Redalyc.THE METAMORPHOSIS of the DON JUAN LEGEND IN
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Schulhoffs Flammen
ERWIN SCHULHOFF Zur Wiederentdeckung seiner Oper „Flammen“ Kloster-Sex, Nekrophilie, alles eins Schulhoffs "Flammen". Entdeckung im "Don Juan"-Zyklus des Theaters an der Wien. Am Anfang war das Ich. Dann das Es. Und das Überich erst, lieber Himmel, da hat sich die Menschheit etwas eingebrockt, als sie alle Dämme brechen ließ und den Kaiser wie den Lieben Gott gute Männer sein ließen. Nichts klärt uns über die Befindlichkeit der Sigmund- Freud-Generation besser auf als die Kunst der Ära zwischen 1900 und 1933, ehe die Politik - wie zuvor schon in der sowjetischen Diktatur - auch in 9. August 2006 SINKOTHEK Deutschland die ästhetischen Koordinatensysteme diktierte. Beobachtet man in Zeiten, wie die unsre eine ist, die diversen sexuellen, religiösen und sonstigen Wirrnisse, von denen die damalige Menschheit offenbar fasziniert war, fühlt man sich, wie man im Kabarett so schön sang, "apres". Sex im Kloster, Nekrophilie, alles eins. Tabus kennen wir nicht mehr; jedenfalls nicht in dieser Hinsicht. Das Interesse an einem Werk wie "Flammen", gedichtet von Max Brod frei nach Karel Josef Benes, komponiert von dem 1942 von den Nationalsozialisten ermordeten Erwin Schulhoff, ist denn auch vorrangig musikhistorischer Natur. Es gab 9. August 2006 SINKOTHEK mehr zwischen Schönberg und Lehar als unsere Schulweisheit sich träumen lässt. Erwin Schulhoff war ein Meister im Sammeln unterschiedlichster Elemente aus den Musterkatalogen des Im- wie des Expressionismus. Er hatte auch ein Herz für die heraufdämmernde Neue Sachlichkeit, ohne deshalb Allvater Wagner zu verleugnen. Seine "Flammen", exzellent instrumentiert mit allem Klingklang von Harfe, Glocke und Celesta, das jeglichen alterierten Nonenakkord wie ein Feuerwerk schillern und glitzern lässt, tönen mehr nach Schreker als nach Hindemith - auch wenn das einleitende Flötensolo beinahe den keusch-distanzierten Ton der "Cardillac"- Musik atmet. -
Don Juan Contra Don Juan: Apoteosis Del Romanticismo Español
DON JUAN CONTRA DON JUAN: APOTEOSIS DEL ROMANTICISMO ESPAÑOL La imaginación popular hizo de Zorrilla el poeta romántico por excelencia, y de su drama Don Juan Tenorio la encarnación misma del espíritu romántico. Aunque con ciertas vacilaciones, la crítica ha aceptado, al menos parcialmente, ese veredicto: está claro que Zorrilla debe incluirse en la reducida capilla de los dramaturgos ro- mánticos españoles, y su drama, el popularísimo Tenorio, entre las obras más representativas (si no la más representativa) de ese mo- vimiento.1 Pero lo que no está tan claro es el carácter del romanticis- mo zorrülesco —sus raíces, sus alcances, y su lugar dentro de las fronteras del movimiento romántico español. Creo que un estudio de la imaginería y la ideología de Don Juan Tenorio puede revelar- nos la manera en que Zorrilla juntó muchos de los hilos diferentes de la expresión romántica y así creó una obra que es, a la vez, la cima y el fin dramático del movimiento romántico en España.2 Edgar Allison Peers dividió el movimiento romántico en dos direcciones fundamentales: el Redescubrimiento Romántico, que con- tenía los elementos de la virtud caballeresca, el cristianismo, los va- leres medievales y la monarquía, y la Rebelión Romántica, que in- 1) Ver Narciso Alonso Cortés, Zorrilla, su vida y sus obras (Valladolid, Santa- rén, 1943); Luz Rubio Fernández, «Variaciones estilísticas del "Tenorio"», Revista de Literatura, 19 (1961), págs. 55-92; Luis Muñoz González, «Don Juan Tenorio, la personificación del mito», Estudios Filológicos, 10 (1974-1975), págs. 93-122; y el excelente estudio de Roberto G. Sánchez, « Between Maciías and Don Juan: Spa- nish Romantic Drama and the Mythology of Love», Hispanic Review, 44 (1976), págs. -
An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Examination of Stylistic Elements in Richard Strauss's Wind Chamber Music Works and Selected Tone Poems Galit Kaunitz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN EXAMINATION OF STYLISTIC ELEMENTS IN RICHARD STRAUSS’S WIND CHAMBER MUSIC WORKS AND SELECTED TONE POEMS By GALIT KAUNITZ A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Galit Kaunitz defended this treatise on March 12, 2012. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffrey Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii This treatise is dedicated to my parents, who have given me unlimited love and support. iii ACKNOWLEDGEMENTS I would like to thank my committee members for their patience and guidance throughout this process, and Eric Ohlsson for being my mentor and teacher for the past three years. iv TABLE OF CONTENTS List of Figures ................................................................................................................................ vi Abstract -
