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Boston Symphony Orchestra Concert Programs, Season 81, 1961
JPI v^» r BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY ^7. HENRY LEE HIGGINSON m < TUESDAY EVENING SERIES 8 ^ji(ii.'r/iUU| ' : • k |J ***• t .C/^^*^ r^ -v^>- c j^ EIGHTY-FIRST SEASON 1961-1962 ADIVARI created for all time a perfect marriage of precision and beauty for both the eye and the ear. He had the unique genius to combine a thorough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. We suggest you take advantage of our extensive insurance background by letting us review your needs either business or personal and counsel you to an intelligent program. We respectfully invite your inquiry. CHARLES H. WATKINS & CO. Richard P. Nyquist — Charles G. Carleton — Robert G. Jennings 147 MILK STREET BOSTON 9, MASSACHUSETTS LIBERTY 2-1250 Associated With OBRION, RUSSELL & CO. EIGHTY-FIRST SEASON, 1961-1962 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz John T. Noonan Theodore P. Ferris Mrs. James H. Perkins Francis W. Hatch Sidney R. Rabb Harold D. Hodgkinson Charles H. Stockton C. D. Jackson John L. Thorndike E. Morton Jennings, Jr. -
La Generazione Dell'ottanta and the Italian Sound
LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND A DISSERTATION IN Trumpet Performance Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by ALBERTO RACANATI M.M., Western Illinois University, 2016 B.A., Conservatorio Piccinni, 2010 Kansas City, Missouri 2021 LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND Alberto Racanati, Candidate for the Doctor of Musical Arts Degree University of Missouri-Kansas City, 2021 ABSTRACT . La Generazione dell’Ottanta (The Generation of the Eighties) is a generation of Italian composers born in the 1880s, all of whom reached their artistic maturity between the two World Wars and who made it a point to part ways musically from the preceding generations that were rooted in operatic music, especially in the Verismo tradition. The names commonly associated with the Generazione are Alfredo Casella (1883-1947), Gian Francesco Malipiero (1882-1973), Ildebrando Pizzetti (1880-1968), and Ottorino Respighi (1879- 1936). In their efforts to create a new music that sounded unmistakingly Italian and fueled by the musical nationalism rampant throughout Europe at the time, the four composers took inspiration from the pre-Romantic music of their country. Individually and collectively, they embarked on a journey to bring back what they considered the golden age of Italian music, with each one yielding a different result. iii Through the creation of artistic associations facilitated by the fascist government, the musicians from the Generazione established themselves on the international scene and were involved with performances of their works around the world. -
Lafenice Loc.Maometto Secondo
Fondazione Teatro La Fenice di Venezia Stagione 2004-2005 Teatro La Fenice venerdì 28 gennaio ore 19.00 turno A • domenica 30 gennaio ore 15.30 turno B mercoledì 2 febbraio ore 19.00 turno D • venerdì 4 febbraio ore 19.00 turno E • domenica 6 febbraio ore 15.30 turno C Prezzi Platea Palco centrale Palco laterale Galleria e Loggione prime € 150,00 quattro posti quattro posti centrale € 45,00 I e II ordine € 460,00 I e II ordine € 352,00 laterale € 30,00 posto di parapetto € 150,00 posto di parapetto € 115,00 posto non di parapetto € 115,00 posto non di parapetto € 88,00 III ordine € 420,00 III ordine € 288,00 posto di parapetto € 135,00 posto di parapetto € 90,00 posto non di parapetto € 100,00 posto non di parapetto € 72,00 recite pomeridiane € 115,00 I e II ordine € 352,00 I e II ordine € 265,00 centrale € 35,00 e week-end posto di parapetto € 115,00 posto di parapetto € 85,00 laterale € 25,00 posto non di parapetto € 88,00 posto non di parapetto € 65,00 III