R a I R a D I O 5 C L a S S I C a Domenica 18. 10. 2015

Total Page:16

File Type:pdf, Size:1020Kb

R a I R a D I O 5 C L a S S I C a Domenica 18. 10. 2015 RAI RADIO5 CLASSICA sito web: www.radio5.rai.it e-mail: [email protected] SMS: 347 0142371 televideo pag. 539 Ideazione e coordinamento della programmazione a cura di Massimo Di Pinto gli orari indicati possono variare nell'ambito di 4 minuti per eccesso o difetto DOMENICA 18. 10. 2015 00:00 EUROCLASSIC NOTTURNO: musiche di albicastro, henricus (1660ca. - 1730), schubert, franz (1797-1828), vanhal, johann baptist (1739-1813), anonimo, du mont, henry (1610-1684), schoeck, othmar (1886-1957), beethoven, ludwig van (1770-1827), anonimo del XVII secolo, brahms, johannes (1833-1897) e nielsen, carl (1865-1931). 02:00 Il ritornello: riproposti per voi i programmi trasmessi ieri sera dalle ore 20:00 alle ore 24:00 06:00 PICCOLA ANTOLOGIA: henry purcell: ode per il compleanno della regina maria - brani scelti - [8.41] - james bowman e christoper robson, contrten; orch e coro of the age of enlightenment dir. gustav leonhardt - mauro giuliani: grand pot-pourri su temi di mozart e di altri autori per fl e chit op. 53 - [10.09] - mikael helasvuo, fl; jukka savijoky, chit - frédéric chopin: tre valzer per pf op. 34 - [10.41] - zoltan kocsis, pf - arcangelo corelli: sonata in fa mag per vl e b. c. op. 5 n. 10 - [9.03] - elem dell'orch da camera "accademia bizantina": stefano montanari, vl; mauro valli, vcl; nicola dal maso, violone; tiziano bagnati, arciliuto e chit; romano valentini, org; ottavio dantone, cemb - william boyce: sinfonia in re mag op. 2 n. 5 - [8.05] - academy of st. martin in-the-fields dir. neville marriner - vincenzo bellini: tre ariette da camera per voce e chit - [8.13] - david daniels, contrten; craig ogden, chit 07:00 ALMANACCO IN MUSICA: baldassarre galuppi (burano, 18 ottobre 1706 - venezia, 3 gennaio 1785): sonata in do mag per cemb - [12.18] - ilario gregoletto, cemb - charles gounod (parigi, 17 giugno 1818 - saint-cloud, 18 ottobre 1893): petite symphonie in si bem mag per strum a fiato - [20.08] - elem del compl strum "fidelio" - johannes brahms: schicksalslied (canto del destino) per coro e orch op. 54 - [14.46] - orch sinf e coro nazionale danese dir. gerd albrecht - frédéric chopin: preludio n. 25 in do die min op. 45 - [4.38] - pianista: nelson freire (boa esperança, 18 ottobre 1944) 08:00 CONCERTO DEL MATTINO: mozart, wolfgang amadeus (1756-1791): messa in do mag per soli coro orch e org K 317 "messa dell'incoronazione" - [23.37] - marinella pennicchi, sopr; catherine patriasz, contr; zeger vandersteene, ten; jelle draijer, bs; jacques ogg, org; orch of the 18th century e coro da camera dei paesi bassi dir. frans brüggen - schumann robert (1810-1856): bunte blätter, quattordici pezzi per pf op. 99 - [35.03] - arcadi volodos, pf - rosenthal, manuel (1904-2003): gaité parisienne, balletto su musiche di jacques offenbach - [29.12] - orch berliner philharmoniker dir. herbert von karajan 09:30 INTERMEZZO BAROCCO: peter philips: cinque composizioni per strum a tastiera - [28.48] - emer buckley, cemb 10:00 ARCHIVIO RAI: wolfgang amadeus mozart: concerto in la mag K 414 (vers per quintetto dall'orig per pf e orch) - [23.00] - quartetto