A Countertenor's Reference Guide to Operatic Repertoire
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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Abstracts Papers Read
ABSTRACTS of- PAPERS READ at the THIRTY-FIFTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY SAINT LOUIS, MISSOURI DECEMBER 27-29, 1969 Contents Introductory Notes ix Opera The Role of the Neapolitan Intermezzo in the Evolution of the Symphonic Idiom Gordana Lazarevich Barnard College The Cabaletta Principle Philip Gossett · University of Chicago 2 Gluck's Treasure Chest-The Opera Telemacco Karl Geiringer · University of California, Santa Barbara 3 Liturgical Chant-East and West The Degrees of Stability in the Transmission of the Byzantine Melodies Milos Velimirovic · University of Wisconsin, Madison 5 An 8th-Century(?) Tale of the Dissemination of Musico Liturgical Practice: the Ratio decursus qui fuerunt ex auctores Lawrence A. Gushee · University of Wisconsin, Madison 6 A Byzantine Ars nova: The 14th-Century Reforms of John Koukouzeles in the Chanting of the Great Vespers Edward V. Williams . University of Kansas 7 iii Unpublished Antiphons and Antiphon Series Found in the Dodecaphony Gradual of St. Yrieix Some Notes on the Prehist Clyde W. Brockett, Jr. · University of Wisconsin, Milwaukee 9 Mark DeVoto · Unive Ist es genug? A Considerat Criticism and Stylistic Analysis-Aims, Similarities, and Differences PeterS. Odegard · Uni· Some Concrete Suggestions for More Comprehensive Style Analysis The Variation Structure in Jan LaRue · New York University 11 Philip Friedheim · Stat Binghamton An Analysis of the Beginning of the First Movement of Beethoven's Piano Sonata, Op. 8la Serialism in Latin America Leonard B. Meyer · University of Chicago 12 Juan A. Orrego-Salas · Renaissance Topics Problems in Classic Music A Severed Head: Notes on a Lost English Caput Mass Larger Formal Structures 1 Johann Christian Bach Thomas Walker · State University of New York, Buffalo 14 Marie Ann Heiberg Vos Piracy on the Italian Main-Gardane vs. -
A Comparison of the Alto Voice in Early and Modern Opera
View metadata, citation and similar papers at core.ac.uk • w #*>* brought to you by CORE provided.'V by Illinois Digital Environment for Access to Learning and Scholarship... J HUTCHINS A Comparison of the Alio Voice in Early mii Modern Opera j A ' Tw V ill, .^ i%V** i i • i ! 1 i i 4 Music j • 19 15 i • * THE UNIVERSITY OF ILLINOIS LIBRARY Digitized by the Internet Archive in 2013 http://archive.org/details/comparisonofaltoOOhutc COMPARISON OF THE ALTO VOICE IN EARLY AND MODERN OPERA BY MARJORIE HUTCHINS THESIS FOR THE DEGREE OF BACHELOR OF MUSIC SCHOOL OF MUSIC UNIVERSITY OF ILLINOIS 1915 , ftfy UNIVERSITY OF ILLINOIS June I 19235. SUPERVISION BY THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY MARJORIS HUTCHIUS, - MODERN ENTITLED A COMPARISON OF THE ALTO VOICE IN EARLY JJffl OPERA, - - FOR THE IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS DEGREE QF BACHELOR OF MUSIC. , Instructor in Charge 1 IG HEAD OF DEPARTMENT OF .S • u»uc H^T A COMPARISON OP THE ALTO VOICE IN EARLY AND MODERN OPERA. The alto voice is, in culture and use, as an important solo instrument, comparatively modern. It must be well understood that the alto voice, due to its harmonic relation to the soprano, has always been the secondary voice. The early opera writers, such as Monteverde, Cavalli, Lully, and Scarlatti, although they wrote for this voice when it was sung only by the male artificial con- tralli or counter-tenor, have done much toward putting it where it is today. -
Rhetorical Concepts and Mozart: Elements of Classical Oratory in His Drammi Per Musica
