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SALAMANCA BARROCA AUDITORIO Hospedería FONSECA | VIERNES 29/03/19 20:30H
Centro Nacional de Difusión Musical Universidad de Salamanca SALAMANCA BARROCA AUDITORIO hOSpeDeRíA FONSeCA | VIERNES 29/03/19 20:30h SANDRINe pIAU SOpRANO LeS Paladins JéRôMe CORReAS CLAve y DIReCCIóN HEROÍNAS AUDITORIO hOSpeDeRíA FONSeCA | VIERNES 29/03/19 20:30h pALeNCIA ANTIQvA Centro Nacional de Difusión Musical SALAMANCA BARROCA Diputación de palencia #DescubreHaendel I FeSTIvAL INTernacional De Música George Friedrich Haendel (1685-1759) MeDIevAL y Renacentista eSpAñOLA I Acceso libre hasta completar aforo Ariodante, HWV 33 (1735) Obertura Marcha: Largo – Allegro Partenope, HWV 27 (1730) 30/03/19 | SÁBADO Aria: Voglio amare infin ch’io moro 13:00h | IglesIa de san MIllán (Baltanás) Giulio Cesare in Egitto, HWV 17 (1724) Recitativo y aria: Piangerò la sorte mia óRgANO andRÉs Cea Concerto grosso en la menor, op. 6, nº 4, HWV 322 (1739) Larghetto afettuoso Allegro Largo e piano Allegro 18:00h | ColegIata de san MIguel (aMpudIa) Giulio Cesare in Egitto Juan de la RuBIa óRgANO Aria: Da tempeste il legno infranto II Alcina, HWV 34 (1735) 20:30h | IglesIa de san MIguel (PALENCIa) Aria: Ah! mio cor alIa MVsICa | VoX FeMInae Rodrigo, HWV 5 (1707) Suite Miguel Sánchez DIRector Overture Gigue Unica Hispaniae. El canto litúrgico y polifónico Sarabande de la España medieval de los siglos XIII y XIV Matelot Menuet Bourrée Menuet Alcina síguenos en Aria: Tornami a vagheggiar cndm.mcu.es diputaciondepalencia.es Duración aproximada: I: 45 minutos Pausa II: 45 minutos coproducen: colabora: Pantone 186c cmyk 100/81/0/4 pantone: 258C | cmyk 42/84/5/1 pantone: 144C | cmyk 0/50/100/0 pantone: 144C | cmyk 0/50/100/0 pantone: 2995C | cmyk 100/0/0/0 pantone: 370C | cmyk 50/0/100/25 pantone: 2935C | cmyk 100/46/0/0 pantone: 131C | cmyk 0/32/100/9 pantone:104C | cmyk 0/3/100/30 Pantone 186c | cmyk 100/81/0/4 pantone: 328C | cmyk 100/0/45/32 pantone: 370C | cmyk 65/0/100/42 pantone: 208C | cmyk 0/100/36/37 Heroínas barrocas LeS Paladins «El Barroco es el arte de la representación. -
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. -
© in This Web Service Cambridge University
Cambridge University Press 978-1-107-04278-0 - Romance And History: Imagining Time from the Medieval to the Early Modern Period Edited by Jon Whitman Index More information Index A note is normally indexed only if the topic for which it is cited is not specified in the corresponding discussion in the body of the text. Abelard, Peter, 64 193–4, 196, 200–2, 204–5, 211, 249, Achilles Tatius, 200 281 (n34), 293 (n11), 294 (n21), Adémar de Chabannes, 143 302 (n18) Aeneas, 9–10, 26, 29–30, 44, 80–1, 130, 140, Aristotle, 165, 171, 176, 181, 195, 198, 201–2, 225 154–5, 188, 199, 202–3, 209, 219, Poetics, 17, 151, 183, 190–4, 204 296 (n27) Armida, 18, 198, 204 see also Eneas; Roman d’Eneas; Virgil artfulness, 9, 26–31, 34–8, 55, 67, 226, 252 Alamanni, Luigi, Girone il Cortese, 291 (n12) see also ingenium/engin/ingenuity Albanactus, 154 Arthur, 10, 13, 56–73, 75–9, 83, 105–33, 141, Alexander the Great, 9–10, 23–7, 32–8, 44, 101, 150, 156, 158, 160, 166, 197, 220, 225, 103, 222–3 247–9 Alfonso I d’Este, 152 see also Arthurian romance; “matters” of Alfred the Great, 107 narrative, Britain allegory, 18, 31, 206–8, 217–18, 221, 225, 234, Arthur, son of Henry VII (Arthur Tudor), 109, 295 (n22) 123 Alliterative Morte Arthure, 13, 105, 107, 110–19, Arthurian romance, 3, 5–6, 11, 14–17, 47, 90–104, 248 145, 149–50, 158–62, 169–78, 181, 188, 197, Amadis de Gaula/Garci Rodríguez de Montalvo, 224, 229, 247–9 16, 124, 169, 175–9, 228–30 see also Arthur; “matters” of narrative, Britain Ami et Amile, 279 (n2) Ascham, Roger, 123 Amyot, Jacques, 191–2 Aspremont, -
