DOCSLIB.ORG

Download Program Notes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Program Notes LOVE, LONGING, AND LAMENT A GRADUATE RECITAL ON COVID-19 EMOTION MARCH 13, 2021 JULIANNA SHAMEL, SOPRANO Program Notes Ball State University, MM Recital “Ah, non credea mirarti…Ah, non giunge” Vincenzo Bellini From La Sonnambula (1801-1835) La Sonnambula (The Sleepwalker) is an opera semiseria in two acts and premiered to the public in 1831. This aria appears at the end of Act II as Amina is sleep-walking high across an unstable mill bridge after her lover, Elvino, called off their engagement. The melody at the very beginning is a typical Bellini cantilena: elongated and with small intervals without doubling by the instruments. When Amina wakes, and Elvino puts the ring back on her finger after realizing his mistake, the cabaletta (fast second section) begins with a sparse accompaniment, fast leaps, trills, and coloratura. If we relate this piece to our time in quarantine, the slow section may remind you of the drab days inside longing for the life we had. The fast section could be the feelings of reuniting with close family, entering the grocery store, or perhaps just going to Target. Ah,non credea mirarti Ah, I didn't believe I'd see you s ì presto estinto, o fiore; Wither so quickly, oh blossom! passasti al par d'amore, You have faded away just like love, che un giorno solo duro. Which only lasted a day. Potria novel vigore Maybe my tears could il pianto mio recarti Lend you new life, ma ravvivar l'amore But to revive love il pianto mio, ah no, non puo. My tears oh no, they cannot do so... Ah, non giunge uman pensiero Ah, human thought can't manage al contento ond'io son piena: (To grasp) the depth of my happiness: a miei sensi io credo appena; I can barely believe my own senses; tu m'affida o mio tesor. You do trust me, oh my darling! Ah, mi abbraccia, e sempre insieme, Ah, hold me and, always together, sempre uniti in una speme, Always united in a single hope, della terra, in cui viviamo From this land in which we live ci formiamo un ciel d'amor. We shall build a Heaven of love.. Paper Wings Jake Heggie From The Faces of Love (1961-Present) This song cycle is the fruit of a great friendship between Heggie and mezzo-soprano Frederica von Stade. She wrote the texts and commissioned Heggie to create the music. Each piece is autobiographical, recalling a specific time in von Stade’s childhood or her daughter’s. I had the incredible pleasure of briefly speaking to Heggie about these works. “Bedtime Stories” begins with a quotation of a lullaby from the Chants d’Auvergne and explains the story of three- year-old Lisa getting out of bed on a frosty night to join her parents out by the fire. The lullaby was the only thing that would soothe Lisa to sleep at night. Heggie said he imagined her trying to get Lisa to sleep, but resorts to telling her bedtime stories without luck. “Paper Wings” brings us back to when von Stade lived in Greece during her childhood. Heggie said the musical influence is in the spirit of Signorina, the nanny. “The music for Mitten Smitten,” he said, “has a bit of mysticism woven in to reflect the magic of the mysterious mittens presented to Lisa by her Uncle Tim. The final song describes how von Stade had to be rescued by a fireman after climbing onto her roof as a child and how history repeated itself when Lisa made the same mistake. This song is inspired by Beethoven’s Für Elise – “in this case,” Heggie states, “For Lisa”. This set can draw parallels to mothers at home with their children during the quarantine. Bedtime Stories Soun, soun, beni At last we looked and there It was a cold, cold night There stood a girl no more than three So cold we had a fire A blanket on her head, her eyes A cold, cold night She though, we couldn’t see We sat and talked Ah, but who? All was safe and good Oh, who was that girl? Then, something happened Oh child, it was you Something soft went by Oh, magic, magic child A second’s wait You stayed “nothing there, it must have been a dream” We smiled Again a breeze, a tiny move Lisa What could it have been? Paper Wings When I was young, I lived in Greece with One day, signorina made me wings out of my mother paper That’s right, Greece That’s right, paper wings We lived in a house, a house with a great And for days and days I pretended to fly big balcony over the rooftops of Athens And Signorina, was my nanny