Classical Music Repertoire
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
NITOUCHE for ALL ETERNITY Pascal Blanchet
NITOUCHE FOR ALL ETERNITY Pascal Blanchet Lovers of Hervé who decide to take a stroll through his home town of Houdain (in the Pas-de-Calais département) may go to pay their respects at no.36 rue Roger Salengro, where the house in which the composer was born in 1825 is still standing. Having read the plaque piously affixed to these venerable walls, the traveller need only go a few steps farther to reach the corner of rue Jean Jaurès. There one has the surprise of finding oneself face to face with Hervé, or at least with his statue, which rises at the centre of a pretty square that bears his name. The musician, standing behind a music desk, arms raised and baton in hand, is conducting one of his scores. By craning one’s neck slightly, one can manage to read the title: Mam’zelle Nitouche. Thus, for all eternity, Hervé will conduct this work that remains his best-known, more even than Le Petit Faust, his other great success, or the other three instalments of his ‘tetralogy’, L’Œil crevé, Chilpéric and Les Turcs. Yet it is not a work unanimously approved of by ‘Hervéistes’, some of whom denigrate it as a score of lesser stature, lacking in those large-scale ensembles that allowed Hervé to give full rein to his talent. Does this relative disdain for a piece that refuses to die have any justification? And has the time come to rehabilitate Mam’zelle Nitouche? Operetta as autobiography ‘In 1847 I was engaged as a singing actor at the Théâtre de Montmartre, then under the direction of Daudé. -
Use of Parody Techniques in Jacques Offenbach's Opérettes and Germaine Tailleferre's Du Style Galant Au Style Méchant
Use of Parody Techniques in Jacques Offenbach’s Opérettes and Germaine Tailleferre’s Du Style Galant au Style Méchant By Melissa Cummins, ©2017 PhD University of Kansas, 2017 MM University of South Dakota, 2013 ME Southeast Missouri State University, 1994 BSE Northwest Missouri State University, 1989 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Colin Roust Paul Laird Scott Murphy Joyce Castle Jeanne Klein Date Defended: March 15, 2017 The dissertation committee for Melissa Cummins certifies that this is the approved version of the following dissertation: Use of Parody Techniques in Jacques Offenbach’s Opérettes and Germaine Tailleferre’s Du Style Galant au Style Méchant Chair: Colin Roust Date Approved: April 26, 2017 ii Abstract In past scholarship, Germaine Tailleferre has been briefly written about as the only female member of Les Six and as a composer of instrumental music. Her body of piano music and a few of her other compositions have been analyzed, but her operatic output and style have to this point not been examined. This dissertation begins to fill that gap by studying the radio operas that were commissioned in 1955 by Radio France. Using parodic techniques developed early in her career, Tailleferre and her librettist, Denice Centore, created a cycle of five short operas that reflected the historical scope of French opera in miniature: Du Style Galant au Style Méchant. The fourth opera in the cycle, Monsieur Petitpois achéte un château, is a parody of the opérettes of Jacques Offenbach. -
Jacques Offenbach (1819‐1880)
Jacques Offenbach (1819‐1880) Bibliographie numérique Références de Gallica sélectionnées et mises en thème par la Fondation Napoléon https://gallica.bnf.fr/ark:/12148/btv1b8423263r 2 Biographies Offenbach, sa vie et son œuvre / André Martinet Martinet, André (1860-1920). Auteur du texte (Paris), 1887 https://gallica.bnf.fr/ark:/12148/bpt6k371498x Une sélection de livrets Les contes d'Hoffmann : opéra en trois actes, cinq tableaux / paroles de J. Barbier ; musique de J. Offenbach https://gallica.bnf.fr/ark:/12148/bpt6k855292p 3 Le voyage dans la lune : opéra féérie en 4 actes / Vanloo ; Leterrier ; Mortier ; musique d'Offenbach https://gallica.bnf.fr/ark:/12148/bpt6k320285b La chanson de Fortunio : opéra-comique en un acte / par MM. Hector Crémieux et Ludovic Halévy ; musique de M. Jacques Offenbach https://gallica.bnf.fr/ark:/12148/bpt6k8539251 4 Le Financier et le savetier, opérette-bouffe en 1 acte, de M. Hector Crémieux, musique de M. Jacques Offenbach. (Paris, Bouffes-Parisiens, 23 septembre 1856.) https://gallica.bnf.fr/ark:/12148/bpt6k134621x Bagatelle, opéra-comique en 1 acte, par Hector Crémieux et Ernest Blum, musique de J. Offenbach. (Paris, Bouffes-Parisiens, 21 mai 1874.) https://gallica.bnf.fr/ark:/12148/bpt6k134416v 5 Une sélection de partitions La belle Hélène, , opéra-bouffe de J. Offenbach, . Quadrille (pour piano) par A. Kovaltsik https://gallica.bnf.fr/ark:/12148/btv1b52506408h La grande Duchesse de Gérolstein (de J. Offenbach), . Quadrille pour le piano par A. Kováltsik https://gallica.bnf.fr/ark:/12148/bpt6k313940t 6 Les Brigands, opéra-bouffe de J. Offenbach. Polka- mazurka pour piano par Lindheim,... https://gallica.bnf.fr/ark:/12148/bpt6k316031w Orphée aux Enfers Grand galop de J. -
Offenbach 2019 Redécouvertes Pour Le Bicentenaire 20 Années De L’Offenbach Edition Keck OEK Éditorial L’OEK Fête Ses 20 Ans
