Jerusalem Delivered by Torquato Tasso</H1>
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Herminie a Performer's Guide to Hector Berlioz's Prix De Rome Cantata Rosella Lucille Ewing Louisiana State University and Agricultural and Mechanical College
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2009 Herminie a performer's guide to Hector Berlioz's Prix de Rome cantata Rosella Lucille Ewing Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Ewing, Rosella Lucille, "Herminie a performer's guide to Hector Berlioz's Prix de Rome cantata" (2009). LSU Doctoral Dissertations. 2043. https://digitalcommons.lsu.edu/gradschool_dissertations/2043 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. HERMINIE A PERFORMER’S GUIDE TO HECTOR BERLIOZ’S PRIX DE ROME CANTATA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Rosella Ewing B.A. The University of the South, 1997 M.M. Westminster Choir College of Rider University, 1999 December 2009 DEDICATION I wish to dedicate this document and my Lecture-Recital to my parents, Ward and Jenny. Without their unfailing love, support, and nagging, this degree and my career would never have been possible. I also wish to dedicate this document to my beloved teacher, Patricia O’Neill. You are my mentor, my guide, my Yoda; you are the voice in my head helping me be a better teacher and singer. -
Wulf: Libretto
WULF: LIBRETTO compiled by Vic Hoyland [Since most of this score uses modern English, it will be acceptable to perform this work using a translation in the country of performance, as well as using segments in the original French, Icelandic, Anglo‐Saxon, Latin, ancient Greek and Scottish Gaelic. Please contact UYMP to discuss any translation of the English text.] Iliad, chapter 18 (of 24): Patroclus, Achilles’ companion, is killed in battle. Achilles’ emotional reaction is extreme. His screams are heard by his mother, Thetis, from the depths of the sea. She calls on her nymphs (Nereids) to come to her son’s aid. “With these the bright cave was filled, and the nymphs all alike, beat their breasts, and Thetis led the lament.” The names of ancient Greek sea nymphs are recalled throughout the work. Part I – WULF 1. Glauke te Thaleia te Kymodoke te Nesaie Speio te Thoe Halia te Kymothoe te kai Actaee kai Limnoreia Kai Melite kai Iera kai Amphithoe kai Agave Doto te Proto te Pherusa Dynamene te Dexamene te Amphinome kai Kallineira Doris kai Panope kai te Galateia Nemertes te kai Apseudes kai Kallinassa Te Klymene Ianeira te kai Ianassa Maera kai Oreithyia te Amatheia.1 5. Protesilaus, Echepolus, Elephenor, Simoisius, Leukos, Democoon, Diores, Pirous, Phegeus, Idaeus, Odios, Phaestus, Scamandrius, Pherecles, Pedaeus, Hypsenor, Astynoos, Hyperion, Abas, Polyidos, Xanthus, Thoon, Echemmnon, Chromius, Pandarus, Deicoon.2 6. Sigmund took his weapons, but Skarphedinn waited the while. Skyolld turned against Grim and Helgʹ, and they fought violently. Sigmund had a helmet on his head and a shield at his side and was girt with a sword, his spear was in his hand; he turns against Skarphedinn, and thrusts at him with his spear, and the thrust struck the shield. -
Home Is Behind Them, Forever Unattainable, and in Some Sense They Know It. the Backward Pull Begins to Blend with Other Concepts
50 Milton and His Epic Tradition The Tradition 51 Home is behind them, forever unattainable, and in some the race, the lost homes of the heroes, and the transcen sense they know it. dent goals that all seek. The garden may be longed for as The backward pull begins to blend with other concepts ideal, yet knowledge that he is still in mid-journey of escape, of which the most frequently imagined in epic makes the hero look upon any apparent oasis with mixed poetry are gardens or garden-worlds, suicide, and mad feelings, as a shelter from reality. Occasional pastoral ness. Distinct enough in definition, and in some of their idylls do exist, fragile, doomed, and, for the hero, es manifestations, nevertheless, because they all represent capist, like Phaeacia and the country of Meliboe. As for inaction, passivity, and at times oblivion, they do some the future and transcendent world, the unattainable city times overlap one another in the poetry."'The most fre of Jerusalem is viewed by St. George from afar. Only quent and obvious device by which the hero is tempted to Dante is allowed to enter its gardens, and he must leave forget his mortality is some variation on the enchanted them behind, half forgetting the reality, in order to use garden.~ Whether pre-Christian or Christian, this garden language to describe it. It is good that there is at least is almost always a reminder that you cannot go home once in epic story a record of that process, the near again, whether "home" is taken to be as historical as speechlessness of the attainment set across from the in Vergil's Troy, or as psychological as the retreat to a pre articulate formlessness of the original cave. -