ROBERT BRIAN TATE Robert Brian Tate 1921–2011
ROBERT BRIAN TATE Robert Brian Tate 1921–2011 Life BRIAN TATE WAS A MAJOR FIGURE IN Hispanic studies, as much at home in Catalan and Latin as in Spanish. He was born in Belfast on 27 December 1921 and died on 21 February 2011. He was educated at the Royal Belfast Academical Institution: the school was unusual in offering Spanish at this period, and produced a number of eminent Hispanists (among them F. W. Pierce). In 1939 he began studies at Queen’s University, and in his second year left for war service in India, Nepal and Burma; while out east he began learning Arabic. In the company of General Slim he was one of the first to enter Rangoon in 1945. On graduation in 1948 with a first in French and Spanish, his teacher Ignasi González i Llubera (1893–1962) encouraged him to go to Barcelona and Girona (in Catalonia) to do research. (This was early in the Franco regime, when Catalan politics and Catalan studies in general were suppressed.) His MA thesis at Queen’s University was ‘The Life, Works and Ideas of Cardinal Margarit’ (1949), and his PhD (also Queen’s University, 1955) was ‘The Influence of Italian Humanism on the Historiography of Castile and Aragon during the Fifteenth Century’. After teaching at Manchester (assistant lecturer, 1949–52) and Queen’s (lecturer, 1952–6) he was appointed reader at Nottingham in 1956 and was professor (indeed, the first professor of Spanish at Nottingham) from 1958 to 1983; dean of the faculty of arts 1976–9; professor emeritus in 1991. -
The Hell Scene and Theatricality in Man and Superman
２３３ The Amphitheatre and Ann’s Theatre: The Hell Scene and Theatricality in Man and Superman Yumiko Isobe Synopsis: Although George Bernard Shaw’s Man and Superman (1903) is one of his most important dramatic works, it has seldom been staged. This is because, in terms of content and direction, there are technical issues that make it difficult to stage. In particular, Act Three features a dream in Hell, where four dead characters hold a lengthy philosophical symposium, has been considered independent of the main plot of John Tanner and Ann Whitefield. Tanner’s dream emphatically asserts its theatricality by the scenery, the amphitheatre in the Spanish desert where Tanner dozes off. The scene’s geography, which has not received adequate attention, indicates the significance of the dream as a theatre for the protagonist’s destiny with Ann. At the same time, it suggests that the whole plot stands out as a play by Ann, to which Tanner is a “subject.” The comedy thus succeeds in expressing the playwright’s philosophy of the Superman through the play-within-a- play and metatheatre. Introduction Hell in the third act of Man and Superman: A Comedy and a Philosophy (1903) by George Bernard Shaw turns into a philosophical symposium, as the subtitle of the play suggests, and this intermediate part is responsible for the difficulties associated with the staging of the play. The scene, called “the Hell scene” or “Don Juan in Hell,” has been cut out of performances of the whole play, and even performed separately; however, the interlude by itself has attracted considerable attention, not only from stage managers and actors, but also from critics, provoking a range of multi-layered examinations. -
Don Juan Tenorio
José Zorrilla Don Juan Tenorio Colección Averroes Colección Averroes Consejería de Educación y Ciencia Junta de Andalucía ÍNDICE Parte primera ......................................................................... 9 Acto primero ..................................................................... 9 Escena I......................................................................... 9 Escena II.......................................................................12 Escena III .....................................................................15 Escena IV .....................................................................16 Escena V ......................................................................16 Escena VI .....................................................................19 Escena VII....................................................................19 Escena VIII...................................................................21 Escena IX .....................................................................23 Escena X ......................................................................24 Escena XI .....................................................................25 Escena XII....................................................................28 Escena XIII...................................................................44 Escena XIV ..................................................................45 Escena XV....................................................................46 Acto segundo....................................................................48 -