Mitten Smitten My Uncle Tim But I was small and I’d never seen He once gave me some mittens anything like them They were from India Where were the fingers? and very special I put them on…strange Route to the Sky When I saw how she’d done it, I nearly My mother taught me to fly fainted Not even knowing that she had done so So I went out after her I climbed on the rood Then, we were both stuck A complicated route to the sky Two trucks an ambulance But the fireman got me down, oh the Two station wagons of rescue teams fireman got me down came to the house Lisa was eight when she climbed through And the fireman got us down a window our onto the roof Sil est un charmon gazon [Hugo] {1859} Franz Liszt Comment disaient-ils [Hugo] {1859} (1811-1886) Franz Liszt composed over eighty songs in German, French, Italian, Hungarian, Russian, and English. Even though most of his songs are set to German poems, his French songs are some of his most significant works, especially the songs set to poems by Victor Hugo. In this setting of Victor Hugo’s poem “Sil est un charmon gazon,” the melodic line at the end of each verse gently descends to create a feeling of stepping on to the garden path and coming to rest in a botanical sanctuary. This song was one of the many pieces that Liszt revised to create better emphasis and French language flow. The second verse is much more exciting since the poem discusses love and the joining of two people. The sweeping melody builds to the final refrain to reveal the speaker asking to make their soul a nest to rest the heart. “Comment disaient-ils” is another playful tune with Hugo’s poetry. This piece is a conversation between a group of restless men and flirtatious women. If you listen closely, you will hear the piano underscoring each group with their motifs. A bouncing staccato line displays the image of little boats rocking back and forth on the waves to underscore the men rowing. This motif is interrupted quickly with a quiet flowing line that mocks a plucked classical guitar to underscore the women. The first piece can be related to dreaming of the outdoors, love, and touch from others. The second piece can draw parallels between a husband and wife being stuck inside together and the communication between them. Sil est un charmon gazon S'il est un charmant gazon If there's a lovely grassy plot Que le ciel arrose, watered by the sky Où brille en toute saison where in every season Quelque fleur éclose, some flower blossoms, Où l'on cueille à pleine main where one can freely gather Lys, chèvrefeuille et jasmin, lilies, woodbines and jasmines... J'en veux faire le chemin I wish to make it the path Où ton pied se pose ! on which you place your feet. S'il est un rêve d'amour, If there is a dream of love Parfumé de rose, scented with roses, Où l'on trouve chaque jour where one finds every day Quel que douce chose, something gentle and sweet, Un rêve que Dieu bénit, a dream blessed by God Où l'âme à l'âme s'unit, where soul is joined to soul... Oh! j'en veux faire le nid oh, I wish to make it the nest Où ton cœur se pose ! in which you rest your heart. Comment disaient-ils Comment, disaient-ils, How, the men said, With our Avec nos nacelles, skiff, Fuir les alguazils? Ramez! To flee from the police? Row! Ramez! disaient-elles. Row! the women said. Comment, disaient-ils, How, the men said, Oublier querelles, Misère To forget quarrels, Misery, and et périls? Dormez! danger? Sleep! Sleep! the Dormez! disaient-elles. women said. Comment, disaient-ils, How, the men said, Enchanter les belles Sans To charm the beautiful women philtres subtils? Aimez! Without artful potions? Love! Aimez! disaient-elles. Love! the women said. Ramez! Dormez! Aimez! Row! Sleep! Love! the women disaient-elles. said. Mignon’s Lied [Goethe] {1842} Franz Liszt Freudvoll und Leidvoll [Goethe] {1848} (1811-1886) “Mignon’s Lied” is an example of strophic writing by Liszt. The three stanzas in this song repeat the same sequence of musical materials that parallel the poet’s ternary decision in the original text. There is almost an intensified expression of longing throughout this entire piece related to the desired longing for normalcy during the 2020 pandemic. This was a piece that Liszt revised due to an issue with poor syllabic stress in the German language. Liszt uses varied timbres and colors to illustrate Mignon’s colorful vision and captures her nostalgia for her homeland.