Competing Philosophies in Calderon's El Mayor Encanto, Amor
Bulletin of Spanish Studies, Volume LXXXVII, Number 2, 2010 The Figure of Circe and the Power of Knowledge: Competing Philosophies in Caldero´n’s El mayor encanto, amor JONATHAN ELLIS Oklahoma State University At first, Caldero´n’s mythological play follows the well-known story of Homer’s Odyssey. On their way home from the Trojan War, Ulises1 and his crew stop at the island of the witch Circe. Most of the Greeks search the island and arrive at the palace of Circe as their leader waits at the beach. Rather than be wary, they choose to indulge their desires and baser natures. As we know, Circe transforms all but one of them into beasts with a potion. However, from this point on Caldero´n begins to introduce significant changes into the story known from both Homer and Ovid. When Ulises confronts Circe, she gives him also a potion, but he does not drink, having learned of its danger and having learned how to render it useless.2 Defeated, Circe cries out, ‘¿Quie´n cielos airados, / quie´nma´s ha sabido que yo?’ (1515a).3 This early passage is key, indicating that she recognizes knowledge to be the basis of her power with which she attempts to control all of nature, the elements and men. However, 1 I have retained the Spanish spelling of the names throughout, in order to clearly distinguish between Caldero´n’s characters and those of Classical literature. 2 In Homer, Odysseus is aided by Hermes who provides the moly root as protection against the effects of Circe’s potion. -
The Marriage of Peleus & Thetis
The Marriage of Peleus & Thetis [Groton & May, Chapter 18] Peleus Thetis m. was a mortal man, the son was a sea nymph, one of of Endeis and Aeacus, king the fifty daughters of of Aegina. As a young Nereus, termed Nereids, Achilles man, Peleus and his described by Homer as, brother, Telemon were “silver-footed.” involved in the murder of their half-brother, Phocus. In exile, he married Antigone, then accidentally killed her father, Eurytion. After Antigone killed herself, Peleus again went into exile Portrait of Achilles from a Greek Black-figure vase, c. 530 BC where he met his next wife. The Nuptials The wedding was planned by Zeus (Jupiter) himself and took place on Mt. Pelion. Mortals and immortals alike were invited and all were required to bring gifts. Poseidon (Neptune) gave Peleus a pair of immortal horses, named Balius & Xanthus. The wedding is described by the Greek playwright, Euripides, in “Iphigenia at Aulis” and by the Latin poet, Catullus in poem 64. Discordia [Greek, Ερισ] The goddess of discord and the personification of strife, Discord was the only immortal not invited to the wedding of Peleus and Thetis. Angered, she threw out a golden apple inscribed with the words, “For the Fairest.” Three goddesses, Hera (Juno), Aphrodite (Venus), and Athena (Minerva), immediately begin to quarrel over the apple. Jupiter handed the decision over to the Trojan, Paris, who awards the apple to Aphrodite. Venus in turn offers him the golden apple Helen, wife of Menelaus, King of Sparta. created by Jessica Fisher, 2007 . -
THE INTERPRETATION of THEBAN MYTHS in LATE MEDIAEVAL LITERATURE David Anderson for Richard Hamilton Green
MYTHOGRAPHY OR HISTORIOGRAPHY? THE INTERPRETATION OF THEBAN MYTHS IN LATE MEDIAEVAL LITERATURE David Anderson For Richard Hamilton Green The modern term "classical myth" covers a range of legendary subjects which mediaeval writers commonly distinguished as tabula or historia; or, with the addition of a third term, as 1) things which could have happened and did happen (historia); 2) things which could have happened but did not (argumentum) ; and 3) things which could not have happened and did not happen, such as the preposterous high jinks of the pagan gods (fabula).* Though the mediaeval Latin word historia and the derivative loan-words in vernacular languages, such as Middle English "storie," do not correspond exactly to the meaning of Modern English "history," they stood always and clearly in contrast to fabula, which denoted a lie, a falsehood. By the fourteenth century, writers were using this pair of terms with the informality accorded an unquestioned convention. In one well-known example, Chaucer's Physician remarks that the tale of Appius and Virginia "is no fable, / but knowen for historial thyng notable" (154-55); and in another, Boccaccio distinguishes the fabulous from the historical characters and events in Vergil's Aeneid, book 4 (Genealogie 14.13). Accounts of the "myths" of the ancient cities of Thebes and Troy often focussed on the question of fabulous and historical elements in the received sources: Guido delle Colonne, for one, sets it as his task to "separate the true from the false among the things which were written of [Trojan] history in Latin 2 books," an assertion which John Lydgate translates and expands in the prologue to his Troy Book. -