The Gendered World of the Chanson De Guillaume
The Gendered World of the Chanson de Guillaume Patricia Black California State University, Chico The Chanson de Guillaume remains a problematic epic when viewed against the influential Oxford Roland, not to mention other chansons de geste. Though it is one of the earliest epics extant, it nevertheless fails to conform to the "early epic" criteria. Doubly double, it not only repeats the same events already narrated, it has a sequel qua repeat known as Aliscans. In the doubled narration of the Chanson de Guillaume itself, the repeated material emphasizes the scenes between William and Guibourc as well as the battles. The prominent role she plays may or may not define the epic norm, according to which critic one follows.1 At any rate, Guibourc has no counterpart in the Oxford Roland. However, in the Chanson de Guillaume, Guibourc is not alone: Blancheflor, the kings wife, also plays a brief but important part in the action. Though Guibourc and Blancheflor never meet, they nevertheless have a relationship which bears on the problematic nature of this epic. A convert to Chris- tianity, Guibourc helps turn the tide against the Saracens and save the city of Orange. Their strategies include William's journeying to King Louis' court for the express purpose of enlisting aid; unfortunately, Guibourc and William will finally not be able to de- pend on their sovereign for more than a token gesture. Louis is influenced by Blancheflor, his wife and 21, 3-4 42 Patricia Black Williams sister. She resists giving help to William out of animosity toward Guibourc. The clash between these two incarnations of medieval women ends by revealing fundamental attitudes toward women in an epic context and makes the Chanson de Guillaume an important work in specifically tracing attitudes to- ward gender in the medieval period. -
Recent Dissertations Copies of the Complete Text of These Theses Can
Recent Dissertations Copies of the complete text of these theses can be obtained from Uni- versity Microfilms (Zeeb Road, Ann Arbor, Michigan) in any of three for- mats: hardbound paper, softcover paper, and microfilm positive. We wish to thank the Xerox Corporation for giving Olifant permission to repro- duce these abstracts from Dissertation Abstracts International. A LINGUISTIC: DATING OF THE OXFORD CHANSON DE ROLAND. Susan Elizabeth Farrier, Ph.D. Cornell University, 1985. ANY SCHOLARS state as a truism that the Oxford Chanson de Roland M was written sometime around 1100. This date is misleading not only because it is artificially precise, but also because it suggests that the whole poem was composed all at the same time. Linguistic dating, however, re- veals vestiges of a tenth-century poem, as well as significant portions of eleventh- and twelfth-century redactions. These three linguistic strata are fairly evenly distributed throughout the poem — even in the so-called "Baligant episode." Linguistic dating essentially consists of two steps: (1) identifying the Latin forms of the Old French words found at the assonance and (2) de- termining the stage of development which the stressed vowel in each Old French word must have reached in order to assonate properly with all other verse-final words in the laisse. When the various strata are analyzed for stylistic consistency, the re- sults are surprisingly convincing. The tenth-century poet's work remains only in fragmentary version, so little can be said of his style — except in re- lation to his use of the topos of the prophetic dream. -
