TRACING OPERATIC PERFORMANCES in the LONG NINETEENTH CENTURY Practices, Performers, Peripheries

Total Page:16

File Type:pdf, Size:1020Kb

TRACING OPERATIC PERFORMANCES in the LONG NINETEENTH CENTURY Practices, Performers, Peripheries 9 DocMus Research Publications TRACING OPERATIC PERFORMANCES IN THE LONG NINETEENTH CENTURY Practices, Performers, Peripheries Edited by Anne Kauppala, Ulla-Britta Broman-Kananen and Jens Hesselager 9 DocMus Research Publications ULLA-BRITTA BROMAN-KANANEN is a university HANNELE KETOMÄKI received her Doctor of Music degree researcher at the Sibelius Academy (University of the Arts from the Sibelius Academy in 2012. Her study examines Helsinki). In 2010–2013 she worked on the project “The Oskar Merikanto's national ideals and his activities in the Finnish Opera Company (1873–1879) from a Microhistorical music festivals by the Finnish Kansanvalistusseura. She Perspective: Performance Practices, Multiple Narrations is the manager of Academic Development at the Sibelius and Polyphony of Voice”, and later in “Opera on the Move: Academy (University of the Arts Helsinki). Transnational Practices and Touring Artists in the Long 19th Century Norden”. HILARY PORISS is Associate Dean of Academic and Faculty Affairs, and Associate Professor of Music in the College of GÖRAN GADEMAN has been since 2006 the dramaturgist Arts, Media and Design at Northeastern University. Her and casting coordinator and since 2007 associate professor research interests include the 19th-century Italian and French at the Gothenburg Opera. In his doctoral thesis he studied re- opera performance culture and aesthetics. She has authored alism and opera (Realismen på Operan, Stockholm University, Changing the Score: Arias, Prima Donnas, and the Authority 1996). His book Operabögar (Gay Opera Lovers) appeared in of Performance (2009) and co-edited Fashions and Legacies 2004. He also contributed to the New Swedish Theatre History of Nineteenth-Century Italian Opera (2010) and The Arts of (2007). In 2015 Gademan released an international opera the Prima Donna in the Long Nineteenth Century (2012). She history, Operahistoria (in Swedish). publishes in 19th-Century Music, Cambridge Opera Journal, Nineteenth-Century Music Review, Verdi Forum, Journal of British Studies, Music & Letters. ELLEN KAROLINE GJERVAN is an associate professor at Queen Maud University College in Trondheim. She received her PhD in Theatre Studies at the University of Bergen in CLAIR ROWDEN is Senior Lecturer and Deputy Head of 2010. The chapter in this collection was written as a part School in the School of Music, Cardiff University. Her book of the research project “Performing arts between dilettan- Republican Morality and Catholic Tradition at the Opera: tism and professionalism: Music, theatre and dance in the Massenet’s Hérodiade and Thaïs appeared in 2004 and the Norwegian public sphere 1770–1850” (www.ntnu.no/parts/). edited volume Performing Salome, Revealing Stories in 2013. She has published also on Henrik Ibsen’s theatrical career, on She has published on opera and nineteenth-century France dramaturgy, and on political theatre and the stagecraft of the in La Revue de musicologie, Cambridge Opera Journal, Music long eighteenth century. in Art, and Franco-British Studies, and regularly contributes to the Cahiers de l’Esplanade and writes programme notes for Covent Garden, Wexford Festival Opera and the Salz- JENS HESSELAGER is Associate Professor at Section of burg Festival. She has co-edited Musical Theatre in Europe, Musicology, University of Copenhagen. His research focusses 1830–1945 (2017). primarily on questions pertaining to music theatre and theatre music in the late eighteenth and early nineteenth centuries, including dialogue opera, grand opera, vaudeville, RANDI M. SELVIK is professor emerita of musicology