The Extraordinary Lives of Lorenzo Da Ponte & Nathaniel Wallich
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Musical Landmarks in New York
MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere. -
Vicente Martín Y Soler 1754?-1806
2 SEMBLANZAS DE COMPOSITORES ESPAÑOLES 11 VICENTE MARTÍN Y SOLER 1754?-1806 Leonardo J. Waisman Investigador del Consejo Nacional de Investigaciones Científicas y Técnicas, Argentina n los años alrededor de 1790, el compositor más querido por el gran público euro- E peo era un español. Aunque Haydn, Mozart y Beethoven estaban vivos y en plena producción, el predilecto de la mayoría de los oyentes era el valenciano Vicente Martín y Soler. Esto se verificaba especialmente en la ciudad en que tanto Vicente como los tres grandes maestros del clasicismo residían: Viena, pero también era cierto en los grandes centros operísticos de Italia, Inglaterra, Alemania y Francia. En España misma, quizás el público en general no compartiera esa predilección, pero la familia real elegía reiterada- mente sus óperas para celebrar acontecimientos festivos. Aunque Martín y Soler cultivó muchos de los géneros vocales en boga durante la segun- da mitad del siglo XVIII (ópera seria, oratorio, opéra comique, opera komicheskaya rusa, cantata, serenata, canción) y cosechó muchos aplausos por sus numerosas composicio- nes para ballet, fue sin duda a través de la ópera bufa en italiano como conquistó el co- razón de los melómanos de todo el continente. En particular, tres de ellas tuvieron un éxi- to tal como para generar modas en el vestir y expresiones idiomáticas que entraron en el En «Semblanzas de compositores españoles» un especialista en musicología expone el perfil biográfico y artístico de un autor relevante en la historia de la música en España y analiza el contexto musical, social y cultural en el que desarrolló su obra. -
Italian-American Theatre
Saggi Italian-American Theatre Emelise Aleandri Artistic Director of «Frizzi & Lazzi», New York An Italian-American actor hesitates before the entrance to a shop in Little Italy at the turn of the century. It is a day in the life of a skilful, practiced ticket-vendor of the Italian-American theatre. To disguise the distress he feels at performing the onerous task that awaits him inside the shop, he assumes the mask of confidence, tinged slightly with arrogance. Summoning up a glib tongue, the actor enters the shop and before the shopkeeper knows what has happened, the actor fires away at him this familiar reprise: «Buongiorno. Come sta? La famiglia sta bene? Lei è un mecenate, lei è un benefattore del- la colonia. Io non so cosa faccia il governo italiano, dorme? Ma quando lo faremo cavaliere? Vuole un biglietto per una recita che si darà il mese en- trante: “La cieca di Sorrento?” Spettacoloso drama [sic]»1. With an unsuspecting shop owner, this spiel would almost always be suc- cessful in selling a ticket, but this one has been through this game before and when he learns that the performance is scheduled for a Thursday evening, he is quick to respond: «Oh! Guarda un po’, proprio giovedì che aspetto visite. Vi pare, con tutto il cuore!»2. But the actor is even quicker and has purpose- fully misinformed the storekeeper: «Mi sono sbagliato, è di venerdì»3. The shopkeeper, stunned, mumbles: «Oh! Venerdì... vedrò»4. Tricked, and now the reluctant buyer of a ticket, the shop owner spits back «Come siete seccanti voi altri teatristi!»5. -
Overture to Don Giovanni, K. 527—Wolfgang Amadeus Mozart
Overture to Don Giovanni, K. 527—Wolfgang Amadeus Mozart Mozart’s incomparable musical gifts enabled him to compose at the highest level of artistic brilliance in almost every musical genre. We are privileged to experience his legacy in symphonies, chamber music, wind serenades, choral music, keyboard music—the list goes on and on. But, unquestionably, his greatest contributions to musical art are his operas. No one— not even Wagner, Verdi, Puccini, or Richard Strauss exceeded the perfection of Mozart’s mature operas. The reason, of course, is clear: his unparalleled musical gift is served and informed by a nuanced insight into human psychology that is simply stunning. His characters represented real men and women on the stage, who moved dramatically, and who had distinctive personalities. Of no opera is this truer than his foray into serious opera in the Italian style, Don Giovanni. Mozart’s The Marriage of Figaro, at its première in Vienna in 1786, was a decided success, but nothing like the acclaim that it garnered later, in December of that same year, in Prague. The city literally went wild for it, bringing the composer to the Bohemian capital to conduct performances in January of 1787. A commission for another hit ensued, and Mozart once again collaborated with librettist, Lorenzo Da Ponte—this time basing the opera on the legendary seducer, Don Juan. Italian opera buffa is comic opera, and Mozart was a master of it, but the new opera—given the theme—is a serious one, with hilarious, comic interludes. Shakespeare often made adroit use of the dramatic contrast in that ploy, and so does Mozart, with equal success. -
