DOCSLIB.ORG

© in This Web Service Cambridge University Press Cambridge University Press 978-0-521-66319-9

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Cambridge University Press 978-0-521-66319-9 - The Cambridge History of Eighteenth-Century Music Edited by Simon P. Keefe Index More information Index Abel, Carl Friedrich 420, 597, 620, 635, 652 Animuccia, Giovanni 65 Academy of Ancient Music (originally Anna Amalia, Duchess 357 Academy of Vocal Music) 8, 195, 543 Annus qui 104–6 Accademia degli Arcadi 513–21 Anseaume, Louis 307 Addison, Joseph 10, 17 Antes, John 176 Adlgasser, Anton Cajetan 96 Antonicek, Theophil 61 Affektenlehre 187–8 Antoniotto, Giorgio 521 Affligio (Afflisio), Giuseppe 244 Aparicio, José de Orejón y 46 Agujari, Lucrezia 257 Apel, August 639 Alai, Mauro d’ 588 Araja, Francesco 15 Alarcón, Francisco Jiménez de 46 Araujo, Juan de 46 Albicastro, Henricus 568 Ariosti, Attilio 528 Albinoni, Tomaso 19, 161, 248, 519, 566, Arndt, Ernst Moritz 664 568, 584, 588 Arne, Michael 397, 472 Pimpinone 232 Arne, Thomas 385, 396, 530, 602 Albizzi, Luca Casimiro degli 218 Artaxerxes 388, 393, 530 Albrechtsberger, Johann Georg 77, 79, 99, Eliza 391 648, 650, 658, 674 Arnold, Samuel 169 Gründliche Anweisung zur Composition 186 Arrezo, Guido d’ 52 Missa Sancti Augustini 107 Artaria 93, 675, 682 Die Pilgrime auf Golgotha 84 Aspelmayr, Franz 573, 649 Alembert, Jean Le Rond d’ 221 Attwood, Thomas 168, 670 Algarotti, Francesco 227, 229, 318 Auber, Daniel 575 Saggio sopra l’opera in musica 227, 228, 261 Audiffren, Jean 123 Allegri, Gregorio 30, 65, 648 Auersperg, Prince 239 Allgemeine musikalische Zeitung 659, 663, 665, Aufschnaiter, Benedikt Anton 566 668, 673, 674, 676, 678–9, 681, 682–3 Auletta, Pietro 235 Almeida, Francisco António de 55 Il Maestro di musica 297, 298 Amadei, Filippo 514 Austen, Jane 198 Amicis, Anna de 255 Avison, Charles 567, 601 Amsterdam 3, 19, 161, 439, 557, 588, 589 André, Johann 356, 357, 358–9, 362, 363, Bach, Carl Philipp Emanuel 128, 145, 147–8, 369, 372, 374, 667, 668, 670 165, 184, 188, 194, 448–9, 462, 463, Der Alchymist 359 469, 472, 487, 534–5, 634, 663, 668, 674 Barbier von Bagdad 374 Adriano in Siria 255 Claudine von Villa Bella 358 concertos 587, 591, 592, 598, 604–5, 606, Elmine 359, 362, 363 609, 611 Der Töpfer 356 Heilig 153 Andrei, Antonio 325 Die Israeliten in der Wüste 148 Anerio, Felipe 30 ‘Prussian’ sonatas 472, 478 Anfossi, Pasquale 222, 235, 236, 255, 667 Versuch über die wahre Art das Clavier zu Angiolini, Gasparo 242, 262, 266 spielen 186 [774] © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66319-9 - The Cambridge History of Eighteenth-Century Music Edited by Simon P. Keefe Index More information Index 775 Bach, Johann Bernard 563 Violin concerto in A minor (BWV 1041) Bach, Johann Christian 41, 254–5, 264, 474 585, 590 La clemenza di Scipione 255, 257 Violin concerto in E (BWV 1042) 602 concertos 591, 593, 594, 595, 597, 598, and the Vivaldian concerto 590 599, 602, 606, 607, 608, 609 Widerstehe doch der Sünde (BWV 54) Lucio Silla 264 137–8 Orione 