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The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
CUMULATIVE INDEX: SECTION (A): ARTICLES
CUMULATIVE INDEX to Czech Music and Other Society Journals: 1974-1994 Abstracted by Richard Beith Issue 2 July 1995 INTRODUCTION The Dvořák Society has always published a journal since the Society was founded in 1974. In the early years, the format and title changed frequently, but the name Czech Music has been used since 1978 and the familiar A5 format has been in use since 1980. Journal size has varied from the first issue, a single sheet of foolscap, printed on both sides, to the latest issue with 192 A5 size pages. Up until the Autumn 1987 issue, Czech Music also contained the “current information” listing concert dates, latest record news and forthcoming Society events. Since 1988 the entirely separate Newsletter has been published to cover such “current information”. Ephemeral items such as crosswords, concert announcements and new record issue news are omitted from the index, particularly such information appearing in the Journals prior to 1988, i.e. before the introduction of the separate Newsletter. The titles of articles, as printed, have occasionally been expanded by additional explanations in parenthesis. For example, “Music to Dismember” referring to cuts in live performances of Dvořák’s works now has the added comment: (Performance Cuts). Titles of musical works have generally been left in the language of the original articles, Czech, English or Slovak as appropriate. As the journals have not been given continuous pagination within one volume, i.e., as every separate issue starts with a page 1, a very full reference is given, egg: “March 74 1:1:1” = March 1974 issue, Volume 1, No 1, article starting on page 1; Summer 1993 18:1:87 = Summer 1993 issue, Volume 18, No 1, article starting on page 87. -
Selected Vocal Repertoire
Selected Vocal Repertoire * = premiered by Barbara Hannigan van der Aa Here (to be found) * Here (in circles) * One * Abrahamsen let me tell you* Andriessen Four Beatles Songs Writing to Vermeer (Saskia) * Aperghis de la nature de la gravité de la nature de l’eau * Ayres In the Alps* J.S. Bach B minor mass Coffee Cantata (Lieschen) Hunt Cantata (Diana) Jauchzet Gott in allen Landen (Cantata 51) Johannes Passion Lutheran Mass Magnificat Matthäus Passion Peasant Cantata C.P.E. Bach Passion de Lezten Leidens Barry Karlheinz Stockhausen * La Plus Forte (Madame X) * The Bitter Tears of Petra von Kant (Gabrielle) The Importance of Being Earnest (Cecily Cardew) Beckwith Synthetic Trios Benjamin Written on Skin (Agnes)* Berg Der Wein Lulu (title role) Sieben Frühe Lieder Wozzeck fragments for soprano and orchestra Berio Sequenza 3 Sinfonia Binsbergen Sidenote: Howard Report* Boccherini Stabat Mater Boulez Le visage nuptial Pli selon pli Britten Les Illuminations The Rape of Lucretia (Lucia) Carissimi Jephtha (Jephtha’s daughter) Castiglione Cantus Planus Cavalli Giasone (Amore, Alinda) Charpentier Actéon (Arethuze) Chin Le silence des sirènes * Clerambault L’amour piqué par une abeille Crumb Apparition Dallapiccola Cinque frammenti di Saffo Debussy La Damoiselle Elue Defoort House of the Sleeping Beauties (The Women) * Dusapin Passion (Lei)* To God Dutilleux Correspondances Eötvös Octet Plus * Snatches of a Conversation Foss Time Cycle Francesconi Etymo Gluck Orfeo ed Eurydice (Amor) Grisey Quatre chants pour franchir le seuil Gubaidulina Hommage -
Download Booklet
552139-40bk VBO Dvorak 16/8/06 9:48 PM Page 8 CD1 1 Carnival Overture, Op. 92 . 9:29 2 Humoresques, Op. 101 No. 7 Poco lento e grazioso in G flat major . 2:51 3 String Quartet No. 12 in F major, Op. 96 ‘American’ III. Molto vivace . 4:01 4 Symphony No. 8 in G major, Op. 88 III. Allegretto grazioso – Molto vivace . 5:45 5 7 Gipsy Melodies ‘Zigeunerlieder’ – song collection, Op. 55 No. 4 Songs my mother taught me . 2:47 6 Serenade for Strings in E major, Op.22 I. Moderato . 4:10 7 Slavonic Dances, Op. 46 No. 2 in E minor . 4:40 8 Piano Trio in F minor ‘Dumky’, Op. 90 III. Andante – Vivace non troppo . 5:56 9 Symphony No. 7 in D minor, Op. 70 III. Scherzo: Vivace – Poco meno messo . 7:47 0 Violin Sonatina in G major, Op. 100 II. Larghetto . 4:33 ! Slavonic Dances, Op. 72 No. 2 in E minor . 5:29 @ Rusalka, Op. 114 O, Silver Moon . 5:52 # The Noon Witch . 13:04 Total Timing . 77:10 CD2 1 Slavonic Dances, Op. 46 No. 1 in C major . 3:46 2 Stabat Mater, Op. 58 Fac ut portem Christi mortem . 5:13 3 Serenade for Wind, Op.44 I. Moderato, quasi marcia . 3:51 4 Cello Concerto in B minor, Op. 104 II. Adagio ma non troppo . 12:29 5 Piano Quintet in A major, Op. 81 III. Scherzo (Furiant) – Molto vivace . 4:06 6 Czech Suite, Op. 39 II. Polka . 4:49 7 Legends, Op. -