Rhetorical Concepts and Mozart: elements of Classical Oratory in his drammi per musica A thesis submitted to the University of Newcastle in fulfilment of the requirements for the degree of Master of Philosophy Heath A. W. Landers, BMus (Hons) School of Creative Arts The University of Newcastle May 2015 The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository, subject to the provisions of the Copyright Act 1968. Candidate signature: Date: 06/05/2015 In Memory of My Father, Wayne Clive Landers (1944-2013) Requiem aeternam dona ei, Domine: et lux perpetua luceat ei. Acknowledgments Foremost, my sincerest thanks go to Associate Professor Rosalind Halton of the University Of Newcastle Conservatorium Of Music for her support and encouragement of my postgraduate studies over the past four years. I especially thank her for her support of my research, for her advice, for answering my numerous questions and resolving problems that I encountered along the way. I would also like to thank my co-supervisor Conjoint Professor Michael Ewans of the University of Newcastle for his input into the development of this thesis and his abundant knowledge of the subject matter. My most sincere and grateful thanks go to Matthew Hopcroft for his tireless work in preparing the musical examples and finalising the layout of this dissertation. -
Historical Vocal Pedagogies
VC565 Historical Vocal Pedagogies Ian Howell [email protected] New England Conservatory of Music 23 September 2013 Monday, September 23, 13 Giulio Caccini b.1551 – d.1618 Florence, Italy Florentine Camerata – Recitative/Text Famous singer, music teacher, composer of Medici court Monday, September 23, 13 Giulio Caccini •Singers vs. instrumentalists •Voce piena, e naturale vs. voce finta •Avoid slides •Decrescendo from attack •Trillo vs. gruppo •Ornamentation for affect of text Monday, September 23, 13 Pier Francesco Tosi b.1647 – d.1742 Soprano Castrato Taught and performed across Europe, especially Vienna, London, and Bologna Monday, September 23, 13 Pier Francesco Tosi •Study solfeggio •voce di testa vs. voce di petto •Head voice soft ≠ shrieking trumpet •scales without separation of [h] or [g] •fast passages on [a], never [i] or [u] •avoid closed versions of [e] and [o] Monday, September 23, 13 Pier Francesco Tosi •Progressive exercises •expression towards a smile •Hold out the length of notes without shrillness and trembling •Messa di voce taught later •Teach on [a], [Ɛ], and [ɔ], not just on [a] •Drag voice high to low, but not low to high Monday, September 23, 13 Pier Francesco Tosi •Appoggiatura is most important grace •Trill is a necessity •No rules for teaching trill Monday, September 23, 13 Pier Francesco Tosi •Study with the mind •Listen to the best •Too much practice and vocal beauty incompatible Monday, September 23, 13 Giambattista Mancini b.1714 – d.1800 Bologna Castrato, studied with Bernacchi (also Senesino’s (Giulio Cesare) -
The Voice and Singing Sample Pages.Pdf
2 THE VOICE AND SINGING FRANCIS KEEPING AND ROBERTA PRADA Originally LA VOIX ET LE CHANT TRAITÉ PRACTIQUE J. FAURE PARIS 1886 this book, translated and expanded contains Faure’s original exercises with all the transpositions as indicated by the author. 3 Copyright © 2005 Francis Keeping and Roberta Prada. All rights reserved. No part of this book may be reproduced in any form, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review. Published in 2005 by Vox Mentor LLC. For sales please contact: Vox Mentor LLC. 343 East 30th street, 12M. New York, NY. 10016 phone: 212-684-5485 Email: [email protected] Website: www.voxmentor.biz Printed in USA. Awaiting Library of congress Cataloging-in-Publication Data ISBN 10: 0-9777823-0-1 Originally La Voix et le Chant, J. Faure, Paris, 1886, AU Menestrel, 2 bis, Rue Vivienne, Henri Heugel. The present volume is set in Times New Roman 12 point, on 28 lb. bright white acid free paper and wire bound for easy opening on the music stand. Page turns have been avoided wherever possible in the exercises, meaning that there are intentional blank spaces throughout. The cover photo of J. Faure as a younger man is from the collection of Bill Ecker of Harmonie Autographs, New York City. The present authors have faithfully translated the words of Faure, taking care to preserve the original intent of the author making changes only where necessary to assist modern readers. The music was written using Sibelius 3 and 4™ software. -
The Baroque. 3.3: Vocal Music: the Da Capo Aria and Other Types of Arias