Antonio Salieri's Revenge
Antonio Salieri’s Revenge newyorker.com/magazine/2019/06/03/antonio-salieris-revenge By Alex Ross 1/13 Many composers are megalomaniacs or misanthropes. Salieri was neither. Illustration by Agostino Iacurci On a chilly, wet day in late November, I visited the Central Cemetery, in Vienna, where 2/13 several of the most familiar figures in musical history lie buried. In a musicians’ grove at the heart of the complex, Beethoven, Schubert, and Brahms rest in close proximity, with a monument to Mozart standing nearby. According to statistics compiled by the Web site Bachtrack, works by those four gentlemen appear in roughly a third of concerts presented around the world in a typical year. Beethoven, whose two-hundred-and-fiftieth birthday arrives next year, will supply a fifth of Carnegie Hall’s 2019-20 season. When I entered the cemetery, I turned left, disregarding Beethoven and company. Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place. Salieri is one of history’s all-time losers—a bystander run over by a Mack truck of malicious gossip. -
A Performance Edition of the Opera Kaspar Der Fagottist by Wenzel Müller
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 A performance edition of the opera Kaspar der Fagottist by Wenzel Müller (1767-1835), as arranged for Harmonie by Georg Druschetzky (1745-1819) Susan Nita Barber Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Barber, Susan Nita, "A performance edition of the opera Kaspar der Fagottist by Wenzel Müller (1767-1835), as arranged for Harmonie by Georg Druschetzky (1745-1819)" (2003). LSU Doctoral Dissertations. 2272. https://digitalcommons.lsu.edu/gradschool_dissertations/2272 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PERFORMANCE EDITION OF THE OPERA, KASPAR DER FAGOTTIST BY WENZEL MÜLLER (1767-1835), AS ARRANGED FOR HARMONIE BY GEORG DRUSCHETZKY (1745-1819) Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts By Susan Nita Barber B.M., State University of New York at Potsdam, 1988 M.M., The Juilliard School, 1990 May 2003 „ Copyright 2002 Susan N. Barber All rights reserved ii ACKNOWLEDGMENTS I would like to express my thanks to my husband, family, friends and colleagues for their support throughout the time that I have been engaged in my research and writing for this degree. -
Anathema of Venice: Lorenzo Da Ponte, Mozart's
Click here for Full Issue of EIR Volume 33, Number 46, November 17, 2006 EIRFeature ANATHEMA OF VENICE Lorenzo Da Ponte: Mozart’s ‘American’ Librettist by Susan W. Bowen and made a revolution in opera, who was kicked out of Venice by the Inquisition because of his ideas, who, emigrating to The Librettist of Venice; The Remarkable America where he introduced the works of Dante Alighieri Life of Lorenzo Da Ponte; Mozart’s Poet, and Italian opera, and found himself among the circles of the Casanova’s Friend, and Italian Opera’s American System thinkers in Philadelphia and New York, Impresario in America was “not political”? It became obvious that the glaring omis- by Rodney Bolt Edinburgh, U.K.: Bloomsbury, 2006 sion in Rodney Bolt’s book is the “American hypothesis.” 428 pages, hardbound, $29.95 Any truly authentic biography of this Classi- cal scholar, arch-enemy of sophistry, and inde- As the 250th anniversary of the birth of Wolfgang Amadeus fatigable promoter of Mozart approached, I was happy to see the appearance of this creativity in science and new biography of Lorenzo Da Ponte, librettist for Mozart’s art, must needs bring to three famous operas against the European oligarchy, Mar- light that truth which riage of Figaro, Don Giovanni, and Cosi fan tutte. The story Venice, even today, of the life of Lorenzo Da Ponte has been entertaining students would wish to suppress: of Italian for two centuries, from his humble roots in the that Lorenzo Da Ponte, Jewish ghetto, beginning in 1749, through his days as a semi- (1749-1838), like Mo- nary student and vice rector and priest, Venetian lover and zart, (1756-91), was a gambler, poet at the Vienna Court of Emperor Joseph II, product of, and also a through his crowning achievement as Mozart’s collaborator champion of the Ameri- in revolutionizing opera; to bookseller, printer, merchant, de- can Revolution and the voted husband, and librettist in London in the 1790s, with Renaissance idea of man stops along the way in Padua, Trieste, Brussels, Holland, Flor- that it represented. -