Load more

Recommended publications
  • The Court Theatres of the Farnese from 1618 to 1690
    This dissertation has been microfilmed exactly as received 68—2969 COBES, John Paul, 1932- THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690. [Figures I-V also IX and X not microfilmed at request of author. Available for consultation at The Ohio State University Library], The Ohio State University, Ph.D., 1967 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan (S) Copyright by- John Paul Cobes 1968 THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690 DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio S tate U niversity By John Paul Cobes, B.S., M.A. ******** The Ohio State University 1967 Approved by Z. Adviser Department of Speech PLEASE NOTE: Figures I-V also IX and X not microfilmed at request of auth­ or. Available for consultation at The Ohio State University Library. UNIVERSITY MICROFILMS. The author wishes to acknowledge, with dee nest gratitude, the assistance, suggestions, and guidance of the following persons, all of whom were instrumental in the camnletion of this study; Dr. Row H. Bowen, adviser to this study, and all the nersonnel of the Theatre Division of the Deonrtment of Speech at the Ohio State University. Dr. John ft. McDowell and Dr. John q . Morrow, advisers to this study, a".d nil +V> -•ersonnel of the Theatre Collection of the Ohio State Universit.w, D r. A l^ent M ancini of th e I t a l i a n D iv isio n o f th e Romance La.-wn.aTes Department of the Ohio State University’.
    [Show full text]
  • A Comparison of the Alto Voice in Early and Modern Opera
    View metadata, citation and similar papers at core.ac.uk • w #*>* brought to you by CORE provided.'V by Illinois Digital Environment for Access to Learning and Scholarship... J HUTCHINS A Comparison of the Alio Voice in Early mii Modern Opera j A ' Tw V ill, .^ i%V** i i • i ! 1 i i 4 Music j • 19 15 i • * THE UNIVERSITY OF ILLINOIS LIBRARY Digitized by the Internet Archive in 2013 http://archive.org/details/comparisonofaltoOOhutc COMPARISON OF THE ALTO VOICE IN EARLY AND MODERN OPERA BY MARJORIE HUTCHINS THESIS FOR THE DEGREE OF BACHELOR OF MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1915 , ftfy UNIVERSITY OF ILLINOIS June I 19235. SUPERVISION BY THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY MARJORIS HUTCHIUS, - MODERN ENTITLED A COMPARISON OF THE ALTO VOICE IN EARLY JJffl OPERA, - - FOR THE IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS DEGREE QF BACHELOR OF MUSIC. , Instructor in Charge 1 IG HEAD OF DEPARTMENT OF .S • u»uc H^T A COMPARISON OP THE ALTO VOICE IN EARLY AND MODERN OPERA. The alto voice is, in culture and use, as an important solo instrument, comparatively modern. It must be well understood that the alto voice, due to its harmonic relation to the soprano, has always been the secondary voice. The early opera writers, such as Monteverde, Cavalli, Lully, and Scarlatti, although they wrote for this voice when it was sung only by the male artificial con- tralli or counter-tenor, have done much toward putting it where it is today.
    [Show full text]
  • Garland of Flowers by Abraham Mignon
    Garland of Flowers by Abraham Mignon Magdalena Kraemer-Noble This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 14 and 15 By courtesy of Richard Green, London: fig. 9 By courtesy of Magdalena Kraemer-Noble: figs. 4, 10 and 12 By courtesy of Johnny Van Haeften, London: fig. 8 © Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden / Elke Estel, Hans-Peter Klut: figs. 5 and 6 © Horta Auctioneers, Brussels: fig. 11 © MBA Lyon / Alain Basset: fig. 3 © Museo Nacional del Prado, Madrid: fig. 7 © Royal Cabinet of Paintings Mauritshuis, The Hague: figs. 2 and 13 © Staatliche Kunsthalle Karlsruhe: fig. 16 © Tim Koster, ICN, Rijswijk/Amsterdam: fig. 17 Text published in: B’08 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 4, 2009, pp. 195-237. efore studying the opulent Garland of Flowers [fig. 1] in the Museum’s collection, it would be of prior in- terest to explore the challenging life of the Baroque painter Abraham Mignon who is unknown in Spain Bexcept this still-life in Bilbao.
