Gaëlle Loisel. Compte rendu de Music in Goethe’s Faust. Goethe’s Faust in Music, Lorraine Byrne Bodley (dir.), Woodbridge, Boydell Press, 2017. 2019. halshs-02344793 HAL Id: halshs-02344793 https://halshs.archives-ouvertes.fr/halshs-02344793 Submitted on 4 Nov 2019 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. Compte rendu de Lorraine Byrne Bodley (ed.), Music in Goethe’s Faust. Goethe’s Faust in music, Woodbridge, Boydell, 2017, 336 p. Paru dans la Revue de musicologie, t. 105, no 2, 2019, p. 454-458. L’ouvrage dirigé par Lorraine Byrne Bodley s’inscrit dans la continuité de ses travaux sur Goethe et son rapport à la musique (Goethe: Musical Poet, Musical Catalyst, Pater Lang, 2004 ; Proserpina: Goethe’s Melodrama with Music by Carl Eberwein, Peter Lang, 2009) ou à des compositeurs tels que Schubert (Schubert’s Goethe Settings, Routledge, 2003 ; Goethe and Schubert Across the Divide, Carysfort Press, 2003) et Zelter (Goethe and Zelter: Musical Dialogues, Ashgate, 2009).
  • Gunter E. Grimm

    Gunter E. Grimm

    GUNTER E. GRIMM Faust-Opern Eine Skizze Vorblatt Publikation Erstpublikation Autor Prof. Dr. Gunter E. Grimm Universität Duisburg-Essen Fachbereich Geisteswissenschaften, Germanistik Lotharstr. 65 47057 Duisburg Emailadresse: [email protected] Homepage: <http://www.uni-duisburg-essen.de/germanistik/mitarbeiterdaten.php?pid=799> Empfohlene Zitierweise Beim Zitieren empfehlen wir hinter den Titel das Datum der Einstellung oder des letzten Updates und nach der URL-Angabe das Datum Ihres letzten Besuchs die- ser Online-Adresse anzugeben: Gunter E. Grimm: Faust Opern. Eine Skizze. In: Goethezeitportal. URL: http://www.goethezeitportal.de/fileadmin/PDF/db/wiss/goethe/faust-musikalisch_grimm.pdf GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 2 von 20 Gunter E. Grimm Faust-Opern Eine Skizze Das Faust-Thema stellt ein hervorragendes Beispiel dar, wie ein Stoff, der den dominanten Normen seines Entstehungszeitalters entspricht, bei seiner Wande- rung durch verschiedene Epochen sich den jeweils herrschenden mentalen Para- digmen anpasst. Dabei verändert der ursprüngliche Stoff sowohl seinen Charakter als auch seine Aussage. Schaubild der Faust-Opern Die „Historia von Dr. Faust“ von 1587 entspricht ganz dem christlichen Geist der Epoche. Doktor Faust gilt als Inbegriff eines hybriden Gelehrten, der über das dem Menschen zugestandene Maß an Gelehrsamkeit und Erkenntnis hinausstrebt und zu diesem Zweck einen Pakt mit dem Teufel abschließt. Er wollte, wie es im Volksbuch heißt, „alle Gründ am Himmel vnd Erden erforschen / dann sein Für- GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 3 von 20 witz / Freyheit vnd Leichtfertigkeit stache vnnd reitzte jhn also / daß er auff eine zeit etliche zäuberische vocabula / figuras / characteres vnd coniurationes / damit er den Teufel vor sich möchte fordern / ins Werck zusetzen / vnd zu probiern jm fürname.”1 Die „Historia“ mit ihrem schrecklichen Ende stellte eine dezidierte Warnung an diejenigen dar, die sich frevelhaft über die Religion erhoben.
  • Goethe's Faust Essay Prize for Sixth-Formers Further Resources

