DOCSLIB.ORG

Nicolò Paganini the Beanfield Hdt What? Index

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

PEOPLE MENTIONED IN WALDEN THE PEOPLE OF WALDEN: NICOLO PAGANINI WALDEN: Near at hand, upon the topmost spray of a birch, sings PEOPLE OF the brown-thrasher –or red mavis, as some love to call him– all WALDEN the morning, glad of your society, that would find out another farmer’s field if yours were not here. While you are planting the seed, he cries, –“Drop it, drop it, –cover it up, cover it up, – pull it up, pull it up, pull it up.” But this was not corn, and so it was safe from such enemies as he. You may wonder what his rigmarole, his amateur Paganini performances on one string or on twenty, have to do with your planting, and yet prefer it to leached ashes or plaster. It was a cheap sort of top dressing in which I had entire faith. NICOLÒ PAGANINI THE BEANFIELD HDT WHAT? INDEX THE PEOPLE OF WALDEN: NICOLO PAGANINI PEOPLE MENTIONED IN WALDEN 1782 October 27, Sunday: Nicolò Paganini was born to Teresa Bocciardo at #1359 Via Fosse del Colle in Genoa (this was to become #38 Passo di Gatta Mora). The lad would begin to receive music lessons from his father Antonio Paganini, a cargo handler and shipping clerk, before the age of 6. The Reverend Gilbert White wrote: Two of my brother Henry’s gold-fish have been sick, & cannot live with the rest in the glass-bowl but in a tin-bucket by themselves they soon become lively, & vigorous. They were perhaps too much crouded in the bowl. When a fish sickens it’s head gets lowest; so that by degrees it stands as it were on it’s head; ’till getting weaker & losing all poise, the tail turns over; & at last it floats on the water with it’s belly uppermost. Gold & silver-fishes seem to want no aliment, but what they can collect from pure water frequently changed. They will eat crumbs, but do better without; because the water is soon corrupted by the pieced of bread, & turns sour. Tho’ they seem to take nothing, yet the consequences of eating frequently drop from them: so that they must find many animalcula, & other nourishment. With their pinnae pectorales they gently protrude themselves forward or backward: but it is with their strong muscular tails only that Fishes move with such inconceivable rapidity. It has been said that the eyes of fishes are immoveable: but these apparently turn them forward or backward in their sockets as their occasions require. They take little notice of a lighted candle, though applied close to their heads, but flounce and seem much frightened by a sudden stroke of the hand against the support whereon the bowl is hung; especially when they have been motionless, and are perhaps asleep. As fishes have no eyelids, it is not easy to discern when they are sleeping or not, because their eyes are always open. Nothing can be more amusing than a glass bowl containing such fishes: the double refractions of the glass and water represent them, when moving, in a shifting and changeable variety of dimensions, shades, and colours; while the two mediums, assisted by the concavo-convex shape of the vessel, magnify and distort them vastly; not to mention that the introduction of another element and its inhabitants into our parlours engages the fancy in a very agreeable manner. ESSENCE IS BLUR. SPECIFICITY, THE OPPOSITE OF ESSENCE, HDT WHAT? INDEX THE PEOPLE OF WALDEN: NICOLO PAGANINI PEOPLE MENTIONED IN WALDEN IS OF THE NATURE OF TRUTH. Nicolo Paganini “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX THE PEOPLE OF WALDEN: NICOLO PAGANINI PEOPLE MENTIONED IN WALDEN 1786 February 13, Monday: At the height of an epidemic in northern Italy, Nicolò Paganini and his sister contracted the measles. Nicolò’s exposure resulted in catalepsy and his sister died. An ode to the Humane Society, performed at Free-Masons’ Hall, February 13, 1786, under the direction of Dr. Arnold, Dr. Hayes, T. S. Dupuis, Written by Edward Burnaby Green, Esq. to which is added, several detach’d parts of an Oratorio Called Elijah, by Tho[mas] [Skelton] Dupuis. The Music ... by J.W. Callcott, M.B. (London: printed gratuitously by John Nichols for the benefit of that institution). NO-ONE’S LIFE IS EVER NOT DRIVEN PRIMARILY BY HAPPENSTANCE Nicolo Paganini “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX THE PEOPLE OF WALDEN: NICOLO PAGANINI PEOPLE MENTIONED IN WALDEN 1790 Child prodigy Nicolò Paganini composed his 1st sonata at the age of 7 or 8. His father Antonio Paganini had begun by teaching him the mandolin and guitar — only later would the lad specialize in the violin, initially under Giovanni Cervetto, then under the choirmaster of Genoa cathedral, Giacomo Costa, and finally under opera composer Francesco