The Howard Mayer Brown Libretto Collection
• The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali -
ROLAND AMOUREUX (Tome 2) Traduction - Adaptation : Alain-René Lesage
Matteo Maria Boiardo ROLAND AMOUREUX (tome 2) traduction - adaptation : Alain-René Lesage 1717 (1483) bibliothèque numérique romande ebooks-bnr.com Table des matières LIVRE IV. ................................................................................. 6 CHAPITRE PREMIER. Du projet ambitieux d’Agramant, et pourquoi il assembla à Bizerte tous les rois d’Afrique, ses vassaux. ...................................................................................... 6 CHAPITRE II. Du voyage que Roland fit en Altin, et des aventures qui lui arrivèrent en chemin. ................................... 19 CHAPITRE III. Histoire d’Origile. ........................................... 22 CHAPITRE IV. Comment les fils d’Olivier partirent d’Albraque avec Brandimart, et de leur arrivée en Altin. ........................... 33 CHAPITRE V. Comment le seigneur de Montauban secourut deux demoiselles, et combattit pour elles un géant. ............... 37 CHAPITRE VI. Par quel hasard Roland apprit qu’il était proche du jardin de Falerine. ................................................... 42 CHAPITRE VII. Roland rencontre une demoiselle qui lui apprend plusieurs particularités touchant Falerine et son jardin. ........................................................................................ 46 CHAPITRE VIII. De l’accident qui arriva dans la forêt d’Albraque à la princesse du Cathay. ...................................... 50 CHAPITRE IX. Aventure du roi Sacripant pendant la chasse, et qui était le nain qui vola l’anneau de la princesse Angélique.53 -
Sandrine Piau & Les Paladins
30/03/19 · 20:30 · ESPACIO TURINA Sandrine Piau & Les Paladins Héroïnes Jérôme Correas, director Cuando Haendel llegó a Florencia en la más antigua forma de concierto 1706 cargaba con la experiencia de los instrumental, por la que un pequeño años pasados como clavecinista, vio- grupo de instrumentos (conocidos linista y compositor en el más impor- como concertino, habitualmente dos tante teatro de ópera alemán del violines y un violonchelo) dialoga con momento, el Teatro del Mercado de un conjunto mayor (el tutti, grosso las Ocas de Hamburgo. En Hamburgo o ripieno). Haendel se muestra aquí se cultivaban con pareja importancia como un seguidor provechoso de Core- el estilo francés y el italiano. Así que lli, el maestro que codificó los rasgos cuando en 1707, residente ya en Roma, esenciales de los concerti grossi, aun- Haendel vuelva a la Toscana para que no por ello deja de buscar inno- presentar su primera ópera italiana, vaciones ni de buscar fusiones entre Rodrigo, escribe como obertura una todo tipo de tradiciones de su tiempo. auténtica suite de danzas a la francesa. El Op.6 nº4 se abre con un afectuoso Esta suite se presenta en el concierto movimiento lento que está en la línea de hoy como uno de los dos grandes del estilo galante de moda en los años interludios instrumentales dentro 1730. Le sigue una enérgica fuga que de un programa orientado al aria de ejerce de eficaz contraste con el Largo ópera que se abre con otro fragmento e piano siguiente, construido sobre un en estilo francés, la Obertura de Ario- ritmo de zarabanda y que es uno de los dante, una obra que Haendel presentó tiempos lentos más sublimes jamás en un nuevo teatro (Covent Garden) en escritos por Haendel. -