michelangelo: elena matteucci, pf; francesca vicari, vl; luca sanzò, vla; francesco sorrentino, vcl; con susanna pisana, vl (reg. 25/06/2006) - ludwig van beethoven: meeresstille und glückliche fahrt (calma di mare e viaggio felice), per coro e orch op. 112 - [8.58] - orch sinf nazionale della RAI e collegium vocale gent dir. neville marriner - m° del coro: christoph siebert (reg. 10/10/2008) - felix mendelssohn bartholdy: trio n. 2 in do min per vl vcl e pf op. 66 - [27.21] - trio di torino: sergio lamberto, vl; umberto clerici, vcl; giacomo fuga, pf (reg. 18/05/2008) - johannes brahms: concerto n. 2 per pf e orch in si bem mag op. 83 - [48.27] - andrea lucchesini, pf; orch sinf nazionale della RAI dir. yutaka sado (reg. 23/02/2006) - francis poulenc: caprice (d'après le bal masqué) - [4.23] - paola biondi e debora brunialti, pf (reg. 26/06/2005) 12:00 MONOGRAFIE: GIDON KREMER: wolfgang amadeus mozart: concerto per vl e orch n. 2 in re mag K 211 - [19.43] - concerto per vl e orch n. 3 in sol mag K 216 - [22.34] - kremerata baltica; vl e dir. gidon kremer 12:45 INTERMEZZO BAROCCO: johann sebastian bach: sonata in mi mag per fl e b. c. BWV 1035 - [10.11] - marc beaucoudray, fl; william christie, cemb 13:00 UNA VOCE POCO FA: ANGELIKA KIRCHSCHLAGER: bach, johann sebastian (1685-1750): wo zwei und drei versammelt sind, aria dalla cantata BWV 42 - [10.23] - venice baroque orch dir. andrea marcon - haendel, georg friedrich (1685-1759): ariodante: con l'ali di costanza (atto 1°) - [7.14] - orch da camera di basilea dir. laurence cummings - strauss, johann jr (1825-1899): due arie per voce e orch - [7.34] - niederösterreichisches tonkünstler orch dir. alfred eschwé - dvorak, antonin (1841-1904): tre melodie (nn. 2, 6 e 5) da "zigeunermelodien" - sette canti zigani per voce e pf op. 55 - [3.25] - angelika kirchschlager, msopr; helmut deutsch, pf - wolf, hugo (1860-1903): sei lieder per voce e pf da "gedichte von mörike" - [17.55] - angelika kirchschlager, msopr; roger vignoles, pf - strauss, richard (1864-1949): der rosenkavalier: mir ist die ehre widerfahren (duetto atto 2°) - [7.04] - angelika kirchschlager, msopr; con natalie dessay, sopr; orch della royal opera house covent garden di londra dir. antonio pappano 14:00 UN'ORA CON... SOL GABETTA: vivaldi, antonio (1678-1741): concerto in si bem mag per vcl archi e b. c. RV 423 - [10.53] - orch da camera "cappella gabetta" dir. andrés gabetta - respighi, ottorino (1879-1936): adagio con variazioni per vcl e orch - [11.45] - orch sinf nazionale danese dir. mario venzago - shostakovitch, dmitri (1906-1975): sonata in re min per vcl e pf op. 40 - [27.05] - sol gabetta, vcl; hélène grimaud, pf - vasks, peteris (1946): dolcissimo, n. 2 da "gramata cellam" per vcl solo (e voce ad lib) - [7.27] - sol gabetta, vcl e voce 15:00 LE PIACE ... VAUGHAN WILLIAMS?: vaughan williams, ralph (1872-1958): english folk song, suite per orch - [9.17] - royal liverpool philharmonic orch dir. james judd - concerto in do per pf e orch - [27.39] - ashley wass, pf; royal liverpool philharmonic orch dir. james judd - the lark ascending (l'ascesa dell'allodola), romanza per vl e orch - [17.40] - nigel kennedy, vl; city of birmingham symphony orch dir. simon rattle 16:00 CONCERTO ITALIANO: bernardo