ordine € 320,00 III ordine € 220,00 posto di parapetto € 100,00 posto di parapetto € 70,00 posto non di parapetto € 80,00 posto non di parapetto € 55,00 recite € 100,00 I e II ordine € 312,00 I e II ordine € 240,00 centrale € 30,00 infrasettimanali posto di parapetto € 100,00 posto di parapetto € 75,00 laterale € 20,00 posto non di parapetto € 78,00 posto non di parapetto € 60,00 III ordine € 280,00 III ordine € 180,00 posto di parapetto € 90,00 posto di parapetto € 60,00 posto non di parapetto € 70,00 posto non di parapetto € 45,00 Lirica e Balletto Stagione 2004_2005 MAOMETTO SECONDO -
Milan and Seregno
MILAN AND SEREGNO LIDA EMILIANA MELETAKI VICTORIA MILIARAKI NIKOLETA XENAKI C’3 MILAN Milan is the capital of Lombardy and the second most populous city in Italy after Rome. It is located in the north- western section of the Po Valley, approximately halfway between the river Po to the south and the foothills of the Alps with the great lakes (Lake Como, Lake Maggiore, Lake Lugano) to the north, the Ticino river to the west and the Adda to the east. MUSEUMS Some of the most popular museums are: • Pinacoteca di Brera • The Last Supper • Fondazione Prada • Museo del Novecento • Mudec • Museo Civico di Storia Naturale di Milano • Museo Poldi Pezzoli • Villa Necchi Campiglio PINACOTECA DI BRERA FONDAZIONE PRADA MONUMENTS/LANDMARKS Santa Maria delle Grazie This church was built between 1466 and 1490 by Giuniforte Solari and later partly modified by Bramante who re- designed the apse, the Tribuna, the Cloister and the Old Sacristy. In the Refectory there is one of the most famous paintings of Leonardo da Vinci: the “Last Supper”. The works of the fresco started in 1495 and finished in 1498. Monumental Cemetery Carlo Maciachini built the Monumental Cemetery between 1863 and 1866 at Porta Volta. Villa Reale (Royal Villa) One of the most important Milanese neo- classical buildings, the Royal Villa, was built in 1790 by Leopoldo Pollak. It has been the residence of Napolen and Josephine and also of Eugene Beauharnais and the General Radetzky. Pilasters and columns decorate all the building that is surrounded by an English- style garden. The insides are finely decorated with candelabras, sculptures, frescoes and other decorations typical of Lombard neo- classicism. -
Ceriani Rowan University Email: [email protected]
Nineteenth-Century Music Review, 14 (2017), pp 211–242. © Cambridge University Press, 2016 doi:10.1017/S1479409816000082 First published online 8 September 2016 Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti* Davide Ceriani Rowan University Email: [email protected] The world premiere of Pietro Mascagni’s Cavalleria rusticana on 17 May 1890 immediately became a central event in Italy’s recent operatic history. As contemporary music critic and composer, Francesco D’Arcais, wrote: Maybe for the first time, at least in quite a while, learned people, the audience and the press shared the same opinion on an opera. [Composers] called upon to choose the works to be staged, among those presented for the Sonzogno [opera] competition, immediately picked Mascagni’s Cavalleria rusticana as one of the best; the audience awarded this composer triumphal honours, and the press 1 unanimously praised it to the heavens. D’Arcais acknowledged Mascagni’smeritsbut,inthesamearticle,alsourgedcaution in too enthusiastically festooning the work with critical laurels: the dangers of excessive adulation had already become alarmingly apparent in numerous ill-starred precedents. In the two decades prior to its premiere, several other Italian composers similarly attained outstanding critical and popular success with a single work, but were later unable to emulate their earlier achievements. Among these composers were Filippo Marchetti (Ruy Blas, 1869), Stefano Gobatti (IGoti, 1873), Arrigo Boito (with the revised version of Mefistofele, 1875), Amilcare Ponchielli (La Gioconda, 1876) and Giovanni Bottesini (Ero e Leandro, 1879). Once again, and more than a decade after Bottesini’s one-hit wonder, D’Arcais found himself wondering whether in Mascagni ‘We [Italians] have finally [found] … the legitimate successor to [our] great composers, the person 2 who will perpetuate our musical glory?’ This hoary nationalist interrogative returned in 1890 like an old-fashioned curse. -