255 Das Wohltemperierte Klavier 486–7 symphonies 620, 622, 623, 624, 628, 635 Der zufriedengestellte Äolus: Zerreisset, Bach, Johann Christoph 155 zerspringet, zertrümmert die Gruft Bach, Johann Ernst 145 (BWV 205) 504, 505 Bach, Johann Sebastian xv, 6, 11, 19, 21, 29, Bach, Wilhelm Friedemann 145, 591, 594, 72, 103, 127–8, 129, 130, 131, 144, 147, 667, 674 148, 151, 161–2, 165, 189, 194, 197, Baglioni, Antonio 249 344, 448, 458, 462, 486–7, 556, 560, Baillot, Pierre 658 589, 591–2, 593, 594, 606, 663, 668, 674 Ballard, Jean-Baptiste-Christophe 122, 123, Brandenburg Concerto no. 1 279, 282, 557 (BWV 1046) 586 Ballard family 525–6 Brandenburg Concerto no. 3 Bambini, Eustachio 296, 297, 298 (BWV 1048) 569 Banchieri, Adriano 648 Brandenburg Concerto no. 4 Banister, John 7 (BWV 1049) 586 Banning, Helmut 150 Brandenburg Concerto no. 5 (BWV 1050) Baretti, Giuseppe 515 586, 591 Barry, John 172 Brandenburg Concerto no. 6 Baudron, Antonine Laurent 651 (BWV 1051) 569 Bauman, Thomas 348, 355 cantatas 136–41, 145, 156, 195 Baumgarten, Alexander 188 Christmas Oratorio (BWV 248) 139, 452 Baurans, Pierre 302 Concerto for two harpsichords La Servant maitresse 302 (BWV 1061) 591 Beer, Johann 5–6, 12, 13, 16, 556 Concerto for two violins (BWV 1043) 596 Musicalische Discurse 5–6, 556 ‘Eighteen’ chorales (BWV 651–668) 164–5 Beer, Joseph 596 ‘English’ Suite no. 2 in A minor 457, 458 Beethoven, Ludwig van 29, 78, 457, 460, Goldberg Variations 66, 67, 467–8, 486 461, 462, 476, 479, 481–2, 485, 487, Gottes Zeit ist die allerbeste Zeit (BWV 106) 131 583, 586, 594, 595–6, 603, 608, 609, Italian Concerto (BWV 971) 591 637, 665, 666, 675–8, 681, 683 Komm, du süsse Todesstunde (BWV 161) 138 cadenzas for Mozart’s Piano Concerto, Komm, Jesu, komm (BWV 229) 149 K. 466 675–8 Magnificat (BWV 243) 130 ‘Diabelli’ Variations (Op. 126) 467, 469 Mass in B minor 86, 130, 445 Fidelio 309, 576 Mein Herz schwimmt im Blut (BWV 199) 137 Harmoniemusik by 575–6 Missa brevis (BWV 233–236) 130 Mass in C (Op. 86) 89 Mit Fried und Freud (BWV 125) 140–1 Missa solemnis 775, 90 motets 156–7, 158 piano concertos compared to Mozart’s 675 organ preludes 160 Piano Concerto No. 1 in C (Op. 15) 599, 601 Orgelbüchlein (BWV 599–644) 160, 163–4 Piano Concerto No. 2 in B-flat (Op. 19) 596 Overture-suites 563–4 Piano Concerto No. 3 in C minor (Op. 37) Partita in D minor for solo violin 603, 608, 610, 676 (BWV 1004) 467 Piano Concerto No. 4 in G (Op. 58) 593 Passacaglia and fugue in C minor for organ Piano Sonata (Op. 2 no. 1) in F minor 477 (BWV 582) 468 Piano Sonata (Op. 2 no. 2) in A 471, 478–9 Pièce d’orgue (BWV 572) 161 Piano Sonata (Op. 2 no. 3) in C 482, 483, 485 Praeludium in G major (BWV 541) 161–2 Piano Sonata (Op. 7) in E-flat 471, 482 ‘Schübler chorales’ (BWV 645–650) 162 Piano Sonata (Op. 10, no. 1) in C minor 482 St Matthew Passion (BWV 244) 144–5, 146 Piano Sonata (Op. 10, no. 2) in F 473, 482 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66319-9 - The Cambridge History of Eighteenth-Century Music Edited by Simon P. Keefe Index More information 776 