The Linnean NEWSLETTER and PROCEEDINGS of the LINNEAN SOCIETY of LONDON
The Linnean NEWSLETTER AND PROCEEDINGS OF THE LINNEAN SOCIETY OF LONDON Volume 36 Number 1 April 2020 Gangetic Fishes: Parallel History: A British Discovery: Francis Hamilton's Gesellscha� Naturforschender William Bingley FLS commissioned images Freunde zu Berlin AND MORE... Communicating nature since 1788 The Linnean Society of London Burlington House, Piccadilly, London W1J 0BF UK Toynbee House, 92–94 Toynbee Road, Wimbledon SW20 8SL UK (by appointment only) +44 (0)20 7434 4479 www.linnean.org [email protected] @LinneanSociety President SECRETARIES COUNCIL Dr Sandra Knapp Scienti fi c The Offi cers () Vice Presidents Vice Presidents Prof. Simon Hiscock Dr Malcolm Scoble Dr Colin Clubbe Dr Olwen Grace Mathew Frith Dr Blanca Huertas Editorial Prof. Beverley Glover Prof. Paul Henderson Prof. Mark Chase FRS Prof. Anjali Goswami Dr Malcolm Scoble Prof. Alistair Hetherington Collecti ons Prof. Alan Hildrew Treasurer Prof. Dame Georgina Mace FRS Dr Mark Watson Dr John David Dr Silvia Pressel Strategy Prof. Max Telford Dr Natasha de Vere Prof. David Cutler Stephanie West THE TEAM Execu� ve Secretary Financial Controller & Conservator Dr Elizabeth Rollinson Membership Offi cer Janet Ashdown Priya Nithianandan Head of Collec� ons Special Publica� ons Manager Dr Isabelle Charman� er Buildings & Offi ce Manager Leonie Berwick Librarian Helen Shaw Educa� on & Public Engagement Will Beharrell Communica� ons & Events Manager Joe Burton Archivist Manager (To be announced) Mul� media Content Producer c Ross Ziegelmeier Liz M Gow Room Hire & Membership Assistant Archivist Assistant Ta� ana Franco BioMedia Meltdown Project Luke Thorne Offi cer Daryl Stenvoll-Wells Digital Assets Manager Archivist emerita Andrea Deneau Engagement Research & Gina Douglas Delivery Offi cer Zia Forrai Editor Publishing in The Linnean Gina Douglas The Linnean is published twice a year, in April and October. -
Systematic Notes on Asian Birds. 38. the Mcclelland Drawings and a Reappraisal of the 1835-36 Survey of the Birds of Assam
ZV-344 063-106 | 38 05-01-2007 07:48 Page 63 Systematic notes on Asian birds. 38. The McClelland drawings and a reappraisal of the 1835-36 survey of the birds of Assam E.C. Dickinson With an Appendix by M.P. Walters Dickinson, E.C. Systematic notes on Asian birds. 38. The McClelland drawings and a reappraisal of the 1835-36 survey of the birds of Assam. Zool. Verh. Leiden 344, 12.ix.2003: 63-106, figs 1-4.— ISSN 0024-1652/ISBN 90-73239-88-5. Edward C. Dickinson, c/o The Trust for Oriental Ornithology, Flat 3, Bolsover Court, 19 Bolsover Road, Eastbourne, East Sussex, BN20 7JG, U.K. (e-mail: [email protected]). Keywords: McClelland; Horsfield; drawings; birds; Assam; history; British Library; Melanochlora; neo- type; Tesia olivea. McClelland brought back specimens and drawings from a survey in 1835-36 (and perhaps 1836-37). New birds were described in a paper read by Horsfield (1840). A comparison of the McClelland draw- ings of birds, held at the British Library, with the type specimens of birds newly named in 1840 and with other material has shown that McClelland’s collection was not fully reported. McClelland actually recorded about 170 species not just 96 as then listed. Some birds listed in 1840 were misidentified, of these some have been corrected earlier but at least one is here newly considered and looks as if it needs further correction. Taxonomic and nomenclatural notes are included when necessary. The correct name to apply to the one species in the genus Melanochlora, the Sultan Tit, is not safely established but as dating is not proven the name in present usage is maintained for the sake of stability. -
Effect of Dynamic Loading on Jute-Based Needle-Punched