    [Show full text]
  • L'opera I (Seicento E Settecento)
    L’opera I (Seicento e Settecento) (modulo 103) Luca Zoppelli Università di Lecce e di Friburgo Ultima modifica 24 Febbraio 2003 ICoN – Italian Culture on the Net Luca Zoppelli – L’opera I (Seicento e Settecento) Presentazione Il modulo è dedicato al teatro musicale italiano e alla sua diffusione come sistema europeo, a partire dall’invenzione del genere operistico nella Firenze di fine Cinquecento, sino agli eventi storici di fine Settecento, che ne alterano largamente la fisionomia. La trattazione segue il mutare dei caratteri drammaturgici e stilistici del genere in relazione ai contesti ed agli ambienti produttivi che hanno visto svilupparsi dapprima la favola per musica cortigiana, poi l’opera pubblica di tipo veneziano, infine - nel Settecento - l’opera seria e quella comica. Si prendono in considerazione, inoltre, alcune delle più rilevanti questioni di ordine estetico sollevate dagli osservatori contemporanei a proposito del teatro musicale. Nel modulo si citano alcune scene tratte da opere di particolare rilievo storico ed artistico per individuare e descrivere alcuni procedimenti drammatici, letterari e musicali. Sebbene il modulo non sia concepito come una galleria di monografie dedicate a singoli compositori, questi esempi consentono anche di tracciare brevi profili stilistici di alcune figure particolarmente importanti, come Monteverdi, Händel o Mozart. 2 ICoN – Italian Culture on the Net Luca Zoppelli – L’opera I (Seicento e Settecento) Guida al modulo Scopo del modulo Il modulo intende fornire una conoscenza generale dello sviluppo dell’opera italiana, anche nel suo spazio europeo, durante i secoli XVII e XVIII. L’esame delle condizioni sociali e produttive spiegherà i caratteri e i mutamenti estetici e drammaturgici del genere.
    [Show full text]
  • Macroeconomic Determinants of Performed Operas: a Multi-Country Study 2014-2018
    A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Kugler, Peter Working Paper Macroeconomic determinants of performed operas: A multi-country study 2014-2018 WWZ Working Paper, No. 2019/17 Provided in Cooperation with: Center of Business and Economics (WWZ), University of Basel Suggested Citation: Kugler, Peter (2019) : Macroeconomic determinants of performed operas: A multi-country study 2014-2018, WWZ Working Paper, No. 2019/17, University of Basel, Center of Business and Economics (WWZ), Basel, http://dx.doi.org/10.5451/unibas-ep72018 This Version is available at: http://hdl.handle.net/10419/207106 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially Creative Commons Licences), you genannten Lizenz gewährten Nutzungsrechte. may exercise further usage rights as specified in the indicated licence. www.econstor.eu September 2019 Macroeconomic Determinants of Performed Operas: A Multi-Country Study 2014-2018 WWZ Working Paper 2019/17 Peter Kugler A publication of the Center of Business and Economics (WWZ), University of Basel.