Understanding Music Nineteenth-Century Music and Romanticism
N ineteenth-Century Music and Romanticism 6Jeff Kluball and Elizabeth Kramer 6.1 OBJECTIVES 1. Demonstrate knowledge of historical and cultural contexts of nineteenth- century music, including musical Romanticism and nationalism 2. Aurally identify selected genres of nineteenth century music and their associated expressive aims, uses, and styles 3. Aurally identify the music of selected composers of nineteenth century music and their associated styles 4. Explain ways in which music and other cultural forms interact in nineteenth century music in genres such as the art song, program music, opera, and musical nationalism 6.2 KEY TERMS AND INDIVIDUALS • 1848 revolutions • Exoticism • Antonín Dvořák • Fanny Mendelssohn Hensel • art song • Felix Mendelssohn-Bartholdy • Augmented second • Francisco de Goya • Bedřich Smetana • Franz Liszt • Beethoven • Franz Schubert • Caspar David Friedrich • Fryderyk Chopin • chamber music • Giuseppe Verdi • chromaticism • idée fixe • concerto • Johann Wolfgang von Goethe • conductor • John Philip Sousa • drone • leitmotiv • Eugène Delacroix • lied Page | 160 UNDERSTANDING MUSIC NINETEENTH-CENTURY MUSIC AND ROMANTICISM • Louis Moreau Gottschalk • soirée • Mary Shelley • sonata • mazurka • sonata form (exposition, • nationalism development, recapitulation) • opera • song cycle • program symphony • string quartet • Pyotr Tchaikovsky • strophic • Richard Wagner • symphonic poem • Robert and Clara Schumann • Symphony • Romanticism • ternary form • rubato • through-composed • salon • V.E.R.D.I. • scena ad aria (recitative, • William Wordsworth cantabile, cabaletta) 6.3 INTRODUCTION AND HISTORICAL CONTEXT This chapter considers music of the nineteenth century, a period often called the “Romantic era” in music. Romanticism might be defined as a cultural move- ment stressing emotion, imagination, and individuality. It started in literature around 1800 and then spread to art and music. -
CHAN 3156 Georges Bizet (1838 –1875)
Rebecca Evans • Barry Banks • Simon Keenlyside • Alastair Miles London Philharmonic Orchestra Brad Cohen CHAN 3156 Georges Bizet (1838 –1875) highlights from The Pearl Fishers © Lebrecht Music & Arts Library Photo Music © Lebrecht Opera in three acts Libretto by Eugène Cormon and Michel Carré, English translation by David Parry Zurga, head fisherman Simon Keenlyside baritone Nadir, fisherman Barry Banks tenor Leïla, priestess of Brahma Rebecca Evans soprano Nourabad, high priest of Brahma Alastair Miles bass Geoffrey Mitchell Choir London Philharmonic Orchestra Phillip Thomas assistant conductor Brad Cohen Georges Bizet 3 Time Page Time Page from Act I 8 No 4b, Romance 1 Prelude 1:54 [p. 70] ‘Again her voice will haunt me’ 3:11 [p. 74] 2 No 1a, Introduction 9 No 5, Air and Chorus ‘At the break of day with the waves at play’ 3:32 [p. 70] ‘Brahma the god, sovereign of the world’ 5:31 [p. 75] Chorus Leïla, Chorus, Nadir 3 No 1b, Scene and Chorus ‘My friends, you must delay your dances’ 4:03 [p. 70] from Act II Zurga, Chorus, Nadir 10 No 7, Recitative and Cavatina 4 No 1c, Recitative and Chorus reprise ‘I am alone here in the night’ 6:50 [p. 76] ‘Stay here and live with us, Nadir’ 2:14 [p. 71] Leïla Zurga, Nadir, Chorus 11 No 8, Chanson 5 No 2a, Recitative ‘My love was weeping while she was sleeping’ 1:53 [p. 76] ‘At last I have found you again!’ 2:37 [p. 72] 12 No 9, Duo Zurga, Nadir ‘Leïla! Leïla!’ 6:49 [p. 76] 6 No 2b, Duet Nadir, Leïla ‘Then from the holy shrine’ 7:11 [p. -
Handel's Rinaldo