Indian Journal of Natural Products and Resources Vol. 12(1), March 2021, pp. 11-25 ‘Discovery’ of the tea plant Thea assamica (now, Camellia sinensis var. assamica) in the Indian territory in the 1830s Anantanarayanan Raman1,2,* 1Health & Biosecurity Division, Commonwealth Scientific and Industrial Research Organisation (CSIRO), Floreat Park, WA 6014, Australia 2School of Agricultural & Wine Sciences, Charles Sturt University, Orange, NSW 2800, Australia Received 03 December 2019; Revised 09 December 2020 The tea plant (Camellia sinensis, Theaceae; previously Thea sinensis, Ternstrœmiaceae) is a highly sought-after beverage source today. In 2018 alone, c. 270 B L of tea was consumed throughout the world. Global recognition of green tea has enhanced majorly, especially in the later decades of the 20th century, because of the level of antioxidants (c. 450 mg of vitamin C equivalents) it includes, currently seen valuable in the general well-being of humans. In this article, I chronicle the events that steered the ‘discovery’ of Thea assamica (presently, C. sinensis var. assamica) in the wilderness of Upper Assam (the Ahôm country) and its commercial, large-scale production. William Griffith, who searched it and wrote on the T. assamica material growing in the Indian territory in the 1830s, examined the plant community in which the natural populations of T. assamica grew, in addition to writing on the soil and other related aspects vital for its large-scale cultivation. His notes shed light on an early understanding of the ‘ecosystem’ in which T. assamica grew in the wild. Griffith clarifies that they spread naturally along the river and creek beds in North-eastern India from the neighbouring Chinese territory over the last several hundreds of years. -
02-23-2020 Cosi Fan Tutte Mat.Indd
WOLFGANG AMADEUS MOZART così fan tutte conductor Opera in two acts Harry Bicket Libretto by Lorenzo Da Ponte production Phelim McDermott Sunday, February 23, 2020 PM set designer 3:00–6:35 Tom Pye costume designer Laura Hopkins lighting designer Paule Constable The production of Così fan tutte was revival stage director made possible by generous gifts from Sara Erde William R. Miller, and John Sucich / Trust of Joseph Padula Additional funding was received from the The Walter and Leonore Annenberg Endowment Fund, and the National Endowment for the Arts Co-production of the Metropolitan Opera and English National Opera In collaboration with Improbable general manager Peter Gelb jeanette lerman-neubauer Sunday matinee performances at the Met are music director Yannick Nézet-Séguin sponsored by the Neubauer Family Foundation 2019–20 SEASON The 202nd Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S così fan tutte conductor Harry Bicket in order of vocal appearance ferrando skills ensemble Ben Bliss* Leo the Human Gumby Jonathan Nosan guglielmo Ray Valenz Luca Pisaroni Josh Walker Betty Bloomerz don alfonso Anna Venizelos Gerald Finley Zoe Ziegfeld Cristina Pitter fiordiligi Sarah Folkins Nicole Car Sage Sovereign Arthur Lazalde dorabella Radu Spinghel Serena Malfi despina continuo Heidi Stober harpsichord Jonathan C. Kelly cello David Heiss Sunday, February 23, 2020, 3:00–6:35PM RICHARD TERMINE / MET OPERA A scene from Chorus Master Donald Palumbo Mozart’s Così Musical Preparation Joel Revzen, Liora Maurer, fan tutte and Jonathan -
Wallich and His Contribution to the Indian Natural History
Rheedea Vol. 26(1) 13–20 2016 Wallich and his contribution to the Indian natural history Ranee Om Prakash Department of Life Sciences, The Natural History Museum, Cromwell Road, London SW7 5BD, United Kingdom. E-mail: [email protected]. Abstract Various activities of Nathaniel Wallich, especially those that connect with Indian natural history are briefly reviewed. Wallich rose to a naturalist of international standard from a prisoner of war in discovering the riches of the then British India and reporting to the learned world. He established a close network of leading experts in the field of natural history and exchanged plant materials for the benefit of both the donor and receiving countries. During his superintendence of the then Royal Botanic Garden, Calcutta, which prevailed nearly three decades, Wallich introduced useful plants from across the world and elevated the status of the Garden as one of the finest in the world, published over 8,000 new species, about 142 genera of plants and established a world class herbarium. An initiative funded by the World Collections Programme has tried to give due recognition to Wallich towards his contribution to natural history by hosting a website (www.kew. org/wallich). This is a joint collaborative project between Kew Gardens, The Natural History Museum, London and The British Library with additional inputs from the Acharya Jagdish Chandra Bose Indian Botanic Garden, Howrah and The National Archives of India, New Delhi. Keywords: Collections, Herbarium, Online Resource, Wallich Catalogue Introduction located next to the river and use similar irrigation systems. Kew Garden was built in 1759 and the Nathaniel Wallich (1785–1854) spent 34 years in Calcutta Botanic Garden was established in 1787.