Index Beethoven, Ludwig van (cont.) Billings, William 172–4, 176 Piano Sonata (Op. 13; ‘Pathetique’) The Continental Harmony 173 in C minor 483, 575 Music in Miniature 173 Piano Sonata (Op. 14 no. 1) in E 482 The New-England Psalm-Singer 173 Piano Sonata (Op. 53; ‘Waldstein’)inC Psalm-Singer’s Amusement 173 461, 471 Singing Master’s Assistant 173 Piano Sonata (Op. 111) in C minor 471 Suffolk Harmony 173 reception, early nineteenth century Billington, Elizabeth 387, 388, 393, 394 672–4, 679 Birck, Wenzel 73 String Quartet (Op. 135) in F 487 Blamont, François Collin de 280 string quartets Op. 18 656–8 Blanchard, Antoine 113 Symphony No. 1 in C 644 Blavet, Michel 299, 304, 317 Symphony No. 3 in E-flat (‘Eroica’) 481, Le jaloux corrigé 299 483, 638 Bleyer, Georg 558 Symphony No. 6 in F (‘Pastoral’) 638 Boccaccio 397 Symphony No. 7 in A 576 Boccherini, Luigi 45, 598, 630, 658, 667 variations for keyboard 469–72 Cello Concerto in B-flat 603 Violin Concerto in D (Op. 61) 598, 608 La casa del diavolo (symphony) 630 Beissel, Georg Conrad 175–6 string quartets 650–1, 652 Belcher, Supply 173 Bodenschatz, Erhard 155 Belknap, David 173 Bodmer, Johann Jakob 188 Bellini, Vincenzo 575 Böhm, Georg 131 Bellisen, Laurent 122 Der Himmelreich ist gleich einem Könige 131 Benda, Franz 4, 602 Boieldieu, François-Adrien 418 Benda, Jiří Georg Antonín 359–60, 361, 369, Bologna 18, 32, 33–4, 37, 51, 100, 197, 220 476, 667 Teatro Comunale (Teatro Pubblico) Ariadne auf Naxos 360 208, 220 Medea 360 Teatro Malvezzi 208, 220 Romeo und Julie 365–6 Bolsena, Andrea Adami da 514 Walder 365–6 Bondini, Pasquale 246, 248–9 Benevoli, Orazio 51 Bonnet, Jacques 195 Benucci, Francesco 246, 258 Bonno, Giuseppe 76 Berlin 5, 11, 92, 148, 188, 194, 229, 259, Isaaco figura del redentore 83 260–1, 351, 355–6, 358, 362, 371, 376, Il Giuseppe riconosciuto 84 422, 458, 534, 589, 592 Bononcini, Giovanni 252, 339, 518, 528 Berlioz, Hector 124 Cantata e Duetti 519, 520 Bernardi, Francesco; see Senesino Bordoni, Faustina 8, 253, 259, 264 Bernasconi, Andrea 83 Bouffler, Stanlaus-Jean de 313 Bertati, Giovanni 246, 247 Bourdelot, Pierre 195 Don Giovanni 249 Bournonville, Antoine 425 Bertoni, Fernando 35, 255 Bousset, Jean-Baptiste de 524, 525 Iphigenia in Aulide 228 Boyce, William 168, 170, 396–7, 501–2, Bernier, Nicolas 113, 119, 120, 522, 524 530, 541 Berton, Henri-Montan 418 Another Passing Year is Flown 501–2 Betterton, Thomas 9 Solomon 501 Bianchi, Francesco 251, 255 Boyd, Malcolm 497 La villanella rapita 245 Brady, Nicholas 171 Biavi, Abbate Giovanni 405–6 Braham, John 680 Trajano 405–6 Brahms, Johannes 476, 605 Biba, Otto 86, 459 Brandes, Charlotte 360 Biber, Carl Heinrich 13, 96 Brandes, Johann Christian 360 Biber, Heinrich Ignaz Franz von 96 Breitinger, Johann Jakob 188 Missa Salisburgensis 96 Breitkopf, Johann Gottlob Immanuel 615, Biechteler, Siegmund 96 620, 666, 669, 670, 673 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66319-9 - The Cambridge History of Eighteenth-Century Music Edited by Simon P.
Recommended publications
  • Iphigénie En Tauride