of the melodrama and incidental music. Within this field, a special Department of Music, the Norwegian University of Science interest attaches to transnational aspects: mobility (transla- and Technology (NTNU) in Trondheim. She administrated tion, transformation, reconfiguration) of repertoires, genres, the research project “Performing arts between dilettantism practices and values; inter-urban migration of musicians and and professionalism: Music, theatre and dance in the Norwe- singers; relations between cultural centres and peripheries. gian public sphere 1770–1850” (2012–2016). Her publications deal with musical life in Bergen in the eighteenth and early nineteenth centuries. She is co-editor of the anthology Liden- ANNE KAUPPALA is a professor of Music Performance skap og levebrød: Utøvende kunst i endring rundt 1800 (2015) Research at the Sibelius Academy (University of the Arts and has co-written Solkongens opera: Den franske tragédie en Helsinki). Her research interests are opera and musical semi- musique 1673–86 (2015) and contributed to Harmonien i fire otics. She has directed two research projects on opera: “The satser: Bergen Filharmoniske Orkester 1765–2015 (2015). Finnish Opera Company (1873–1879) from a Microhistorical Perspective: Performance Practices, Multiple Narrations and Polyphony of Voice” (2010–2013) and “Opera on the Move: GÖRAN TEGNÉR studied art history and archaeology at Transnational Practices and Touring Artists in the Long 19th Stockholm University. He was a curator at the Museum of Century Norden” (2013–2017). She has co-edited with Owe National Antiquities in Stockholm for 35 years, his principal Ander, Ulla-Britta Broman-Kananen and Jens Hesselager field being medieval art. He was a member of the Schola Opera on the Move in the Nordic Countries during the Long 19th Gregoriana Holmiae (1986–1992) and the Lidingö Chamber Century (2012). Choir (2001–2011). Since his retirement in 2005, Tegnér has devoted himself to the music culture of the early 19th century, with a focus on Sweden. Tracing Operatic Performances in the Long Nineteenth Century: Practices, Performers, Peripheries 9 DocMus Research Publications TRACING OPERATIC PERFORMANCES IN THE LONG NINETEENTH CENTURY Practices, Performers, Peripheries Edited by Anne Kauppala, Ulla-Britta Broman-Kananen and Jens Hesselager TRACING OPERATIC PERFORMANCES IN THE LONG NINETEENTH CENTURY: PRACTICES, PERFORMERS, PERIPHERIES On the cover: Hugo Rahm’s watercolor (20.5 x 25cm) from 1892 showing a scene from Lohengrin as well as the audience and orchestra in Gustav III’s Opera House (Stockholm), demolished in 1892. Scenkonstmuseet (Swedish Museum of Performing Arts), K1396. Graphic design BOND Creative Agency Layout Paul Forsell Cover Jan Rosström Printed by Unigrafia, Helsinki, 2017 ISBN 978-952-329-089-1 (bound) ISBN 978-952-329-090-7 (PDF) ISSN 2341-8257 http://urn.fi/URN:ISBN:978-952-329-090-7 DocMus Research Publications 9 © The authors and the Sibelius Academy (University of the Arts Helsinki) 5 Table of Contents 7 Introduction Anne Kauppala, Ulla-Britta Broman-Kananen and Jens Hesselager I ON STAGE 15 Pauline Viardot, on rivalry Hilary Poriss 43 Parodying opera in Paris: Tannhäuser on the popular stage, 1861 Clair Rowden 83 Tracing Lohengrin at the Royal Opera of Sweden, 1874 Göran Gademan 113 The first Swedish performance of a Verdi opera and the Italian Opera Company in Stockholm, 1848–1849 Göran Tegnér II STAGE AND NATION 169 Grand opera and Finnish nationalism in Helsinki, 1876–1877 Ulla-Britta Broman-Kananen 215 Høstgildet by J. P. A. Schulz: A national Singspiel? Randi M. Selvik 249 Staging state patriotism: Høstgildet of 1790 Ellen Karoline Gjervan 269 The premiere of Pohjan neiti at the Vyborg Song Festival, 1908 Hannele Ketomäki 289 Abstracts 6 7 Introduction ANNE KAUPPALA, ULLA-BRITTA BROMAN-KANANEN