November 1934) James Francis Cooke
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
French Performance Practices in the Piano Works of Maurice Ravel
Studies in Pianistic Sonority, Nuance and Expression: French Performance Practices in the Piano Works of Maurice Ravel Iwan Llewelyn-Jones Submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy School of Music Cardiff University 2016 Abstract This thesis traces the development of Maurice Ravel’s pianism in relation to sonority, nuance and expression by addressing four main areas of research that have remained largely unexplored within Ravel scholarship: the origins of Ravel’s pianism and influences to which he was exposed during his formative training; his exploration of innovative pianistic techniques with particular reference to thumb deployment; his activities as performer and teacher, and role in defining a performance tradition for his piano works; his place in the French pianistic canon. Identifying the main research questions addressed in this study, an Introduction outlines the dissertation content, explains the criteria and objectives for the performance component (Public Recital) and concludes with a literature review. Chapter 1 explores the pianistic techniques Ravel acquired during his formative training, and considers how his study of specific works from the nineteenth-century piano repertory shaped and influenced his compositional style and pianism. Chapter 2 discusses Ravel’s implementation of his idiosyncratic ‘strangler’ thumbs as articulators of melodic, harmonic, rhythmic and textural material in selected piano works. Ravel’s role in defining a performance tradition for his piano works as disseminated to succeeding generations of pianists is addressed in Chapter 3, while Chapters 4 and 5 evaluate Ravel’s impact upon twentieth-century French pianism through considering how leading French piano pedagogues and performers responded to his trailblazing piano techniques. -
Acceptance of Western Piano Music in Japan and the Career of Takahiro Sonoda
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE ACCEPTANCE OF WESTERN PIANO MUSIC IN JAPAN AND THE CAREER OF TAKAHIRO SONODA A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By MARI IIDA Norman, Oklahoma 2009 © Copyright by MARI IIDA 2009 All Rights Reserved. ACKNOWLEDGEMENTS My document has benefitted considerably from the expertise and assistance of many individuals in Japan. I am grateful for this opportunity to thank Mrs. Haruko Sonoda for requesting that I write on Takahiro Sonoda and for generously providing me with historical and invaluable information on Sonoda from the time of the document’s inception. I must acknowledge my gratitude to following musicians and professors, who willingly told of their memories of Mr. Takahiro Sonoda, including pianists Atsuko Jinzai, Ikuko Endo, Yukiko Higami, Rika Miyatani, Y ōsuke Niin ō, Violinist Teiko Maehashi, Conductor Heiichiro Ōyama, Professors Jun Ozawa (Bunkyo Gakuin University), Sh ūji Tanaka (Kobe Women’s College). I would like to express my gratitude to Teruhisa Murakami (Chief Concert Engineer of Yamaha), Takashi Sakurai (Recording Engineer, Tone Meister), Fumiko Kond ō (Editor, Shunju-sha) and Atsushi Ōnuki (Kajimoto Music Management), who offered their expertise to facilitate my understanding of the world of piano concerts, recordings, and publications. Thanks are also due to Mineko Ejiri, Masako Ōhashi for supplying precious details on Sonoda’s teaching. A special debt of gratitude is owed to Naoko Kato in Tokyo for her friendship, encouragement, and constant aid from the beginning of my student life in Oklahoma. I must express my deepest thanks to Dr. -
Boston Symphony Orchestra Concert Programs, Summer, 1983