    Iphigénie En Tauride

    Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
  • Gloria in D RV 589

    Gloria in D RV 589

    Antonio VIVALDI Gloria in D RV 589 Soli (SSA), Coro (SATB) Oboe, Tromba 2 Violini, Viola, Basso continuo (Violoncello/Fagotto/Contrabbasso ed Organo) mit einem Vorwort und Kritischen Bericht von with a Foreword and Critical Report by Uwe Wolf herausgegeben von/edited by Günter Graulich Stuttgarter Vivaldi-Ausgaben Urtext Partitur/Full score C Carus 40.001/50 Inhalt Vorwort III Foreword IV 1. Gloria in excelsis Deo (Coro) 1 2. Et in terra pax (Coro) 10 3. Laudamus te (Soprano solo I e II) 19 4. Gratias agimus tibi (Coro) 24 5. Propter magnam gloriam tuam (Coro) 24 6. Domine Deus (Soprano solo) 27 7. Domine Fili unigenite (Coro) 30 8. Domine Deus, Agnus Dei (Alto solo e Coro) 38 9. Qui tollis peccata mundi (Coro) 42 10. Qui sedes ad dexteram Patris (Alto solo) 44 11. Quoniam tu solus sanctus (Coro) 49 12. Cum Sancto Spiritu (Coro) 52 Kritischer Bericht 62 Zu diesem Werk liegt folgendes Aufführungsmaterial vor: Partitur (Carus 40.001/50), Klavierauszug (Carus 40.001/53), Klavierauszug XL Großdruck (Carus 40.001/54), Chorpartitur (Carus 40.001/55), komplettes Orchestermaterial (Carus 40.001/69). The following performance material is available for this work: Full score (Carus 40.001/50), vocal score (Carus 40.001/53), vocal score XL in larger print (Carus 40.001/54), choral score (Carus 40.001/55), complete orchestral material (Carus 40.001/69). Das Gloria RV 589 wurde vom Estonian Philharmonic Chamber Choir unter Leitung von Tõnu Kaljuste auf CD eingespielt (Carus 83.325). The Gloria RV 589 is available on Carus CD with the Estonian Philharmonic Chamber Choir under the direction of Tõnu Kaljuste (Carus 83.325).
  • Masarykova Univerzita Filozofická Fakulta Ústav Hudební Vědy Teorie A