    Goethe's Faust Essay Prize for Sixth-Formers Further Resources

    A German Classic: Goethe’s Faust Essay Prize for Sixth-Formers Further Resources Urfaust and Faust, Part II Johann Wolfgang von Goethe: Urfaust (1775) Johann Wolfgang von Goethe: Faust. Der Tragödie zweiter Teil (1832) Faust before Goethe Johann Spies: Historia von D. Johann Fausten (1587) Christopher Marlowe: Doctor Faustus (1592) Faust after Goethe Thomas Mann: Doktor Faustus (1947) Faust as film Faust, dir. by F.W. Murnau, with Gösta Ekman, Emil Jannings and Camilla Horn(silent film, 1926) Faust, dir. by Alexander Sokurov, with Johannes Zeiler, Anton Adasinsky and Isolda Dychauk (Russian film, 2011) Faust and music Franz Schubert: Gretchen am Spinnrade (Lied, 1814) Hear Kiri Te Kanawa sing Gretchen’s love song ‘Meine Ruh ist hin’ (‘My peace has gone’) (https://www.youtube.com/watch?v=MY0eeotSDi8). You may also wish to have a look at – and listen to – this course on Schubert’s settings of Goethe’s poems: http://www.open.edu/openlearn/history-the-arts/history/history-art/schuberts-lieder- settings-goethes-poems/content-section-0 Hector Berlioz, La damnation de Faust (opera, 1846) – see the production by Monty Python’s Terry Gilliam (http://www.bbc.co.uk/programmes/b010xwhh) Charles Gounod: Faust (opera, 1859) Ferruccio Busoni: Doktor Faust (opera, 1924) Faust to go In case you’re in need of some light inspiration, here is a summary of Faust I. Don’t worry if you can’t even begin to keep up with Michael Sommer’s German – he speaks extraordinarily fast and uses slang and rather specialised allusions. But you should be able to work out
  • Goethe's Faust in Music

    Goethe's Faust in Music

    Music in Goethe’s Faust: INTERNATIONAL CONFERENCE Goethe’s Faust in Music CALL FOR PAPERS 20-22 April 2012 Music Department and School of Modern Languages, Literatures and Culture NATIONAL UNIVERSITY OF IRELAND MAYNOOTH Music in Goethe’s Faust: Goethe’s Faust in Music Keynote Speakers Professor Nicholas Boyle (Schroeder Professor of German, Magdalene College Cambridge) Professor Thomas Bauman (Professor of Musicology, Northwestern University, USA) Professor Osman Durrani (Professor of German, University of Kent) The name ‘Faust’ and the adjective ‘faustian’ are as emblematic of the supra-intellectual as they are of the tragic. Such concepts haunt German cultural life and have prompted countless discussions in philosophy, literature, the visual arts and music, especially in the second half of the nineteenth and early twentieth centuries. Through this a broad trajectory can be traced from Zelter’s colourful record of the first setting of Goethe’s Faust - composed by prince and rehearsed by a royal cast in Berlin in 1816 - to Alfred Schnittke’s Faust opera of 1993. Between these two realizations, a floodtide of musical interpretations of Goethe’s Faust came into existence; these explore the theme of love, so central to opera, and the concomitant themes of redemption for both Gretchen and Faust. A theatrical work with the artistic virtuosity and moral gravity of Goethe’s Faust need not be musically inclusive, yet Goethe sought out many burgeoning musicians - Heinrich Schmieder, Carl Friedrich Zelter, Carl Eberwein and Prince Anton Heinrich Radziwill – as possible composers of Faust. While Goethe longed to have Faust set to music and considered only Mozart and perhaps Meyerbeer as being equal to the task, by the end of his life he had abandoned hope that he would live to witness a musical setting of his text.
  • Berlioz's La Damnation De Faust in Helsinki1