pasquini: ricercare per cemb "con la fuga in più modi" - [13.43] - roberto loreggian, cemb - tomaso albinoni: concerto a cinque in re mag per ob orch d'archi e b.c. op. 9 n. 2 - [12.08] - anthony robson, ob; orch da camera collegium musicum 90 dir. simon standage - ottorino respighi: toccata per pf e orch - [24.52] - geoffrey tozer, pf; BBC philharmonic orch dir. edward downes 17:00 POMERIGGIO A TEATRO: gioachino rossini: l'occasione fa il ladro, burletta per musica in un atto - [85.03] - personaggi ed interpreti: berenice: maria bayo, sopr; don parmenione: natale de carolis, bs; conte alberto: iorio zennaro, ten; ernestina: francesca provvisionato, msopr; martino: fabio previati, bs; don eusebio: fulvio massa, ten; english chamber orch dir. marcello viotti - piotr ciajkovskij: polonaise, dal III atto dell'opera "eugen onegin" - [5.00] - orch del teatro kirov di san pietroburgo dir. valery gergiev - la bella addormentata, brani scelti dal balletto op. 66 - [26.47] - philadelphia orch dir. eugène ormandy 19:00 INTERLUDIO: jan ladislav dussek (1760 - 1812): sonata per pf op. 64 in la bem mag "le retour a paris (plus ultra)" - [32.43] - andreas staier, fortepiano - concerto per pf e orch in fa mag op. 27 - [21.33] - maria garzon, pf; orch da camera "neues rheinisches" dir. jan corazolla 20:00 MONOGRAFIE: GIULIANO CARMIGNOLA: antonio vivaldi: concerto in si min per vl archi e basso continuo RV 386 - [11.43] - concerto in re min per vl archi e basso continuo RV 235 - [11.21] - in mi bem mag per vl archi e basso continuo RV 258 - [12.26] - concerto in fa mag per vl archi e basso continuo rv 296 - [13.04] - giuliano carmignola, vl; venice baroque orchestra dir. andrea marcon 20:50 INTERMEZZO PIANISTICO: robert schumann: improvviso per pf su un tema di clara wieck op. 5 - [7.47] - vladimir sofronitsky, pf 21:00 LA BIBLIOTECA DI BABELE: dowland, john (1562-1626): tre composizioni per liuto - [12.35] - konrad ragossnig, liuto - rossini, gioachino (1792-1868): la gazza ladra, sinfonia dall'opera - [10.28] - philharmonia orch dir. carlo maria giulini - schubert, franz (1797- 1828): quintetto in la mag per pf vl vla vcl e cb op. 114 post (D 667) "la trota" - [40.14] - trio leopold: marianne torse, vl; lawrence power, vla; kate gould, vcl; con paul lewis, pf; graham mitchell, cb - bizet, georges (1838-1875): l'arlesienne, brani scelti dalle musiche di scena per il dramma di daudet - [25.20] - orch da camera di basilea dir. christopher hogwood - berg, alban (1885-1935): concerto per vl e orch "alla memoria di un angelo" - [28.06] - isabelle faust, vl; orch mozart dir. claudio abbado 23:00 EVOLUZIONE DELLA FORMA: IL QUARTETTO PER ARCHI: luigi boccherini: quartetto in do mag per archi op. 33 n. 2 - [11.04] - elementi del compl strum the revolutionary drawing room: graham cracknell e adrian butterfield, vl; judith tarling, vla; angela east, vc - felix mendelssohn bartholdy: quartetto in fa min n. 6 per archi op. 80 - [26.14] - quartetto d' archi ysaye: christophe giovaninetti e luc marie aguera, vl; miguel da silva, vla; michel poulet, vc - gyorgy ligeti: quartetto n. 1 per archi (metamorphoses nocturnes) - [20.08] - quartetto hagen: lukas hagen e rainer schmidt, vl; veronika hagen, vla; clemens hagen, vcl LUNEDI’ 19.
