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Schubert's Mature Operas: an Analytical Study
Durham E-Theses Schubert's mature operas: an analytical study Bruce, Richard Douglas How to cite: Bruce, Richard Douglas (2003) Schubert's mature operas: an analytical study, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4050/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Schubert's Mature Operas: An Analytical Study Richard Douglas Bruce Submitted for the Degree of PhD October 2003 University of Durham Department of Music A copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. The copyright of this thesis rests with the author. No quotation from it should be published without their prior written consent and information derived from it should be acknowledged. 2 3 JUN 2004 Richard Bruce - Schubert's Mature Operas: An Analytical Study Submitted for the degree of Ph.D (2003) (Abstract) This thesis examines four of Franz Schubert's complete operas: Die Zwillingsbruder D.647, Alfonso und Estrella D.732, Die Verschworenen D.787, and Fierrabras D.796. -
Katelyn Neumann, Mezzo-Soprano a Senior Recital in Partial Fulfillment of the Requirements for a Bachelor of Arts in Music
Katelyn Neumann, mezzo-soprano A senior recital in partial fulfillment of the requirements for a Bachelor of Arts in Music Susan Azaret Davies, piano June 6, 2010 Sunday, 3:00 p.m. Davidson Music Center Room 218 Sponsored by the Cal Poly Music Department & College of Liberal Arts Program Senior Recital Katelyn Neumann, mezzo-soprano Susan Azaret Davies, piano Qui Sedes ad dexteram Patris .........................................................Antonio Vivaldi (1678–1741) Deh, pietoso, o Addolorata ...............................................................Giuseppe Verdi (1813–1901) L’allegro .................................................................................Marietta Brambilla (1807–1875) Set of Two French Pieces ............................................................Cécile Chaminade Chant d’amour (1857–1944) Chanson groenlandaise Arie der Fatime .................................................................. Carl Maria von Weber (1786–1826) Intermission Romanze .......................................................................................Franz Schubert (1797–1828) Blicke mir nicht in die Lieder .......................................................... Gustav Mahler (1860–1911) Must the Winter Come So Soon .........................................................Samuel Barber (1910–1981) Love Poems Set ......................................................................... Mabel Wood-Hill Ebb Tide (1870–1954) The Look Translations Qui sedes ad dexteram Patris Who sits on the right hand of the Father -
Franz Schubert Written and Narrated by Jeremy Siepmann with Tom George As Schubert
LIFE AND WORKS Franz Schubert Written and narrated by Jeremy Siepmann with Tom George as Schubert 8.558135–38 Life and Works: Franz Schubert Preface If music is ‘about’ anything, it’s about life. No other medium can so quickly or more comprehensively lay bare the very soul of those who make or compose it. Biographies confined to the limitations of text are therefore at a serious disadvantage when it comes to the lives of composers. Only by combining verbal language with the music itself can one hope to achieve a fully rounded portrait. In the present series, the words of composers and their contemporaries are brought to life by distinguished actors in a narrative liberally spiced with musical illustrations. Unlike the standard audio portrait, the music is not used here simply for purposes of illustration within a basically narrative context. Thus we often hear very substantial chunks, and in several cases whole movements, which may be felt by some to ‘interrupt’ the story; but as its title implies the series is not just about the lives of the great composers, it is also an exploration of their works. Dismemberment of these for ‘theatrical’ effect would thus be almost sacrilegious! Likewise, the booklet is more than a complementary appendage and may be read