. ^ 5^^ mar9 E^ ^"l^Hifi imSSii^*^^ ' •H-.-..-. 1 '1 i 1^ «^^«i»^^^m^ ^ "^^^^^. Llii:^^^ %^?W. ^ltm-''^4 j;4W»HH|K,tf.''if :**.. .^l^^- ^-?«^g?^5?,^^^^ _ '^ ** '.' *^*'^V^ - 1 jV^^ii 5 '|>5|. * .««8W!g^4sMi^^ -\.J1L Majestic pine lined drives, rambling elegant mfenor h^^, meandering lawns and gardens, velvet green mountain *4%ta! canoeing ponds and Laurel Lake. Two -hundred acres of the and present tastefully mingled. Afulfillment of every vacation delight . executive conference fancy . and elegant home dream. A choice for a day ... a month . a year. Savor the cuisine, entertainment in the lounges, horseback, sleigh, and carriage rides, health spa, tennis, swimming, fishing, skiing, golf The great estate tradition is at your fingertips, and we await you graciously with information on how to be part of the Foxhollow experience. Foxhollow . an tver growing select family. Offerings in: Vacation Homes, Time- Shared Villas, Conference Center. Route 7, Lenox, Massachusetts 01240 413-637-2000 Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu J. P. Barger Mrs. John L. Grandin Irving W. Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland Mrs. Norman L. Cahners Albert L. Nickerson Mrs. George Lee Sargent George H.A. -
A History of French Literature
A History of French Literature Edward Dowden A History of French Literature Table of Contents A History of French Literature.........................................................................................................................1 Edward Dowden.......................................................................................................................................2 PREFACE................................................................................................................................................4 BOOK THE FIRST. THE MIDDLE AGES.........................................................................................................5 CHAPTER I. NARRATIVE RELIGIOUS POETRY—THE NATIONAL EPIC—THE EPIC OF ANTIQUITY—ROMANCES OF LOVE AND COURTESY...............................................................6 CHAPTER II. LYRICAL POETRY—FABLES, AND RENARD THE FOX—FABLIAUX—THE ROMANCE OF THE ROSE...................................................................13 CHAPTER III. DIDACTIC LITERATURE—SERMONS—HISTORY.............................................18 CHAPTER IV. LATEST MEDIÆVAL POETS—THE DRAMA.......................................................24 BOOK THE SECOND. THE SIXTEENTH CENTURY...................................................................................30 CHAPTER I. RENAISSANCE AND REFORMATION......................................................................31 CHAPTER II. FROM THE PLÉIADE TO MONTAIGNE..................................................................36 BOOK -
Aldo Ciccolini, 89 Virtuoso Pianist Shed Light on the Underappreciated
The Washington Post February 6, 2015 Music Aldo Ciccolini, 89 Virtuoso pianist shed light on the underappreciated by Anne Midgette Aldo Ciccolini, a pianist who combined virtuosity with elegant reserve and over more than six decades of performing drew acclaim for his interpretations of underappreciated compositions and composers, died at his home in Asnieres-sur-Seine, outside Paris. He was 89. His manager, the pianist Paul Blacher, announced the death to Agence France-Presse without revealing the cause. He said Mr. Ciccolini died late Jan. 31 or early Feb. 1. Mr. Ciccolini was born in Italy but, as he said in an interview with Le Figaro two years ago, “I feel I definitely have a French soul.” He arrived in Paris in 1949 for the prestigious Marguerite Long-Jacques Thibaud piano competition — he was one of two winners that year — and stayed on to study with Long, Alfred Cortot and Yves Nat. Mr. Ciccolini made France his permanent home, taking citizenship in 1969. The next year, he began an 18-year tenure as professor at the Conservatoire de Paris, where his students included pianist Jean-Yves Thibaudet and the future conductor Fabio Luisi. His turn to teaching may have been one reason he was somewhat underappreciated in the United States, where he never received quite the acclaim of some flashier soloists. Another is his choice of repertoire: He was rare among concert pianists for focusing on quirky corners. His 1960s recordings of Erik Satie (1866-1925) helped bolster that composer’s reputation; other recordings in his impressive catalogue featured the little-known French composer Déodat de Séverac, piano music by the Italian composer Gioacchino Rossini and works by the Czech composer Leoš Janácek. -