Recommended publications
  • Bernard Coutaz Carlos Sandúa Las Músicas Del Agua La ONE Republicana Natalie Dessay Peter Donohoe Lado Ataneli Gaspard De La N
    REVISTA DE MÚSICA Año XXIII - Nº 228 - Marzo 2008 - 6,50 € DOSIER Las músicas del agua ENCUENTROS ROLA Bernard Coutaz ND Carlos Sandúa C O ACTUALIDAD R V E IL Natalie Dessay A L N A Peter Donohoe D ZÓN Lado Ataneli O EM REPORTAJE OCIONES La ONE republicana Año XXIII - Nº 228 Marzo 2008 REFERENCIAS Gaspard de la nuit de Ravel INTERIORPORTADA FILM:SCHERZO 22/2/08 18:37 Página 1 1-16 FILM:SCHERZO 22/2/08 17:36 Página 1 AÑO XXIII - Nº 228 - Marzo 2008 - 6,50 € 2 OPINIÓN DOSIER Las músicas del agua CON NOMBRE José Luis Carles PROPIO y Cristina Palmese 113 6 Natalie Dessay Rafael Banús Irusta ENCUENTROS 8 Peter Donohoe Bernard Coutaz Bruno Serrou Emili Blasco 126 10 Lado Ataneli Carlos Sandúa Pablo J. Vayón Barbara Röder 132 12 AGENDA REPORTAJE La Orquesta Nacional 18 ACTUALIDAD Republicana NACIONAL Enrique Lacomba y Gúzman Urrero Peña 136 46 ACTUALIDAD INTERNACIONAL EDUCACIÓN Pedro Sarmiento 140 60 ENTREVISTA JAZZ Rolando Villazón Pablo Sanz 142 Juan Antonio Llorente LIBROS 144 64 Discos del mes LA GUÍA 146 65 SCHERZO DISCOS CONTRAPUNTO Norman Lebrecht 152 Sumario Colaboran en este número: Javier Alfaya, Julio Andrade Malde, Íñigo Arbiza, Emili Blasco, Alfredo Brotons Muñoz, José Antonio Cantón, José Luis Carles, Jacobo Cortines, Rafael Díaz Gómez, Pierre Élie Mamou, José Luis Fernández, Fernando Fraga, Germán Gan Quesada, Joaquín García, José Antonio García y García, Carmen Dolores García González, Juan García-Rico, José Guerrero Martín, Federico Hernández, Fernando Herrero, Bernd Hoppe, Paul Korenhof, Enrique Lacomba, Antonio Lasierra, Norman
    [Show full text]
  • Renaissance Receptions of Ovid's Tristia Dissertation
    RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological.
    [Show full text]
  • Reading Death in Ancient Rome
    Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus.
    [Show full text]
  • Programme Officiel Chant 2018
    PAGE 3 SGT JOHANIE MAHEU MESSAGE DE LA MESSAGE FROM GOUVERNEURE THE GOVERNOR GÉNÉRALE DU CANADA GENERAL OF CANADA La musique est à la fois un art rassembleur et un Music is both a unifying art and a means of escape. It moyen de s’évader. Elle dépasse les frontières lin- trans cends linguistic, cultural and temporal borders guistiques, culturelles et temporelles et elle donne and takes us on the most beautiful voyages. Stimulating lieu aux plus beaux voyages. Stimulant les esprits et minds and capturing the imagination, it resonates even suscitant l’imaginaire, elle résonne même dans les in the most distant lands. contrées les plus lointaines. Mastering the complex art of singing requires great MESSAGES Maîtriser cet art complexe qu’est le chant requiert discipline and perseverance, and more than a little 2018 passion. The incredible musicians taking part in the beaucoup de rigueur et de persévérance, sans ou- Concours musical international de Montréal (CMIM) blier de la passion. Les musiciens exceptionnels qui understand this and have devoted a significant part of prennent part au Concours musical international de their lives to cultivating their talent in the hope of one Montréal (CMIM) en savent quelque chose, eux qui day making their dreams come true. While spectators ont consacré une bonne partie de leur vie à cultiver can expect to witness breathtaking performances, the leur talent pour, un jour, concrétiser leurs rêves. Si participants themselves will have an experience like no les spectateurs peuvent s’attendre à assister à des other. performances à couper le souffle, les participants vivront quant à eux des expériences uniques.