    Berlioz's La Damnation De Faust in Helsinki1

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto 1 Tyrväinen, Helena 2010, ‘The restless and searching spirit of the 1890s — Berlioz’s La Damnation de Faust in Helsinki’. In: Musikleben des 19. Jahrhunderts im nördlichen Europa. Strukturen und Prozesse / 19th-Century Musical Life in Northern Europe. Structures and Processes. Eds. Kristel Pappel, Toomas Siitan & Anu Sõõro. Hildesheim, Zürich, New York: Georg Olms Verlag. Pp. 289–316. Helena Tyrväinen The restless and searching spirit of the 1890s — Berlioz’s La 1 Damnation de Faust in Helsinki An announcement published in the Helsinki newspaper Uusi Suometar on 21 April, 1900 reveals a great deal about the first eighteen years of the existence of the orchestra of the Helsinki Philharmonic Society and about Finnish musical life in general: Faust, the dramatic legend by Berlioz, will be given in the University Festival Hall on Wednesday 25th of this month. When performed some years ago, this great symphonic work obtained a success which in comparison to other musical works is probably unequalled here. The attractive power it held over the audience seemed unlimited.2 With its great Berlioz concerts of the end of the nineteenth century the orchestra of the Philharmonic Society joined an international current which posthumously advanced the status of the French composer to that of a cult figure. In Finland this phenomenon climaxed with eleven performances of La Damnation de Faust in April 1894 and 1895. These first Finnish performances of La Damnation offer a window into the special characteristics of what has been called the Golden Age of Finnish arts.
  • Berlioz: La Damnation De Faust

    Berlioz: La Damnation De Faust

    Berlioz La damnation de Faust Sir Simon Rattle Bryan Hymel Karen Cargill Christopher Purves Gábor Bretz Hector Berlioz (1803–1869) La damnation de Faust (1845–46) A dramatic legend in four parts Andrew Cornall producer Daniele Quilleri casting consultant Recorded live in DSD 64fs, 17 & 19 September 2017 at the Barbican, London Classic Sound Ltd recording, editing and mastering facilities Neil Hutchinson for Classic Sound Ltd balance engineer, audio editing & mixing Jonathan Stokes for Classic Sound Ltd recording & mastering engineer © 2019 London Symphony Orchestra Ltd, London, UK P 2019 London Symphony Orchestra Ltd, London, UK 2 Faust, a scholar Bryan Hymel tenor Marguerite, a young woman Karen Cargill mezzo-soprano Méphistophélès, the devil, who appears to Faust as a gentleman Christopher Purves baritone Brander, a student Gábor Bretz bass Choruses of soldiers, students, peasants, gnomes and sylphs, demons and the damned London Symphony Chorus Guildhall School Singers Simon Halsey chorus director Celestial spirits Tiffin Boys’ Choir Tiffin Girls’ Choir Tiffin Children’s Chorus James Day director London Symphony Orchestra Sir Simon Rattle conductor 3 Disc 1 – Première partie (Part I) & Deuxième partie (Part II) Première partie (Part I) 1 Scène I “Le vieil hiver” 5’35’’ 2 Scènes II/III Ronde de paysans. “Les bergers laissent … Mais d’un éclat guerrier” 4’24’’ 3 Scène III Marche hongroise (Hungarian March) 4’53’’ Deuxième partie (Part II) 4 Scène IV “Sans regrets j’ai quitté les riantes campagnes” 4’50’’ 5 Chant de la Fête de Pâques. “Christ vient de ressusciter!” 5’29’’ 6 “Hélas! doux chants du ciel” 1’14’’ 7 Scène V “Ô pure émotion!” 2’27’’ 8 Scène VI “À boire encor!” 2’35’’ 9 Chanson de Brander.
  • United States Premieres

    United States Premieres

    United States Premieres Composer Work Date Conductor Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 2 22-Apr 1843 Boucher/Loder Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for 25-Apr 1857 Eisfeld Piano and Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's 21-Nov 1857 Eisfeld Dramatic Poem, Manfred Brahms Serenade No. 2 in A major for Small Orchestra, 1-Feb 1862 Bergmann Op. 16 Berlioz First four movements from Symphonie 27-Jan 1866 Bergmann fantastique: episode de la vie d'un artiste (Fantastic Symphony: Episode in the Life of an Artist) Gade Hamlet 28-Nov 1868 Bergmann Liszt Poème symphonique 9-Jan 1869 Bergmann R.
  • Mendelssohn's DIE ERSTE WALPURGISNACHT Beethoven's CHORAL FANTASY and OPFERLIED

    Mendelssohn's DIE ERSTE WALPURGISNACHT Beethoven's CHORAL FANTASY and OPFERLIED

    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon tile quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1 The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)" If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity 2 When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame If copynghted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3 When a map, drawing or chart, etc , is part of the material being photographed, a definite method of "sectioning" the material has been followed It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps If necessary, sectioning is continued again—beginning below the first row and continuing on until complete 4.
  • Central Opera Service Bulletin Volume 27, Number 4

