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Keyboard Arrangements of Music by Jean-Baptiste Lully: Introduction
Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. David Chung, 2014 Introduction, p. i Abbreviations Bonfils 1974 Bonfils, Jean, ed. Livre d’orgue attribué à J.N. Geoffroy, Le Pupitre: no. 53. Paris: Heugel, 1974. Chung 1997 Chung, David. “Keyboard Arrangements and Their Significance for French Harpsichord Music.” 2 vols. PhD diss., University of Cambridge, 1997. Chung 2004 Chung, David, ed. Jean-Baptiste Lully: 27 brani d’opera transcritti per tastiera nei secc. XVII e XVIII. Bologna: UT Orpheus Edizioni, 2004. Gilbert 1975 Gilbert, Kenneth, ed. Jean-Henry d’Anglebert, Pièces de clavecin, Le Pupitre: no. 54. Paris: Heugel, 1975. Gustafson 1979 Gustafson, Bruce. French Harpsichord Music of the 17th Century: A Thematic Catalog of the Sources with Commentary. 3 vols. Ann Arbor: UMI Research Press, 1979. Gustafson 2007 Gustafson, Bruce. Chambonnières: A Thematic Catalogue—The Complete Works of Jacques Champion de Chambonnières (1601/02–72), JSCM Instrumenta 1, 2007, r/2011. (http://sscm- jscm.org/instrumenta_01). Gustafson-Fuller 1990 Gustafson, Bruce and David Fuller. A Catalogue of French Harpsichord Music 1699-1780. Oxford: Clarendon Press, 1990. Harris 2009 Harris, C. David, ed. Jean Henry D’Anglebert: The Collected Works. New York: The Broude Trust, 2009. Howell 1963 Howell, Almonte Charles Jr., ed. Nine Seventeenth-Century Organ Transcriptions from the Operas of Lully. Lexington: University of Kentucky Press, 1963. LWV Schneider, Herbert. Chronologisch-Thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully. Tutzing: Hans Schneider, 1981. WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org) Monuments of Seventeenth-Century Music Vol. 1 Keyboard Arrangements of Music by Jean-Baptiste Lully, ed. -
Les Opéras De Lully Remaniés Par Rebel Et Francœur Entre 1744 Et 1767 : Héritage Ou Modernité ? Pascal Denécheau
Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? Pascal Denécheau To cite this version: Pascal Denécheau. Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? : Deuxième séminaire de recherche de l’IRPMF : ”La notion d’héritage dans l’histoire de la musique”. 2007. halshs-00437641 HAL Id: halshs-00437641 https://halshs.archives-ouvertes.fr/halshs-00437641 Preprint submitted on 1 Dec 2009 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. P. Denécheau : « Les opéras de Lully remaniés par Rebel et Francœur : héritage ou modernité ? » Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? Une grande partie des œuvres lyriques composées au XVIIe siècle par Lully et ses prédécesseurs ne se sont maintenues au répertoire de l’Opéra de Paris jusqu’à la fin du siècle suivant qu’au prix d’importants remaniements : les scènes jugées trop longues ou sans lien avec l’action principale furent coupées, quelques passages réécrits, un accompagnement de l’orchestre ajouté là où la voix n’était auparavant soutenue que par le continuo. -
Sun King Program Notes
FRIDAY, NOVEMBER 20 PROGRAM 7:30 PM Jean-Baptiste Lully Suite from Armide 7:00 PM: PRE-CONCERT LECTURE BY PROFESSOR Jean-Philippe Rameau In convertendo Dominus JOHN POWELL (UNIV. OF TULSA) wfihe^=e^ii=L= INTERMISSION Hobby Center For The Performing Arts= Marc-Antoine Charpentier Les arts florissants SPECIAL GUESTS: Catherine Turocey, Artistic Director PROGRAM NOTES The New York Barque Dance Company Armide was the last tragédie en musique on which Jean-Baptiste Lully collaborated with his Dancers: Carly Fox Horton, favorite librettist, Philippe Quinault. It premiered at the Paris Opéra on February 15, 1686. Quinault retired from the stage after Armide, and Lully died the following year. From its first Brynt Beitman, Alexis Silver, and Andrew Trego performance, Armide was recognized as their masterpiece. The subject matter was of the King’s choosing: Louis XIV selected the story in May of 1685 CAST: Megan Stapleton, soprano from among several offered by Quinault. Armide is based on an episode of Gerusalemme Julia Fox, soprano liberata, a popular epic poem by the 16th-century Italian poet Torquato Tasso. It uses the story Cecy Duarte, mezzo-soprano of the capture of Jerusalem by Christians during the First Crusade (1096-99) as the starting Sonja Bruzauskas, mezzo-soprano point for a fabulous extravaganza of heroism, villainy, war, star-crossed lovers, sorcery, bad Tony Boutté, tenor temper, warrior maidens, and eventual total victory by the forces of good. The episode on Eduardo Tercero, tenor which Armide is based tells the story of Armida, a sorceress who falls in love with the Mark Diamond, baritone Crusader Rinaldo, her sworn enemy. -