    [Show full text]
  • A Prima Vista
    A PRIMA VISTA a survey of reprints and of recent publications 2003/1 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: 020-6796575 CDs: 020-6751653/fax: 020-6646759 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2003/1 PAGE HEADING 03 PIANO 2-HANDS 08 PIANO 4-HANDS, 2 AND MORE PIANOS 09 HARPSICHORD, ORGAN 12 KEYBOARD 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 13 VIOLIN SOLO, CELLO SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 13 VIOLIN with accompaniment 15 VIOLIN PLAY-ALONG 16 VIOLA with accompaniment, VIOLA PLAY-ALONG, CELLO with accompaniment 17 CELLO PLAY-ALONG, DOUBLE BASS with accompaniment, VIOLA DA GAMBA with accompaniment 17 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 21 FLUTE SOLO 22 OBOE SOLO, CLARINET SOLO 23 BASSOON SOLO, HORN SOLO, TROMBONE SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 24 PICCOLO with accompaniment, FLUTE with accompaniment 25 FLUTE PLAY-ALONG, OBOE with accompaniment 26 CLARINET with accompaniment, CLARINET PLAY-ALONG, SAXOPHONE with accompaniment 27 SAXOPHONE PLAY-ALONG, BASSOON with accompaniment 28 TRUMPET with accompaniment, TRUMPET PLAY-ALONG, HORN with accompaniment 29 TROMBONE with accompaniment, BARITONE with accompaniment 30 TENOR HORN with accompaniment, TUBA with accompaniment 2 AND MORE WIND INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 30 2 AND MORE WOODWIND INSTRUMENTS 33 2 AND MORE BRASS INSTRUMENTS, COMBINATIONS OF WOODWIND AND BRASS INSTRUMENTS 34 COMBINATIONS OF WIND AND STRING INSTRUMENTS 35 RECORDER 37 GUITAR 39 HARP, PERCUSSION 41 MISCELLANEOUS 42 SOLO VOICE, SOLO VOICE(S) AND/OR CHOIR WITH INSTRUMENTAL ACCOMPANIMENT 46 SOLO VOICE(S) AND/OR CHOIR WITH ORCHESTRAL ACCOMPANIMENT, UNACCOMPANIED CHOIR 47 UNACCOMPANIED CHOIR 49 OPERA, OPERETTA, MUSICAL, ORATORIO, ORCHESTRA WITH AND WITHOUT INSTRUMENTAL SOLOISTS 51 BOOKS OF MUSICAL INTEREST 62 CD-ROMs 63 CDs compilation by Jan A.
    [Show full text]
  • Ann Hassan's Annotations to Geoffrey Hill's Speech!
    Annotations to Geoffrey Hill's Speech! Speech! ANN HASSAN Annotations to Geoffrey Hill’s Speech! Speech! Annotations to Geoffrey Hill’s Speech! Speech! Ann Hassan Glossator Special Editions ANNOTATIONS TO GEOFFREY HILL’S SPEECH! SPEECH! © Ann Hassan, 2012. This work is licensed under the Creative Commons Attribution-NonCommerical-NoDerivs 3.0 Unported License. To view a copy of this license, visit: http://creativecommons.org/licenses/by-nc-nd/3.0, or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This work is ‘Open Access,’ which means that you are free to copy, distribute, display, and perform the work as long as you clearly attribute the work to the authors, that you do not use this work for commercial gain in any form whatsoever, and that you in no way alter, transform, or build upon the work outside of its normal use in academic scholarship without express permission of the author and the publisher of this volume. For any reuse or distribution, you must make clear to others the license terms of this work. First published in 2012 by Glossator Special Editions, an imprint of punctum books (Brooklyn, NY) for Glossator: Practice and Theory of the Commentary (glossator.org). Glossator publishes original commentaries, editions and translations of commentaries, and essays and articles relating to the theory and history of commentary, glossing, and marginalia. The journal aims to encourage the practice of commentary as a creative form of intellectual work and to provide a forum for dialogue and reflection on the past, present, and future of this ancient genre of writing.
    [Show full text]
  • University Micrdnlms International 300 N
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Fama and Fiction in Vergil's Aeneid