    Central Opera Service Bulletin Volume 27, Number 4

    CENTRAL OPERA SERVICE BULLETIN VOLUME 27, NUMBER 4 CONTENTS NEK OPERAS AND PREMIERES 1 NEWS FROM OPERA COMPANIES 18 GOVERNMENT ft NATIONAL ORGANIZATIONS 28 CONFERENCES 30 TAX FACTS 31 NEtf AND RENOVATED THEATERS 32 FORECAST 33 ARCHIVES AND COLLECTIONS 38 ATTENTION COMPOSERS AND LIBRETTISTS 40 MUSIC PUBLISHERS 42 ATTENTION CONDUCTORS 43 EDITIONS AND ADAPTATIONS 44 EOUCATION 45 APPOINTMENTS AND RESIGNATIONS 48 COS INSIDE INFORMATION 53 COS NATIONAL CONFERENCE PROGRAM 54 COS SALUTES... 56 WINNERS 58 CAREER GUIDE SUPPLEMENT 60 BOOKS AND PERIODICALS 68 OPERA HAS LOST... 76 PERFORMANCE LISTING, 1986-87 SEASON CONT. 84 FIRST PERFORMANCE LISTING. 1987-88 SEASON 110 COS NATIONAL CONFERENCE REGISTRATION FORM 125 Sponsored by the Metropolitan Opera National Council !>i>'i'h I it •'••'i1'. • I [! I • ' !lIN., i j f r f, I ;H ,',iK',"! " ', :\\i 1 ." Mi!', ! . ''Iii " ii1 ]• il. ;, [. i .1; inil ' ii\ 1 {''i i I fj i i i11 ,• ; ' ; i ii •> i i«i ;i •: III ,''. •,•!*.', V " ,>{',. ,'| ',|i,\l , I i : I! if-11., I ! '.i ' t*M hlfi •'ir, S'1 , M"-'1'1" ' (.'M " ''! Wl • ' ;,, t Mr '«• I i !> ,n 'I',''!1*! ,1 : I •i . H)-i -Jin ' vt - j'i Hi I !<! :il --iiiAi hi CENTRAL OPERA SERVICE BULLETIN Volume 27, Number 4 Spring/Summer 1987 CONTENTS New Operas and Premieres 1 News from Opera Companies 18 Government & National Organizations 28 Conferences 30 Tax Facts 31 New and Renovated Theaters 32 Forecast 33 Archives and Collections 38 Attention Composers and Librettists 40 Music Publishers 42 Attention Conductors 43 Editions and Adaptations 44 Education 45 Appointments and Resignations 48 COS Inside Information 53 COS National Conference Program 54 COS Salutes..
  • Final Thesis Dorette Roos

    Final Thesis Dorette Roos

    THE FAUST LEGEND A ND ITS MUSICAL MANIFEST ATIONS : A HISTORICAL OVERVIEW by Dorette Maria Roos Thesis su bmitted in partial fulfilment of the degree Master of Music 50% Performance – 50% Thesis at Stellenbosch University Department of Music Faculty of Arts and Social Sciences Supervisor: Professor Hans Roosenschoon December 2010 Declaration I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part, submitted it at any university for a degree. D.M. Roos _____________________________________ Signature Dorette Maria Roos Student Number 15491668 01 / 09 / 2010 Copyright © 2010 Stellenbosch University All rights reserved 2 Acknowledgements I would like to express my gratitude to my supervisor, Professor Hans Roosenschoon, for his guidance, mentorship and encouragement throughout this study. A particular acknowledgement is extended to Miss Esmeralda Tarentaal in the Stellenbosch Music Library for her help and skills. I would like to express my sincere appreciation to my family for their motivation and assistance with this thesis – not forgetting their continuous love, inspiration, proof- reading and suggestions. Lastly, a special word of thanks to my friend Babette, for her constant positivity and enthusiasm. 3 Abstract This thesis explores the Faust legend and its musical manifestations since the 19 th century. The objective is to provide a thorough background to the legend, before drawing up an account of compositions inspired by the Faust legend. Firstly, the origin of the legend is investigated, followed by a brief summary of the most important literary works on the subject of Faust .
  • Bildende Künstler Bei Den Salzburger Festspielen