The Bashful Man at Court WASHINGTON, D.C
PERFORMING ARTS The Bashful Man at Court WASHINGTON, D.C. Mon, March 20, 2017 7:00 pm Venue Former Residence of the Ambassadors of Spain, 2801 16th Street NW, Washington, DC 20009 View map Phone: 202-728-2334 Admission Free. RSVP required. Credits Presented by SPAIN arts & culture and the Shakespeare Theatre SPAIN arts & culture and the Shakespeare Theatre Company Company. Translation by John present a reading of Tirso de Molina’s pastoral Golden Age Browning and Fiorigio Minelli. masterpiece, “The Bashful Man at Court.” The Duke of Avero has the two most beautiful daughters in Spain, and the forest outside his palace abounds with endless intrigues. When Mireno, a bashful shepherd, assumes a noble disguise and comes to seek his fortune, he finds a world of duels and disguises, doubts and desires. But this “bashful man at court” has no idea of the secret that he himself bears. In Tirso de Molina’s pastoral Golden Age masterpiece, presented with artists from The Shakespeare Theatre Company, all the world is a stage and all of us wear masks in order to discover our deepest passions. Written sometime between 1606 and 1612, The Bashful Man at Court is a classic marriage comedy at heart, this play also contains some of Tirso’s strongest female characters, and (like Lope’s El Perro del Hortelano) explores the power of love to break down the rigid divisions between social classes. Golden Age poet, writer and playwright Tirso de Molina, together with Lope de Vega and Calderón de la Barca, is part of the golden triad of Spanish Baroque theatre. -
Listening Guide: Richard Strauss' Symphonic Poem Don Juan 1
Listening Guide: Richard Strauss’ Symphonic Poem Don Juan 1. Strauss’ Don Juan is a hugely exciting piece with which to open a program. It is approximately 17 min. long, and can be enjoyed simply for its energy, its recurring dominant melodies, its ever-shifting moods and its remarkable orchestration. If you have only a little time to preview this piece, just keep these qualities in mind and listen to one of the more popular performances that have been uploaded to YouTube. 2. Of course, I urge you to take the next step in preview listening by remembering Deb Shuster’s definitions of “program music” and of “symphonic poem.” • Program music: A musical composition that aims to portray in musical terms the events, characters &/or scenes that usually originate in a poem or a story. In this case, Strauss drew upon the story of Don Juan, which is a tale of a fictitious character, whose amorous adventures, his larger than life energy, and his indifference to societal norms made him the hero-villain of numerous plays, novels, and poems from the 1660’s to the 1900’s. Strauss draws on a version of Don Juan by Hungarian /Austrian/German author Nikolaus Lenau, written in 1844. Lenau’s Don Juan is more of a philosopher living a disillusioned, aimless, and unsatisfying life. He has many amorous adventures in a search a for meaning and perfect beauty, but he finally realizes that he has harmed many and that his searching may be futile. In a duel with the brother or father of one his former lovers, he drops his sword and embraces death. -
Abre Los Ojos
Letras Hispanas Volume 9.1, Spring 2013 TITLE: A Postmodern Offspring of Don Juan Tenorio: Abre los ojos AUTHOR: Scott Ward AFFILIATION: Ball State University ABSTRACT: Although many scholars have considered Calderón de la Barca’s masterpiece La vida es sueño as the literary precursor to the filmAbre los ojos, directed by Alejandro Amenábar (1997), the film has much more in common with José Zorrilla’s classic from Spain’s Roman- tic period: Don Juan Tenorio. The protagonists, Don Juan in Zorrilla’s work, and César in the film, share the well-known characteristics of the famous Spanish rogue; nevertheless they fall victim to the same mortal sin of pride. Both fail to cultivate meaningful relation- ships with the important people in their lives, lack a father figure, fall in love unexpectedly, express contrition regarding their past, and