independently, with no loss of interest or connection. Jeremy Siepmann 8.558135–38 3 Life and Works: Franz Schubert © AKG Portrait of Franz Schubert, watercolour, by Wilhelm August Rieder 8.558135–38 Life and Works: Franz Schubert Franz Schubert(1797-1828) Contents Page Track Lists 6 Cast 11 1 Historical Background: The Nineteenth Century 16 2 Schubert in His Time 26 3 The Major Works and Their Significance 41 4 A Graded Listening Plan 68 5 Recommended Reading 76 6 Personalities 82 7 A Calendar of Schubert’s Life 98 8 Glossary 132 The full spoken text can be found on the CD-ROM part of the discs and at: www.naxos.com/lifeandworks/schubert/spokentext 8.558135–38 5 Life and Works: Franz Schubert 1 Piano Quintet in A major (‘Trout’), D. -
Schubert in America: First Publications and Perf Ormances
Schubert in America: First Publications and Perf ormances f ROM THE BEETHOVEN AND ScHUBERT centennials in 1927 and 1928 to Josquin des Prez's 450th anniversary commemorated at a Festival-Conference. Lincoln Center, New York City, in June 1971, Americans have no less eagerly pressed to their bosoms the anniversaries of great European composers than have Europeans themselves. True. local color has now and then been attempted with such an article as M. D. Herter Norton's " Haydn in America (Before 1820)" in the Haydn number of The Musical Quarterly. XVIII/2 (April, 1932), 309-337, or· Otto Kinkeldey's " Beginnings of Beethoven in America" in the Beethoven number, XIII/2 (April. 1927), 217-248. However, the 1928 Schubert numbcr of the Quarter(y lacked any history what soever of first Schubert publications and performanccs in America. To rcmedy this lack, an anonymous five-page "History of Schubert Performanccs in America" was published in the Bulletin from National Headquarters Schubert Centennial. /819 Broadway. New York. Schubert Week November 18-25, 1928. lt began thus: The first written record of a Schubert work played in this country goes as far back, as 1835- sevcn ycars after thc Mastcr's death. One of New York's oldcst music publications, The American Musical Joumal. for May 1835 carries the following account. under the heading "Domestic Musical Rcport"- "Mr. Hermann gave a concert at the City Hall Thursday cvcning. April 2, 1835. Beethovcn's overture to Egmont and Weber's overture Der Freischütz were well pcrformed. Messrs. Taylor and Trust played a plcasing fantasía on the harp and flute by Franz Schubert. -
Javier Arrebola an Die Musik Photo: Heikki Tuuli Heikki Photo: (Spain, 1981) 1981) (Spain, Arrebola Javier He Pianist
Javier Arrebola An die Musik Arrebola Javier Photo: Heikki Tuuli Photo: Javier Arrebola (Spain, 1981) is an international pianist. He mainly studied at and gradu- ated from the Madrid Royal Conservatory and the Sibelius Academy in Helsinki. One of his most recent projects has been the public performance of all of Franz Schubert’s finished piano sonatas both on historical forte- pianos and on modern instru- ments. www.javierarrebola.com Javier Arrebola An die Musik Doctoral Concert Series Programme Notes Arrebola17_24_2.indd 1 3.10.2012 16.49 An die Musik Doctoral Concert Series Programme Notes Javier Arrebola ISBN 978-952-5959-35-2 (Paperback) ISBN 978-952-5959-37-6 (Electronic Version) Ochando Press Lucena (Spain), 2012 Javier Arrebola © 2012 DocMus Doctoral School Sibelius Academy Helsinki (Finland) Cover: Harfner und Mignon. Drawing by Woldemar Friedrich (1846-1910). Back cover: Die Feier von Schuberts 100 Geburtstag im Himmel. Lithograph by Otto Böhler (1847-1913). ii To all Schubertians iii iv Contents Introduction vii Part I 1817 1 Part II An 1819 Schubertiade 13 Part III 1825 25 Part IV So lasst mich scheinen 39 Part V 1828 – The Final Year 51 Notes 62 v vi Introduction Between 2010 and 2012, and as part of my doctoral studies at the Sibelius Academy in Helsinki (Finland), I had the opportunity of carrying out a fascinating project: the public performance of all of Franz Schubert’s finished sonatas for piano. This document is a compilation of the texts that I wrote for each of the five concerts of the series, and serves as a complement to my doctoral thesis on Schubert’s unfinished piano sonatas. -
