LITTLE RED RIDING HOOD by Cesar
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La Correspondencia De César Cui Dirigida a Felip Pedrell (1893-1912)*
Recerca Musicològica XX-XXI, 2013-2014 221-267 La correspondencia de César Cui dirigida a Felip Pedrell (1893-1912)* Cristina Álvarez Losada Universitat Autònoma de Barcelona [email protected] Resumen La correspondencia de César Cui (1835-1918) dirigida a Felip Pedrell (1841-1922) es un conjunto de 52 documentos epistolares (43 cartas y 9 tarjetas postales) conservados en la Biblioteca de Catalunya con la signatura M 964; escritas en francés, su cronología abarca desde el 8 de marzo de 1893 al 12 de febrero de 1912. En dos de las cartas César Cui omi- tió la fecha de escritura, pero su contenido las sitúa dentro de este intervalo cronológico. El estudio de esta correspondencia muestra diversos aspectos de la relación de amistad entre ambos compositores: su mutua admiración y los intercambios de ideas, opiniones, composiciones, escritos y artículos; supone también un importante retrato de la realidad social de la vida musical de finales del siglo XIX, a través de sus comentarios sobre aspectos personales, familiares y cotidianos, sobre las dificultades que ambos tenían para la represen- tación de sus obras, así como sobre otros personajes e instituciones musicales de la época. Palabras clave: César Cui; Felip Pedrell; epistolario; nacionalismo musical. Resum. La correspondència de Cèsar Cui dirigida a Felip Pedrell (1893-1912) La correspondència de Cèsar Cui (1832-1918) dirigida a Felip Pedrell (1841-1922) és un conjunt de 52 documents epistolars (43 cartes i 9 targetes postals) conservats a la Biblioteca de Catalunya amb la signatura M 964; escrites en francès, la seva cronologia abasta des del 8 de març de 1893 fins al 12 de febrer de 1912. -
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works Occupying a vast land mass that has long been a melting pot of home-spun traditions and external influences, Russia’s history is deeply encrypted in the orchestral music to be found in this catalogue. Journeying from the Russian Empire through the Soviet era to the contemporary scene, the music of the Russian masters covers a huge canvas of richly coloured and immediately accessible works. Influences of folklore, orthodox liturgy, political brutality and human passion are all to be found in the listings. These range from 19th-century masterpieces penned by ‘The Mighty Five’ (Balakirev, Rimsky-Korsakov, Mussorgsky, Borodin, and Cui) to the edgy works of Prokofiev and Shostakovich that rubbed against the watchful eye of the Soviet authorities, culminating in the symphonic output of one of today’s most noted Russian composers, Alla Pavlova. Tchaikovsky wrote his orchestral works in a largely cosmopolitan style, leaving it to the band of brothers in The Mighty Five to fully shake off the Germanic influence that had long dominated their homeland’s musical scene. As part of this process, they imparted a thoroughly ethnic identity to their compositions. The titles of the works alone are enough to get the imaginative juices running, witness Borodin’s In the Steppes of Central Asia, Rimsky-Korsakov’s The Legend of the Invisible City of Kitezh, and Mussorgsky’s St John’s Night on the Bare Mountain. Supplementing the purely symphonic works, instrumental music from operas and ballets is also to be found in, for example, Prokofiev’sThe Love for Three Oranges Suite, Shostakovich’s four Ballet Suites, and Stravinsky’s Firebird Suite. -
Memorial Library of Music Collection
http://oac.cdlib.org/findaid/ark:/13030/kt6r29p0pm No online items Partial Guide to the Memorial Library of Music Collection Special Collections staff Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc/ © 2006 The Board of Trustees of Stanford University. All rights reserved. Partial Guide to the Memorial MLM 1 Library of Music Collection Partial Guide to the Memorial Library of Music Collection Collection number: MLM Department of Special Collections and University Archives Stanford University Libraries Stanford, California Processed by: Special Collections staff Date Completed: 2003 Encoded by: Bill O'Hanlon © 2006 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Memorial Library of Music collection Collection number: MLM Collector: Keating, George T. Collection Size: ca. 27 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: This library is a collection of musical manuscripts and of printed and engraved scores inscribed by great composers, and constitutes a unique addition to Stanford's educational and cultural resources. Languages: Languages represented in the collection: English Access Collection is open for research; materials must be requested at least 24 hours in advance of intended use. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Preferred Citation Memorial Library of Music Collection, MLM. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif. -