are granted a dubious salvation in the end. Fur- thermore, parallels exist in the global structure of these two works in that they are divided into two parts, a “real” world and one that takes place on a chimeric plane, which obstructs the distinction between reality and dream. Throughout the centuries, writers, dramatists and filmmakers have adopted the figure of Don Juan to express their literary purposes, and César is exactly the postmodern version of this iconic character at the dawn of the twenty- first century. KEYWORDS: Don Juan, Abre los ojos, postmodern, Hell, virtual reality, guilt RESUMEN: Aunque muchos críticos han considerado La vida es sueño, obra maestra de Calderón de la Barca, como precursora literaria de la película Abre los ojos, dirigida por Alejandro Amenábar (1997), la película tiene mucho más en común con una obra clásica del período romántico español: Don Juan Tenorio. -
Don Juan This Outline Serves As a Listening Guide, Or “Road Map,” Through a Work Being Performed Today
Listen4 listening guides A brief guide to listening to Richard Strauss’s Don Juan This outline serves as a listening guide, or “road map,” through a work being performed today. The intention is to help you follow along and enjoy it in more depth. We welcome you to email us with your reactions at [email protected]. Now ... let the music begin! Richard Strauss composed what is considered his first major masterpiece, Don Juan, in 1888 when he was just 24—the age of many of the Aspen Music Festival and School’s students. It is a “tone poem” for orchestra, meaning that the work is one continuous composition meant to convey a story, poem, or idea to the listener. Orchestral musicians love to play Strauss’s tone poems because every instrument has a chance to shine. It is hard to believe Don Juan lasts only about twenty minutes, so full is it with drama, passion, tenderness, and bravura parts for every member of the orchestra. Fittingly, Strauss met the love of his life, Pauline de Ahna, shortly after starting work on this piece and completed it during their romance, which led to a life-long marriage. Second section: 1 First section: Listen as the As the music quiets down, the opening flourish in the strings 2 woodwinds play along with a high violin rushes through the wind section solo, conveying Don Juan’s great interest and back to the strings. This in all things feminine. Starting simply, the figure begins not on the first passion is ratcheted up with increasingly beat, but just slightly after, higher entrances by the horns. -
Narrative of Don Juan Van Halens Imprisonment in the Dungeons Of
- < Narrative of Don Juan van Halens imprisonment in the dungeons of the inquisition at Madrid and his escape in 1817 and 1818 - to which are added his journey to Russia.... ~ eBook Narrative of Don Juan van Halens imprisonment in the dungeons of the inquisition at Madrid and his escape in 1817 and 1818 - to which are added his journey to Russia.... Henry Colburn - Narrative of Don Juan Van Halen's Imprisonment in the Dungeons of the Inquisition at Madrid (2020 edition) Description: - -Narrative of Don Juan van Halens imprisonment in the dungeons of the inquisition at Madrid and his escape in 1817 and 1818 - to which are added his journey to Russia.... -Narrative of Don Juan van Halens imprisonment in the dungeons of the inquisition at Madrid and his escape in 1817 and 1818 - to which are added his journey to Russia.... Notes: In 2vols. This edition was published in 1827 Filesize: 64.27 MB Tags: #Narrative #of #Don #Juan #Van #Halen's #Imprisonment #in #the #Dungeons #of #the #Inquisition #at #Madrid, #and #His #Escape #in #1817 #and #1818: #To #Which #Are #Added, #His #... #Caucasus, #and #His #Return #to #Spain #in #1821... #: #Halen, #Juan #Van: #Amazon.sg: #Books Narrative of Don Juan Van Halen's Imprisonment in the Dungeons of the Inquisition at Madrid, and His Escape in 1817 and 1818: To Which Are Added, His ... Caucasus, and His Return to Spain in 1821... : Halen, Juan Van: Amazon.sg: Books We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. -
"Don Juan". Nancy Clark Victory Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 "To Play With Fixities and Definites": Byron's Fanciful Real World Games in "Don Juan". Nancy Clark Victory Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Victory, Nancy Clark, ""To Play With Fixities and Definites": Byron's Fanciful Real World Games in "Don Juan"." (1998). LSU Historical Dissertations and Theses. 6766. https://digitalcommons.lsu.edu/gradschool_disstheses/6766 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.