NARCISSUS TWEETS (Previously Published in the Baffler)
Kresge Artist Grant Work Sample NARCISSUS TWEETS (previously published in The Baffler) @NarkeHunts Followers 646 Following 0 @Artemis Looked down into the silvered water and there he was. The most beautiful creature I've ever seen. I'm in love. @BrizoSees Had a dream last night--a nymph saying my name over and over. A rock skipped across the sea. A blinding flower. Thoughts? @Calliope @Homer says you’ve helped his writing. Heard about @Ares demanding the DNA tests. Girl, war gods are full of drama. @Dionysus Prune the wild river loti. My lover's head is draped. At first, ok. Now too much. I like him clean-shaven, like me. @Eros I want him inside me, but he only offers water. I’ve said: I’m not parched, but I’m parched. He can’t grasp nuance. @Echo Fuck off Fairy (fuck off fairy) repeat (repeat) after me (after me): he’ll kill you before you have me (he’ll kill you…have me) @GaiaNature Turns out my water-spirit lover is a boy. Me too! I guess I'm gay. At least I’m in good company, ask @Zeus. #ganymedegame @HeraCurses That damned nymph @Echo rests near; my words rattle through her, falling back to me. Why do I suffer her curse? #stalkerblues @IynxCharm The squalls displaced the pond. My lover is gone, again. He wasn’t made for storms. What god do I beg to bring him back? @Aegaeon Just a quick plea—please stop the jinx-storms. My lover leaves when it rains. @KaikiasBlows Could you keep the wind still? Your kind kinks my lovers skin, makes him turn from me. -
LULLY, J.: Armide (Opera Lafayette, 2007) Naxos 8.66020910 Jeanbaptiste Lully (1632 1687) Armide Tragé
LULLY, J.: Armide (Opera Lafayette, 2007) Naxos 8.66020910 JeanBaptiste Lully (1632 1687) Armide Tragédie en musique Libretto by Philippe Quinault, based on Torquato Tasso's La Gerusalemme liberata (Jerusalem Delivered), transcribed and adapted from Le théâtre de Mr Quinault, contenant ses tragédies, comédies et opéras (Paris: Pierre Ribou, 1715), vol. 5, pp. 389428. ACTE I ACT I Le théâtre représente une grande place ornée d’un arc de The scene represents a public place decorated with a Triumphal triomphe Arch. SCÈNE I SCENE I ARMIDE, PHÉNICE, SIDONIE ARMIDE, PHENICE, SIDONIE PHÉNICE PHENICE Dans un jour de triomphe, au milieu des plaisirs, On a day of victory, amid its pleasures, Qui peut vous inspirer une sombre tristesse? Who can inspire such dark sadness in you? La gloire, la grandeur, la beauté, la jeunesse, Glory, greatness, beauty, youth, Tous les biens comblent vos désirs. All these bounties fulfill your desires. SIDONIE SIDONIE Vous allumez une fatale flamme You spark a fatal flame Que vous ne ressentez jamais ; That you never feel: L’amour n’ose troubler la paix Love does not dare trouble the peace Qui règne dans votre âme. That reigns in your soul. ARMIDE, PHÉNICE et SIDONIE ensemble ARMIDE, PHENICE & SIDONIE together Quel sort a plus d’appâts? What fate is more desirable? Et qui peut être heureux si vous ne l’êtes pas? And who can be happy if you are not? PHÉNICE PHENICE Si la guerre aujourd’hui fait craindre ses ravages, If today war threatens its ravages, C’est aux bords du Jourdain qu’ils doivent s’arrêter. -
Relations of the Emperor Alexius with the First Crusaders
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 1948 Relations of the Emperor Alexius with the first crusaders. Marilyn Tyler Waggoner University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the European History Commons, and the Islamic World and Near East History Commons Recommended Citation Waggoner, Marilyn Tyler, "Relations of the Emperor Alexius with the first crusaders." (1948). Electronic Theses and Dissertations. Paper 2185. https://doi.org/10.18297/etd/2185 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. UNIVERSITY OF I,OU! SVILIE Relations of tbe Fmperor Alexius wi th the First Crusaders f. A dissertation submi tted to tr1e fa cuI ty of tbe Graduate School of the Fniverf'ity of Louisville in Partial fulfillment of tte ~equirements for t~e Degree of lla~ter of Arts • .' Department of History by lEarilyn Tyler Waggoner 1948 This PDF document is a scanned copy of a paper manuscript housed in the University of Louisville (UofL) Libraries. The quality of this reproduction is greatly dependent upon the condition of the original paper copy. Indistinct print and poor quality illustrations are a direct reflection of the quality of materials that are available for scanning. -
Achilles' Horses and Balaam's Donkey
