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Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee 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 Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans
DOCUMENT RESUME ED 112 438 CS 202 298 AUTHOR Smith, Ron TITLE A Guide to Post-Classical Works of Art, Literature, and Music Based on Myths of the Greeks and Romans. PUB DATE 75 NOTE 40p.; Prepared at Utah State University; Not available in hard copy due to marginal legibility of original document !DRS PRICE MF-$0.76 Plus Postage. HC Not Available from EDRS. DESCRIPTORS *Art; *Bibliographies; Greek Literature; Higher Education; Latin Literature; *Literature; Literature Guides; *Music; *Mythology ABSTRACT The approximately 650 works listed in this guide have as their focus the myths cf the Greeks and Romans. Titles were chosen as being (1)interesting treatments of the subject matter, (2) representative of a variety of types, styles, and time periods, and (3) available in some way. Entries are listed in one of four categories - -art, literature, music, and bibliography of secondary sources--and an introduction to the guide provides information on the use and organization of the guide.(JM) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied -
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House, -
Annual Review 2019
CHATSWORTH CHATSWORTH HOUSE TRUST HOUSE TRUST CHATSWORTH HOUSE TRUST ANNUAL REVIEW 2019 ANNUAL REVIEW 201 REVIEW ANNUAL 9 Pictured De-installation of Raffaelle Monti, A veiled Vestal Virgin, 1846-1847, marble contents Chatsworth House Trust 2 2019 Overview 4 The Duke and Duchess of Devonshire 7 Conservation and Archives 8 Loans, Acquisitions and Commissions 12 Treasures from Chatsworth 14 Exhibitions and the Arts 18 Learning 24 House and Stables 28 Farmyard 29 Garden and Park 30 Forestry 34 Environment 35 Our Visitors and Friends of Chatsworth 36 Our Staff 40 Our Community 42 Our Commitment to Our Shared Future 46 Our Supporters 50 Money Matters 52 Trustees 54 Appendices 56 Further Information 60 Pictured View of the Chatsworth Park to the West, from the top of the Cascade Cover Raffaelle Monti, A veiled Vestal Virgin, 1846-1847, marble chatsworth Below The Devonshire family motto – Cavendo Tutus (Safety through Caution) house trust The Chatsworth House Trust was established The house, much of its contents, the garden and Any surplus the charity generates from its activities is spent on • To make appropriate acquisitions to enhance the in 1981 and endowed by the Devonshire family. surrounding park are leased to the Chatsworth House conservation and restoration of the house, garden and park to Devonshire Collections A registered charity, its principal purpose is Trust. The lease includes many of the chattels on display ensure their preservation for the enjoyment of the public. the long term preservation of the house, its art to visitors, but a significant quantity is loaned temporarily • To ensure as many people as possible can appreciate from the family and the Devonshire Collections. -
The Robert Shaw Chorale and Orchestra ROBERT SHAW, Conductor
1958 Eightieth Season 1959 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Fifth Concert Thirteenth Annual Extra Series Complete Series 3259 The Robert Shaw Chorale and Orchestra ROBERT SHAW, Conductor SUNDAY AFTERNOON, MARCH IS, 1959, AT 2:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Suite from Acis and Galatea HANDEL Requiem Mass INTERMISSION Four Faces of Love : True Love, from Five Songs on Old Texts HINDEMITH Love Song, from Four Hungarian Folksongs . BARTOK The Lover's Wish, from Vier Stucke, Op. 27 SCHONBERG With Air Commanding, from The Rake's Progress STRAVINSKY Rhapsodie for Contralto Solo, Male Chorus, and Orchestra, Op. 53 . BRAHMS FLORENCE KOPLEFF, Contralto Suite from Les Brigands OFFENBACH The Steinway is the official piano of the University Musical Society A R S LON G A V I T A BREVIS PROGRAM NOTES Suite from Ads and Galatea GEORG FRIEDRICH HANDEL Acis, Tenor Galatea, Soprano Polypheme, Bass In this year commemorating the 200th anniversary of Handel's death, audiences will have the opportunity to become acquainted with many of his less-performed master pieces. One of these is certainly Acis and Galatea, composed in 1720 when Handel was at the height of his fame as an opera composer and manager in London. In music of great charm it tells the story of the goddess Galatea, whose great beauty causes the Cyclops, Polypheme, to fall madly in love with her. He catches sight of her one day sporting with her love Acis, a Naiad. Mad with rage, he hurls a rock at them, pinning the unfortunate Acis beneath. -
Furniture for Grown and Court by DR GEOFFREY BEARD Chairman of the Furniture History Society