Gnecco. “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY Nicolo Paganini “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX THE PEOPLE OF WALDEN: NICOLO PAGANINI PEOPLE MENTIONED IN WALDEN 1794 May 26, Monday: At San Filippo Neri in Genoa, Nicolò Paganini played during mass to “universal admiration.” “HISTORICAL PERSPECTIVE” BEING A VIEW FROM A PARTICULAR POINT IN TIME (JUST AS THE PERSPECTIVE IN A PAINTING IS A VIEW FROM A PARTICULAR POINT IN SPACE), TO “LOOK AT THE COURSE OF HISTORY MORE GENERALLY” WOULD BE TO SACRIFICE PERSPECTIVE ALTOGETHER. THIS IS FANTASY-LAND, YOU’RE FOOLING YOURSELF. THERE CANNOT BE ANY SUCH THINGIE, AS SUCH A PERSPECTIVE. Nicolo Paganini “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX THE PEOPLE OF WALDEN: NICOLO PAGANINI PEOPLE MENTIONED IN WALDEN 1795 Having performed at various churches throughout Genoa, Nicolò Paganini was sent to Parma, Italy to study under Alessandro Rolla –who forwarded him to Ferdinando Paër –who forwarded him to Gaspare Ghiretti — eventually these teachers confessed that they had nothing more to offer him and he commenced a course of HDT WHAT? INDEX THE PEOPLE OF WALDEN: NICOLO PAGANINI PEOPLE MENTIONED IN WALDEN self-training so rigorous that often he would be at his violin for 15 hours a day. WALDEN: Near at hand, upon the topmost spray of a birch, sings PEOPLE OF the brown-thrasher –or red mavis, as some love to call him– all WALDEN the morning, glad of your society, that would find out another farmer’s field if yours were not here. While you are planting the seed, he cries, –“Drop it, drop it, –cover it up, cover it up, – pull it up, pull it up, pull it up.” But this was not corn, and so it was safe from such enemies as he. You may wonder what his rigmarole, his amateur Paganini performances on one string or on twenty, have to do with your planting, and yet prefer it to leached ashes or plaster. It was a cheap sort of top dressing in which I had entire faith. NICOLÒ PAGANINI THE BEANFIELD YOUR GARDEN-VARIETY ACADEMIC HISTORIAN INVITES YOU TO CLIMB ABOARD A HOVERING TIME MACHINE TO SKIM IN METATIME BACK ACROSS THE GEOLOGY OF OUR PAST TIMESLICES, WHILE OFFERING UP A GARDEN VARIETY OF COGENT ASSESSMENTS OF OUR PROGRESSION. WHAT A LOAD OF CRAP! YOU SHOULD REFUSE THIS HELICOPTERISH HDT WHAT? INDEX THE PEOPLE OF WALDEN: NICOLO PAGANINI PEOPLE MENTIONED IN WALDEN OVERVIEW OF THE HISTORICAL PAST, FOR IN THE REAL WORLD THINGS HAPPEN ONLY AS THEY HAPPEN. WHAT THIS SORT WRITES AMOUNTS, LIKE MERE “SCIENCE FICTION,” MERELY TO “HISTORY FICTION”: IT’SNOT WORTH YOUR ATTENTION. July 31, Friday: The 1st benefit concert for, and featuring, Nicolò Paganini took place at the Teatro Sant’ Agostino of Genoa. This event included the premiere of his “Variations on La carmagnole” for violin and orchestra. The Philadelphia mint had been the 1st federal building constructed under the US Constitution, and had begun to produce copper coins as of 1793. On this day the mint released an initial batch of 744 $5 gold coins with the same image on each side, of a pleasantly plump Liberty with an optimistic expression and a turban. (On the open market these coins now fetch something like $150,000 each, despite the fact that they can no longer function legally as US federal currency. After this the mint would produce some $10 gold coins, and by 1796 would be producing $2.50 gold coins as well.) NEVER READ AHEAD! TO APPRECIATE JULY 31ST, 1795 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). Nicolo Paganini “Stack of the Artist of Kouroo” Project Nicolo Paganini “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX THE PEOPLE OF WALDEN: NICOLO PAGANINI PEOPLE MENTIONED IN WALDEN 1796 At a reception held at the villa of the Marchese Gian Carlo Di Negro, Nicolò Paganini was introduced to a musician who was passing through Genoa, Rudolph Kreutzer. LIFE IS LIVED FORWARD BUT UNDERSTOOD BACKWARD? — NO, THAT’S GIVING TOO MUCH TO THE HISTORIAN’S STORIES. LIFE ISN’T TO BE UNDERSTOOD EITHER FORWARD OR BACKWARD. Nicolo Paganini “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX THE PEOPLE OF WALDEN: NICOLO PAGANINI PEOPLE MENTIONED IN WALDEN 1797 Nicolò Paganini started his concert tours. WALDEN: Near at hand, upon the topmost spray of a birch, sings PEOPLE OF the brown-thrasher –or red mavis, as some love to call him– all WALDEN the morning, glad of your society, that would find out another farmer’s field if yours were not here. While you are planting the seed, he cries, –“Drop it, drop it, –cover it up, cover it up, – pull it up, pull it up, pull it up.” But this was not corn, and so it was safe from such enemies as he.
Recommended publications
  • The Torrone and the Prosecution of Crimes Full Article Language: En Indien Anders: Engelse Articletitle: 0

