Periodico Di Cultura Arte E Letteratura
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Imagining Scotland in Music: Place, Audience, and Attraction Paul F. Moulton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC IMAGINING SCOTLAND IN MUSIC: PLACE, AUDIENCE, AND ATTRACTION By Paul F. Moulton A Dissertation submitted to the College of Music in partial fulfillment of the requirements of the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 The members of the Committee approve the Dissertation of Paul F. Moulton defended on 15 September, 2008. _____________________________ Douglass Seaton Professor Directing Dissertation _____________________________ Eric C. Walker Outside Committee Member _____________________________ Denise Von Glahn Committee Member _____________________________ Michael B. Bakan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To Alison iii ACKNOWLEDGMENTS In working on this project I have greatly benefitted from the valuable criticisms, suggestions, and encouragement of my dissertation committee. Douglass Seaton has served as an amazing advisor, spending many hours thoroughly reading and editing in a way that has shown his genuine desire to improve my skills as a scholar and to improve the final document. Denise Von Glahn, Michael Bakan, and Eric Walker have also asked pointed questions and made comments that have helped shape my thoughts and writing. Less visible in this document has been the constant support of my wife Alison. She has patiently supported me in my work that has taken us across the country. She has also been my best motivator, encouraging me to finish this work in a timely manner, and has been my devoted editor, whose sound judgement I have come to rely on. -
Kenneth E. Querns Langley Doctor of Philosophy
Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c. -
MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A. -
LE MIE MEMORIE ARTISTICHE Giovanni Pacini
LE MIE MEMORIE ARTISTICHE Giovanni Pacini English translation: Adriaan van der Tang, October 2011 1 2 GIOVANNI PACINI: LE MIE MEMORIE ARTISTICHE PREFACE Pacini’s autobiography Le mie memorie artistiche has been published in several editions. For the present translation the original text has been used, consisting of 148 pages and published in 1865 by G.G. Guidi. In 1872 E. Sinimberghi in Rome published Le mie memorie artistiche di Giovanni Pacini, continuate dall’avvocato Filippo Cicconetti. The edition usually referred to was published in 1875 by Le Monnier in Florence under the title Le mie memorie artistiche: edite ed inedite, edited by Ferdinando Magnani. The first 127 pages contain the complete text of the original edition of 1865 – albeit with a different page numbering – extended with the section ‘inedite’ of 96 pages, containing notes Pacini made after publication of the 1865-edition, beginning with three ‘omissioni’. This 1875- edition covers the years as from 1864 and describes Pacini’s involvement with performances of some of his operas in several minor Italian theatres. His intensive supervision at the first performances in 1867 of Don Diego di Mendoza and Berta di Varnol was described as well, as were the executions of several of his cantatas, among which the cantata Pacini wrote for the unveiling of the Rossini- monument in Pesaro, his oratorios, masses and instrumental works. Furthermore he wrote about the countless initiatives he developed, such as the repatriation of Bellini’s remains to Catania and the erection of a monument in Arezzo in honour of the great poet Guido Monaco, much adored by him. -
Investigating Nineteenth-Century Transcriptions Through History of Opera and Music Publishing: Mauro Giuliani's Sources for Tw
Francesco Teopini Terzetti Casagrande 19 Investigating Nineteenth-Century Transcriptions through History of Opera and Music Publishing: Mauro Giuliani’s Sources for Two Themes in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121 Francesco Teopini Terzetti Casagrande Hong Kong Baptist University Baptist University Rd, Kowloon Tong Hong Kong SAR e-mail: [email protected] Published online: 1 August 2019 Cite this article (APA): Teopini Terzetti Casagrande, F. (2019). Investigating Nineteenth- Century Transcriptions through History of Opera and Music Publishing: Mauro Giuliani’s Sources for Two Themes in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121. Malaysian Journal of Music, 8, 19-51. Abstract In a letter to the publisher Ricordi dated 6 February 1821, the Italian guitarist and composer Mauro Giuliani wrote that, after getting acquainted with Gioachino Rossini in Rome, Rossini lent him many autographs of his operas so that the guitarist could transcribe whatever he liked from them. From this loan were born Le Rossiniane Opp. 119–124, six potpourris for solo guitar which are considered Giuliani’s greatest musical accomplishment. Although it is likely that most of the sources of Le Rossiniane were Rossini’s originals, there is also epistolary evidence that Giuliani also transcribed themes from scores provided to him by his publishers. This fact is the point of departure from which this article explores the possible sources for two opera themes transcribed in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121. The data presented here, coming from opera and music publishing history, conveys that such themes may have been transcribed from two specific vocal scores issued by Vienna- based publishing houses – ‘Cappi and Diabelli’ and ‘Artaria’. -