    [Show full text]
  • Sehnsucht and Alienation in Schubert's Mignon Settings Acacia M. Doktorchik
    SEHNSUCHT AND ALIENATION IN SCHUBERT’S MIGNON SETTINGS ACACIA M. DOKTORCHIK BMus, University of Lethbridge, 2009 A Thesis Submitted to the School of Graduate Studies of the University of Lethbridge in Partial Fulfilment of the Requirements for the Degree [MASTER OF MUSIC] Department Of Music University of Lethbridge LETHBRIDGE, ALBERTA, CANADA © Acacia M. Doktorchik, 2011 ABSTRACT Sehnsucht (longing) and alienation were two central themes of 19th century German Romanticism in literature, music and art. Franz Schubert was one of the great masters of the Romantic era to understand and express these intense emotions through his compositions. This paper discusses Sehnsucht and alienation in Schubert’s settings of the Mignon songs from Johann Wolfgang von Goethe’s novel Wilhelm Meisters Lehjahre (Master William’s Apprenticeship). Mignon, a secondary character in this novel, is a prime example of one who experiences these emotions and whose principal medium of expressing herself is through her five songs. My thesis focuses on how Schubert portrays Mignon’s longing through use of dissonance, harmonic progressions, melodic contour and shifts in vocal register. iii TABLE OF CONTENTS Abstract...............................................................................................................................iii Table of Contents................................................................................................................iv Introduction..........................................................................................................................1
    [Show full text]
  • Mignon Faget: a Life in Art and Design and Art in a Life Faget: Mignon All Illustrated Items Are Courtesy of Mignon Faget
    MIGNON FAGET A Life in Art and Design [AN EXHIBITION] September 22, 2010 – January 2, 2011 [THE HISTORIC NEW ORLEANS COLLECTION] THE HISTORIC NEW ORLEANS COLLECTION The Williams Williams Gallery (504) 523-4662 Research Center 533 Royal Street www.hnoc.org MIGNON FAGET A Life in Art and Design [AN EXHIBITION] September 22, 2010 – Januar y 2, 2011 [THE HISTORIC NEW ORLEANS COLLECTION] “MIGNONESQUE”:The Art of Mignon Faget 2 Unless otherwise noted, am honored indeed for the opportunity to introduce this exhibition of the work and achieve- The Historic New Orleans Collection Mignon Faget: A Life in Art and Design all illustrated items are courtesy of Mignon Faget. [I]ments of Mignon Faget, a unique artist and designer in our midst. Over the course of four decades, through continually evolving creativity and her sensitivity to the innate qualities of a diverse INSIDE FRONT COVER: array of media, she has established herself as a New Orleans institution. The fruits of this ongoing Inside Mignon Faget’s studio process of creative evolution have delighted and enriched us all. 2010; photo by Faget graduated from Newcomb College of Tulane University in 1955 and her art is emblematic Keely Merritt The Historic New of the distinctive aesthetic of that institution and the Newcomb Art Department. Whether working Orleans Collection in fabric, metal, leather, stone, bone, or glass, Faget’s oeuvre is firmly rooted in the tradition of the artisan. This dedication to hand-crafted quality wedded with an abiding love for nature and the TITLE PAGE: distinctive culture of her native city has made Mignon Faget a true icon.
    [Show full text]
  • Portamento in Romantic Opera Deborah Kauffman
    Performance Practice Review Volume 5 Article 3 Number 2 Fall Portamento in Romantic Opera Deborah Kauffman Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Kauffman, Deborah (1992) "Portamento in Romantic Opera," Performance Practice Review: Vol. 5: No. 2, Article 3. DOI: 10.5642/ perfpr.199205.02.03 Available at: http://scholarship.claremont.edu/ppr/vol5/iss2/3 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Romantic Ornamentation Portamento in Romantic Opera Deborah Kauffman Present day singing differs from that of the nineteenth century in a num- ber of ways. One of the most apparent is in the use of portamento, the "carrying" of the tone from one note to another. In our own century portamento has been viewed with suspicion; as one author wrote in 1938, it is "capable of much expression when judiciously employed, but when it becomes a habit it is deplorable, because then it leads to scooping."1 The attitude of more recent authors is difficult to ascertain, since porta- mento has all but disappeared as a topic for discussion in more recent texts on singing. Authors seem to prefer providing detailed technical and physiological descriptions of vocal production than offering discussions of style. But even a cursory listening of recordings from the turn of the century reveals an entirely different attitude toward portamento.