L'enseignement De La Musique Dans L'éducation De La Jeunesse
Digitized by the Internet Archive in 2010 with funding from University of Ottawa http://www.archive.org/details/lenseignementdelOOvail L'Enseignement DE LA Musique DANS L'EDUCATION DE LA JEUNESSE A L USAGE DU PIANISTE'^AMATEUR PAR Henry VAILLANT PARIS » LIBRAIRIE FISCHBACHER (société anonyme) .33, RUE DE SEINE. 33 1 O O 4 (Tous droits réservés' L'ENSEIGNEMENT DE LA MUSIQUE A L USAGE DU PIANISTE-AMATEUR EI«I= i L'Enseignement DE LA Musique DANS L'ÉDUCATION DE LA JEUNESSE • A L USAGE DU PIANISTE"-AMATEUR FAR Henry VAILLANT PARIS LIBRAIRIE FISCHBACHER (société anonyme) 33. RUE DE SEINE, 33 1 9 O 4 iTous droits réservés A MES CHERS MAITRES : MM. Gustave LEFÈVRE, directeur de l'Ecole de musique classique, fondée par Niedermeyer. Charles de BÉRIOT, professeur au Conservatoire et a l'Ecole de musique classique. Eugène GIGOUT, directeur-fondateur de l'Institut d'orgue, professeur à l'Ecole de musicjue classique, oro-aniste de Saint-Auo-ustin. =5= PREFACE DE L'EDUCATION MUSICALE L'étude de la musique a pris de nos jours une grande exten- sion ; elle s'est acquis dans l'instruction de la jeunesse une place considérable : et, à notre avis, c'est à bon droit. La musique n'est-elle pas une des plus belles manifestations du génie humain ? Elle nous donne les jouissances les plus douces et les plus éle- vées, elle est cette langue universelle, seule capable d'exprimer, sous une forme harmonieuse et comprise de tous les peuples, les idées et les sentiments les plus divers de l'âme humaine. D'autre part, ne devons-nous pas dire aussi que, dans la formation des facultés intellectuelles et morales, l'art musical peut exercer une lufluence excellente ? Loin d'être un obstacle aux études scienti- liques et littéraires, il ajoute facilement un stimulant à l'intelli- gence, il fait aimer et rechercher les joies élevées de l'esprit, il développe, élève et purifie la sensibilité et le bon goût. -
191 VOCAL 78 Rpm Discs 2398. 11” Brown Praha Odeon 38539/38519
VOCAL 78 rpm Discs 2398. 11” Brown Praha Odeon 38539/38519 [XV62/Vx497]]. FRÜHLINGSZEIT (Becker) / WLADISLAV FLORIJANSKY [t]. EUGEN ONEGIN: Air (Tschaikowsky). Piano acc. Rare. Speeds 89.7/81.8 rpm, (presuming the key of A). Side one 4-5. Remarkably forward and the graying sounds only a bit. Side one 3-4 (although hardly any graying). Looks considerably worse than it sounds. $50.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses. He also appeared in Mexico and the Phil- lipines. Among the leading baritones of his era, Pacini’s only records were a few for Fonotipia. 9024. 11” Gold SS Fonotipia 39005 [XPh2]. LE ROI DE LAHORE: O casto fior (Massenet). Few MGTs, just about 2. $50.00. REGINA PACINI [s]. Lisbon, 1871-Buenos Aires, 1965. Born of a musical family, Pacini made her debut in 1888 at the San Carlo in Lisbon as Amina in Bellini’s La Sonnambula. She also appeared at La Scala, Covent Garden (with Caruso), Rome, Warsaw and St. Petersburg. In Buenos Aires, 1907, Pacini wed the Argentine Diplomat Marcelo de Alvear and then retired from the stage. From 1922 through 1928 she was first lady of Argentina, her husband having been elected President. Pacini was still living during the reign of another more recognized Argentine presidential wife, Evita Peron. -
Proquest Dissertations
Russian elements in selected piano compositions of Cesar Cui (1835-1918) Item Type text; Dissertation-Reproduction (electronic) Authors Ryder, Raymond Teele Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 09:16:30 Link to Item http://hdl.handle.net/10150/280753 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overiaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. -
Dissertazione Di Dottorato
FACOLTÀ DI LETTERE DELL’UNIVERSITÀ DI BERNA ISTITUTO DI MUSICOLOGIA Dissertazione di dottorato La ricezione dell’opera russa tra Ottocento e Novecento in Francia e Italia VINCENZINA C. OTTOMANO Originaldokument gespeichert auf dem Webserver der Universitätsbibliothek Bern | downloaded: 6.10.2021 Dieses Werk ist unter einem Creative Commons Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung 2.5 Schweiz Lizenzvertrag lizenziert. Um die Lizenz anzusehen, gehen Sie bitte zu http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ oder schicken Sie einen Brief an Creative Commons, 171 Second Street, Suite 300, San Francisco, California 94105, USA. https://doi.org/10.48549/2485 source: Urheberrechtlicher Hinweis Dieses Dokument steht unter einer Lizenz der Creative Commons Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung 2.5 Schweiz. http://creativecommons.org/licenses/by-nc-nd/2.5/ch/ Sie dürfen: dieses Werk vervielfältigen, verbreiten und öffentlich zugänglich machen Zu den folgenden Bedingungen: Namensnennung. Sie müssen den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen (wodurch aber nicht der Eindruck entstehen darf, Sie oder die Nutzung des Werkes durch Sie würden entlohnt). Keine kommerzielle Nutzung. Dieses Werk darf nicht für kommerzielle Zwecke verwendet werden. Keine Bearbeitung. Dieses Werk darf nicht bearbeitet oder in anderer Weise verändert werden. Im Falle einer Verbreitung müssen Sie anderen die Lizenzbedingungen, unter welche dieses Werk fällt, mitteilen. Jede der vorgenannten Bedingungen kann aufgehoben werden, sofern Sie die Einwilligung des Rechteinhabers dazu erhalten. Diese Lizenz lässt die Urheberpersönlichkeitsrechte nach Schweizer Recht unberührt. Eine ausführliche Fassung des Lizenzvertrags befindet sich unter http://creativecommons.org/licenses/by-nc-nd/2.5/ch/legalcode.de Indice Introduzione Voci e Suoni dalla Russia: le prime rappresentazioni all’estero pag. -
VOCAL 78 Rpm Discs LINA PAGLIUGHI [S] 2192
VOCAL 78 rpm Discs LINA PAGLIUGHI [s] 2192. 12” Green Cetra 25093 [2.70628/2.70629]. IL RE: O Colombello sposarti (Gior- dano) / FALSTAFF: Sul fil d’un soffio (Verdi). Side one particularly lovely music beautifully sung. Just about 1-2. $12.00. LUELLA PAIKIN [s]. 1896-New York City, 1969. Collectors will hopefully have read Michael Bott’s recent valuable research on Miss Paikin (Mrs. Joseph Bernham) in The Record Collector magazine. It was Mr. Bott who, through much effort, managed to find a death date for Miss Paikin. She was a pupil of Marie Brema in England and is described in one article dating from 1925 as a protégée of Luisa Tetrazzini. A popular artist in England during the 1920s and ‘30s both in concert and opera, Paikin recorded acoustically for Aeolian-Vocalion and electrically for HMV, her records all quite uncommon. She emigrated to the U.S. prior to W.W. II, but a career here failed to take hold. 2102. 12” PW Red HMV DB 1057 [Cc8588-V/Cc10847-III]. ABDUCTION FROM THE SERAGLIO: Ah, I Loved Him (Mozart) / AIR AND VARIATIONS (Mozart). In English/Italian. Couple rubs, one small LSS, cons. 2. $12.00. JOSÉ PALET [t] 2918. 10” Red acous. Victrola 927. LUCREZIA BORGIA: Di pescatore ignobile (Donizetti) / LA DOLORES: Di que es verdad (Bretón). Cons. 2. $10.00. 1705. 12” Red acous. Victrola 6384. LA DOLORES: Jota (Bretón) / MARINA: Duo de Marina Jorge (Arrieta). With MERCEDES FARRY [s]. Valencian soprano Farry had a notable career in Spain in major zarzuela and operatic roles (such as Ophelia in Thomas’ Hamlet). -
EJC Cover Page
Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. RUSSIAN COMPOSERS AS DESCRIBED BY THEMSELVES By JULIEN TIERSOT USSIAN music to-day is well known throughout the civ- ilized world. The latest arrivalamong the schools of tonal art, for half a century or more she has given proofs of an activity and a vitality which have brought her to one of fame's most elevated levels. The great works she has produced are familiar to us. -
The Russian Opera by Rosa Newmarch
KEODOR IVANOVJCH SHALIAPIN THE RUSSIAN OPERA BY ROSA NEWMARCH WITH SIXTEEN ILLUSTRATIONS HERBERT JENKINS LIMITED ARUNDEL PLACE HAYMARKET LONDON S.W. ffl MCMXIV 1737 THE ANCHOB PBESS, LTD., TIPTBEE, ESSEX. TO FEODOR IVANOVICH SHALIAPIN IN MEMORY OF OUR OLD FRIEND VLADIMIR VASSILIEVICH STASSOV PREFACE January igth, 1900, and April BETWEEN4th, 1905, I read before the Musical Association of London five papers deal- ing with the Development of National Opera in Russia, covering a period from the first perform- ance of Glinka's A Life for the Tsar in 1836, to the production of Rimsky-Korsakov's opera The Tsar's Bride, in 1899. These lectures were illustrated by the following artists : the late Mrs. Henry J. Wood, Miss Grainger Kerr, Mr. Mr. Seth Hughes, Robert Maitland ; Sir (Mr.) Henry J. Wood and Mr. Richard Epstein at the piano. While using these lectures as the scaffolding of my present book, I have added a considerable amount of new material, amassed during ten years unremitting research into my subject. The additions concern chiefly the earlier phases of Russian music, and the operas that have appeared since 1900. The volume also contains some account of the foundation of the nationalist school of composers viii PREFACE under the leadership of Balakirev. It has been my privilege to meet and converse with most of the members of this circle. I give also a few " details about the literary champion of the Invincible Band," Vladimir Stassov, under whose guidance I first studied the history of Russian music. With all modesty I believe I may claim to have been a pioneer worker in this field.