    The Torrone and the Prosecution of Crimes Full Article Language: En Indien Anders: Engelse Articletitle: 0

    _full_alt_author_running_head (neem stramien B2 voor dit chapter en dubbelklik nul hierna en zet 2 auteursnamen neer op die plek met and): 0 _full_articletitle_deel (kopregel rechts, vul hierna in): The Torrone and the Prosecution of Crimes _full_article_language: en indien anders: engelse articletitle: 0 44 Chapter 3 Chapter 3 The Torrone and the Prosecution of Crimes On 6 June 1654 a surgeon from one of Bologna’s hospitals reported Carlo Masi- na’s severe and ‘suspicious’ wounds to the criminal court.1 Upon interrogation, the dying Carlo pointed to three men (Domenico Pino, and Francesco and Alessandro Lambertini) and one woman (Diamante, Domenico’s wife) as the culprits. Earlier, Carlo had seen Domenico talking to ‘certain persons’ in one of the city’s many taverns and had mentioned that his behaviour did not befit a gentiluomo (gentleman), but a becco fotuto (fucking cuckold). Their quarrel es- calated a day later when Domenico was waiting for him with a drawn sword, accompanied by his wife Diamante and the Lambertini brothers. When Carlo tried to duck the stones Diamante and the brothers were throwing at him, Do- menico struck him with his sword, causing wounds which would eventually prove fatal for Carlo. Domenico was able to turn the capital punishment he received into a pardon through a peace accord with Carlo’s kin and the Lam- bertini brothers were exiled. Although her role in the homicide was similar to that of the brothers, no sentence is recorded for Diamante. While the criminal court records do not provide any information as to why Diamante got off so lightly compared to her male co-offenders, perceptions of gender may well have been at play.
  • My Musical Lineage Since the 1600S

    My Musical Lineage Since the 1600S

    Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's

    Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's

    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
  • THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A

    THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED the CRITICAL RECEPTION of INSTRUMENTAL VIRTUOSITY in EUROPE, C. 1815 A

    THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Zarko Cvejic August 2011 © 2011 Zarko Cvejic THE VIRTUOSO UNDER SUBJECTION: HOW GERMAN IDEALISM SHAPED THE CRITICAL RECEPTION OF INSTRUMENTAL VIRTUOSITY IN EUROPE, c. 1815–1850 Zarko Cvejic, Ph. D. Cornell University 2011 The purpose of this dissertation is to offer a novel reading of the steady decline that instrumental virtuosity underwent in its critical reception between c. 1815 and c. 1850, represented here by a selection of the most influential music periodicals edited in Europe at that time. In contemporary philosophy, the same period saw, on the one hand, the reconceptualization of music (especially of instrumental music) from ―pleasant nonsense‖ (Sulzer) and a merely ―agreeable art‖ (Kant) into the ―most romantic of the arts‖ (E. T. A. Hoffmann), a radically disembodied, aesthetically autonomous, and transcendent art and on the other, the growing suspicion about the tenability of the free subject of the Enlightenment. This dissertation‘s main claim is that those three developments did not merely coincide but, rather, that the changes in the aesthetics of music and the philosophy of subjectivity around 1800 made a deep impact on the contemporary critical reception of instrumental virtuosity. More precisely, it seems that instrumental virtuosity was increasingly regarded with suspicion because it was deemed incompatible with, and even threatening to, the new philosophic conception of music and via it, to the increasingly beleaguered notion of subjective freedom that music thus reconceived was meant to symbolize.
  • Viaggio in Italia Come Apprendistato E Conoscenza -Da W.A

    Viaggio in Italia Come Apprendistato E Conoscenza -Da W.A

    Claudia Colombati Fryderyk Chopin e l’Italia: un incontro rimasto ideale. Premessa: Chopin e l’epoca romantica In epoca romantica l’artista riflette nella sua opera il prolungamento della personalità, il più delle volte incurante della funzione richiesta dalla società: ambigua libertà cui si possono connettere le tante note vicissitudini esistenziali. 1 L’irrequieto ‘wandern’ del sentire nordico, la nuova ‘mistica’ di un’ideale identità arte-vita-religione, il culto del genio, del mito ritrovato nelle radici della tradizione, coesistono attraverso lo stesso mutevole concetto di stile e di espressione. Probabilmente fu difficile per gli stessi musicisti romantici identificarsi in quel movimento nato principalmente dalla letteratura e dalla poesia, convergente nell’Idealismo filosofico, quando ancora dominante archetipo del linguaggio musicale -soprattutto strumentale- era lo stile codificato come Wiener Klassik . Importante in tal senso è ricordare la definizione di Classico differenziata da Classicismo 2, ponendo l’accento su due elementi riguardanti le arti, ossia: l’aspetto in comune ascrivibile allo ‘spirito del tempo’ e l’intersecarsi di esso con momenti di divergenza dovuti al fatto che “per la letteratura e le arti figurative in particolare, il riferimento è l’Antico (Antichità classica -Neoclassicismo) visto come ideale creativo e metro di perfezione, mentre in musica lo ‘stile classico’ (culminante nell’opera di Haydn, Mozart e Beethoven) non si volge ad un passato cui ridar la vita, ma si fa esso stesso esempio, norma creatrice e metro di perfezione” . Questa riflessione comporta già una possibile divergenza di ottiche estetiche che, ad esempio in epoca romantica, non solo porta a considerare l’intersecarsi di Classico e Romantico, ma anche di Idealismo e Realismo, come avviene nella grande poesia tedesca già a partire dalle opere di Friedrich Schiller, di J.Wolfgang Goethe, ed in seguito, dal 1830 in poi.
  • Cornelius Meister