    Bildende Künstler Bei Den Salzburger Festspielen

    DailyNr. 29, 29. August 2008 Bildende Künstler bei den Salzburger Festspielen: im Bühnenbild von Daniel Richter,im Bühnenbild von Foto: Rittershaus Monika Cantata profana Farb-Klang-Kunst-Werke SALZBURGER FESTSPIELE 2008 Szene aus Béla BartóksSzene SALZBURGER FESTSPIELE 2008Daily Nr. 29, 29. August 2008 Festspiele Inside Salzburg 2008: Die Bilanz teigerungen in vielen Bereichen konn- Schließlich haben auch die thematischen he Salzburg Festival was able to report only topped by the anniversary year of 2006. ten am Donnerstag im Rahmen der Schwerpunkte verstärkt Besucher aus Süd- progress in many areas on Thursday, Thus, 93% of seating capacity was filled. SBilanz-Pressekonferenz zu den Salz- amerika nach Salzburg gebracht. Hervorra- Twhen the results of the 2008 Festival were burger Festspielen 2008 der Presse mitge- gend sind die Jugendprojekte angenommen presented to the press: ticket revenues this There were also interesting developments teilt werden: Die Karteneinnahmen belau- worden: 3.061 Karten wurden für Veranstal- summer amounted to 25,100,000 Euros. in the area of visitors from abroad. The fen sich für den heurigen Sommer auf tungen im Rahmen von Jugendabos sowie des Festival was attended by people from 68 25.100.000 Euro. Damit konnten – ausge- YDP-Projektes und der Kinderkonzerte zu This is the highest result in the history of the nations, including 33 outside of Europe. nommen das Mozartjahr 2006 – die bisher stark herabgesetzten Preisen (10–15 Prozent Festival, excluding the Mozart Year of 2006. While ticket sales in the US have decreased höchsten Einnahmen in der Geschichte der der Originalpreise) an jugendliche Besucher There was also an increase in visitors over the by 11% due to the strong Euro, the first Festspiele erzielt werden.
  • Spring 2004) Refereed Journal & Newsletter of the South Central Chapter — the College Music Society ______

    Spring 2004) Refereed Journal & Newsletter of the South Central Chapter — the College Music Society ______

    South Central Music Bulletin ISSN 1545-2271 Volume II, Number 2 (Spring 2004) Refereed Journal & Newsletter of the South Central Chapter — The College Music Society ______________________________________________________________________________ Editor: Dr. Nico Schüler, Texas State University-San Marcos Editorial Review Board: Dr. Paula Conlon, University of Oklahoma Dr. Lynn Job, University of North Texas Dr. Kevin Mooney, University of Texas at Austin Sunnie Oh, University of Oklahoma Dr. Deborah Schwartz-Kates, University of Texas at San Antonio Dr. Robin Stein, Texas State University-San Marcos Dr. Paolo Susanni, Clavier Werke School of Music (Austin) Dr. Lori Wooden, University of Central Oklahoma Subscription: Free This Journal can be downloaded from http://www.txstate.edu/scmb/ Publisher: South Central Chapter — The College Music Society c /o Nico Schüler, Ph.D. Texas State University-San Marcos School of Music 601 University Drive San Marcos, TX 78666 USA ______________________________________________________________________________ Ó Copyright 2004 by the Authors. All Rights Reserved. South Central Music Bulletin II/2 (Spring 2004) ______________________________________________________________________________ Table of Contents Message from the Editor by Nico Schüler ... Page 4 Visit the CMS South Central Website ... Page 4 Visit the South Central Music Bulletin (SCMB) Website ... Page 4 CMS South Central Annual Meeting 2004: Preliminary Conference Program ... Page 5 Articles: Polka in the Plains: Ethnic Identity and the Mainstream by Addie A. deHilster ... Page 8 The Roots of and Stylistic Influences on Red Garland’s Jazz Piano Style by Ryan Davis ... Page 13 An Unlikely Prophet? A Cultural Perspective on the Music and Life of Bob Marley by David Terrell ... Page 19 Elements of Romanticism in Piano Sonata op.