Barber of Seville CLASSROOM STUDY GUIDE
The Barber of Seville CLASSROOM STUDY GUIDE MICHIGAN OPERA THEATRE Department of Education and Community Programs www.MichiganOpera.org Table of Contents Characters & Synopsis...........................................................................................3 The Creators.............................................................................................................6 A Closer Look..........................................................................................................10 Adaptations.........................................................................................................................12 18th Century Opera...........................................................................................................14 Opera in Popular Culture......................................................................................15 Discussion Questions............................................................................................16 In the Classroom.....................................................................................................17 Michigan Opera Theatre......................................................................................23 Contact & Sources................................................................................................25 MICHIGAN OPERA THEATRE 2 THE BARBER OF SEVILLE Characters & Synopsis Characters Rosina, Dr. Bartolo’s ward, mezzo-soprano Figaro, a barber and jack-of- all-trades, baritone Count Almaviva, a local nobleman, tenor -
Introspecţiuni Interpretative
CODRUŢA MARA LUISA GHENCEAN INTROSPECŢIUNI INTERPRETATIVE Cluj-Napoca 2019 Referenți: Conf. univ. dr. Veronica Negreanu Prof. univ. dr. Gabriel Banciu Descrierea CIP a Bibliotecii Naţionale a României GHENCEANU, CODRUŢA Introspecţiuni interpretative / Codruţa Ghenceanu. - Cluj-Napoca : MediaMusica, 2019 ISMN 979-0-9009871-4-3 ; ISBN 978-606-645-048-5 78 Design coperta: Ciprian Gabriel Pop © Copyright, 2019, Editura MediaMusica Toate drepturile asupra acestei ediţii sunt rezervate. Reproducerea integrală sau parţială pe orice suport, fără acordul scris al editurii, este interzisă. Editura MediaMusica 400079 – Cluj Napoca, str. I.C Brătianu nr. 25 tel. / fax 264 598 958 2 CUPRINS: DON GIOVANNI de W. A. MOZART ................................................ 4 Mozart şi opera ................................................................................ 4 Opera Don Giovanni privit ă din perspectiva acompaniamentului 11 BELCANTOUL ŞI REPREZENTAN ŢII S ĂI DE SEAM Ă: ROSSINI, DONIZETTI, BELLINI .................................................... 62 Aspecte stilistice ale belcanto-ului italian ..................................... 62 GIOACCHINO ROSSINI (1792-1868) Crea ţia rossinian ă privit ă din perspectiva acompaniamentului .......... 66 GAETANO DONIZETTI (1797-1848) Crea ţia donizettian ă privit ă din perspectiva acompaniamentului .... 118 VINCENZO BELLINI (1801-1835) Crea ţia bellinian ă privit ă din perspectiva acompaniamentului ........ 132 GIUSEPPE VERDI (1813-1901) Crea ţia verdian ă privit ă din perspectiva acompaniamentului ......... -
Catalogue-76-R-S.Pdf
J & J LUBRANO MUSIC ANTIQUARIANS Item 444 Catalogue 76 Rare Printed Music & Musical Literature Musical Autographs & Manuscripts Part V: R-S 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 e-mail [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Checks in U.S. dollars drawn on a U.S. bank - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) - International money order All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. v Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Fine Items & Collections Purchased Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c. -
An Analysis of the Representation of Queen Elizabeth I of England In