    Cornelius Meister

    Cornelius Meister JEUDI 31 OCTOBRE 2019 20H ©Marco Borggreve 1 OTTO NICOLAI Les Joyeuses Commères de Windsor (Ouverture) (9 minutes environ) FELIX MENDELSSOHN Concerto pour piano et orchestre no1 en sol mineur opus 25 1. Molto allegro con fuoco 2. Andante 3. Presto – Molto allegro e vivace (20 minutes environ) - Entracte - ANTON BRUCKNER Symphonie no3 en ré mineur (version Nowak de 1889) 1. Gemässig, Misterioso (modéré, mystérieux) 2. Adagio, Feierlich (solennel) 3. Scherzo : Ziemlich schnell (assez rapide) 4. Finale : Allegro (60 minutes environ) DENIS KOZHUKIN piano ORCHESTRE NATIONAL DE FRANCE Sarah Nemtanu violon solo Ce concert est diffusé en direct sur France Musique et disponible à l'écoute CORNELIUS MEISTER direction pendant un mois sur francemusique.fr Ce programme est présenté par Benjamin François de France Musique. 3 2 OTTO NICOLAI 1810-1849 Après avoir cofondé l’Orchestre philharmonique de Vienne dont il dirigea le concert inaugural en 1842, Nicolai termina sa courte carrière à Berlin où Les Joyeuses Commères de Windsor (Ouverture) il succéda en 1848 au défunt Felix Mendelssohn à la tête de l’orchestre de Opéra composé en 1849. Créé le 9 mars 1849 à par l’orchestre de l’Opéra royal (Hofoper) de Berlin dirigé l’Opéra royal. C’est là qu’il présenta ses Joyeuses commères de Windsor, par le compositeur. Nomenclature : 2 flûtes dont 1 piccolo, 2 hautbois, 2 clarinettes, 2 bassons ; 4 cors, 2 un singspiel mêlant chant et textes parlés, qu’il qualifia de « komisch-fan- trompettes, 3 trombones ; timbales ; les cordes. tastische Oper », et qu’il créa le 9 mars 1849, deux mois avant sa mort.
  • University of Cincinnati

    University of Cincinnati

    UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Chopin’s 24 Préludes, Opus 28: A Cycle Unified by Motion between the Fifth and Sixth Scale Degrees A document submitted to the The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music 2008 by Andreas Boelcke B.A., Missouri Western State University in Saint Joseph, 2002 M.M., University of Cincinnati, 2005 Committee Chair: bruce d. mcclung, Ph.D. ii ABSTRACT Chopin’s twenty-four Préludes, Op. 28 stand out as revolutionary in history, for they are neither introductions to fugues, nor etude-like exercises as those preludes by other early nineteenth-century composers such as Johann Nepomuk Hummel, Johan Baptist Cramer, Friedrich Kalkbrenner, and Muzio Clementi. Instead they are the first instance of piano preludes as independent character pieces. This study shows, however, that Op. 28 is not just the beginning of the Romantic prelude tradition but forms a coherent large-scale composition unified by motion between the fifths and sixth scale degrees. After an overview of the compositional origins of Chopin’s Op. 28 and an outline of the history of keyboard preludes, the set will be compared to the contemporaneous ones by Hummel, Clementi, and Kalbrenner. The following chapter discusses previous theories of coherence in Chopin’s Préludes, including those by Jósef M.
  • La Divisione Italiana in Francia 1803-1806