‘Music has learn’d the discords of the state’: The Cultural Politics of British Opposition to Italian Opera, 1706-1711 Veronica T. Faust Haverford College Advisors: Lisa Jane Graham & Richard Freedman 2 Table of Contents Introduction 3 Italian-Style Opera in London Before Handel 6 Italian Culture in London 8 The Expanding Print Culture 9 1. John Dennis 13 2. Joseph Addison 26 3. Anthony Ashley Cooper, Third Earl of Shaftesbury 38 4. Handel’s Rinaldo 48 Conclusion 65 Works Cited Primary Sources 69 Secondary Sources 70 3 Introduction Music has learn’d the discords of the state, And concerts jar with Whig and Tory hate… There fam’d L’Epine does equal skill employ, While list’ning peers croud to th’ecstatic joy: Bedford to hear her song his dice forsakes, And Nottingham is raptur’d when she shakes: Lull’d statesmen melt away their drowsy cares Of England’s safety, in Italian airs. ~John Hughes1 In the late seventeenth century, Italian opera began to find its way into the royal court and public theaters of London. During the first decade of the eighteenth century, Italian opera successfully penetrated the English theatrical tradition, and by 1711, with the premiere of Handel’s Rinaldo, the foreign art had conquered its English audience.2 However, this was not a peaceful conquest. The importation of Italian opera provoked British criticism, censure, and ridicule as it emerged on the London stage. British authors approached their arguments in different ways, some verging on or even embracing xenophobia, others attempting to laugh Italian opera out of the country. -
85 ANTONÍN DVOŘÁK Musician and Craftsman John
Naturally his son would follow in the traditional family business. Accordingly, having spent six years at school, Antonín left shortly before his twelfth birthday and became 8 apprenticed to his father in the butchers’ trade. In order to improve the lad’s chances ANTONÍN DVOŘÁK of success he was sent a year later to become a butcher’s apprentice at Zlonice, Musician and Craftsman where he stayed with his mother’s younger brother, Antonín Zdeněk (b. 1823). His John Clapham uncle, who was steward to Count Kinsky, treated him like a son, for he had no chil- I dren of his own. This attractive Czech town, lying some twenty or more miles away Biographical Sketch by road to the west of Nelahozeves, offered chances of picking up a little German, Antonín Dvořák came of sturdy peasant stock. His great-grandfather Jan Dvořák which was an important point for one who was destined to become a publican, but (1724-1777) lived just beyond the north-eastern fringe of Prague at Třeboradice, the musical opportunities were very much greater. Josef Toman, schoolmaster, and where he combined farming with innkeeping. Eventually he died in the house in organist and choirmaster of the church, was a baritone singer, and played the violin, which he had been born. Six out of his family of ten survived infancy, the third of trumpet and double bass in addition to the organ. Antonín Liehmann (1808-1879), a these being the composer’s grandfather, Jan Nepomuk Dvořák (1764-1842). The teacher of German and music and a typical Czech Musikant, was an excellent organist latter became both publican and butcher, first at Vodolka (now known as Odolena with a talent for improvisation, a good violinist and clarinettist who also played the Voda), and from 1818 at Nelahozeves, where the composer himself was to be born. -
Costumes for Universal Harmony in Louis XIII's Court Ballets by Franklin
Costumes for Universal Harmony in Louis XIII's Court Ballets by Franklin Brooks In 1985 a cache of 188 early seventeenth-century French costume drawings came to light in Switzerland and quickly made its way onto the art market, so quickly in fact that no French institution could move fast enough to purchase even one.1 The Victoria and Albert's Theatre Museum got a lion's share and collaborated with the London art dealers, Hobhouse Limited and Morton-Morris and Company Limited, to publish all of them in an album, The Court Ballet of Louis XIII (1986), for which Professor Margaret McGowan of Sussex University wrote the introduction and presumably the notes. Her unequaled knowledge of these ballets allowed her to assign almost all of these drawings to some twenty ballets of the period from 1615-1633.2 The images provide exceptional evidence about how Louis