    Fama and Fiction in Vergil’s Aeneid For my sister, Lydia Fama and Fiction in Vergil’s Aeneid Antonia Syson The Ohio State University Press • Columbus Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Syson, Antonia Jane Reobone, 1973– Fama and fiction in Vergil’s Aeneid / Antonia Syson. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1234-9 (cloth : alk. paper) ISBN-10: 0-8142-1234-4 (cloth : alk. paper) ISBN-13: 978-0-8142-9336-2 (cd-rom) ISBN-10: 0-8142-9336-0 (cd-rom) 1. Virgil. Aeneis—Criticism and interpretation. 2. Epic poetry, Latin—History and criticism. 3. Rhetoric, Ancient. I. Title. PA6932.S97 2013 873'.01—dc23 2013014967 Cover design by Mia Risberg Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. Cover image: Master of the Aeneid (fl. ca. 1530–1540). Juno, Seated on a Golden Throne, Asks Alecto to Confuse the Trojans. France, Limoges, ca. 1530–35. Painted enamel plaque on copper, partly gilt, H. 9 in. (22.9 em) ; W. 8 in. (20.3 em.). Fletcher Fund, 1945 (45.60.6). The Metropolitan Museum of Art, New York, NY, U.S.A. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Chapter 1 • Introduction 1 1.1 The seams of fiction in
    [Show full text]
  • The Two Voices of Statius: Patronymics in the Thebaid
    The Two Voices of Statius: Patronymics in the Thebaid. Kyle Conrau-Lewis This thesis is submitted in total fulfilment of the requirements for the degree of Master of Arts School of Historical and Philosophical Studies University of Melbourne, November 2013. 1 This is to certify that: 1. the thesis comprises only my original work towards the degree of master of arts except where indicated in the Preface, 2. due acknowledgement has been made in the text to all other material used, 3. the thesis is less than 50,000 words in length, exclusive of tables, maps, bibliographies and appendices. 2 Contents Abstract 4 Introduction 5 Chapter 1 24 Chapter 2 53 Chapter 3 87 Conclusion 114 Appendix A 117 Bibliography 121 3 Abstract: This thesis aims to explore the divergent meanings of patronymics in Statius' epic poem, the Thebaid. Statius' use of language has often been characterised as recherché, mannered and allusive and his style is often associated with Alexandrian poetic practice. For this reason, Statius' use of patronymics may be overlooked by commentators as an example of learned obscurantism and deliberate literary self- fashioning as a doctus poeta. In my thesis, I argue that Statius' use of patronymics reflects a tension within the poem about the role and value of genealogy. At times genealogy is an ennobling feature of the hero, affirming his military command or royal authority. At other times, a lineage is perverse as Statius repeatedly plays on the tragedy of generational stigma and the liability of paternity. Sometimes, Statius points to the failure of the son to match the character of his father, and other times he presents characters without fathers and this has implications for how these characters are to be interpreted.
    [Show full text]
  • OPUSCOLI RACCOLTI NELLA BIBLIOTECA CAPITOLARE SCATOLA. Sala 1 Scaff. 1 F 174 1 ADRIANO AUGUSTO MICHIELI CHI FU E COSA FECE RUSTICIANO DA PISA - 1925 - Sala 1 Scaff
    OPUSCOLI RACCOLTI NELLA BIBLIOTECA CAPITOLARE SCATOLA. Sala 1 Scaff. 1 F 174 1 ADRIANO AUGUSTO MICHIELI CHI FU E COSA FECE RUSTICIANO DA PISA - 1925 - Sala 1 Scaff. 1 F 174 2 ADRIANO AUGUSTO MICHIELI PER LA STORIA DELLA SOCIETA' DEI XL - 1940 - Sala 1 Scaff. 1 F 174 3 ADRIANO AUGUSTO MICHIELI I LONTANI PRECEDENTI DELLA SISTEMAZIONE DELL'ADIGE - 1940 - Sala 1 Scaff. 1 F 174 4 ADRIANO AUGUSTO MICHIELI IL CANONICO TRIVIGIANO PAOLO APROINO DISCEPOLO ED AMICO DI GALILEI Sala 1 Scaff. 1 F 174 5 ADRIANO AUGUSTO MICHIELI ORAZIO ANTINORI - 1942 - Sala 1 Scaff. 1 F 174 6 ADRIANO AUGUSTO MICHIELI UNA FAMIGLIA DI MATEMATICI E DI POLIGRAFI TRIVIGIANI - IACOPO RICCATI - 1943 - Sala 1 Scaff. 1 F 174 7 ADRIANO AUGUSTO MICHIELI UNA FAMIGLIA DI MATEMATICI E DI POLIGRAFI TRIVIGIANI - VINCENZO RICCATI - 1943 - Sala 1 Scaff. 1 F 174 8 ADRIANO AUGUSTO MICHIELI UNA FAMIGLIA DI MATEMATICI E DI POLIGRAFI TRIVIGIANI - GIORDANO RICCATI - 1943 - Sala 1 Scaff. 1 F 174 9 ADRIANO AUGUSTO MICHIELI UNA FAMIGLIA DI MATEMATICI E DI POLIGRAFI TRIVIGIANI - FRANCESCO RICCATI - 1943 - Sala 1 Scaff. 1 F 174 10 ADRIANO AUGUSTO MICHIELI LA STORIA DI UN CORPO SANTO E UN DONO DEI REZZONICO - 1945 - Sala 1 Scaff. 1 F 174 11 ADRIANO AUGUSTO MICHIELI ANCORA DEL CAN. PAOLO APROINO DELLA SUA GENTE E DELLA COLTURA DEL SUO TEMPO Sala 1 Scaff. 1 F 174 12 ADRIANO AUGUSTO MICHIELI UN GRANDE STUDIOSO DELLA MONTAGNA : QUINTINO SELLA Sala 1 Scaff. 1 F 174 13 ADRIANO AUGUSTO MICHIELI TRE SCIENZATI DA NON SCORDARE Sala 1 Scaff. 1 F 174 14 ADRIANO AUGUSTO MICHIELI UN MAESTRO DI IACOPO RICCATI : STEFANO DEGLI ANGELI Sala 1 Scaff.