Le Fou Et La Magicienne Réécritures De L'arioste À L
AIX MARSEILLE UNIVERSITÉ ÉCOLE DOCTORALE 355 ESPACES, CULTURES ET SOCIÉTÉS CENTRE AIXOIS D’ÉTUDES ROMANES – EA 854 DOCTORAT EN ÉTUDES ITALIENNES Fanny EOUZAN LE FOU ET LA MAGICIENNE RÉÉCRITURES DE L’ARIOSTE À L’OPÉRA (1625-1796) Thèse dirigée par Mme Perle ABBRUGIATI Soutenue le 17 juin 2013 Jury : Mme Perle ABBRUGIATI, Professeur, Aix Marseille Université Mme Brigitte URBANI, Professeur, Aix Marseille Université M. Jean-François LATTARICO, Professeur, Université Lyon 3 – Jean Moulin M. Camillo FAVERZANI, Maître de conférences HDR, Université Paris 8 – Saint Denis M. Sergio ZATTI, Professore, Università di Pisa Je remercie chaleureusement L’École doctorale 355 Espaces, Cultures et Sociétés de l’Aix Marseille Université de m’avoir permis d’achever cette thèse. La Fondazione Cini de Venise de m’avoir accueillie pour un séjour de recherches. Le personnel de la Bibliothèque nationale de Turin de m’avoir aidée dans mes recherches sur les partitions de Vivaldi. Les membres du jury d’avoir accepté de lire mon travail. Ma directrice de recherches, Mme Perle Abbrugiati, pour son soutien indéfectible et ses précieux conseils. Mon compagnon, mes enfants, mes parents et mes beaux-parents, mes amis et mes collègues, pour leurs encouragements et leur compréhension pendant cette longue et difficile période. SOMMAIRE INTRODUCTION 1 I. Origine des réécritures : l’Arioste 2 1. Les personnages 4 2. L’Arioste et les arts 9 3. De l’Arioste au Tasse : le genre chevaleresque, ses réécritures littéraires et sa réception 16 II. L’Arioste à l’opéra 25 Avertissement : choix de traductions et citations 35 Description du corpus : le sort des personnages après l’Arioste 37 PREMIÈRE PARTIE : REPÉRAGES, LA PÉRÉGRINATION DES PERSONNAGES, REFLET DE LA FORTUNE DE L’ARIOSTE ET MARQUEUR DE L’HISTOIRE DE L’OPÉRA 45 I. -
Le Monde Galant
The Juilliard School presents Le Monde Galant Juilliard415 Nicholas McGegan, Director Recorded on May 1, 2021 Peter Jay Sharp Theater France ANDRÉ CAMPRA (1660–1744) Ouverture from L’Europe Galante Southern Europe: Italy and Spain JEAN-MARIE LECLAIR (1697–1764) Forlane from Scylla et Glaucus Sicilienne from Scylla et Glaucus CHRISTOPH WILLIBALD GLUCK (1714–87) Menuet from Don Juan MICHEL RICHARD DE LALANDE (1657–1726) Chaconne légère des Maures from Les Folies de Cardenio CHARLES AVISON (1709-70) Con Furia from Concerto No. 6 in D Major, after Domenico Scarlatti Celtic Lands: Scotland and Ireland GEORG PHILIPP TELEMANN (1681–1767) L’Eccossoise from Overture in D Major, TWV55:D19 NATHANIEL GOW (1763–1831) Largo’s Fairy Dance: The Fairies Advancing and Fairies Dance Cullen O’Neil, Solo Cello TELEMANN L’Irlandoise from Overture in D Minor, TVW55:d2 Eastern Europe: Poland, Bohemia, and Hungary ARR. TELEMANN Danse de Polonie No. 4, TWV45 Polonaise from Concerto Polonois, TWV43:G7 Danse de Polonie No. 1, TWV45 La Hanaquoise, TWV55:D3 TRADITIONAL Three 18th-century Hanák folk tunes Russia TELEMANN Les Moscovites from Overture in B-flat Major, TWV55:B5 Europe Dreams of the East: The Ottoman Empire TELEMANN Les Janissaries from Overture in D Major, TWV55:D17 Mezzetin en turc from Overture-Burlesque in B-flat Major, TWV55:B8 Persia and China JEAN-PHILIPPE RAMEAU (1683–1764) Air pour Borée from Les Indes galantes Premier Air pour Zéphire from Les Indes galantes Seconde Air pour Zéphire from Les Indes galantes Entrée des Chinois from Les Paladins -