Furniture for Grown and Court by DR GEOFFREY BEARD Chairman of the Furniture History Society In spite of the sharp division ready survival of furniture can be between the late Tudor and appreciated. Jacobean periods - Queen Elizabeth died in 1603 - it was The important items of furniture at inevitable that the early years of Knole were acquired by the 6th James Ps reign should have been Earl of Dorset, Lord Chamberlain overcast by an aura of aggressive of the Household to William III, heroics, all done in the name of the but the presence of some earlier Queen. Within the domestic pieces allows us to note here a sphere, however, there was a significant category of furniture, growing awareness of the kind of ‘Canopies, Couches and Chairs of settings furniture needed. The State*. Vitruvian ideals of harmony, symmetry, decor and suitability of From whatever source it came the rooms for ‘office, entertainment or upholstered furniture at Knole pleasure* were to be lauded years provides adequate testimony both later in Sir Henry Wotton’s to the use of rich fabrics, and as an Elements of Architecture (1624), but announcement of rank. There are patrons were already eager at the five ‘chairs of state’ intended to be turn of the 17th Century to set under a canopy for important understand foreign ideas. The persons - the Mytens portrait of fortunes of the nation were James I at Knole shows him in nevertheless still linked to ministers such a chair - made between 1 Armchair, circa 1610-20 upholstered in of the late reign, particularly Sir about 1610 and 1625. -
The Project Gutenberg Ebook of Bulfinch's Mythology: the Age of Fable, by Thomas Bulfinch
The Project Gutenberg EBook of Bulfinch's Mythology: The Age of Fable, by Thomas Bulfinch This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Bulfinch's Mythology: The Age of Fable Author: Thomas Bulfinch Posting Date: February 4, 2012 [EBook #3327] Release Date: July 2002 First Posted: April 2, 2001 Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK BULFINCH'S MYTHOLOGY: AGE OF FABLE *** Produced by an anonymous Project Gutenberg volunteer. BULFINCH'S MYTHOLOGY THE AGE OF FABLE Revised by Rev. E. E. Hale CONTENTS Chapter I Origin of Greeks and Romans. The Aryan Family. The Divinities of these Nations. Character of the Romans. Greek notion of the World. Dawn, Sun, and Moon. Jupiter and the gods of Olympus. Foreign gods. Latin Names.-- Saturn or Kronos. Titans. Juno, Vulcan, Mars, Phoebus-Apollo, Venus, Cupid, Minerva, Mercury, Ceres, Bacchus. The Muses. The Graces. The Fates. The Furies. Pan. The Satyrs. Momus. Plutus. Roman gods. Chapter II Roman Idea of Creation. Golden Age. Milky Way. Parnassus. The Deluge. Deucalion and Pyrrha. Pandora. Prometheus. Apollo and Daphne. Pyramus and Thisbe. Davy's Safety Lamp. Cephalus and Procris Chapter III Juno. Syrinx, or Pandean Pipes. Argus's Eyes. Io. Callisto Constellations of Great and Little Bear. Pole-star. Diana. Actaeon. Latona. Rustics turned to Frogs. Isle of Delos. Phaeton. -
Annual Review 2018 Below the Devonshire Family Motto – Cavendo Tutus (Safety Through Caution)
contents Chatsworth House Trust 2 2018 Overview 4 The Duke and Duchess of Devonshire 7 Conservation and Archives 8 From Servants to Staff 12 Loans, Acquisitions and Commissions 16 Exhibitions 18 Learning 24 House and Stables 28 Farmyard 29 Garden and Park 30 Forestry 32 Environment 33 Our Friends of Chatsworth and Visitors 34 Our Staff 36 Our Community 38 Our Supporters 40 Money Matters 42 Trustees 44 Appendices 46 Further Information 48 chatsworth house trust The Chatsworth House Trust was established in The house, much of its contents, the garden and 1981 and endowed by the Devonshire family. surrounding park are leased to the Chatsworth House A registered charity, its principal purpose is Trust. The lease includes many of the chattels on display the long-term preservation of the house, its art to visitors, but a significant quantity is loaned temporarily from the family and the Devonshire Collection. The collection, garden, woodlands and park for the Trust’s income is raised from visitor admissions, Friends of benefit of the public. Chatsworth memberships, Patrons of Chatsworth, events, sponsorship, grants, donations, a franchise fee on the retail Chatsworth comprises a Grade I listed house and stables, a and catering operations, and from an investment portfolio. 105-acre garden, a 1,822-acre park and one of Europe’s most significant art collections – the Devonshire Collection. It All income goes directly to pay the operating and running is also home to the Duke and Duchess of Devonshire, who costs – including the staff involved in opening the visitor pay a market rent for the rooms they occupy. -
The Devonshire Collection Archives GB 2495 DF1 Papers of William Cavendish, 3Rd Duke of Devonshire
The Devonshire Collection Archives GB 2495 DF1 Papers of William Cavendish, 3rd Duke of Devonshire (1698 - 1755) 1713 - 1759 Catalogued by Louise Clarke; revised by Fran Baker, Chatsworth House Trust DF1: Papers of William Cavendish, 3rd Duke of Devonshire (1698 - 1755) Administrative/Biographical History: William Cavendish, 3rd Duke of Devonshire (1698-1755), Whig politician, was the son of William Cavendish, 2nd Duke of Devonshire, and Rachel Russell. He was educated at New College, Oxford, and then entered politics. He was a Whig MP for Lostwithiel (1721- 1724), Grampound (1724-1727), and Hungtingdonshire (1727-1729), until his father’s death sent him to the House of Lords as Duke of Devonshire in 1729. Other offices held by the 3rd Duke included: Lord Steward of the Household (1723-1737 and 1745-1749); Privy Counsellor (from 1731); Lord Privy Seal (1731-1733); and Lord Lieutenant of Ireland (1737-1744). He was appointed a Knight of the Garter in 1733. In the same year Devonshire House, the London residence of the Dukes of Devonshire, was destroyed by fire, and the 3rd Duke commissioned the architect and designer William Kent to rebuild and furnish the house in the Palladian style. In 1718, the 3rd Duke married Catherine Hoskins (c.1700-1777), the daughter of a City businessman. They had seven children: Lady Caroline; William, later 4th Duke of Devonshire; Lord George Augustus; Lady Elizabeth; Field Marshal Lord Frederick; Lord John; and Lady Rachel. The Duke and Duchess had a temporary separation in 1748-9 due to the Duchess’s disapproval of the bride chosen by their son and heir, William, Marquess of Hartington. -