    Masarykova Univerzita Filozofická Fakulta Ústav Hudební Vědy Teorie A

    Masarykova univerzita Filozofická fakulta Ústav hudební vědy Teorie a provozovací praxe staré hudby Ing. Blanka Šedivcová Karnetová Bakalářská diplomová práce Opera Il Demofoonte (1771) Jana Antonína Koželuha Vedoucí práce: doc. PhDr. Jana Perutková, Ph.D. Brno 2016 Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené prameny a literaturu. .................................................... 2 Na tomto místě bych ráda poděkovala doc. PhDr. Janě Perutkové, Ph.D., za odborné vedení práce, cenné rady a trpělivost. Poděkování patří rovněž mým nejbližším za podporu. 3 OBSAH: 1. Úvod 5 2. Stručný životopis autora 7 3. Okolnosti provedení opery Il Demofoonte J. A. Koželuha - stav bádání 10 3.1 Primární prameny 10 3.2 Opera Il Demofoonte J. A. Koželuha v lexikách a monografiích 11 3.3 Dizertační práce Johann Anton Koželuch (1738-1814) – Život a dílo. 12 3.4 Diplomová práce Opera „Il Demofoonte“ Jana Antonína Koželuha. 14 4. J. A. Koželuh: Opera Il Demofoonte v souvislostech 15 4.1 Opera Il Demofoonte v kontextu tzv. „neapolského“ operního stylu 15 4.2 Přehled zhudebnění libreta Il Demofoonte Pietra Metastasia 17 4.3 Stručný děj opery 23 4.4 Rozdělení rolí 24 4.5 Koželuhova práce s textem libreta 26 5. Hudební zpracování opery 28 6. Edice partitury 37 6.1. Ediční zpráva 37 6.2. Popis pramene 38 6.3. Soupis edičních zásahů 40 7. Závěr 47 8. Resumé 48 9. Seznam použitých pramenů a literatury 49 10. Příloha: Edice Sinfonie, Árie Timanta a Duetta Dircey a Timanta z opery Il Demofoonte Jana Antonína Koželuha 52 1. Úvod Existuje mnoho indicií, z nichž lze vyvodit, že žánr italské opery byl v kulturním prostředí Prahy 18.
  • Howard Mayer Brown Microfilm Collection Guide

    Howard Mayer Brown Microfilm Collection Guide

    HOWARD MAYER BROWN MICROFILM COLLECTION GUIDE Page individual reels from general collections using the call number: Howard Mayer Brown microfilm # ___ Scope and Content Howard Mayer Brown (1930 1993), leading medieval and renaissance musicologist, most recently ofthe University ofChicago, directed considerable resources to the microfilming ofearly music sources. This collection ofmanuscripts and printed works in 1700 microfilms covers the thirteenth through nineteenth centuries, with the bulk treating the Medieval, Renaissance, and early Baroque period (before 1700). It includes medieval chants, renaissance lute tablature, Venetian madrigals, medieval French chansons, French Renaissance songs, sixteenth to seventeenth century Italian madrigals, eighteenth century opera libretti, copies ofopera manuscripts, fifteenth century missals, books ofhours, graduals, and selected theatrical works. I Organization The collection is organized according to the microfilm listing Brown compiled, and is not formally cataloged. Entries vary in detail; some include RISM numbers which can be used to find a complete description ofthe work, other works are identified only by the library and shelf mark, and still others will require going to the microfilm reel for proper identification. There are a few microfilm reel numbers which are not included in this listing. Brown's microfilm collection guide can be divided roughly into the following categories CONTENT MICROFILM # GUIDE Works by RISM number Reels 1- 281 pp. 1 - 38 Copies ofmanuscripts arranged Reels 282-455 pp. 39 - 49 alphabetically by institution I Copies of manuscript collections and Reels 456 - 1103 pp. 49 - 84 . miscellaneous compositions I Operas alphabetical by composer Reels 11 03 - 1126 pp. 85 - 154 I IAnonymous Operas i Reels 1126a - 1126b pp.155-158 I I ILibretti by institution Reels 1127 - 1259 pp.
  • The Howard Mayer Brown Libretto Collection

    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
  • Bibliographische Mitteilungen Aus Der Theatersammlung Rainer Theobald Nr