AND JENS HESSELAGER Opera history as well as history in general faces major challenges to- day. The certainty that the “truth” of history (a buried reality) is hidden in the sources, dependent only upon the historian’s ability to evaluate critically their origin and worth, has turned into a profound insecurity about the possibility of attaining truth at all. Certainty has dissolved into discourses, fragmentary narratives and postmodern construc- tions.1 The critical edge points to all kinds of grand narratives about the Nation, Great Men, European civilisation or even eternal progress in the name of Enlightenment with the result that the historiographer’s task has changed into deconstructing grand narratives and uncovering a tendentious plot behind them. The shift away from a traditional view of history as an objective and neutral science rests on insight into the nature of language: rather than being an innocent mirror of reality, language is the very creator of this reality. This and other realisations have had profound effects on the understanding of history as a science. Basic questions about whether there even is a past somewhere, ready for the historian to “find” and articulate, are being raised.2 Where the history of opera is concerned, the question of performance itself is being posed in new ways, with the potential of questioning anew what practices, performers and places should be considered worthy of the historian’s attention. The paradigmatic turns have thus contributed to discussions about the historian’s awareness of chosen perspectives and approaches as well as the kind of narrative he or she is producing. However, since the 1 See, for instance, Evans 2008. 2 Winberg 2010, 330–348; White 1973; de Certeau 1984; Ricoeur 2004; see also Pikkanen 2012. Anne Kauppala, Ulla-Britta Broman-Kananen 8 and Jens Hesselager first wave of critiques, alternative approaches to the writing of his- tory have been elaborated, such as micro-history,3 cultural transfer,4 performance studies, transnationalism, mobility studies5 and histoire croisée.6 Common features of these approaches are the
Recommended publications
  • COCKEREL Education Guide DRAFT
    VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19
    [Show full text]
  • ERNANI Web.Pdf
    Foto: Metropolitan opera G. Verdi ERNANI Subota, 25. veljae 2012., 19 sati THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Giuseppe Verdi ERNANI Opera u etiri ina Libreto: Francesco Maria Piave prema drami Hernani Victora Hugoa SUBOTA, 25. VELJAČE 2012. POČETAK U 19 SATI. Praizvedba: Teatro La Fenice u Veneciji, 9. ožujka 1844. Prva hrvatska izvedba: Narodno zemaljsko kazalište, Zagreb, 18. studenoga 1871. Prva izvedba u Metropolitanu: 28. siječnja 1903. Premijera ove izvedbe: 18. studenoga 1983. ERNANI Marcello Giordani JAGO Jeremy Galyon DON CARLO, BUDUĆI CARLO V. Zbor i orkestar Metropolitana Dmitrij Hvorostovsky ZBOROVOĐA Donald Palumbo DON RUY GOMEZ DE SILVA DIRIGENT Marco Armiliato Ferruccio Furlanetto REDATELJ I SCENOGRAF ELVIRA Angela Meade Pier Luigi Samaritani GIOVANNA Mary Ann McCormick KOSTIMOGRAF Peter J. Hall DON RICCARDO OBLIKOVATELJ RASVJETE Gil Wechsler Adam Laurence Herskowitz SCENSKA POSTAVA Peter McClintock Foto: Metropolitan opera Metropolitan Foto: Radnja se događa u Španjolskoj 1519. godine. Stanka nakon prvoga i drugoga čina. Svršetak oko 22 sata i 50 minuta. Tekst: talijanski. Titlovi: engleski. Foto: Metropolitan opera Metropolitan Foto: PRVI IN - IL BANDITO (“Mercè, diletti amici… Come rugiada al ODMETNIK cespite… Oh tu che l’ alma adora”). Otac Don Carlosa, u operi Don Carla, Druga slika dogaa se u Elvirinim odajama u budueg Carla V., Filip Lijepi, dao je Silvinu dvorcu. Užasnuta moguim brakom smaknuti vojvodu od Segovije, oduzevši sa Silvom, Elvira eka voljenog Ernanija da mu imovinu i prognavši obitelj.