Eldon Black Album Collection
Albums Eldon Black Album Collection These albums are only available for use by ASU students, faculty, and staff. Ask at the Circulation Desk for assistance. (Use the Adobe "Find" to locate song(s) and/or composer(s).) Catalog Number Title Notes 1 Falstaff-Verdi Complete 2 La Perichole Complete 3 Tosca-Puccini Complete 4 Cavalleria Rusticana-Mascagni Complete 5 The Royal Family of Opera 5A lo son l'umile ancella from Adriana Lecouvreur by Cilea 5B Come rugiada al cespite from Ernani by Verdi 5C In questo suolo a lusingar tua cura from La Favorita by Donizetti 5D E lucevan le stelle from Tosca by Puccini 5E Garden Scene Trio from Don Carlo by Verdi 5F Oh, di qual onta aggravasi from Nabucco by Verdi 5G In quelle trine morbide from Manon Lescaut by Puccini 5H Dulcamara/Nemorino duet from "Ecco il magico liquor" from L'Elisir D'Amore by Donizetti 5I Il balen from Il Trovatore by Verdi 5J Mon coeur s'ouvre a ta voix from Samson et Dalila by Saint-Saens 5K Bel raggio lusingheir from Semiramide by Rossini 5L Le Veau d'or from Faust by Gounod 5M Page's Aria from Les Huguenots by Meyerbeer 5N Depuis le jour from Louise by Charpentier 5O Prize Song from Die Meistersinger by Wagner 5P Sois immobile from William Tell by Rossini 5Q Cruda sorte from L'Italiana in Algeri by Rossini 5R Der Volgelfanger bin ich from The Magic Flute by Mozart 5S Suicidio! from La Gioconda by Ponchielli 5T Alla vita che t'arride from A Masked Ball by Verdi 5U O mio babbino caro from Gianni Schicchi by Puccini 5V Amor ti vieta from Fedora by Giordano 5W Dei tuoi figli from -
Johann Michael Vogl's Alterations to Schubert's "Die Schonë Mullerin̈ "
University of Iowa Iowa Research Online Theses and Dissertations Spring 2009 Johann Michael Vogl's alterations to Schubert's "Die schonë Mullerin̈ " Joseph R Matson University of Iowa Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons Copyright 2009 Joseph R Matson This thesis is available at Iowa Research Online: https://ir.uiowa.edu/etd/251 Recommended Citation Matson, Joseph R. "Johann Michael Vogl's alterations to Schubert's "Die schonë Mullerin̈ "." MA (Master of Arts) thesis, University of Iowa, 2009. https://doi.org/10.17077/etd.xsg0v6p1 Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons JOHANN MICHAEL VOGL’S ALTERATIONS TO SCHUBERT’S DIE SCHÖNE MÜLLERIN by Joseph R. Matson A thesis submitted in partial fulfillment of the requirements for the Master of Arts degree in Music in the Graduate College of The University of Iowa May 2009 Thesis Supervisor: Associate Professor Marian Wilson Kimber Copyright by JOSEPH R. MATSON 2009 All Rights Reserved Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL __________________________ MASTER’S THESIS _________________ This is to certify the Master’s thesis of Joseph R. Matson has been approved by the Examining Committee for the thesis requirements for the Master of Arts degree in Music at the May 2009 graduation. Thesis Committee: ___________________________________ Marian Wilson Kimber, Thesis Supervisor ___________________________________ Christine Getz ___________________________________ Katherine Eberle ACKNOWLEDGMENTS I wish to acknowledge the support of several people. The faculty, staff, and student body in the School of Music gave me the opportunity and support to pursue my research, in spite of the flood that closed the music building in 2008. -
The Unfinished Piano Sonatas of Franz Schubert Javier Arrebola