    Bibliographische Mitteilungen Aus Der Theatersammlung Rainer Theobald Nr

    Bibliographische Mitteilungen aus der Theatersammlung Rainer Theobald Nr. 5 Bibliographische Mitteilungen aus der Theatersammlung Rainer Theobald Nr. 5 Szene aus "Il Torneo a Piedi". Ferrara 1631; Kupferstich. Theatersammlung Rainer Theobald Vor 1800 in Italien gedruckte Libretti von Opern, Singspielen und Balletten, Nach Druckorten und chronologisch sortiert. Wo eine größere Anzahl von Stücken den gleichen Druckort und die gleiche Jahreszahl aufweist, kann es sich um Werkausgaben oder Anthologien handeln. Bologna 1673 Moda, La. Fauola morale. Rapresentata [!] in Musica nel Seminario di Luca [!]. Bologna 1673. 1673 Verità raminga, La. E’l disinganno. Drammi musicali ... aggiunti alla Moda. (Bologna 1673). 1721 Astarto. Drama per musica. Da rappresentarsi nel Teatro Malvezzi. Bologna (1721). 1742 Eumene. Dramma per musica. Da rappresentarsi nel Teatro Malvezzi. Bologna (1742). 1771 Orfeo, ed Euridice e Aristo, e Temira. Drammi per musica. Da rappresentarsi ... Bologna (1771). 1782 Albergatrice vivace, L’. Dramma giocoso per musica. Da rappresentarsi ... Bologna (1782). Casale 1739 Temistocle, Il. Dramma per musica. Da rappresentarsi nel Teatro ... 1739. Casale (1739). Cremona 1654 Avaritia depressa, L’. Fauoletta Morale. Rappresentata in Musica ... Cremona 1654. Stand: 19.11.2020 – Dr. Rainer Theobald – Kontakt: dr.rainer.theobald (at) web.de S. 1 Bibliographische Mitteilungen aus der Theatersammlung Rainer Theobald Nr. 5 Ferrara 1607 Filli di Sciro. Fauola Pastorale. (Ferrara 1607). 1631 Torneo a piedi, Il, e l’Inuenzione, ed Allegoria ... fatta rappresentare ... Ferrara 1631. Florenz 1620 Amorosa fede, L’. Tragicomedia pastorale. (Florenz 1620). 1646 Celio. Drama musicale. Rappresentato in Fiorenza ... Florenz (1646). 1688 Greco in Troia, Il. Festa teatrale rappresentata in Firenze ... Florenz 1688. 1729 Berenice, La. Dramma per musica. Da rappresentarsi in Livorno.
  • MUSIC and the VISUAL ARTS (FA 49D.01) SYLLABUS Lecturer: Rana Gediz İren (Rana.Iren@Boun.Edu.Tr) Spring 2021 Wednesdays, 2-5Pm

    MUSIC and the VISUAL ARTS (FA 49D.01) SYLLABUS Lecturer: Rana Gediz İren ([email protected]) Spring 2021 Wednesdays, 2-5Pm

    MUSIC AND THE VISUAL ARTS (FA 49D.01) SYLLABUS Lecturer: Rana Gediz İren ([email protected]) Spring 2021 Wednesdays, 2-5pm Course Description This course gives a broad overview of Western art music (a.k.a. Classical Music) from the Middle Ages to our times, using an interdisciplinary approach. The course will concentrate on the masterpieces of music from each time period, which will be studied within their historical and cultural contexts and in relation to the representative examples of visual arts (painting, sculpture and architecture in particular) of their times. The class aims to awaken and encourage an appreciation of Western art music and to allow students to draw comparisons and enjoy the connections between different art forms. No previous musical knowledge is needed. Course Objectives • Learn new musical repertoire and new pieces of visual art • Grasp the historical trajectory of both Western art music and of the visual arts • Learn how to think critically of arts as dynamic cultural products Course Material Musical examples will be heard and videos will be watched in each class. I will assign readings or some listening as homework most weeks. None of this will take more than half an hour of your time per week. Required Reading Joseph Kerman and Gary Tomlinson, Listen, 7th edition, Bedford/St. Martin’s Press, 2011. Craig Wright, The Essential Listening to Music, 6th edition, Cengage Learning, 2013. E. H. Gombrich, The Story of Art, Phaidon Press. Evaluation 1. Mid-term exam (25%) 2. Final exam (25%) 3. Two assignments (50%) (25% each) Assignments: 1.
  • Apostolo Zeno Ormisda (Cosroe)

    Apostolo Zeno Ormisda (Cosroe)