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • Pauline Viardot-Garcia Europäische
    Beatrix Borchard PAULINE VIARDOT-GARCIA EUROPÄISCHE KOMPONISTINNEN Herausgegeben von Annette Kreutziger-Herr und Melanie Unseld Band 9 Beatrix Borchard PAULINE VIARDOT-GARCIA Fülle des Lebens 2016 BÖHLAU VERLAG KÖLN WEIMAR WIEN Die Reihe »Europäische Komponistinnen« wird ermöglicht durch die Mariann Steegmann Foundation Weiterführende Quellen und Materialien finden Sie auf der Buchdetailseite http://www.boehlau-verlag.com/978-3-412-50143-3.html unter Downloads Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://portal.dnb.de abrufbar. Umschlagabbildung: Pauline Viardot, Porträt von Ary Scheffer, 1840 (© Stéphane Piera / Musée de la Vie Romantique / Roger-Viollet) © 2016 by Böhlau Verlag GmbH & Cie, Köln Weimar Wien Ursulaplatz 1, D-50668 Köln, www.boehlau.de Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Korrektorat: Katharina Krones, Wien Satz: Peter Kniesche Mediendesign, Weeze Druck und Bindung: Strauss, Mörlenbach Gedruckt auf chlor- und säurefreiem Papier Printed in the EU ISBN 978-3-412-50143-3 Inhalt Vorwort der Herausgeberinnen ............................................................. 9 Vorbemerkung ....................................................................................... 11 Freiheit und Bindung – Pauline Viardot-Garcia ..........................
    [Show full text]
  • La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020
    SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli La couleur du temps – The Colour of Time Pauline Viardot-Garcia (1821 – 1910) Photo: Uli Weber - Decca Salzburg Whitsun Festival 29 May – 1 June 2020 (SF, 30 December 2019) The life of Pauline Viardot-Garcia – singer, musical ambassador of Europe, outstanding pianist and composer – is the focus of the 2020 programme of the Salzburg Whitsun Festival. “The uncanny instinct Cecilia Bartoli has for the themes of our times is proven once again by her programme for the 2020 Salzburg Whitsun Festival, which focuses on Pauline Viardot. Orlando Figes has just written a bestseller about this woman. Using Viardot as an example, he describes the importance of art within the idea of Europe,” says Festival President Helga Rabl-Stadler. 1 SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli Pauline Viardot not only made a name for herself as a singer, composer and pianist, but her happy marriage with the French theatre manager, author and art critic Louis Viardot furthered her career and enabled her to act as a great patron of the arts. Thus, she made unique efforts to save the autograph of Mozart’s Don Giovanni for posterity. Don Giovanni was among the manuscripts Constanze Mozart had sold to Johann Anton André in Offenbach in 1799. After his death in 1842, his daughter inherited the autograph and offered it to libraries in Vienna, Berlin and London – without success. In 1855 her cousin, the pianist Ernst Pauer, took out an advertisement in the London-based journal Musical World. Thereupon, Pauline Viardot-García bought the manuscript for 180 pounds.