The Bacon Brothers and France
The Bacon Brothers and France Francis Bacon’s and Anthony Bacon’s travels in France and subsequent involvement in the Shakespeare Circle and birth of the Shakespeare plays. Author: Peter Dawkins Francis Bacon and his brother Anthony were brought up and educated together, having experience of both university and court life. They became thoroughly learned in the classics and could read, write and speak Latin, Greek, Hebrew, French, Italian, Spanish and Dutch. Anthony ended up being able to converse fluently in six to eight modern European languages. Both brothers were well-versed in classical mythology, philosophy, mathematics and the scriptures, and proficient in the art of lute-playing, fencing and horse riding. Both brothers were referred to as “secret poets”. After university (Cambridge), Francis Bacon spent three years abroad in France (1576-9) attached to the English embassy, in order to study the laws, languages, politics, history, culture and customs of France and other countries. During this time he helped to compile and decipher intelligence of all kinds from across the continent, and became involved with French culture and court life. When the French Court moved from Paris to Blois for a meeting of the Estates-General in December 1576, the English embassy accompanied it. At Blois there was an opportunity for Francis to witness the famous Italian commedia dell’arte, whose direct influence can be found in many Shakespeare plays.1 In March 1577 the embassy followed the French court to Tours, then from Tours to Poitiers, where in the autumn of 1577 they spent three months. At Poitiers the French court met with the noblemen and diplomats of Henri de Navarre’s court, including Du Plessis-Mornay and Du Bartas, to carry out peace negotiations. -
The Young Conductor Looks to the Future
THE WORLD’S BEST CLASSICAL MUSIC REVIEWS Est 1923 . APRIL 2018 gramophone.co.uk Robin Ticciati The young conductor looks to the future PLUS Paul Lewis explores Haydn’s piano sonatas Handel’s Saul: the finest recordings UNITED KINGDOM £5.75 Intimate concerts featuring internationally acclaimed classical musicians in central London Now Booking Until July 2018 Igor Levit Cuarteto Casals: Beethoven Cycle Roderick Williams: Exploring Schubert’s Song Cycles O/Modernt: Purcell from the Ground Up Haydn String Quartet Series Jörg Widmann as Composer-Performer and much more… The Wigmore Hall Trust 36 Wigmore Street, London W1U 2BP Director: John Gilhooly OBE www.wigmore-hall.org.uk Registered Charity Number 1024838 A special eight-page section focusing on recent recordings from the US and Canada JS Bach Solo Violin Sonatas and Partitas, BWV1001-1006 talks to ... Johnny Gandelsman vn In a Circle F b ICR101 (124’ • DDD) Johnny Gandelsman The violinist and co-founder Bach’s Violin of Brooklyn Rider discusses his Sonatas and debut solo recording of Bach Partitas are among the most frequently Was it a challenge to plunge straight into performed works for the instrument, Bach for your first solo recording? or any instrument. Recordings evince a Not really. Over the the last three years spectrum of approaches, from historical I’ve performed all six Sonatas and Partitas treatments on period instruments to in concert about 30 times, which has been concepts Romantic and beyond. deeply rewarding. I wanted to capture this Among the newest journeys is Johnny moment of personal learning and growth. Gandelsman’s freshly considered account Do you miss the collaborative process of these monuments. -
Reading Lucretius in the Renais Sance