    Apostolo Zeno Ormisda (Cosroe) a cura di Giordano Rodda, con una prefazione di Alberto Beniscelli Biblioteca Pregoldoniana lineadacqua edizioni 2017 Apostolo Zeno Ormisda (Cosroe) Apostolo Zeno Ormisda (Cosroe) a cura di Giordano Rodda, con una prefazione di Alberto Beniscelli 2017 Giordano Rodda, Alberto Beniscelli 2017 lineadacqua edizioni Biblioteca Pregoldoniana, nº 19 Collana diretta da Javier Gutiérrez Carou www.usc.es/goldoni [email protected] Venezia - Santiago de Compostela lineadacqua edizioni san marco 3717/d 30124 Venezia www.lineadacqua.com ISBN: 978-88-95598-70-3. La presente edizione è risultato dalle attività svolte nell’ambito del progetto di ricerca Archivo del teatro pregoldo- niano II: base de datos y biblioteca pregoldoniana (ARPREGO II: FFI2014-53872-P), finanziato dal Ministerio de Eco- nomía y Competitividad spagnolo. Lettura, stampa e citazione (indicando nome del curatore e del prefatore, titolo e sito web) con finalità scientifiche sono permesse gratuitamente. È vietata qualsiasi utilizzo o riproduzione del testo a scopo commerciale (o con qualsiasi altra finalità differente dalla ricerca e dalla diffusione culturale) senza l’esplicita autorizzazione del curatore, del prefatore e del direttore della collana. Apostolo Zeno Ormisda (Cosroe) a cura di Giordano Rodda, con una prefazione di Alberto Beniscelli Biblioteca Pregoldoniana (I dintorni), nº 19 Indice Prefazione, di Alberto Beniscelli 9 Introduzione 13 1. Il giorno del debutto 13 2. Prima di Zeno. Cellot, Rotrou, Corneille 17 3. L’Ormisda del 1721 26 4. Le ragioni del sangue. Maria Teresa e Artenice 29 5. Esibite noncuranze. La messa in scena dell’Ormisda 36 Nota al testo 41 Ormisda 47 Argomento 49 Attori 50 Atto I 51 Atto II 69 Atto III 87 Apparato 107 Commento 119 Nota sulla fortuna 127 Appendice 133 Bibliografia 167 Prefazione L’Ormisda di Apostolo Zeno viene rappresentato la prima volta nel 1721, presso il Teatro di Corte e su partitura di Antonio Caldara, in occasione dell’onomastico di Carlo VI d’Asburgo.
  • METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In

    METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In

    METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M.
  • VIVALDI the Sixteen’S Familiar Virtues.” Bbc Music Magazine Gloria

    VIVALDI the Sixteen’S Familiar Virtues.” Bbc Music Magazine Gloria

    CORO CORO The BACH Collection cor16072 “Superlative, demonstrating all VIVALDI The Sixteen’s familiar virtues.” bbc music magazine Gloria The HANDEL Collection cor16080 BACH “Overall, this disc ranks as The Sixteen’s Mass in G major most exciting achievement in its impressive Handel discography.” gramophone on Coronation Anthems The Sixteen To find out more about The Sixteen, concert tours, and to buy CDs visit HARRY CHRISTOPHERS www.thesixteen.com cor16162 ach, Handel and Vivaldi: simply accentuates Bach’s genius. Whilst Vivaldi evokes sheer beauty and surely the three greatest simplicity in his aria Domine Deus with that tender oboe solo in conversation with composers of the baroque the soprano, Bach treats us to a highly ornamental Quoniam where oboe and tenor Bera and without doubt the most create a dialogue of word painting in abundance. versatile. On this album we get a glimpse of their very different and Not to be outdone, Handel also plagiarised not only other composers’ works but, contrasting approaches to sacred like Bach, his own as well. Much of his oratorio Esther is borrowed from his earlier music: the Catholic effervescence Borggreve Marco Photograph: works, but the Grand Chorus which closes Esther is something of a rarity. First and of Vivaldi, the majesty and foremost, it is one of the longest choruses Handel ever wrote, coming in at close dramatic perspicacity of Handel on ten minutes in length; in actual fact, it is not so much a chorus but a verse- and the indisputable Lutheran anthem of rejoicing conceived on the grandest scale possible. genius of Bach.
  • FRANCESCO CAVALLI L'ipermestra

