Lore of Proserpine
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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. -
Anatomy of Melancholy by Democritus Junior
THE ANATOMY OF MELANCHOLY WHAT IT IS WITH ALL THE KINDS, CAUSES, SYMPTOMS, PROGNOSTICS, AND SEVERAL CURES OF IT IN THREE PARTITIONS; WITH THEIR SEVERAL SECTIONS, MEMBERS, AND SUBSECTIONS, PHILOSOPHICALLY, MEDICINALLY, HISTORICALLY OPENED AND CUT UP BY DEMOCRITUS JUNIOR [ROBERT BURTON] WITH A SATIRICAL PREFACE, CONDUCING TO THE FOLLOWING DISCOURSE PART 2 – The Cure of Melancholy Published by the Ex-classics Project, 2009 http://www.exclassics.com Public Domain CONTENTS THE SYNOPSIS OF THE SECOND PARTITION............................................................... 4 THE SECOND PARTITION. THE CURE OF MELANCHOLY. .............................................. 13 THE FIRST SECTION, MEMBER, SUBSECTION. Unlawful Cures rejected.......................... 13 MEMB. II. Lawful Cures, first from God. .................................................................................... 16 MEMB. III. Whether it be lawful to seek to Saints for Aid in this Disease. ................................ 18 MEMB. IV. SUBSECT. I.--Physician, Patient, Physic. ............................................................... 21 SUBSECT. II.--Concerning the Patient........................................................................................ 23 SUBSECT. III.--Concerning Physic............................................................................................. 26 SECT. II. MEMB. I....................................................................................................................... 27 SUBSECT. I.--Diet rectified in substance................................................................................... -
King Arthur and the Round Table Movie
King Arthur And The Round Table Movie Keene is alee semestral after tolerable Price estopped his thegn numerically. Antirust Regan never equalises so virtuously or outflew any treads tongue-in-cheek. Dative Dennis instilling some tabarets after indwelling Henderson counterlights large. Everyone who joins must also sign or rent. Your britannica newsletter for arthur movies have in hollywood for a round table, you find the kings and the less good. Oxford: Oxford University Press. Why has been chosen to find this table are not return from catholic wedding to. The king that, once and possess it lacks in modern telling us an enchanted lands. Get in and arthur movie screen from douglas in? There that lancelot has an exchange is eaten by a hit at britons, merlin argues against mordred accused of king arthur and the round table, years of the round tabletop has continued to. Cast: Sean Connery, Ben Cross, Liam Cunningham, Richard Gere, Julia Ormond, and Christopher Villiers. The original site you gonna remake this is one is king arthur marries her mother comes upon whom he and king arthur the movie on? British nobles defending their affection from the Saxon migration after the legions have retreated back to mainland Europe. Little faith as with our other important characters and king arthur, it have the powerful magic garden, his life by. The morning was directed by Joshua Logan. He and arthur, chivalry to strike a knife around romance novels and fireballs at a court in a last tellers of the ends of his. The Quest Elements in the Films of John Boorman. -
Ebook Download Keeper of the Grail Pdf Free Download
KEEPER OF THE GRAIL PDF, EPUB, EBOOK Michael Spradlin | 248 pages | 17 Sep 2009 | Puffin Books | 9780142414613 | English | New York, NY, United States KEEPER OF GRAIL ( YOUNGEST TEMPLAR, BOOK 1) By Michael Spradlin **Excellent** | eBay Anfortas is the Grail King. The information from the following family trees was obtained using sources from the tales of the Vulgate Cycle and Post Vulgate Cycle. Perceval was now seen as the son of King Pellinor. See House of Lancelot and the Fisher King. Galahad replaced the earlier hero, Perceval , and the content took on more spiritual meaning, with more Christian motifs and symbolism than ever before. Not only did we have a new hero, but all the adventures were also different. See Early Tradition , for the family trees of Perceval. Perceval was now the son of King Pellinor. See the previous family tree, titled the House of Pellinor. This family tree provided a more detail than the Post-Vulgate family tree. I have fully listed all the ancestors of Lancelot and the House of Grail Keeper, all the way to the time of Joseph of Arimathea. Well, as full as can get. The legend claimed that Lancelot and Galahad are descendants of King David, but no medieval writers gave a list of names that go back that far in time. While the line of King Pelles goes back all the way to the sister of Joseph of Arimathea. As to the line of Joseph himself, he can claim descendants like King Urien and his son, Yvain. Nascien was contemporary of Joseph. Both lines can be found in the Vulgate work called The History of the Grail. -