Rameau, Jean-Philippe
Rameau, Jean-Philippe (b Dijon, bap. 25 Sept 1683; d Paris, 12 Sept 1764). French composer and theorist. He was one of the greatest figures in French musical history, a theorist of European stature and France's leading 18th-century composer. He made important contributions to the cantata, the motet and, more especially, keyboard music, and many of his dramatic compositions stand alongside those of Lully and Gluck as the pinnacles of pre-Revolutionary French opera. 1. Life. 2. Cantatas and motets. 3. Keyboard music. 4. Dramatic music. 5. Theoretical writings. WORKS BIBLIOGRAPHY GRAHAM SADLER (1–4, work-list, bibliography) THOMAS CHRISTENSEN (5, bibliog- raphy) 1. Life. (i) Early life. (ii) 1722–32. (iii) 1733–44. (iv) 1745–51. (v) 1752–64. (i) Early life. His father Jean, a local organist, was apparently the first professional musician in a family that was to include several notable keyboard players: Jean-Philippe himself, his younger brother Claude and sister Catherine, Claude's son Jean-François (the eccentric ‘neveu de Rameau’ of Diderot's novel) and Jean-François's half-brother Lazare. Jean Rameau, the founder of this dynasty, held various organ appointments in Dijon, several of them concurrently; these included the collegiate church of St Etienne (1662–89), the abbey of StSt Bénigne (1662–82), Notre Dame (1690–1709) and St Michel (1704–14). Jean-Philippe's mother, Claudine Demartinécourt, was a notary's daughter from the nearby village of Gémeaux. Al- though she was a member of the lesser nobility, her family, like that of her husband, included many in humble occupations. -
Sandrine Piau Soprano Les Paladins
Centro Nacional de Difusión Musical Fundación Municipal de Cultura del Ayuntamiento de Oviedo vI PRIMAvERA OvIEDO 2019 bARROCA AUDITORIO PRÍNCIPE FELIPE | SALA DE CÁMARA MARTES 26/03/19 20:00h SANDRINE PIAU SOPRANO LES PALADINS jéRÔME CORREAS CLAvE y DIRECCIóN HEROÍNAS PALENCIA ANTIQvA Centro Nacional de Difusión Musical Diputación de Palencia I FESTIvAL INTERNACIONAL DE MúSICA MEDIEvAL y RENACENTISTA ESPAñOLA Acceso libre hasta completar aforo 29/03/19 20:30h | IGLESIA DE SAN PABLO (PALENCIA) VieRNes ANGELICATA CONSORT Moradas místicas. Música religiosa en el Renacimiento español 30/03/19 13:00h | IGLESIA DE SAN MILLÁN (BALTANÁS) sÁBaDo ANDRÉS CEA óRgANO 18:00h | COLEGIATA DE SAN MIGUEL (AMPUDIA) JUAN DE LA RUBIA óRgANO 20:30h | IGLESIA DE SAN MIGUEL (PALENCIA) ALIA MVSICA | VOX FEMINAE | Miguel Sánchez DIRECTOR Unica Hispaniae. El canto litúrgico y polifónico de la España medieval de los siglos XIII y XIV cndm.mcu.es síguenos en diputaciondepalencia.es coproducen: colabora: Pantone 186c cmyk 100/81/0/4 pantone: 258C | cmyk 42/84/5/1 CONCIERTOS DEL AUDITORIO 2018/19 pantone: 144C | cmyk 0/50/100/0 pantone: 144C | cmyk 0/50/100/0 TEMPORADA EXTRAORDINARIA - 20 AÑOS DEL AUDITORIO / 20 AÑOS DE OVIEDO FILARMONÍA ORQUESTA BARROCA DE FRIBURGO pantone: 2995C | cmyk 100/0/0/0 JUEVES 2 DE MAYO RIAS KAMMERCHOR 20:00 HORAS RENÉ JACOBS,pantone: 370C DIRECTOR | cmyk 50/0/100/25 POLINA PASTIRCHAK, SOPRANO Patio de Butacas: 39€ PATRICIA BARDON, CONTRALTO Anfiteatro: 37€ pantone: 2935C | cmyk 100/46/0/0 STEVE DAVISLIM, TENOR Localidades ya a la venta JOHANNES WEISSER, BAJO pantone: 131C | cmyk 0/32/100/9 Programa: L.