Lully's Psyche (1671) and Locke's Psyche (1675)
LULLY'S PSYCHE (1671) AND LOCKE'S PSYCHE (1675) CONTRASTING NATIONAL APPROACHES TO MUSICAL TRAGEDY IN THE SEVENTEENTH CENTURY ' •• by HELEN LLOY WIESE B.A. (Special) The University of Alberta, 1980 B. Mus., The University of Calgary, 1989 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS • in.. • THE FACULTY OF GRADUATE STUDIES SCHOOL OF MUSIC We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1991 © Helen Hoy Wiese, 1991 In presenting this hesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. (Signature) Department of Kos'iC The University of British Columbia Vancouver, Canada Date ~7 Ocf I DE-6 (2/68) ABSTRACT The English semi-opera, Psyche (1675), written by Thomas Shadwell, with music by Matthew Locke, was thought at the time of its performance to be a mere copy of Psyche (1671), a French tragedie-ballet by Moli&re, Pierre Corneille, and Philippe Quinault, with music by Jean- Baptiste Lully. This view, accompanied by a certain attitude that the French version was far superior to the English, continued well into the twentieth century. -
LULLY, J.: Armide (Opera Lafayette, 2007) Naxos 8.66020910 Jeanbaptiste Lully (1632 1687) Armide Tragé
LULLY, J.: Armide (Opera Lafayette, 2007) Naxos 8.66020910 JeanBaptiste Lully (1632 1687) Armide Tragédie en musique Libretto by Philippe Quinault, based on Torquato Tasso's La Gerusalemme liberata (Jerusalem Delivered), transcribed and adapted from Le théâtre de Mr Quinault, contenant ses tragédies, comédies et opéras (Paris: Pierre Ribou, 1715), vol. 5, pp. 389428. ACTE I ACT I Le théâtre représente une grande place ornée d’un arc de The scene represents a public place decorated with a Triumphal triomphe Arch. SCÈNE I SCENE I ARMIDE, PHÉNICE, SIDONIE ARMIDE, PHENICE, SIDONIE PHÉNICE PHENICE Dans un jour de triomphe, au milieu des plaisirs, On a day of victory, amid its pleasures, Qui peut vous inspirer une sombre tristesse? Who can inspire such dark sadness in you? La gloire, la grandeur, la beauté, la jeunesse, Glory, greatness, beauty, youth, Tous les biens comblent vos désirs. All these bounties fulfill your desires. SIDONIE SIDONIE Vous allumez une fatale flamme You spark a fatal flame Que vous ne ressentez jamais ; That you never feel: L’amour n’ose troubler la paix Love does not dare trouble the peace Qui règne dans votre âme. That reigns in your soul. ARMIDE, PHÉNICE et SIDONIE ensemble ARMIDE, PHENICE & SIDONIE together Quel sort a plus d’appâts? What fate is more desirable? Et qui peut être heureux si vous ne l’êtes pas? And who can be happy if you are not? PHÉNICE PHENICE Si la guerre aujourd’hui fait craindre ses ravages, If today war threatens its ravages, C’est aux bords du Jourdain qu’ils doivent s’arrêter. -
Chaucer's Handling of the Proserpina Myth in The
CHAUCER’S HANDLING OF THE PROSERPINA MYTH IN THE CANTERBURY TALES by Ria Stubbs-Trevino A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Literature May 2017 Committee Members: Leah Schwebel, Chair Susan Morrison Victoria Smith COPYRIGHT by Ria Stubbs-Trevino 2017 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Ria Stubbs-Trevino, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION This thesis is dedicated to my indomitable mother, Amber Stubbs-Aydell, who has always fought for me. If I am ever lost, I know that, inevitably, I can always find my way home to you. ACKNOWLEDGEMENTS There are three groups of people I would like to thank: my thesis committee, my friends, and my family. I would first like to thank my thesis committee: Dr. Schwebel, Dr. Morrison, and Dr. Smith. The lessons these individuals provided me in their classrooms helped shape the philosophical foundation of this study, and their wisdom and guidance throughout this process have proven essential to the completion of this thesis. -