I TATTI STUDIES IN ITALIAN RE NAIS SANCE HISTORY Sponsored by Villa I Tatti Harvard University Center for Italian Re nais sance Studies Florence, Italy Reading Lucretius IN THE Re nais sance Ada Palmer Cambridge, Massachusetts London, En gland 2014 Copyright © 2014 by the President and Fellows of Harvard College all rights reserved Printed in the United States of America First printing This book was published with the assistance of the Melbern G. Glasscock Center for Humanities Research at Texas A&M University. Library of Congress Cataloging- in- Publication Data Palmer, Ada. Reading Lucretius in the Renaissance / Ada Palmer. pages cm. — (I Tatti studies in Italian Renaissance history) Includes bibliographical references and index. ISBN 978-0-674-72557-7 (alk. paper) 1. Lucretius Carus, Titus. De rerum natura I. Title. PA6495.P35 2014 871'.01—dc23 2014002577 Contents List of Tables and Figures vii Preface xi 1. Religion Trampled Underfoot 1 Epicurus, Atomism, Atheism, and Skepticism in the Re nais sance 2. Unchristian Opinion 43 Lucretius’s First Re nais sance Readers 3. Between Fits of Madness 97 Ancient References and Proto- Biographies 4. The Lofty Madness of Wise Lucretius 140 The Re nais sance Biographies 5. The Poverty of the Language 192 The Lucretian Print Tradition Conclusion 233 Deceived but Not Betrayed Appendix A: Lucretius Manuscripts 243 Appendix B: Capitula 250 Appendix C: Lucretius Editions 258 Notes 265 Bibliography 335 A c k n o w l e d g m e n t s 3 5 5 Index 359 Tables and Figures Tables 2.1. Manuscript sizes and materials 48 2.2. -
La Vie, Les Idées Et L'œuvre De Jean-Antoine De Baïf
Notes du mont Royal www.notesdumontroyal.com 쐰 Cette œuvre est hébergée sur « No- tes du mont Royal » dans le cadre d’un exposé gratuit sur la littérature. SOURCE DES IMAGES Canadiana LA VIE, L’ES IDÉES ET [ŒUVRE DE J EAN-ANTOIN E DE BAÏF PAR Mathieu AUGÉ-CHIQUET ANCIEN ÉLÈVE DE L’UNlVERSXTÉ DE TOULOUSE DOCTEUR in LETTRES i1 Ouvrage couronné-, par l’Académie française : PARIS TOULOUSE HACHETTE ET Cie ÉDOUARD PRIVAT ÉDITEURS ÉDITEUR 7g, BOULEV. st-GEnMMN 14, RUE pas ARTS l909 a?» r" LA VIE. LES IDÉES ET L’ŒUVEE DE JEAN-ANTOINE DE BAÏF ’ "V 4m.A; . s LA VIE, LES IDÉES ET LZCEUVBE a «,4 , DE JEANANTOINE DE BAIE PAR Mathieu AUGÉ-CHIQUET ANCIEN ÉLÈVE DE L’UNIVERSITÉ DE TOULOUSE DOCTEUR 1’23 LE’lTRKS PARIS TOULOUSE HACHETTE ET Cie ÉDOUARD, PRIVAT ÉDITEURS EDITEUH 79, BOULEV. st-GERMAIN 14, un: pas ARTS 1909 (PQ 1ms àïfië PRÉSERVATION gammes A MONSIEUR HENRY GUY PROFESSEUR A L’UNIVERSITÉ DE TOULOUSE Hommage de vive afection et de profonde reconnaissance. Il PRÉFACE Je ne sais plus par quel chemin, voici bien des années, je suis venu à Baïf. C’est, j’imagine, le goût des hommes et des choses de la Renaissance, si Vif dans cette génération, qui m’a conduit vers Iui, et aussi peut-être l’attrait de l’inconnu. Ceux à qui j’exposais mon projet me disaient : « VOus ferez œuvre utile; , mais Baïf est bien ennuyeux. » Je ne serai ni étonné, ni déçu et je m’estimerai honnêtement payé de ma peine si l’on juge ce livre fait à l’image du poète, hérissé, broussailleux, ennuyeux, - mais utile. -
UC Santa Cruz Electronic Theses and Dissertations
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Figures of Voice in Early Modern Europe Permalink https://escholarship.org/uc/item/8wc924s9 Author Helou, Ariane Nada Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ FIGURES OF VOICE IN EARLY MODERN EUROPE A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Ariane Nada Helou June 2015 The Dissertation of Ariane Nada Helou is approved: _______________________________________ Professor Deanna Shemek, chair _______________________________________ Professor Karen Bassi _______________________________________ Professor Carla Freccero _______________________________________ Professor Nina Treadwell ___________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Ariane N. Helou 2015 FIGURES OF VOICE IN EARLY MODERN EUROPE Table of Contents Abstract v Acknowledgments vii Introduction 1 I. Vocal Dispositions: Language, Music, and Rhetoric 13 Rhetoric: Inventio 14 Language: Elocutio and Variatio 20 Music: Dispositio 36 Figures of Voice: Memoria and Pronuntiatio 49 II. Divinity and the Ineffable: The Sibyl 53 Apollo’s Voice: The Sibyl in Antiquity 55 Early Modern Sibyls: Ariosto’s Prophetic Voices 68 Staged Sibyls: Florence, 1589 73 III. Voice and Violence: Philomela 88 Quid faciat Philomela? Ovid’s Nightingale 94 “Mad Through Sorrow”: Lavinia and Juliet 108 “The Poor Soul Sat Singing”: Ophelia and Desdemona 118 IV. (Dis)Embodied Voices: Orpheus and Echo 133 Orphea vox: Vergil and Ovid 137 Vox ipsa: Orphic Resonance in Orlando furioso 142 Vocalis nymphe: Isabella Andreini’s La Mirtilla 152 ! iii Un corpo solo di musica: Orpheus at the Opera 175 Conclusion 184 Bibliography 199 ! iv FIGURES OF VOICE IN EARLY MODERN EUROPE Ariane N. -