AN ANALYSIS OF THE REPRESENTATION OF QUEEN ELIZABETH I OF ENGLAND IN THE OPERAS BY ROSSINI, DONIZETTI, AND THOMAS IN THE CONTEXT OF NINETEENTH-CENTURY VOCAL STYLE AND HISTORICAL INFLUENCE Han Hsiao, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2020 APPROVED: Molly Fillmore, Major Professor and Chair of the Division of Vocal Studies Jennifer Lane, Committee Member Stephen Dubberly, Committee Member Felix Olschofka, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hsiao, Han. An Analysis of the Representation of Queen Elizabeth I of England in the Operas by Rossini, Donizetti, and Thomas in the Context of Nineteenth-Century Vocal Style and Historical Influence. Doctor of Musical Arts (Performance), August 2020, 46 pp., 3 tables, 1 figure, 25 musical examples, bibliography, 39 titles. The purpose of this research is to analyze representations of Queen Elizabeth I of England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and "Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas (1811-1896). This research is divided into two main sections: the historical background of Italy and France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias. -
Norma by Vincenzo Bellini STUDY GUIDE
Norma by Vincenzo Bellini STUDY GUIDE 1 Norma Study Guide Table of Contents Welcome 3 Introduction to Opera 4-5 A Night at the Opera: Your guide to a night to remember 6 Opera Terms and Voice Categories 7 About Our Director: Nicolas Muni 8 About the Composer: Vincenzo Bellini 9 About the Conductor: Alice Farnham 10 About the Librettist: Felice Romani 11 Historical Context of Norma: Who were the Druids? 11 Synopsis 12 Cast of Characters 13 The Opera: Everyone Else! 13 Bel Canto Opera 14 What to Listen For 14 For Teachers and Parents 15 References 16 2 Norma Study Guide WELCOME! “Opera is about life and everything that entails—love, hate and passion.” - Lesley Garrett Hello dear teachers, parents and students, My name is Patricia Kesler and I run the Education and Community Outreach programs at Calgary Opera. I am so happy to welcome you all back for our 2019-2020 Season here at the Opera. I have been so privileged in the past year to get to know and work with many of you, and hope that our relationships expand and multiply during my time. We opened the year with a hugely successful production of Puccini’s La Bohème and are moving along quickly to our second and third productions of the season: Vincenzo Bellini’s Norma and Richard Strauss’ Ariadne auf Naxos, respec- tively. I absolutely embrace the drama, heartache and passion that will play itself out across the stage of the Southern Alberta Jubilee Auditorium this year and hope you will all be there to join me. -
Paolo Fabbri: Rossini, Donizetti E La Malanotte
Paolo Fabbri: Rossini, Donizetti e la Malanotte. La carriera del primo Tancredi Schriftenreihe Analecta musicologica. Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom Band 46 (2010) Herausgegeben vom Deutschen Historischen Institut Rom Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat der Creative- Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC BY-NC-ND 4.0) unterliegt. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Rossini, Donizetti elaMalanotte. La carrieradel primo Tancredi Paolo Fabbri Ciò che resta del patrimonio di cimeli, documenti edotazioni bibliografiche di un cantante del primo Ottocento èdisolito disperso in musei ebiblioteche.Inqualche caso,però–adesempio,quelli di Giuditta Pasta, Giovanni BattistaVelluti, Giovanni Battista Rubini –, esso ci ègiunto ancora più omeno sufficientemente compatto in quanto trasmesso per asse ereditario oraccolto da collezionisti. Ad essi può aggiun- gersi quello di un’importante interprete rossiniana quale Adelaide Malanotte,lecui carte confluirono per -
Note Al Programma Della XXXIX Edizione
Le pubblicazioni del Rossini Opera Festival sono realizzate con il contributo di Amici del Friends of the Note al programma Rossini Opera Festival Rossini Opera Festival della XXXIX Edizione www.rossinioperafestival.it Il Festival ringrazia United Nations Designated Educational, Scientific and UNESCO Creative City Cultural Organization in 2017 Ufficio Stampa e Comunicazione Giacomo Mariotti Immagine grafica coordinata Massimo Dolcini Progettazione grafica Dario Ottaviani e UBI Banca per il contributo Stampa erogato tramite Art Bonus Pazzini Stampatore Editore, Villa Verucchio (RN) giugno 2018 Stampato su carta Pordenone Vergata/Laid Avorio del Gruppo Cordenons spa Media partner Web experience Libretti in più lingue sulla App Gioachino Rossini nella Photographie parisienne di L. de Lucy, 1861 (Collezione Sergio Ragni, Napoli) Sotto l’Alto Patronato del Presidente della Repubblica XXXIX edizione 11~23 agosto 2018 Regione Marche Il Rossini Opera Festival si avvale della collaborazione scientifica della Fondazione Rossini Il Festival 2018 si attua con il contributo di Ministero dei beni e delle attività culturali e del turismo Comune di Pesaro Regione Marche Intesa Sanpaolo Fondazione Gruppo Credito Valtellinese con l’apporto di Abanet Internet Provider Grand Hotel Vittoria - Savoy Hotel - Alexander Museum Palace Hotel Harnold’s Hotel Excelsior Ratti Boutique Subito in auto Websolute Enti fondatori partecipano AMAT-Associazione marchigiana attività teatrali AMI-Azienda per la mobilità integrata e trasporti ASPES Spa Azienda Ospedaliera San