    [Show full text]
  • 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
    [Show full text]
  • Maria Di Rohan
    GAETANO DONIZETTI MARIA DI ROHAN Melodramma tragico in tre atti Prima rappresentazione: Vienna, Teatro di Porta Carinzia, 5 VI 1843 Donizetti aveva già abbozzato l'opera (inizialmente intitolata Un duello sotto Richelieu) a grandi linee a Parigi, nel dicembre 1842, mentre portava a termine Don Pasquale; da una lettera del musicista si desume che la composizione fu ultimata il 13 febbraio dell'anno successivo. Donizetti attraversava un periodo di intensa attività compositiva, forse consapevole dell'inesorabile aggravarsi delle proprie condizioni di salute; la "prima" ebbe luogo sotto la sua direzione e registrò un convincente successo (furono apprezzate soprattutto l'ouverture ed il terzetto finale). L'opera convinse essenzialmente per le sue qualità drammatiche, eloquentemente rilevate dagli interpreti principali: Eugenia Tadolini (Maria), Carlo Guasco (Riccardo) e Giorgio Ronconi (Enrico); quest'ultimo venne apprezzato in modo particolare, soprattutto nel finale. Per il Theatre Italien Donizetti preparò una nuova versione, arricchita di due nuove arie, nella quale la parte di Armando fu portata dal registro di tenore a quello di contralto (il ruolo fu poi interpretato en travesti da Marietta Brambilla). Con la rappresentazione di Parma (primo maggio 1844) Maria di Rohan approdò in Italia dove, da allora, è stata oggetto soltanto di sporadica considerazione. Nel nostro secolo è stata riallestita a Bergamo nel 1957 ed alla Scala nel 1969, oltre all'estero (a Londra e a New York, dove è apparsa in forma di concerto). Maria di Rohan segna forse il punto più alto di maturazione nell'itinerario poetico di Donizetti; con quest'opera il musicista approfondì la propria visione drammatica, a scapito di quella puramente lirica e belcantistica, facendo delle arie di sortita un vero e proprio studio di carattere e privilegiando i duetti ed i pezzi d'assieme in luogo degli 276 episodi solistici (ricordiamo, tra i momenti di maggior rilievo, l'aria di Maria "Cupa, fatal mestizia" ed il duetto con Chevreuse "So per prova il tuo bel core").
    [Show full text]
  • The Songs of Mexican Nationalist, Antonio Gomezanda
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-5-2016 The onS gs of Mexican Nationalist, Antonio Gomezanda Juanita Ulloa Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Ulloa, Juanita, "The onS gs of Mexican Nationalist, Antonio Gomezanda" (2016). Dissertations. Paper 339. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2016 JUANITA ULLOA ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THE SONGS OF MEXICAN NATIONALIST, ANTONIO GOMEZANDA A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Juanita M. Ulloa College of Visual and Performing Arts School of Music Department of Voice May, 2016 This Dissertation by: Juanita M. Ulloa Entitled: The Songs of Mexican Nationalist, Antonio Gomezanda has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Visual and Performing Arts, School of Music, Department of Voice Accepted by the Doctoral Committee ____________________________________________________ Dr. Melissa Malde, D.M.A., Co-Research Advisor ____________________________________________________ Dr. Paul Elwood, Ph.D., Co-Research Advisor ____________________________________________________ Dr. Carissa Reddick, Ph.D., Committee Member ____________________________________________________ Professor Brian Luedloff, M.F.A., Committee Member ____________________________________________________ Dr. Robert Weis, Ph.D., Faculty Representative Date of Dissertation Defense . Accepted by the Graduate School ____________________________________________________________ Linda L. Black, Ed.D.