Passacaille of Armide
The ‘Passacaille of Armide’ Revisited: Rhetorical Aspects of Quinault’s / Lully’s tragédie en musique Kimiko Okamoto The tragédie en musique is a dramatic genre invented by for the effective deliverance of ideas. Oratory can strengthen Philippe Quinault and Jean-Baptiste Lully in the tradition of its impact by elaborating the usage of words, and to this end, French musical theatre; Armide was the last collaboration of techniques of word arrangement were systematised into those creators, and was first staged in 1686. The arch-shaped ‘figures’ and ‘tropes’; the former was absorbed into German (palindromic) symmetry of the verbal, musical and dramatic music theory, and named Figurenlehre. According to the structures of this genre has been pointed out by a number of Figurenlehre, musical motifs are manoeuvred in the same scholars,1 whereas few have discussed its rhetorical order, manner as words in oratory. Although dance treatises never another structural feature of seventeenth and early eight- mention rhetorical figures, the ways steps are arranged in the eenth-century compositions. Judith Schwartz was one of the notated choreographies bear a striking resemblance to these few to analyse the choreography of the ‘Passacaille’ from Act figures. A short sequence of steps often forms a choreo- V of Armide with reference to rhetorical structure.2 Notwith- graphic motif, which functions as a building block of a phrase standing, she applied the theory exclusively to choreogra- through repetition, enlargement, diminution and inversion – phy, leaving the music outside the rhetorical framework, just as the manipulation of words in speech and the manoeu- which Schwartz regarded as ‘asymmetry at odds with the vre of motifs in music. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title A Second Refuge: French Opera and the Huguenot Migration, c. 1680 - c. 1710 Permalink https://escholarship.org/uc/item/6ck4p872 Author Ahrendt, Rebekah Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 By Rebekah Susannah Ahrendt 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 Kate van Orden, Chair Professor Richard Taruskin Professor Peter Sahlins Fall 2011 A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 Copyright 2011 by Rebekah Susannah Ahrendt 1 Abstract A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 by Rebekah Susannah Ahrendt Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Chair This dissertation examines the brief flowering of French opera on stages outside of France around the turn of the eighteenth century. I attribute the sudden rise and fall of interest in the genre to a large and noisy migration event—the flight of some 200,000 Huguenots from France. Dispersed across Western Europe and beyond, Huguenots maintained extensive networks that encouraged the exchange of ideas and of music. And it was precisely in the great centers of the Second Refuge that French opera was performed. Following the wide-ranging career path of Huguenot impresario, novelist, poet, and spy Jean-Jacques Quesnot de la Chenée, I construct an alternative history of French opera by tracing its circulation and transformation along Huguenot migration routes. -
Lore of Proserpine
LORE OF PROSERPINE BY MAURICE HEWLETT "Thus go the fairy kind, Whither Fate driveth; not as we Who fight with it, and deem us free Therefore, and after pine, or strain Against our prison bars in vain; For to them Fate is Lord of Life And Death, and idle is a strife With such a master..." —Hypsipyle This eBook was prepared by HKA January, 2004 From the edition published by CHARLES SCRIBNER'S SONS Published in New York April, 1913 This text is in the public domain. TO DESPOINA FROM WHOM, TO WHOM ALL PREFACE I HOPE nobody will ask me whether the things in this book are true, for it will then be my humiliating duty to