Ronsard, Pierre De (1524-1585). Oeuvres Complètes De P. De Ronsard (Nouvelle Édition, Publiée Sur Les Textes Les Plus Anciens Avec Les Variantes Et Des Notes)
Oeuvres complètes de P. de Ronsard (Nouvelle édition, publiée sur les textes les plus anciens avec les variantes et des [...] Source gallica.bnf.fr / Bibliothèque nationale de France Ronsard, Pierre de (1524-1585). Oeuvres complètes de P. de Ronsard (Nouvelle édition, publiée sur les textes les plus anciens avec les variantes et des notes). 1857-1867. 1/ Les contenus accessibles sur le site Gallica sont pour la plupart des reproductions numériques d'oeuvres tombées dans le domaine public provenant des collections de la BnF.Leur réutilisation s'inscrit dans le cadre de la loi n°78-753 du 17 juillet 1978 : *La réutilisation non commerciale de ces contenus est libre et gratuite dans le respect de la législation en vigueur et notamment du maintien de la mention de source. *La réutilisation commerciale de ces contenus est payante et fait l'objet d'une licence. Est entendue par réutilisation commerciale la revente de contenus sous forme de produits élaborés ou de fourniture de service. Cliquer ici pour accéder aux tarifs et à la licence 2/ Les contenus de Gallica sont la propriété de la BnF au sens de l'article L.2112-1 du code général de la propriété des personnes publiques. 3/ Quelques contenus sont soumis à un régime de réutilisation particulier. Il s'agit : *des reproductions de documents protégés par un droit d'auteur appartenant à un tiers. Ces documents ne peuvent être réutilisés, sauf dans le cadre de la copie privée, sans l'autorisation préalable du titulaire des droits. *des reproductions de documents conservés dans les bibliothèques ou autres institutions partenaires. -
Classe Terza
LICEO ESABAC VITTORIA COLONNA CLASSE TERZA Prof. Massimiliano Badiali 163 LA POESIE Le XVIe siècle est le siècle d'or de la poésie qui peut s'épanouir grâce à la protection des princes. Les poètes se mettent à leur service pour célébrer les événements de leur cour et pour avoir, en échange, une pension qui assure leur subsistance. Clément Marot (1496- 1544), par exemple, est le poète officiel de la cour de François 1er et de sa sœur, Marguerite de Navarre, avant d'être exilé pour l'« affaire des placards >>. Rompant avec la tradition de ses prédécesseurs, il cherche à libérer la poésie des modèles du Moyen Age. En Italie, il découvre le sonnet qu'il utilise et diffuse en France. Après lui, l'influence italienne est encore plus marquée sur !es poètes de l'école lyonnaise, parmi lesquels Maurice Scève (1500 ?-1562 ?) et Louise Labé (1524 ?-1566 ?). L'influence de Pétrarque se mêle aux idées de Platon et donne vie à une poésie raffinée où le thème de l'amour est inspiré parla recherche de la Beauté et de la pureté. LA PLÉIADE Plumes 1 page 108-116 La première révolution poétique est opérée par la Brigade rassemblé autour de Pierre Ronsard, Joachim Du Bellay, Jean-Antoine de Baïf, constitué au collège de Coqueret sous l’autorité de leur professeur, Dorat. Dorat leur apprend à gouter la poésie grecque et latine, Homère, Horace, Virgile, mais aussi les modernes italiens, comme Pétrarque, Dante, Arioste, qui ont su créer une littérature nationale. Puis Ronsard fonde la Pléiade en 1553 et élit en effet, sept poètes dans le groupe, et leur nombre n'était pas sans évoquer la Pléiade mythologique des sept filles d'Atlas changées en constellation, et surtout la Pléiade des sept poètes alexandrins du IIIème siècle avant Jésus-Christ : Par simple métaphore, Ronsard comparait sept poètes de son temps aux sept étoiles de la Pléiade, comme on l’avait fait autrefois pour sept poètes Alexandrins du IIIe siècle.