    [Show full text]
  • Svenskt Portråttgalleri
    SVENSKT PORTRÅTTGALLERI XXI. TONKONSTNARER OCH SCENISKA ARTISTER STOCKHOLM HASSIS W. TUr,I,BERGS KORLAG STOCKHOLM HASSE W. TTJUBERGS BORTRYCKERI lS97 TONKONSTNÅRER OCH SCENISKA ARTISTER MED KIOGRAFISKA UPPGIFTER ADOLF LINDGREN ocn NILS PERSONNE . FORORD. Alla portrått i denna afdelning, innefattande ton- såttare, vokala och instrumentala virtuoser samt dra- matiska konstnårer, åro ordnade i alfabetisk f'oljd. En del sceniska artister hor nåmligen både till den lyriska och dramatiska kategorien och redan dårfor har det varit nodvåndigt att sammanfora alla i en f'oljd, hvilket ock torde underlåtta uppslagningen. De biograftska uppgifterna ha naturligen mast inskrånkas till de ound- gångligaste data jånite kort forteckning på en del roller eller kompositioner Någon uttommande fullståndighet kan en samling af detta slag icke gora anspråk på. Skulle man taga med alla Sveriges musik- och skådespelsidkare, så skulle listan springa upp till många tusental, och arbetet dårigenom komma att stålla sig allt for dyrt. I sjalfua urvalet kunna ju alltid olika meningar gora sig gal- lande. De, som till åfuentyrs tycka, att vi varit for liberala och upptagit åfven obetydligare namn, erinras dårom, att galleriet icke vill galla som någon estetisk vårdesåttning, utan år till for allmånhetens skull och upptager sådana konstutofvare , som man antager hafva gjort sig offentligen så pass kånda, att allmånheten kan vilja se deras konterfej. De, som åter mojligen skulle onska flera namn, erinras forst om nyss nåinnda nodvåndighet af begrånsning och vidare dårom, att åtskilliga af dem, som blifvit anmodade att insdnda portrått, dels ingenting svarat, dels nttalat sig af- bbjande, samt att for en del, sårskildt aldre och aflidna artister, det varit omojligt att ofverkomma vare sig portrått eller biografi.
    [Show full text]
  • INHALT DES ZWEITEN BANDES Nr
    INHALT DES ZWEITEN BANDES Nr. 121-200 r. ~ ~~ t t Nr, Texte..r~h.n.g .;,ummcnzanl Komponist Advent 121. Gelobet sei Israels Gott . 4 . johann Crüger 122. Hod!gelobet seist du jesu Christe Gom Sohn 2 . Ernst Pepping 123. Vom Olberge zeucht daher ·..... 4 . Joachim a Burck 124. Aus hartem Weh die Menschheit klagt 2-4. Ernst Pepping 125. Gott heilger Schöpfer aller Stern 3 Guillaume Dufay 126. Gelobet sei der König groß . 4 Michael Praetorius 127. Und unser lieben Frauen ... 3 . Ernst Pepping 128. Maria durch ein Dornwald ging 6 Heinrich Kaminski Weibnachren 129. In dulci iubilo ...... 8 Leonhard Schröter 130. Hört zu und seid getrost nun . 4 Leonhard Schröter 131. Christum wir sollen loben schon 4 . Ernst Pepping 132. Christe redemptor omnium . 4 Giov. P. da Palestrina Christe Erlöser aller Welt . 133. Hört zu ihr lieben Leute . 5 Michael Praetorius IH. Universi populi . 4 Michael Praetorius Fröhlich seid all Christenleut 135. In Bethlchem ein Kindelein . 4 Michael Praetorius 136. Ein Kind geborn zu Bethlehem 2~. Michael Practorius Puer natus in Bethlehem . 137. Uns ist ein Kind geboren . 6 . johann Stobäus 138. Aus des Vaters Herz ist gboren 4 . Kurt H essenberg ll9. Zu Bethlehem geboren . 3-4 . Ernst Pcpping Neujahr 140. jesu du zartes Kindelein . 5 Melchior Franck 141. Nun wollen wir das alte Jahr mit Lob und Dank vollenden 5 johann Staden Epiphanias 142. Nun liebe See! nun ist es Zeit . 6 johann Eccard 143. Gott Vater uns sein Sohn fürstellt 3 Adam Gumpelzhaimer Passion 1«. 0 du armer Judas . 6 . Arnold von Bruck 145. Da jesus an dem Kreuze stund .