reply that I don't know. They seem to be so to me writing them; they seemed to be so when they occurred, and one of them occurred only two or three years ago. That sort of answer satisfies me, and is the only one I can make. As I grow older it becomes more and more difficult to distinguish one kind of appearance from another, and to say, that is real, and again, that is illusion. Honestly, I meet in my daily walks innumerable beings, to all sensible signs male and female. Some of them I can touch, some smell, some speak with, some see, some discern otherwise than by sight. But if you cannot trust your eyes, why should you trust your nose or your fingers? There's my difficulty in talking about reality. There's another way of getting at the truth after all. -
Lois Rosow Selected Publications CRITICAL EDITION Jean-Baptiste
Lois Rosow Selected Publications CRITICAL EDITION Jean-Baptiste Lully, Armide tragédie en musique . In Œuvres complètes , series 3, vol. 14. Hildesheim: Olms, 2003. EDITED COLLECTION “Le Théâtre de sa Gloire : Essays on Persée , Tragédie en Musique by Quinault and Lully.” Journal of Seventeenth-Century Music 10, no. 1 (2004), https://sscm-jscm.org/v10no1.html . ARTICLES AND CHAPTERS “Lallemand and Durand: Two Eighteenth-Century Music Copyists at the Paris Opéra.” Journal of the American Musicological Society 33, no. 1 (1980): 142–63. “French Baroque Recitative as an Expression of Tragic Declamation.” Early Music 11, no. 4 (1983): 468–79. “Performing a Choral Dialogue by Lully.” Early Music 15, no. 3 (1987): 325–35. “From Destouches to Berton: Editorial Responsibility at the Paris Opéra.” Journal of the American Musicological Society 40, no. 2 (1987): 285–309. “How Eighteenth-Century Parisians Heard Lully's Operas: The Case of Armide 's Fourth Act.” In Jean- Baptiste Lully and the Music of the French Baroque: Essays in Honor of James R. Anthony , ed. John Hajdu Heyer, pp. 213–37. Cambridge: Cambridge University Press, 1989. “The Metrical Notation of Lully's Recitative.” In Jean-Baptiste Lully: Actes du colloque/Kongressbericht: Saint-Germain-en-Laye--Heidelberg 1987 , ed. Jérôme de La Gorce and Herbert Schneider, 405–22. Neue Heidelberger Studien zur Musikwissenschaft, 18. Laaber: Laaber-Verlag, 1990. “Making Connections: Thoughts on Lully's Entr'actes." Early Music 21, no. 2 (1993): 231–38. “French Opera in Transition: Silvie (1765) by Trial and Berton.” In Critica musica: Essays in Honor of Paul Brainard , ed. John Knowles, 333–63. -
The World of Lully
Cedille Records CDR 90000 043 The World of Lully Music of Jean-Baptiste Lully and his Followers CHICAGO BAROQUE ENSEMBLE WITH PATRICE MICHAELS BEDI, SOPRANO DDD Absolutely Digital CDR 90000 043 THE WORLD OF JEAN-BAPTISTE LULLY (1632-1687) Lully: Première Divertissement (15:09) 1 Ouverture from Armide (2:29) 2 Air from Persée (1:18) 3 Serenade from Ballet des plaisirs (4:31) 4 Air from Phaeton (0:50) 5 Chanson contre les jaloux from Ballet de l’amour Malade (2:23) 6 Minuet from Armide (0:44) 7 Air: Pauvres amants from Le Sicilen (2:48) Jean-Féry Rebel: Le Tombeau de Monsieur Lully (14:01) 8 Lentement (2:39) 9 Vif (2:03) 10 Lentement (2:43) 11 Vivement (3:50) 12 Les Regrets (2:46) Lully: Seconde Divertissement (9:34) 13 Menuet from Alceste (0:58) 14 C’est la saison d’aimer from Alceste (1:32) 15 Recit: Suivons de si douces loix from Ballet d’Alcidiane (1:48) 16 Gavotte from Amadis (1:16) 17 Gigue – Les Plaisirs nous suivent from Amadis (3:56) Lully, arr. Jean d’Anglebert: Pièces de clavecin (7:35) 18 Ouverture de la Mascarade (3:53) 19 Les songes agréables (1:54) 20 Gigue (1:44) 21 Lully: Plainte de Cloris from Le Grand Divertissement Royal de Versailles (5:26) 22 Lully: Galliarde from Trios pour le coucher du roi (3:07) 23 Marin Marais: Tombeau de Lully from Second livre de pièces de violes (6:21) Lully: Armide, Tragedie lyrique (selections) (15:50) 24 Recit: Enfin il est en ma puissance (3:18) 25 Air: Venez, venez seconder mes desirs (1:10) 26 Air (0:53) 27 Passacaille (arr. -
Ballad Opera in England: Its Songs, Contributors, and Influence
BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music.