La Gioconda (Review) William Ashbrook
La Gioconda (review) William Ashbrook The Opera Quarterly, Volume 18, Number 1, Winter 2002, pp. 128-129 (Review) Published by Oxford University Press For additional information about this article https://muse.jhu.edu/article/25455 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 128 recordings La Gioconda. Amilcare Ponchielli La Gioconda: Giannina Arangi-Lombardi Isepo/Singer: Giuseppe Nessi Laura: Ebe Stignani Zuane/Singer: Aristide Baracchi La Cieca: Camilla Rota Orchestra and Chorus of La Scala, Milan Enzo Grimaldo: Alessandro Granda Lorenzo Molajoli, conductor Barnaba: Gaetano Viviani Naxos Historical 8.110112–14 (3 CDs) Alvise Badoero: Corrado Zambelli This is the complete Gioconda from 1931, recorded by Italian Columbia, but never issued in the United States during the 78 r.p.m. era. Here it is, vividly remastered by Ward Marston, with bonus tracks consisting of eight arias and two duets featuring the soprano Giannina Arangi-Lombardi, whom Max de Schauensee always referred to as “the Ponselle of Italy.” I have a special aVection for La Gioconda, as it was my first opera, seen when I was seven. Three things made an unforgettable impression on me. Hearing big voices live had quite an impact, since before then I had heard opera only on acoustic records (I still think that Julia Claussen, the Laura of that occasion, could sing louder than anyone I have heard since); although the plot made no sense to me, the Dance of the Hours seemed perfectly logical; and I got cold chills from the moment the big ensemble was launched at the end of act 3. -
Thesis Submission
Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era. -
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini. -
Giacomo Puccini Krassimira Stoyanova
Giacomo Puccini Complete Songs for Soprano and Piano Krassimira Stoyanova Maria Prinz, Piano Giacomo Puccini (1858-1924) 5 Ave Maria Leopolda (Giacomo Puccini) Conservatory. It is introduced by solemn organ harmonies (Milan, 20 May 1896) with strong treble line. The melody is shaped by slow Songs This short song is a setting of one of the composer’s letters lingering inflections of considerable emotional intensity. The Giacomo (Antonio Domenico Michele Seconda Maria) Gramophone Company (Italy) Ltd. The tone of this song, to the conductor Leopoldo Mugnone (who conducted hymn moves on to a more questioning phase, and concludes Puccini (1858-1924) was born into a family with long musical by the famous librettist Illica, a man of exuberant and violent Manon Lescaut and La Bohème in Palermo). It is a jocular with a smooth organ postlude. The tune was used by the traditions. He studied with the violinist Antonio Bazzini passions, celebrates the positivism of the late 19th century. salutation, offering greetings to his spouse Maria Leopolda, composer in his first opera Le Villi (1883) as the orchestral (1818-1897) and the opera composer Amilcare Ponchielli The text reflects that, although life is transient, we sense the from the dark Elvira (Bonturi, Puccini’s wife) and the blonde introduction to No. 5 and the following prayer Angiol di Dio. (1834-1886), and began his career writing church music. existence of an ideal that transcends it, conquering oblivion Foschinetta (Germignani, Puccini’s stepdaughter), who He is famous for his series of bold and impassioned operas and death. The musical setting is confident and aspirational, send kisses and flowers. -