    [Show full text]
  • Circling Opera in Berlin by Paul Martin Chaikin B.A., Grinnell College
    Circling Opera in Berlin By Paul Martin Chaikin B.A., Grinnell College, 2001 A.M., Brown University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in the Department of Music at Brown University Providence, Rhode Island May 2010 This dissertation by Paul Martin Chaikin is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_______________ _________________________________ Rose Rosengard Subotnik, Advisor Recommended to the Graduate Council Date_______________ _________________________________ Jeff Todd Titon, Reader Date_______________ __________________________________ Philip Rosen, Reader Date_______________ __________________________________ Dana Gooley, Reader Approved by the Graduate Council Date_______________ _________________________________ Sheila Bonde, Dean of the Graduate School ii Acknowledgements I would like to thank the Deutsche Akademische Austauch Dienst (DAAD) for funding my fieldwork in Berlin. I am also grateful to the Institut für Musikwissenschaft und Medienwissenschaft at Humboldt-Universität zu Berlin for providing me with an academic affiliation in Germany, and to Prof. Dr. Christian Kaden for sponsoring my research proposal. I am deeply indebted to the Deutsche Staatsoper Unter den Linden for welcoming me into the administrative thicket that sustains operatic culture in Berlin. I am especially grateful to Francis Hüsers, the company’s director of artistic affairs and chief dramaturg, and to Ilse Ungeheuer, the former coordinator of the dramaturgy department. I would also like to thank Ronny Unganz and Sabine Turner for leading me to secret caches of quantitative data. Throughout this entire ordeal, Rose Rosengard Subotnik has been a superlative academic advisor and a thoughtful mentor; my gratitude to her is beyond measure.
    [Show full text]
  • "Mixed Taste," Cosmopolitanism, and Intertextuality in Georg Philipp
    “MIXED TASTE,” COSMOPOLITANISM, AND INTERTEXTUALITY IN GEORG PHILIPP TELEMANN’S OPERA ORPHEUS Robert A. Rue 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 May 2017 Committee: Arne Spohr, Advisor Mary Natvig Gregory Decker © 2017 Robert A. Rue All Rights Reserved iii ABSTRACT Arne Spohr, Advisor Musicologists have been debating the concept of European national music styles in the Baroque period for nearly 300 years. But what precisely constitutes these so-called French, Italian, and German “tastes”? Furthermore, how do contemporary sources confront this issue and how do they delineate these musical constructs? In his Music for a Mixed Taste (2008), Steven Zohn achieves success in identifying musical tastes in some of Georg Phillip Telemann’s instrumental music. However, instrumental music comprises only a portion of Telemann’s musical output. My thesis follows Zohn’s work by identifying these same national styles in opera: namely, Telemann’s Orpheus (Hamburg, 1726), in which the composer sets French, Italian, and German texts to music. I argue that though identifying the interrelation between elements of musical style and the use of specific languages, we will have a better understanding of what Telemann and his contemporaries thought of as national tastes. I will begin my examination by identifying some of the issues surrounding a selection of contemporary treatises, in order explicate the problems and benefits of their use. These sources include Johann Joachim Quantz’s Versuch einer Anweisung die Flöte zu spielen (1752), two of Telemann’s autobiographies (1718 and 1740), and Johann Adolf Scheibe’s Critischer Musikus (1737).