Javier Arrebola The Unfi Schubert Franz of nished Piano Sonatas The Unfi Arrebola Javier Any work of art, whether com- plete or incomplete, is of value. Whatever its form, it will always embody the fruits of experimentation, the quest for hidden paths, the discovery of latent possibilities. Although not displaying the perfection of a fi nished piece, incomplete works often reveal more clearly the struggle, the diffi culties and the development of the artist’s thinking at different stages of the creative process. Photo: Heikki Tuuli Photo: The present study, intended for music-lovers and professional Javier Arrebola (Spain, 1981) musicians alike, deals with one is an international pianist. He such category: the unfi nished mainly studied at and gradu- piano sonatas of Franz Schubert. ated from the Madrid Royal Conservatory and the Sibelius Academy in Helsinki. One of his most recent projects has been the public performance of all of Franz Schubert’s fi nished piano sonatas both on historical forte- pianos and on modern instru- ments. www.javierarrebola.com Javier Arrebola The Unfi nished Piano Sonatas of Franz Schubert Arrebola17_24_1.indd 1 3.10.2012 15.46 The Unfinished Piano Sonatas of Franz Schubert Javier Arrebola ISBN 978-952-5959-34-5 (Paperback) ISBN 978-952-5959-36-9 (Electronic Version) Ochando Press Lucena (Spain), 2012 Javier Arrebola © 2012 DocMus Doctoral School Sibelius Academy Helsinki (Finland) Cover: Storholmen (Kristinestad, Finland). Back cover: Opening page of Schubert’s Piano Sonata in F-sharp minor (D571). Wienbibliothek -
Words to Songs
Conservatory, she resigned from academic employment in 1982 in KALLIWODA (1801–1866) Heimatlied Op 17 order to pursue a career as a full-time composer. Walker's catalogue Johan Baptist Wenzel Kalliwoda was born in Prague and started includes over 350 commissioned works for orchestra, chamber studying violin and composition at the Prague Conservatory at the age ensembles, chorus, and solo voice. of 10, and made his debut as a violinist at the age of 14. Upon completion of his studies he became a member of the Prague Opera The Great Trees written in 2009 is a five movement work for SATB Orchestra. Kalliwoda was a highly prolific composer, and was held in Chorus, Clarinet and Piano. The movements are musical settings of high regard during his lifetime by such eminent contemporaries as the poetry of Wendell Berry (1934 -). The poetry and music focus on Robert Schumann. In all, his works number in the hundreds, of the beauty and spirituality of nature – trees, birds, still water – “one which there are about 250 works or sets of works with opus numbers. household, high and low.” Movements #2 (The Silence ) and #4 (The Steps of the City) are for clarinet, voice and piano only. Heimatlied (Homeland Song), Op 117 was published in 1857 in a Words to Songs series of numerous German songs for voice clarinet and piano, “as sung by Mrs Toulmin, Miss Masson and Mrs Shaw accompanied by Mr Lazarus.” Henry Lazarus (1815-1895) was one of England's SCHUBERT/Castelli prominent clarinettists during the 19th century. Romanze from Die Verschworenen Romance from The Conspirators Ich schleiche bang und still I creep around, anxious and still, herum, my heart beats so hard, SCHUBERT (1797-1828) Romanze from Die Verschworenen Das Herz pocht mir so schwer, life seems dull and silent to me, Das Le-ben däucht mich öd' und Schubert’s Die Verschworenen (The Conspirators), also known as Der and castle and meadow so empty. -
Franz Schubert (1797–1828)
1 Franz Schubert (1797–1828) The restoration of Schubert’s symphonic works By Brian Newbould, Professor of Music, University of Hull The performing versions by Brian Newbould of the six unfinished works are conceived with the aim of completing each work as Schubert himself might have done had he returned to his sketches. In the notes which follow Professor Newbould traces Schubert’s progress as a symphonist from his schooldays till his death at the age of 31. Schubert’s symphonic career spanned a mere 18 years, during which time he set about writing a symphony at least 13 times. His endeavours occupied him, intermittently, from 1811 when he was a lad of 14 to the last weeks of his life in 1828. Yet of the 13 attempts, only seven yielded complete, finished symphonies: for whatever reason, six symphonies were begun but left unfinished. Those he did finish are now, for the most part, well-loved repertory pieces which offer scarcely any clue as to why the others should have been abandoned. It is only in the last quarter of the twentieth century that all the fragmentary works have been identified, transcribed, and made ready for performance. In 1808 the 11-year-old Schubert entered the choir of the Imperial Kapelle, and was enrolled at the school attached, which was part of the Vienna Stadtkonvikt. Pupils of the school formed an orchestra which assembled every night after supper to play an overture or two and a symphony. As a second violinist, becoming a first violinist probably within two years, Schubert played a repertory mainly of Haydn, Mozart, and early Beethoven. -