La Voce Della Soffitta
LA VOCE DELLA SOFFITTA Nel 2011 La Soffitta propone la sua XXIII stagione, sta imponendo come uno dei più rigorosi e interes- con un programma articolato come di consueto in santi della nostra Regione, con una ricerca incentrata quattro sezioni: cinema, danza, musica e teatro; a essenzialmente sulle relazioni corpo-spazio-suono. quest’ultimo spetta, sempre secondo tradizione, la Fra gli altri progetti della sezione teatrale (a parte parte più consistente del cartellone. la straordinaria e generosa presenza di Moni Ovadia, In tempi difficili come gli attuali, la prima notizia da con il recital-reading sul mondo khassidico Il registro dare, nient’affatto scontata, è che grazie alla sensibi- dei peccati e un seminario sul canto) si impone, per lità dell’Ateneo, a cominciare dal suo Rettore, Ivano dimensioni e importanza, quello dedicato a teatro e Dionigi, il nostro Centro potrà continuare ad opera- carcere, a cura di Cristina Valenti, che vanta la colla- re anche per la prossima stagione con la necessaria borazione di numerosi enti e istituzioni, a cominciare tranquillità, avendo evitato ulteriori, già annunciati dal Coordinamento Teatro Carcere Emilia Romagna, tagli. È un risultato, questo, di cui vanno ringraziate e si fregia anche della “prima” nazionale del nuovo la- anche la Direzione e l’Amministrazione del Diparti- voro di Armando Punzo, leader indiscusso del teatro mento di Musica e Spettacolo, al quale il Centro ap- in carcere per quanto riguarda l’Italia. Va poi segna- partiene. lato il progetto dedicato dalle attrici Angela Malfita- Ma naturalmente non sarebbe stato possibile mette- no e Francesca Mazza, per le cure di Elena Di Gioia, re insieme il programma che qui si presenta (e che al nuovo astro della drammaturgia d’Oltralpe, Pierre verrà inaugurato da una significativa celebrazione Notte, che sarà presente e protagonista della mise en della Giornata della Memoria il 27 gennaio) senza il espace di un suo testo. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Giorgio Federico Also Available GHEDINI Complete Piano Music • 2 Sonata • Divertimento Contrappuntistico • Ricercare Massimo Giuseppe Bianchi, Piano
8.572330 bk Ghedini 2_EU:8.572330 bk Ghedini 2_EU 10-10-2010 14:47 Pagina 12 Giorgio Federico Also Available GHEDINI Complete Piano Music • 2 Sonata • Divertimento contrappuntistico • Ricercare Massimo Giuseppe Bianchi, Piano 8.111325 8.572329 8.570875 8.570877 8.572330 12 8.572330 bk Ghedini 2_EU:8.572330 bk Ghedini 2_EU 10-10-2010 14:47 Pagina 2 Giorgio Federico essenzialità come simbolo di fragile speranza (?) o contrappuntistico è alla base della costruzione di una impossibile purezza e l’elaborazione cui è sottoposto è pagina breve ma perfettamente compiuta, dall’incedere GHEDINI condotta con estremo pudore e raccoglimento. scherzoso. (1892-1965) L’ultimo brano del CD è l’Allegretto, scritto nel 1957, per una raccolta di composizioni di autori Flavio Menardi Noguera Complete Piano Music • 2 contemporanei destinata ai candidati all’esame del corso medio di pianoforte come prova d’interpretazione. * Ghedini segue la numerazione dei Salmi dell'antica Sonatina in D major (1913) 8:54 Anche in questo caso il principio ritmico - Vulgata. 1 I. Allegretto grazioso 2:48 2 II. Larghetto espressivo 3:15 3 III. Finale. Rondò: Allegro con brio 2:51 «L’ascolto di queste musiche nell’interpretazione di Massimo Giuseppe Bianchi mi ha richiamato alla mente queste parole di mio padre: Il mio credo è questo: la musica non è moda, ma è eterna, nel tempo... In questa società sempre più tecnica, c’è un gran bisogno di sentimento vero, perciò anche la musica deve essere animata, nel profondo, da Puerilia. 4 piccoli pezzi sulle 5 note (1922) 8:00 un raptus drammatico, di conseguenza romantico..