    [Show full text]
  • Autour De Mignon : Un Éditeur De Musique, Jacques-Léopold Heugel1
    Les colloques de l’Opéra Comique L’art officiel dans la France musicale au XIXe siècle. Avril 2010 sous la direction d’Alexandre DRATWICKI et Agnès TERRIER Autour de Mignon : un éditeur de musique, Jacques-Léopold Heugel1 Anik DEVRIÈS-LESURE In Memoriam François Heugel2 La notion de « musique officielle », si fluctuante, qui évolue avec le temps en fonction du moment précis où l’on porte un regard sur elle, peut-elle être attribuée au répertoire publié par un éditeur, sous prétexte, qu’aujourd’hui, plusieurs des compositeurs inscrits sous les colonnes de ses catalogues sont considérés comme représentatifs de « l’art officiel » d’une époque ? Axé essentiellement sur la musique française, le fonds constitué à partir de 1839 par Jacques-Léopold Heugel, fondateur de la maison, puis par son fils Henri, réunissait en son temps, il est vrai, une pléiade de jeunes compositeurs formés par l’art académique du Conservatoire, mais à l’époque où ceux-ci furent publiés par les Heugel, beaucoup d’entre eux avaient su bousculer les notions qui leur avaient été inculquées par leurs professeurs, apporter renouvellement et invention dans leur écriture et leur instrumentation, et se montrer novateurs par rapport à leurs prédécesseurs. 1 J.-L. Heugel est né à La Rochelle le 1er mars 1815 et mort à Paris le 12 novembre 1883. 2 Qu’il me soit permis de dédier cet article à la mémoire de François Heugel, arrière petit-fils de Jacques-Léopold Heugel, décédé cette année au printemps et d’avoir une pensée émue pour sa femme, Margot. Quelques semaines avant son décès, il avait eu la gentillesse de me recevoir pour m’ouvrir ses archives (tout comme il l’avait fait en 1986) et me montrer la cinquantaine de lettres d’Ambroise Thomas adressées à la famille entre 1877 et 1891.
    [Show full text]
  • Granile Stagione D'opera Italiana
    LTTALU, BASI CAU SA FRANCISCO Di. TO, il SETTEMBRE I8!>7. 5 ‘ Una notte a Firenze.'’ IMI \ A PORI.— Si domandano % Chi vuol pacare alcune ore nella “Machine men an (.'hacktender per ‘■fitta ili Firenze” non lavorare MBS. K. RULLINO ! dimentichi in un tunnel. : IMiOPIiIKTAKIA K DIKOTTRICI ehe domenica sera, al teatro Hush, la Dirigersi 111 ARLES BOVONE TUTTK UK SKRK AUUK 8 Compagnia Filodrammatica. “Gii 211» Sacramento Street, OKU Amiei" dà la rappresentazione già 13-9 più volte annunciata. Le prove vanno di ed il di ( Telefono deIITTALIA: Red 353. L'avvocato Foote disse ehe se i! gin incanto A 111 ITO' INTERESSARE.— rettore Bìagi é tutto raggiante per- | tlioe Wallace revocherà il mandato de Col giorno !> corr. il signor A. Raced Granile Stagione ché d'Opera prevede un successione artistico li Italiana 11 Car. (i. Bianchi rifiuta po- gli attuali il rimane il solo proprietario del ‘Pan il consiglieri, Governata e MAKSTRO sto di «lella Co j re Budd potrà valersi del diritto di finanziario. tei» Saloon”, itoti Montgomery Ave. CONCERTATORE E DIRETTORE D’ORCHESTRA Governatore Noi, raccomandando a tutti i con- lonia Eritrea. nominare un nuovo Consiglio Muni- 13-9 cipale. nazionali di incoraggiare i nostri filo- GUSTAVO Leggiamo nel “Progresso Italo A- drammatici, auguriamo al Biagi e RICÉRCA DI HIMRIGMB AI Tivoli. PERSONA. Chi co- mericano” di N. Y.: compagni che le rosee precisimi si av nosce 1 di Leonardo indirizzo Lamine Gran Coro—Grande Orchestra—Splendidi Scenari e “POMA, 3.—(Speciale del “New I n teatro pieno zeppo anche ior verino. ci é pregato di comnumicarlo subito Super- “York Sun”) Era stato offerto al sera.
    [Show full text]