    [Show full text]
  • THE JVEDIS. ART SONG Presented to the Graduate Council of the North
    110,2 THE JVEDIS. ART SONG THESIS Presented to the Graduate Council of the North Texas State College in Partial ifillment of the requirements For the Degree of MAST ER OF MUSIC by 223569 Alfred R. Skoog, B. Mus. Borger, Texas August, 1953 223569 PREFACE The aim of this thesis is to present a survey of Swedish vocal music, a subject upon which nothing in English exists and very little in Swedish. Because of this lack of material the writer, who has spent a year (195152) of research in music in Sweden, through the generosity of Mrs. Alice M. Roberts, the Texas Wesleyan Academy, and the Texas Swedish Cultural Foundation, has been forced to rely for much of his information on oral communication from numerous critics, composers, and per- formers in and around Stockholm. This accounts for the paucity of bibliographical citations. Chief among the authorities consulted was Gsta Percy, Redaktionssekreterare (secretary to the editor), of Sohlmans Jusiklexikon, who gave unstintedly, not only of his vast knowledge, but of his patience and enthusiasm. Without his kindly interest this work would have been impossible, iii TABLE OF CONTENTS Page . 1.F. .:.A . !. !. ! .! . .! ! PREFACE.! . ! .0 01 ! OF LIST ITLISTRATITONS. - - - . a- . a . V FORH4ORD . .* . .- . * .* . * * * * * * * . vii Chapter I. EARLYSEDIS0H SONG. I The Uppsala School II. NINETEENTH CENTURY NATIONALISTS . 23 The Influence of Mid-Nineteenth Century German Romanticism (Mendelssohn, Schumann, Liszt and Wagner) The French Influence III. LATE NINETEENTH CENTURY ND EARLY TWENTIETH CENTURY COMPOSERS . 52 Minor Vocal Composers of the Late Nine- teenth Century and Early Twentieth Century IV. THE MODERN SCHOOL OF S7E)ISl COMPOSERS.
    [Show full text]
  • Komponisten 1618Caccini
    © Albert Gier (UNIV. BAMBERG), NOVEMBER 2003 KOMPONISTEN 1618CACCINI LORENZO BIANCONI, Giulio Caccini e il manierismo musicale, Chigiana 25 (1968), S. 21-38 1633PERI HOWARD MAYER BROWN, Music – How Opera Began: An Introduction to Jacopo Peri´s Euridice (1600), in: The Late Italian Renaissance 1525-1630, hrsg. von ERIC COCHRANE, London: Macmillan 1970, S. 401-443 WILLIAM V. PORTER, Peri and Corsi´s Dafne: Some New Discoveries and Observations, Journal of the American Musicological Society 17 (1975), S. 170-196 OBIZZI P. PETROBELLI, L’ “Ermonia“ di Pio Enea degli Obizzi ed i primi spettacoli d´opera veneziani, Quaderni della Rassegna musicale 3 (1966), S. 125-141 1643MONTEVERDI ANNA AMALIE ABERT, Claudio Monteverdi und das musikalische Drama, Lippstadt: Kistner & Siegel & Co. 1954 Claudio Monteverdi und die Folgen. Bericht über das Internationale Symposium Detmold 1993, hrsg. von SILKE LEOPOLD und JOACHIM STEINHEUER, Kassel – Basel – London – New York – Prag: Bärenreiter 1998, 497 S. Der Band gliedert sich in zwei Teile: Quellen der Monteverdi-Rezeption in Europa (8 Beiträge) sowie Monteverdi und seine Zeitgenossen (15 Beiträge); hier sollen nur jene Studien vorgestellt werden, in denen Libretto und Oper eine Rolle spielen: H. SEIFERT, Monteverdi und die Habsburger (S. 77-91) [faßt alle bekannten Fakten zusammen und fragt abschließend (S. 91) nach möglichen Einflüssen Monteverdis auf das Wiener Opernschaffen]. – A. SZWEYKOWSKA, Monteverdi in Polen (S. 93-104) [um 1600 wirken in Polen zahlreiche italienische Musiker, vor allem in der königlichen Hofkapelle; Monteverdi lernte den künftigen König Wladyslaw IV. 1625 in Venedig kennen. Marco Scacchi, der Leiter der Kapelle, deren Mitglieder auch drammi per musica komponierten (vgl.
    [Show full text]