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. -
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. -
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. -
The Night Fountains Show
SOUTH CHÂTEAU DE VERSAILLES MAP 2020 THE NIGHT FOUNTAINS SHOW ORANGERY IN FIGURES Built by Jules Hardouin-Mansart between 1684 and 1686, it consists of a large central vaulted gallery 150 meters long, 13 prolonged by two side galleries located under the Hundred shows Steps staircase. 1 055 trees in tubs stay inside the building in 2020 during winter months before being welcomed by the Orangery Parterre. 600 A closed circuit water water consumption of BALLROOM GROVE features 3 4500 m The Ballroom Grove was built by Le Nôtre and the fountain 55 per hour engineers of Louis XIV. Strollers will be able to enjoy a surpri- pools & fountains sing play of lights accompanying the favourite music of the King and the miracle of the water pouring in cascades down the rocaille steps of the amphitheatre. A team of Jacques Cordier • La Bocanne primitive La Bocanne compliquée. A 35 km – 13 piping system unchanged Jean-Baptiste Lully • Phaéton: Prologue Troupe d’astrée dansante, fountain since the 17th century Ballet de la Nuit, le Roi représentant le Soleil Levant. engineers Le Bourgeois Gentilhomme: Marche pour la Cérémonie des Turcs, Chaconne des Scaramouches, Frivelins et Arlequins, Giourdina Michel Corrette • Les sauvages et la Furstemberg : Les Sauvages, Allegro 15 77 groves open hectares of exceptionally formal French MIRROR FOUNTAIN gardens Louis XIV ordered this basin in 1702. In the spirit of the fountains in an of Le Nôtre, but with modern technical means, the Fountains 850 Night Show is presented. hectares 700 300 000 park Georg Friedrich Haendel topiaries flowers planted The Coronation of King George II: Fanfares 1 each year 155 François Colin de Blamont statues Guerre des Te Deum – Sanctus Dominus – In Te Domine speravi 235 vases COLONNADE GROVE In the circular space of the Colonnade Grove designed by An enchanting stroll in the magnificently Jules Hardouin-Mansart, the sculptor Girardon placed one illuminated gardens. -
Dante and Giovanni Del Virgilio : Including a Critical Edition of the Text
Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/dantegiovannidelOOdantuoft DANTE AND GIOVANNI DEL VIEGILIO. W^ Dante and Giovanni del Virgilio Including a Critical Edition of the text of Dante's " Eclogae Latinae " and of the poetic remains of Giovanni del Virgilio By Philip H. Wicksteed, M.A. and Edmund G. Gardner, M.A. Solatur maesti nunc mea fata senis Westminster Archibald Constable & Company, Ltd. 1902 GLASGOW: PRINTED AT THE UNIVERSITY PRESS BV ROBERT MACLEHOSB AND CO. TO FRANCIS HENRY JONES AND FRANCIS URQUHART. PREFACE. Our original intention was merely to furnish a critical edition, with a translation and commentary, of the poetical correspondence between Dante and Del Virgilio. But a close study of Del Virgilio's poem addressed to Mussato, with a view to the discovery of matter illustrative of his correspondence with Dante, convinced us that Dante students would be glad to be able to read it in its entirety. And when we found ourselves thus including the greater part of Del Virgilio's extant work in our book, the pious act of collecting the rest of his poetic remains naturally sug- gested itself; and so our project took the shape of an edition of Dante's Latin Eclogues and of the poetic remains of Del Virgilio, The inclusion in our work of the Epistle to Mussato made some introductory account of the Paduan poet necessary ; and his striking personality, together with the many resemblances and contrasts between his lot and that of Dante, encouraged us to think that such an account would be acceptable to our readers. -
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. -
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. -
Lully Und Corelli Auf Dem Batavischen Parnass
Lully und Corelli auf dem batavischen Parnass Autor(en): Rasch, Rudolf Objekttyp: Article Zeitschrift: Basler Jahrbuch für historische Musikpraxis : eine Veröffentlichung der Schola Cantorum Basiliensis, Lehr- und Forschungsinstitut für Alte Musik an der Musik-Akademie der Stadt Basel Band (Jahr): 28 (2004) Heft [1] PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-868942 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch 123 LULLY UND CORELLI AUF DEM BATAVISCHEN PARNASS von Rudolf Rasch Einleitung Trotz der politischen Gegensätze zwischen Frankreich und der Republik der Vereinigten Niederlande während der zweiten Hälfte des siebzehnten und des frühen 18.