    La Divisione Italiana in Francia 1803-1806

    Corso di Laurea magistrale ( ordinamento ex D.M. 270/2004 ) in Storia dal medioevo all’età contemporanea Tesi di Laurea La Divisione italiana in Francia 1803-1806 Relatore Ch. Prof. Luciano Pezzolo Laureando Giorgio Gremese Matricola 828514 Anno Accademico 2011 / 2012 In memoria del Professore Giuseppe Del Torre Indice della Tesi Introduzione pag. 4 Capitolo 1: Le fonti, la storiografia. Pag. 8 Capitolo 2: Il campo di Boulogne ed il progetto di invasione dell’Inghilterra: scenari strategici e politici. Pag. 15 Capitolo 3: La costituzione della Divisione Pino Pag. 26 La riunone dei reparti Pag. 29 La formazione dello Stato Maggiore Pag. 33 Due militari e due generali: Pino e Teulié Pag. 37 Il problema degli ufficiali aggiunti: Foscolo, Celentani, Arcovito e Jannelli Pag. 39 Capitolo 4: Il trasferimento della Divisione in Francia Pag. 46 La questione finanziaria della Divisione Pag. 52 Capitolo 5: Permanenza e impiego della Divisione a Calais Pag. 55 Capitolo 6: La dispersione della Divisione e l’invio in Prussia. Pag. 63 Conclusioni Pag. 67 Annessi Pag. 72 Fonti archivistiche: Archives Nationales Pag. 73 Service Historique de la Dèfense Pag. 107 Carrispondenze Corrispondenza di Joachim Murat Pag. 175 Corrispondenza di Napoleone Bonaparte Pag. 177 Corrispondenza di Ugo Foscolo Pag. 184 Corrispondenza di Francesco Melzi d’Eril Pag. 188 Bibliografia Pag. 245 Fonti manoscritte Pag. 252 « L’histoire du royaume d’Italie du 1794 à 1814 est le plus beau sujet des temps modernes, l’idéal s’y joint au positif. »1 Stendhal Introduzione Nel dicembre del 1801 si assiste per quanto concerne il futuro dell’Italia settentrionale al passo fondamentale verso una nuova stabilità e forma statale.
  • La Repercusión De La Guerra En Italia = Repercussions of the Peninsular

    La Repercusión De La Guerra En Italia = Repercussions of the Peninsular

    ISSN: 1576-7914 LA REPERCUSIÓN DE LA GUERRA EN ITALIA Repercussions of the Peninsular War on Italy Vittorio SCOTTI DOUGLAS Universidad de Trieste Fecha de recepción: 15/1/2008 Fecha de aceptación definitiva: 12/5/2008 RESUMEN: Después de algunas consideraciones sobre la situación de la Penín - sula italiana a comienzos de la Guerra de la Independencia, el autor muestra cómo la guerra fue percibida por algunos de los oficiales pertenecientes a los diversos ejér - citos procedientes de Italia, ya desde el punto de vista militar, ya opinando sobre el carácter de la lucha y el amor de patria. Al examinar autores posteriores, se pone en evidencia el interés de los patrio - tas italianos respecto a la guerra en España por las eventuales sugerencias que de la misma se podían sacar. Palabras clave : Italia, amor de patria, guerrilla, hambre, Risorgimento, deter - minación. ABSTRACT : After some considerations on the different situation of the many States of Italy at the beginning of the Peninsular war, the author reviews how the war was perceived by some Italian officers who fought in Spain, both from the mili - tary point of view, and from the political and theoretical lessons which could be lear - ned from it. Passing then to more contemporary authors, the point is stressed of how these Italian patriots looked on Spain as a useful example of stubbornness and attachment to freedom and the Motherland. Key words : Italy, Risorgimento, guerrilla, hunger, stubbornness, love of the Mot herland. © Ediciones Universidad de Salamanca Cuadernos dieciochistas, 8, 2007, pp. 79 -99 80 VITTORIO SCOTTI DOUGLAS LA REPERCUSIÓN DE LA GUERRA EN ITALIA Como siempre, las palabras tienen su historia, que no se puede ignorar, aún más cuando se trata de nombres, que a su vez identifican identidades histórico- políticas, con su tradición, historia, orígenes remotos y fechas de nacimiento pre - cisas, quizás atestiguadas por tratados internacionales, declaraciones solemnes, actas parlamentarias.
  • Arnfried Edler Robert Schumann