XIII's favorite spectacles looked and their portrayal of carnival misrule and the burlesque extravagances of a topsy-turvy world surpasses the ingenuity of all others of the period. Journalists covering a New York City exhibit of these drawings stressed such themes above all, echoing McGowan's claim that from 1620 until 1643. the grotesque ballet was preeminent in France, in contrast with other European courts. (Kisselgoff: "Early Court Ballet" 9; 39-48) At the same time the drawings also feature Louis and Anne of Austria dancing noble roles (figures 93 and 119, acquired by the New York Public Library) in triumphs of royal majesty reminiscent of Stuart masques. I propose to examine pictorial evidence here of these burlesque and noble treatments of music and dance, treatments ridiculing and celebrating the highest accomplishments of harmony. -
Antonin Dvorak, Biblical Songs, Op. 99: a Transcription for Wind Orchestra with Historical Context and Transcription Method
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 Antonin Dvorak, Biblical Songs, Op. 99: A transcription for wind orchestra with historical context and transcription method Raymond T. Brown University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Brown, Raymond T., "Antonin Dvorak, Biblical Songs, Op. 99: A transcription for wind orchestra with historical context and transcription method" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 887. http://dx.doi.org/10.34917/2238502 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. ANTONIN DVORAK, BIBLICAL SONGS, Op.99: A TRANSCRIPTION FOR WIND ORCHESTRA WITH HISTORICAL CONTEXT AND TRANSCRIPTION METHOD by Raymond Thomas Brown Bachelor of Music Education Brigham -
Rusalka and the Snow Maiden: a Comparative Study of Two Fairytale Operas
UNLV Theses, Dissertations, Professional Papers, and Capstones 12-1-2020 Rusalka and the Snow Maiden: A Comparative Study of Two Fairytale Operas Olivera Gjorgoska Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Gjorgoska, Olivera, "Rusalka and the Snow Maiden: A Comparative Study of Two Fairytale Operas" (2020). UNLV Theses, Dissertations, Professional Papers, and Capstones. 4052. https://digitalscholarship.unlv.edu/thesesdissertations/4052 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. RUSALKA AND THE SNOW MAIDEN: A COMPARATIVE STUDY OF TWO FAIRYTALE OPERAS By Olivera Gjorgoska Bachelor of Music University Saints Cyril and Methodius Skopje 2011 Master of Arts - Vocal Performance Florida Atlantic University 2014 A dissertation submitted in partial fulfillment of the -
Dvorak Symphonies.Pdf
EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century to the Present A Discography of CDs and LPs Prepared by Michael Herman Antonín Dvořák (1841-1904, Czech) Born in Nelahozeves, near Kralupy, Bohemia. As a youth he was taught singing, the violin, organ and piano and at the Prague Organ School, he was taught continuo, harmony, modulation, the playing of chorales, improvising, and counterpoint and fugue. He began his professional career as a violist and a piano teacher. He soon began his career as a composer and went on to become his country's greatest romantic composer, excelling in every genre from opera to works for solo instruments and voices with an orchestral and chamber output of astonishing brilliance. He taught at the Prague Conservatory and went to New York for four years to take the post of artistic director and professor of composition at the National Conservatory of Music in America. Symphony No. 1 in C minor "The Bells of Zlonice" (1865) Ivan Anguelov/Slovak Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8 and 9 and Czech Suite) OEHMS OC376 (5 CDs) (2005) Jiří Bělohlávek/Czech Philharmonic Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8 and 9, Piano Concerto, Violin Concerto and Cello Concerto) DECCA 4786757 (6 CDs) (2014) Marcus Bosch/Nuremberg State Philharmonic Orchestra COVIELLO CLASSICS COV91718 (2017) Karel Mark Chichon/Deutsche Radio Philharmonie, Saarbrücken Kaiserslautern ( + Rhapsody Op.14) HÄNSSLER CLASSIC HAEN 93330 (2015) Sir Andrew Davis/Philharmonia Orchestra (rec. 1980) ( + Symphonies Nos. 2, 3, 4, 5, 6, 7, 8 and 9, Serenade for Strings, Slavonic Dances, Op.