    FRANCESCO CAVALLI L'ipermestra

    FRANCESCO CAVALLI L’Ipermestra La Sfera Armoniosa Mike Fentross conductor Live recording 1 FRANCESCO CAVALLI L’Ipermestra La Sfera Armoniosa Mike Fentross conductor Ipermestra - Elena Monti soprano Linceo - Emanuela Galli mezzo soprano Elisa - Gaëlle Le Roi soprano Berenice - Marcel Beekman tenor Danao - Sergio Foresti bass Arbante - Mark Tucker tenor CD 1 FRANCESCO CAVALLI (1602-1676) L’Ipermestra (1654-1658) Atto Primo [1] Sinfonia from opera “Doriclea” 1645 by Franceso Cavalli 1:23 [2] Scena 1 Linceo, Ipermestra - Cortile regio 8:13 Elena Monti [3] Scena 2 Arbante 1:11 [4] Scena 3 Arbante, Elisa 3:58 [5] Scena 4 Elisa 1:17 [6] Scena 5 Elisa, Berenice 2:53 [7] Scena 6 Berenice 0:31 Gaëlle Le Roi [8] Scena 7 Danao, Ipermestra 8:24 [9] Scena 8 Ipermestra 5:18 [10] Scena 9 Linceo 2:58 [11] Scena 11 Linceo, Ipermestra 9:39 [12] Scena 12 Ipermestra 3:24 [13] Scena 13 Ipermestra, Berenice 0:52 [14] Scena 14 Ipermestra, Danao, Berenice sotto una portiera 7:15 [15] Scena 15 Berenice 3:54 total time 61:18 Emanuela Galli 4 Elena Monti 5 CD 2 CD 3 Atto Secondo Atto Terzo [1] Scena 1 Ipermestra, Elisa - Prigione 9:12 [1] Scena 1 instrumental 1:40 [2] Scena 2 Ipermestra, Berenice 4:30 [2] Scena 2 Ipermestra, Campagna della Torre 0:18 [3] Scena 3 Ipermestra 1:29 [3] Scena 3 Ipermestra 1:09 [4] Scena 4 Ipermestra, Arbante ch’osserva 4:53 [4] Scena 4 Ipermestra, Elisa 4:11 [5] Scena 5 Arbante, Elisa 1:23 [5] Scena 5 Arbante 3:12 [6] Scena 6 Arbante, Elisa, Danao 1:50 [6] Scena 7 Linceo 3:40 [7] Scena 7 Danao, Arbante 2:31 [7] Scena 8 Linceo, Elisa,
  • The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for the Order of Malta in the Late Eighteenth Century

    The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for the Order of Malta in the Late Eighteenth Century

    The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for The Order of Malta in the Late Eighteenth Century. By Richard Sydney Benedict Divall Doctor of Letters (Honoris Causa – Monash 1992) and Doctor of the University (Honoris Causa – Australian Catholic University 2004) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy MCD University of Divinity 2013 MCD University of Divinity To Whom it May Concern This is to certify that the thesis and music editions presented by me for the degree of Doctor of Philosophy comprises only my original work except where due acknowledgment is made in the text to all other material used. Signature: ____________________________________ Name in Full: ____________________________________ Date: ____________________________________ Abstract. Nicolò Isouard (1773-1818) is considered Malta’s national composer. After studies in France and Naples, he returned to his homeland, where from 1794 to 1798 he was an aspiring composer, and employee of the Order of Malta. In 1994 a collection of thirty-three autographs of hitherto unknown sacred music by Isouard appeared at the Bibliothèque Nationale, Paris, and I recognised the importance of these manuscripts. My intentions are to provide a précis on the Order, as the sovereign entity ruling Malta at the time, and the sacred music composed for them in their great Conventual Church in Valletta – now St John’s Co-Cathedral. The thesis will provide the background to Isouard’s early career and a complete edition and commentary of all of his sacred music, including additional works found during the research process, and a catalogue of his stage works.