UNIT 3: THE BAROQUE. 3.3: VOCAL MUSIC: THE DA CAPO ARIA AND OTHER TYPES OF ARIAS EXPLANATION 3.3: THE DA CAPO ARIA AND OTHER TYPES OF ARIAS. THE ARIA The aria in the operas is the part sung by the soloist. It is opposed to the recitative, which uses the recitative style. In the arias the composer shows and exploits the dramatic and emotional situations, it becomes the equivalent of a soliloquy (one person speach) in the spoken plays. In the arias, the interpreters showed their technique, they showed off, even in excess, which provoked a lot of criticism from poets and musicians. They were often sung by castrati: soprano men undergoing a surgical operation so as not to change their voice when they grew up. One of them, the most famous, Farinelli, acquired international fame for his great technique and vocal expression. He lived twenty-five years in Spain. THE DA CAPO ARIA The Da Capo aria is a vocal work in three parts or sections (tripartite form). It began to be used in the Baroque in operas, oratorios and cantatas. The form is A - B - A, the last part being a repetition of the first. 1. The first section is a complete musical entity, that is to say, it could be sung alone and musically it would have complete meaning since it ends in the tonic. The tonic is the first grade or note of a scale. 2. The second section contrasts with the first section in tonality, texture, mood and sometimes in tempo (speed). 3. -
Fedel E Costante
CORO The Sixteen Edition CORO live The Sixteen Edition Other Sixteen Edition recordings available on CORO Heroes and Heroines cor16025 Delirio Amoroso cor16030 Sarah Connolly - Handel arias Ann Murray - Handel Italian secular cantatas Harry Christophers Harry Christophers The Symphony of The Symphony of Harmony & Invention Harmony & Invention "Connolly seals her "...a dazzling revelation... reputation as our best Ann Murray sings Handel mezzo in many superlatively." years." bbc music magazine financial times Vivaldi: Gloria in D Allegri - Miserere cor16014 Fedel e Costante Bach: Magnificat in D cor16042 & Palestrina: Missa Papae Marcelli, Stabat Mater Russell, Fisher, Lotti: Crucifixus Browner, Partridge, "Christophers draws HANDEL ITALIAN CANTATAS George brilliant performances from "Singing and playing his singers, both technically on the highest level." assured and vividly Elin Manahan Thomas bbc music magazine impassioned." the guardian Principals from The Symphony To find out more about The Sixteen, concert tours, and to buy CDs, visit www.thesixteen.com cor16045 of Harmony and Invention There are many things about The Sixteen her unique amongst her peers. This live elcome to the world of four that make me very proud, above all the recital of Handel Italian Cantatas was part of women, all of whom have nurturing of future talent. Over the years, the 2006 Handel in Oxford Festival. Those Wbeen betrayed by love and its we have produced some outstanding who were actually present at that concert deceitful charms, to varying degrees and performers; among them are Carolyn were witness to a performance of captivating for numerous reasons. Sampson, Sarah Connolly, Mark Padmore, communication and sparkling intelligence. Agrippina condotta a morire pretends Christopher Purves and Jeremy White. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Samson Et Dalila De Camille Saint-Saëns
DOSSIER PÉDAGOGIQUE SAMSON © Christian Legay - Opéra-Théâtre de Metz Métropole de Metz - Opéra-Théâtre © Christian Legay ET DALILA DE CAMILLE SAINT-SAËNS CONTACTS ACTION CULTURELLE Marjorie Piquette / 01 69 53 62 16 / [email protected] Eugénie Boivin / 01 69 53 62 26 / [email protected] 1 SAMSON ET DALILA DE CAMILLE SAINT-SAËNS répétition générale : mercredi 7 novembre 2018 à 20h30 vendredi 9 novembre 2018 à 20h dimanche 11 novembre 2018 à 16h OPÉRA EN 3 ACTES ET 4 TABLEAUX Livret en français de Ferdinand Lemaire d’après la Bible (Juges 16, 4-30). Création au Théâtre de la Cour grand-ducale de Weimar, le 2 décembre 1877 grâce à Liszt et représenté à Paris en 1892. Direction Musicale David Reiland Mise en Scène Paul-Emile Fourny Assisté de Sylvie Laligne Décors Marco Japelj Costumes Brice Lourenço Lumières Patrice Willaume Chorégraphie Laurence Bolsigner-May Chef de Chant Nathalie Dang Chef de Chœur Nathalie Marmeuse Avec Samson Jean-Pierre Furlan Dalila Vikena Kamenica Le Grand Prêtre Alexandre Duhamel Abimélech Patrick Bolleire Un Vieillard Hébreu Wojtek Smilek Un Messager Daegweon Choi Le 1er Philistin