    [Show full text]
  • Satire in the Victorian Novel
    aiorttell mritu^raii^lSthtatg Stljata, New loth BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 DATE DUE PRINTEOINU^.A. Cornell University Library PR 878.S3R96 Satire in the Victorian novel. 3 1924 013 281 047 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924013281047 SATIRE IN THE VICTORIAN NOVEL THE MACMILtAN COMPANY HZW ¥ORE BOSTON • CHICAGO DALLAS ATLAHTA • SAN IXANdSCO MACMILLAN & CO., LnoTED LONDON BOUBAY ' CALCUTTA MELBOUKNE THE MACMnXAN CO. OF CANADA, Lid. lOKONIO SATIRE IN THE VICTORIAN NOVEL BY FRANCES THERESA RUSSELL, Ph.D. ASSISTANT PROFESSOR OF ENGLISH, STANFORD UNIVERSITY S9'?m lark THE MACMILLAN COMPANY 1920 All riihU reserved A^(^ lO-JZi COFYSIGHT, 1920 Bv THE MACMILLAN COMPANY Set up and electrotyped. Published January, igzo. VIRO DOCTISSIMO DAVID STARR JORDAN ET DIS MANIBUS GUILELMI JAMES SACRUM QUI MIHI TEMPORE MEO GRAVISSIMO, NOVA SUPPEDITANTES OFFICIA NOVAM VIT^ SEMITAM MONSTkAVERUNT PREFACE If the following monograph were to be presented from the point of view of a proponent, the author would be put triply on the defensive in relation to the theme. For, from one cause or another, the trio of terms in the title lies under a certain blight of critical opinion. Satire, being a thistle "pricked from the thorny branches of reproof," cannot expect to be cherished in the sensitive human bosom with the welcome accorded to the fair daffodil or the sweet violet.
    [Show full text]
  • Rubens Russomano Ricciardi
    Rubens Russomano Ricciardi MANUEL DIAS DE OLIVEIRA Um compositor brasileiro dos tempos coloniais – partituras e documentos. Departamento de Música da Escola de Comunicações e Artes da Universidade de São Paulo Orientador: Prof. Dr. Olivier Toni (Exigência parcial para obtenção do título de Doutor em Artes) Este exemplar já contém as correções e acréscimos, de acordo com a Errata apresentada por ocasião da defesa da tese e aceita pela banca. São Paulo, 2000 2 Ao mestre Adhemar Campos Filho, In Memoriam 3 RESUMO Os objetivos principais desta dissertação são as transcrições e revisões musicológicas, entre outras, de obras inéditas de Manuel Dias de Oliveira, ao lado de um levantamento de fontes históricas, não só para o estudo de sua vida e obra, mas abrangendo também diversos aspectos da música no Brasil dos tempos coloniais. 4 BANCA EXAMINADORA: Prof. Dr. José Eduardo Gandra da Silva Martins (CMU-ECA-USP) (Presidente da Banca) Prof. Dr. Gilberto Ambrósio Garcia Mendes (CMU-ECA-USP) Prof. Dr. Marco Antônio da Silva Ramos (CMU-ECA-USP) Prof. Dr. Ricardo Tacuchian (UNI-RIO) Prof. Dr. Rodolfo Coelho de Souza (Universidade Federal do Paraná) 5 Agradecimentos Meu sincero agradecimento a pesquisadores e mestres não significa que eles compartilhem necessariamente do conteúdo desta dissertação, que é de minha inteira responsabilidade, inclusive suas incorreções. Ao mestre Adhemar Campos Filho - In Memoriam - por ter me contagiado com sua paixão pela música de Manuel Dias de Oliveira. Ao Prof. Olivier Toni, desde 1979, meu orientador e mestre, a quem devo minha formação. Ao Prof. Régis Duprat, pelas elucidações históricas, filosóficas e musicológicas. Ao regente John Neschling, pela estréia de obras de Manuel Dias de Oliveira frente à Orquestra Sinfônica do Estado de São Paulo, muito contribuindo para o aprimoramento de minhas revisões musicológicas.
    [Show full text]