570329Bk Schubert US 16/2/09 11:26 Page 5
570329bk Schubert US 16/2/09 11:26 Page 5 Prague Sinfonia Christian Benda During the celebrations of the Czech National Day on 28th October 2006, former President Christian Benda comes from an old family of Czech musicians and composers, and SCHUBERT of the Czech Republic Václav Havel became Honorary President of the Prague Sinfonia in a enjoys a distinguished international career as a conductor, collaborating with leading gala concert under Christian Benda at the Czech National House in New York City. The soloists and orchestras throughout the world, appearing at international festivals, in the orchestra was established as an expanded version of the Prague Chamber Orchestra during concert hall and in the recording studio. His many recordings include orchestral works their sixteenth tour of North America, after having collaborated for over ten years with ranging from Bach and Haydn to Malipiero and Casella, together with a variety of works Complete Overtures • 2 Christian Benda, chief conductor and artistic director. The orchestra has toured widely by his distinguished ancestors. He is chief conductor and artistic director of the Prague throughout the world and is a regular component of Czech musical life, with concert series Sinfonia created by President Václav Havel. His video, radio and television recordings Rosamunde • The Twin Brothers in Prague and participation in festivals. Recordings for companies including EMI, Decca, include productions for the BBC, Radio Luxembourg, Radio France, ORF, Hessischer Sony Classics, Naxos, Polydor, Nippon Columbia, Denon, BMG, Telarc, Ariola, Eurodisc, Rundfunk, SWR, TVSR, RSI, SF DRS, TV Cultura, as well as for Czech, Polish, Fierabras • The Conspirators and Supraphon have won a number of prestigious prizes, including the Wiener Flötenuhr, the Slovenian, Serbian, Hungarian and Chinese television. -
THE CONSPIRITORS DIE VERSCHWORENEN Music by Franz Schubert : Words and Text by J
THE CONSPIRITORS DIE VERSCHWORENEN Music by Franz Schubert : Words and Text by J. F. Castelli Adapted by George Baker & Humphrey Trevelyan THE STORY (Late medieval times) The plot of this one-act opera resembles 'Lysistrata' by Aristophanes and deals with an effective women's peace organisation. The Crusader husbands, commanded by Count Heribert von Ludenstein, are dissuaded from continually waging war by their wives, led by the Countess. They simply deny their husbands all 'matrimonial rights'. The Conspirators, although composed in 1823, was not performed until 1861, thirty three years after Schubert's death. The present version, in English, was first performed at Cambridge in 1954. The whole work lasts an hour and twenty minutes. PRINCIPAL CHARACTERS Total principals required are four sopranos, two contraltos, three tenors, two basses, some of these having smaller roles. The chorus writing is nearly all covered by the principal voices. MUSICAL NUMBERS The work is for four or five sopranos, two contraltos, two or three tenors, two basses, mixed choir and orchestra: Ouverture (fragment) 1. Duet: “Sie ist’s! Er ist’s!” (2 versions; 1st version for soprano, tenor and orchestra; 2nd version for two sopranos and orchestra) 2. Romanze: “Ich schleiche bang’ und still herum” 3. Ensemble: “Ihr habt auf Eure Burg entboten” 4. Corus (“Verschwörungschor” [conspiracy chorus]): “Ja, wir schwören” 5. March and chorus: “Vorüber ist die Zeit” 6. Ensemble: “Verrätherei hab’ ich entdeckt” 7. Chorus of knights and women: “Willkommen, schön willkommen” 8. Duet: “Ich muß sie finden” 9. Arietta: “Ich habe gewagt und habe gestritten” 10. Arietta: “Gesetzt, ihr habt wirklich gewagt” 11.