Eric Mathurin Le 2e Philistin Jean-Sébastien Frantz Orchestre national d’Île-de-France Chœur de l’Opéra-Théâtre de Metz Métropole Chœurs Supplémentaires de l’Opéra de Massy Ballet de l’Opéra-Théâtre de Metz Métropole Production de l’Opéra-Théâtre de Metz Métropole En coproduction avec l’Opéra de Massy et le SNG-Opéra et Ballet National de Slovénie à Maribor ALLER PLUS LOIN : CONFÉRENCE CONFÉRENCE AUTOUR DE SAMSON ET DALILA : MARDI 6 NOVEMBRE À 19H Par Barbara Nestola, musicologue Entrée gratuite sur réservations au 01 60 13 13 13 (à partir du 23/10) 2 LE COMPOSITEUR On a pris la fâcheuse habitude de croire que, là où il y a des sons musicaux, il y a nécessairement de la musique. -
74Th Baldwin-Wallace College Bach Festival
The 74th Annual BALDWIN-WALLACE Bach Festival Annotated Program April 21-22, 2006 Save the date! 2007 75th B-W BACH FESTIVAL Friday, Saturday, and Sunday April 20–22, 2007 Including a combined concert with the Bethlehem Bach Choir, celebrating its 100th Festival, in Severance Hall. The Mass in B Minor will be featured. Check our Web site for details www.bw.edu/bachfest Featured Soloists presented with support from the E. Nakamichi Foundation and The Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil BALDWIN-WALLACE COLLEGE SEVENTY-FOURTH ANNUAL BACH FESTIVAL THE OLDEST COLLEGIATE BACH FESTIVAL IN THE NATION ANNOTATED PROGRAM APRIL 21–22, 2006 DEDICATION THE SEVENTY-FOURTH ANNUAL BACH FESTIVAL IS RESPECTFULLY DEDICATED TO RUTH PICKERING (1918–2005), WHO SO LOVED MUSIC, THE BALDWIN-WALLACE COLLEGE BACH FESTIVAL AND CONSERVATORY CONCERTS, THAT SHE AND HER LATE HUSBAND, DON, HAD THEIR NAMES ENGRAVED ON BRASS PLAQUES AND AFFIXED TO THEIR FAVORITE SEATS, DD 24 AND DD 25, IN THE BALCONY OF GAMBLE HALL, KULAS MUSICAL ARTS BUILDING. SHE WILL BE REMEMBERED WITH MUCH LOVE BY MANY FROM THIS COMMUNITY, IN WHICH SHE WAS SO ACTIVE. Third Sunday Chapel Series at Baldwin-Wallace College Lindsay-Crossman A concert series under the direction of Warren Scharf, Margaret Scharf, and Nicole Keller 2006-2007 Concert Schedule Third Sundays at 7:45 p.m. Our Sixth Season October 15, 2006 March 18, 2007 November 19, 2006 April 15, 2007 December 17, 2006 The public is warmly invited to attend these free concerts. The Chapel is handicapped accessible. -
Antonio Salieri Stefanie Attinger, Krüger & Ko
Aufnahme / Recording: World Premiere Recordings 28./29.1.07; 29./30.9.07; 28./29.10.07 Gesellschaftshaus Heidelberg, Pfaffengrund Toningenieur und Schnitt / Sound engineer and editing: Eckhard Steiger, Tonstudio van Geest, Sandhausen Musikalischer Berater und Einführungstext / Music consultant and critical editions: Timo Jouko Herrmann English Translation: Für weitere Informationen / For further information: Dr. Miguel Carazo & Association Mannheimer Mozartorchester - Tourneebüro Foto / Photo: Classic arts gmbh · Bergstr. 31 · D-69120 Heidelberg Rosa-Frank.com Tel.: +49-(0) 6221-40 40 16 · Fax: +49-(0) 6221-40 40 17 Grafik / Coverdesign: [email protected] · www.mannheimer-mozartorchester.de Antonio Salieri Stefanie Attinger, Krüger & Ko. Vol. 1 & 2007 hänssler CLASSIC, D-71087 Holzgerlingen Ouvertüren & Ballettmusik Mit freundlicher Unterstützung von Prof. Dr. Dietrich Götze, Heidelberg Overtures & Ballet music Außerdem erschienen / Also available: Felix Mendelssohn Bartholdy Symphony No. 1 C Minor op. 11 / String Symphony No. 8 (Version with winds) / String Symphony No. 13 (Symphonic Movement) Heidelberger Sinfoniker / Thomas Fey CD-No. 98.275 Felix Mendelssohn Bartholdy Symphony No. 4 „Italian“ / String Symphonies Nos. 7 & 12 Heidelberger Sinfoniker / Thomas Fey CD-No. 98.281 Eine große Auswahl von über 700 Klassik-CDs und DVDs finden Sie bei hänssler CLASSIC unter www.haenssler-classic.de, auch mit Hörbeispielen, Downloadmöglichkeiten und Künstlerinformationen. Gerne können Sie auch unseren Gesamtkatalog anfordern Mannheimer Mozartorchester unter der Bestellnummer 955.410. E-Mail-Kontakt: [email protected] Thomas Fey Enjoy a huge selection of more than 700 classical CDs and DVDs from hänssler CLASSIC at www.haenssler-classic.com, including listening samples, download and artist related information. You may as well order our printed catalogue, order no.: 955.410.