Furniture-Making in London C. 1700-1870: Craft, Design, Business and Labour
Furniture-making in London c. 1700-1870: craft, design, business and labour. Kirkham, Patricia Anne The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1472 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] I FURNITURE-IIAKING IN LONDON c. 1700-1870: CRAFT, DESIGN, BUSINESS AND LABOUR submitted for the degree of Ph. 0. Patricia Anne Kirkham jJestfield College ,------' / R 2 ABSTRACT This thesis is a study of furniture-making in London in the years between about 1700 and 1870. The aims of the thesis are outlined in the introduction, which also explains why the years 1700-1870 were chosen. The special character of furniture-making in London, particularly its geographical location and the division between the and 'dishonourable' sectors of the trade, is discussed in the introduction. In Section A, the first two chapters cover the various crafts involved in furniture-making, the demarcations between them and the division of labour within them while Chapter 3 examines the craft training and the decline of the apprenticeship system. Section 0 deals with business organisation. Chapter 4 considers the ways in which the various crafts were brought together in firms and Chapter 5 examines the numbers employed and stock held therein. -
Polyphemus in Pastoral and Epic Poetry Grace Anthony Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Classical Studies Honors Theses Classical Studies Department 5-2017 The aC nnibal’s Cantations: Polyphemus in Pastoral and Epic Poetry Grace Anthony Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/class_honors Recommended Citation Anthony, Grace, "The aC nnibal’s Cantations: Polyphemus in Pastoral and Epic Poetry" (2017). Classical Studies Honors Theses. 6. http://digitalcommons.trinity.edu/class_honors/6 This Thesis open access is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. The Cannibal’s Cantations: Polyphemus in Pastoral and Epic Poetry Grace Anthony A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF CLASSICAL STUDIES AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS April 17, 2016 Dr. Corinne Pache, Thesis Advisor Dr. Larry Kim, Department Chair Dr. Tim O’ Sullivan, VPAA Student Agreement I grant Trinity University (“Institution”), my academic department (“Department”), and the Texas Digital Library (“TDL”) the non-exclusive rights to copy, display, perform, distribute and publish the content I submit to this repository (hereafter called “work”) and to make the Work available in any format in perpetuity as part of a TDL, Institution or Department repository communication or distribution effort. I understand that once the Work is submitted, a bibliographic citation to the Work can remain visible in perpetuity, even if the Work is updated or removed. -
The Landowner As Millionaire: the Finances of the Dukes of Devonshire, C
THE AGRICULTURAL HISTORY REVIEW ;i¸ SILVE1K JUBILEE P1KIZE ESSAY The Landowner as Millionaire: The Finances of the Dukes of Devonshire, c. I8OO-C. 1926 By DAVID CANNADINE HO were file wealthiest landowners In point of wealth, file House of Lords ex- between the Battle of Waterloo and hibits a standard whi& cannot be equalled in W tlle Battle of Britain? Many names any oilier country. Take the Dukes of were suggested by contemporaries. In I819 ille Northumberland, Devonshire, Sutherland American Ambassador recorded that the "four and Buccleuch, the Marquesses of West- greatest incomes in the kingdom" belonged to minster and Bute, the Earls of Derby, Lons- the Duke of Northumberland, Earl Grosvenor, dale, Dudley mad Leicester, mid Baron the Marquess of Stafford, and the Earl of Overstone, mid where (in the matter of Bridgewater, each of whom was reputed to wealth) will you find illeir equals collec- possess "one hmadred tllousand pounds, clear tively?8 of everything.''~ Forty ),ears later, H. A. Taine And early in the new century, T. H. S. Escott visited ille House of Lords where recorded tllese comments made by a friend on Tlle principal peers present were pointed out the Dukes of Northumberland and Cleveland: to me and named, with details of their These . are the persons who make the enormous fortunes: the largest amount to fortunes of the great privateWest End banks; £3oo,ooo a year. The Duke of Bedford has they take a pride in keeping a standing bal- £220,000 a year from land; the Duke of ance for which they never receive six pence; R.ichmond has 3oo,o00 acres in a single hold- but whose interest would make a hole in the ing.