International Journal of Research in Humanities and Social Studies Volume 4, Issue 9, 2017, PP 1-5 ISSN 2394-6288 (Print) & ISSN 2394-6296 (Online) Heed Your Steeds: Achilles’ Horses and Balaam’s Donkey Robert Gnuse Loyola University, 6363 St. Charles Avenue, New Orleans, LA 70118, USA *Corresponding Author: Robert Gnuse, Loyola University, 6363 St. Charles Avenue, New Orleans, LA 70118, USA Received Date:11-07-2017 Accepted Date:17-07-2017 Published Date:09-09-2017 ABSTRACT Two very distinctive accounts from the ancient world relate how animals warn their riders of impending danger by speaking to them, and the humans appear to be not very surprised by the talking animals. According to Iliad, Book 19,395-424, the horses of Achilles spoke to him a word of warning before his entry into battle, and in Num 22:21-34 Balaam’s donkey complained of the unfair beating he received from Balaam when trying to avoid the threatening angel of the Lord (Num 22:21-34). The stories are not similar enough to declare that the biblical author used the Greek narrative for a template. However, both are unusual narratives that bear some particular similarities with each other. It would appear to me that as the biblical author crafted his or her story, the author consciously reacted against some of the underlying themes in the Homeric narrative. Keywords: Achilles, Balaam, Homer, Iliad, donkey, angel of the Lord INTRODUCTION mighty Achilles, though the day of doom is near you, nor will we be the cause of it, but a mighty Tales are told in the ancient world about talking god and overpowering Fate. -
Konturen 1 (2008) 1 Eruptions of the Ethical Baroque Steven Shankman
Konturen 1 (2008) 1 Eruptions of the Ethical Baroque Steven Shankman University of Oregon Renaissance perspective constructs objective reality from the viewpoint of a sovereign subject. The border protecting the sovereignty of this subject is sometimes crossed, in the Baroque, by means of the subject’s sudden awareness of the humanity of the other person and of our inescapable responsibility for that unique and irreplaceable other. With examples from music, painting, and literature, I discuss what I call “eruptions of the ethical Baroque.” These eruptions trouble the serenity of the arts and haunt us: one such eruption reveals, to the Christian warrior- crusader Tancredi, the face of the apparently Muslim female warrior Clorinda, in Monteverdi’s Combattimento (1624); another reveals, to Abraham—in Rembrandt’s 1635 painting of “The Sacrifice of Isaac”— the face of his son Isaac and then suddenly interrupts what appeared to have been an imminent murder; another forces us to encounter, in Shakespeare’s disruptively sober prose, Shylock’s Jewish eyes; yet another, in Paul Celan’s arguably modern Baroque poem Tenebrae, interrupts—but too late, tragically—the profoundly enchanting pathos of François Couperin’s high Baroque choral masterpiece, Leçons de ténèbres, which inspired Celan’s poem. What, exactly, is the Baroque? Modern theorists—such as Gilles Deleuze, with his notion of the fold—have discussed its significance and pondered the question of whether or not there is such a phenomenon as the Baroque.1 The word Baroque was not used by any of the artists and thinkers of the historical period—the seventeenth and early eighteenth centuries in Europe—sometimes referred to by this term. -
Bulfinch's Mythology
Bulfinch's Mythology Thomas Bulfinch Bulfinch's Mythology Table of Contents Bulfinch's Mythology..........................................................................................................................................1 Thomas Bulfinch......................................................................................................................................1 PUBLISHERS' PREFACE......................................................................................................................3 AUTHOR'S PREFACE...........................................................................................................................4 STORIES OF GODS AND HEROES..................................................................................................................7 CHAPTER I. INTRODUCTION.............................................................................................................7 CHAPTER II. PROMETHEUS AND PANDORA...............................................................................13 CHAPTER III. APOLLO AND DAPHNEPYRAMUS AND THISBE CEPHALUS AND PROCRIS7 CHAPTER IV. JUNO AND HER RIVALS, IO AND CALLISTODIANA AND ACTAEONLATONA2 AND THE RUSTICS CHAPTER V. PHAETON.....................................................................................................................27 CHAPTER VI. MIDASBAUCIS AND PHILEMON........................................................................31 CHAPTER VII. PROSERPINEGLAUCUS AND SCYLLA............................................................34