    Arnfried Edler Robert Schumann

    Unverkäufliche Leseprobe Arnfried Edler Robert Schumann 127 Seiten, Paperback ISBN: 978-3-406-56274-7 © Verlag C.H.Beck oHG, München 1. Ein gebildeter Bürgersohn aus der Provinz O ich habe in Zw[ickau] Stunden genossen, die Tage in Leipzig aufwiegen; jene stillen Herbstabende der Heimath, zugleich Wonneabende des Herzens, jene vergoldeten Höhen u. die blü- henden Thäler, o dieses ganze Stilleben der Natur u. der freund- lichen Menschheit wiegt kein Leipzig mit allen seinen Con- certen, Theater pp. auf … selbst die Liebe an die Heimath, diese allerzarteste, kann zur S c hwäche werden, so bald sie sich mit keiner Gegenwart befriedigen lässt u. das Verlorne nur be- weint – u. schwach will ich u. darf ich nicht sein. Diese, an das Gedicht Abschied aus Joseph von Eichendorffs Roman Ahnung und Gegenwart (1815) anklingenden Sätze no- tierte der achtzehnjährige Jurastudent Robert Schumann zu Be- ginn seines zweiten Leipziger Semesters am 26. Oktober 1828 in sein mit dem skurrilen Titel Hottentotteniana versehenes Ta- gebuch. Keineswegs war zu dieser Zeit abzusehen, dass dieser junge Mann, der aus der kleinen Industrie- und Bergbaustadt Zwickau im westlichen Sachsen stammte und im März dieses Jahres am dortigen Lyzeum das Reifezeugnis erhalten hatte, sich zu einer Zentralfigur unter den deutschen und europäischen Komponisten in den Jahrzehnten zwischen 1830 und 1850 ent- wickeln würde. Er befand sich zu diesem Zeitpunkt in einer pre- kären Situation: Der Vater war zwei Jahre zuvor gestorben, und seine Mutter, beraten von einem als Vormund fungierenden Zwickauer Kaufmann, glaubte das Beste für ihren achtzehnjäh- rigen Sohn zu tun, indem sie ihn zur Aufnahme des Jurastudi- ums anhielt.
  • View Catalogue

    View Catalogue

    J & J LUBRANO MUSIC ANTIQUARIANS 6 Waterford Way, Syosset, NY 11791 USA [email protected] • www.lubranomusic.com Telephone 516-922-2192 Catalogue 88 SUMMER POTPOURRI 6 Waterford Way, Syosset, NY 11791 USA [email protected] www.lubranomusic.com Telephone 516-922-2192 1 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 material is in good antiquarian condition unless otherwise described. 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 right of our homepage. We ask that you kindly wait to receive our invoice to ensure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - 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) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full.
  • Revista Hmic-2005 ISSN 1696-4403

    Revista Hmic-2005 ISSN 1696-4403

    Revista HMiC-2005 ISSN 1696-4403 http://seneca.uab.es/hmic EQUIP REVISTA HMiC Equip Editor: Departament d'Història Moderna i Contemporànea. Consell de redacció: Agustí Alcoberro (Universitat de Barcelona), Alejandro Andreassi (Univeritat Autònoma de Barcelona), Ramón Alquézar (UAB), Esteban Canales (UAB), Angel Duarte (Universitat de Girona), Monsterrat Duc (Universitat de Rovira i Virgili), Francesc Espinet Burunat (UAB), Anna Maria Garcia (Universitat de Girona), Miquel Izard (Universitat de Barcelona), Montserrat Jiménez Sureda (UAB), Josep Lladonosa (Universitat de Lleida), Bernat Muniesa (Universitat de Barcelona), Maria Antònia Martí Escayol (UAB), Josep Lluís Martín Ramos (UAB), Josep Maria Tomas (Universitat Rovira i Virgili). Cap de redacció: Maria Antònia Martí Escayol (UAB). Web-master: Maria Antònia Martí Escayol, Xavier Ortega Castillo. Maqueta número recopilatori i il·lustracions: Xavier Ortega Castillo. ISSN: 1445-89111 Adreça electrònica: http://seneca.uab.es/hmic 1 Contacte editorial Postal: Revista HMiC Departament d'Història Moderna i Contemporània Facultat de Lletres Edifici B Universitat Autònoma de Barcelona 08193 Bellaterra-Cerdanyola del Vallès Correu electrònic: [email protected] Telèfon: 93 581 11 86 El contingut de la Revista HMiC, si no s'especifica el contrari, pot utilitzarse de conformitat amb la llicencia de Creative Commons. http://creativecommons.org/licenses/by-nc-nd/2.5/es/ http://creativecommons.org/licenses/by-nc-nd/2.5/es/deed.en ÍNDEX DE CONTINGUTS EQUIP REVISTA HMiC 1 ÍNDEX DE CONTINGUTS 2 EDITORIAL