NUMÉRO SPÉCIALE WWW.BOOSEY.DE SPECIAL OFFENBACH 2019 REDÉCOUVERTES POUR LE BICENTENAIRE 20 ANNÉES DE L’OffenbaCH EDITION KECK OEK ÉDITORIAL L’OEK FÊTE SES 20 ANS C’est en 1999 que la maison d’édition Boosey & Hawkes a débuté sa monumentale édition des œuvres d’Offenbach, l’OEK, Le mot de À chaque fois une aventure sous la direction du spécialiste d’Offenbach Jean-Christophe par Keck. En 2019, nous célébrons les vingt ans de cette édition Marc Minkowski en même temps que le bicentenaire du compositeur, et nous sommes très heureux de le faire en étroite coopération avec Voilà vingt ans que l’OEK des artistes et institutions du monde entier. existe et vingt ans que nous travaillons régulièrement Jacques Offenbach, bien plus qu’un « petit Mozart des Champs- ensemble, pour notre plus y a vingt ans paraissait notre pre- immuable telle que nous la présente une L’OEK a aussi rendu accessible au public Élysées » (Rossini), incarne comme nul autre l’exubérance, la grand plaisir. Tout à commencé mière édition critique : la version édition d’époque gravée à une date précise. d’aujourd’hui des œuvres hier injustement verve et le rythme propre au Second Empire. Mais personne avec le récital d’Anne Sofie von Il de 1858 d’Orphée aux Enfers. Le C’est pourquoi l’exhaustivité a toujours été écartées, mal reçues ou incomprises. Les n’a, en même temps, su mieux que lui mettre le doigt dans les Otter au Châtelet ... Depuis, succès fut immédiat et ne s’est jamais dé- le but de notre démarche, proposant aux Fées du Rhin, Barkouf, Fantasio ou encore blessures de son époque, qui n’est pas si différente de la nôtre. -
Offenbach 2019
WWW.BOOSEY.COM SPECIAL OFFENBACH 2019 THE ORCHESTRAL WORKS IN THE OFFENBACH EDITION KECK OEK Orchestral numbers from the stage works OFFENBACH FOR CONCERTS Ballet music & larger excerpts: HIGHLIGHT Les Fées du Rhin Overture Les Fées du Rhin Ballet & Grande valse Orphée aux Enfers (1874) Orphée aux Enfers (version 1874) Ballet des mouches Le Royaume de Neptune Orphée aux Enfers (version 1874) Divertissement des songes et des heures (L’Atlantide) La Voyage dans la lune Ballet des flocons de neige Recent new editions: After having reworked Orphée Music for orchestra Le Roi Carotte Ballet aux Enfers, premiered in 1858, Geneviève de Brabant (version 1867) Ballet into a ‘opéra-féerie’, Offenbach added another 30 minutes to his The Offenbach Edition Keck Original compositions Waltzes: most successful stage work: In 10 OEK offers a rich repertoire Abendblätter Walzer (Evening Papers Waltz) Barbe-Bleue Entracte act III scenes, the ballet act “Le Royaume La Belle Hélène Entracte act II de Neptune” paints the undersea of entertaining and ‘serious’ Offenbach Waltz (American Eagle Waltz) for solo cornet and orchestra Ouverture à grand orchestre Le Financier et Savetier Overture kingdom of Atlantis. The music, works also for concert Le Papillon – Suite, by Jean-Christophe Keck after Offenbach’s ballet La Grande-Duchesse de Gérolstein Entracte act III (Carillon et valse) lost until recently, is one of the programs. Polka des Mirlitons for three mirlitons, cornet and orchestra Monsieur Choufleuri Overture major rediscoveries within the Souvenir d’Aix Orphée aux Enfers (version 1874) Entracte act II OEK. The edition will be premiered Arias and other vocal numbers from the Souvenir des Bouffes-Parisiens La Périchole Entracte act II in June 2019 by the Vienna Radio stage works naturally have long had their Un Mari à la porte Overture Symphony Orchestra under the place also in the concert hall. -
Compositions with Rising Cadence Gestures, Tables David Neumeyer
Rising line table, p. 1 Compositions with rising cadence gestures, tables David Neumeyer 2004-2014 Last updated 03 April 2014. Links in the original file are missing here. Introductory text from the website: The four tables (links above) gather pieces -- as of today, more than 900 of them -- with cadences that use as- cending melodic gestures. My focus has been on primary cadences, but in some cases secondary cadences (especially those ending clearly demarcated form sections) were sufficient (the point being to fill out the histori- cal record). At some earlier point I have read many of the pieces included here by traditional Schenkerian methods, as developing out of rising fundamental lines (^5-^6-^7-^8, or - very rarely -- ^1-^2-^3-^4-^5-^6-^7-^8), out of the complex line from ^8 that includes a rising cadence (^8-^7-^6-^5||^5-^6-^7-^8), and a few composi- tions with "primitive" forms (^5-^7-^8, ^8-^7-^8, and ^8-^9-^8). In the past several years, I have moved beyond the limitations of the Americanized Schenkerian model to a broader conception of linear or hierarchical analysis and therefore have been adding to this list pieces with as- cending cadence gestures, regardless of apparent or possible prolonged notes preceding them. The complete list of pieces mentioned in my JMT article (1987) is included here as well. Published sources for scores and for rising-line readings are listed in the "Notes" column. LOC: Those marked (LOC) are scores found on the Library of Congress American Memory site. The ma- jority of these items came from the 1820-1860 section of the site, which includes, among many other works, more than 2700 polkas. -
Board of Directors Spring Meeting May 3-4, 2005 Detroit, Michigan
Board of Directors Spring Meeting May 3-4, 2005 Detroit, Michigan Tuesday, May 3 7:00pm Bus departs hotel Motor lobby 7:30pm Board of Directors Dinner Hosted by Mr. And Mrs. Brooks 1771 Seminole Wednesday, May 4 9:00am to 10:00am Finance Committee Joliet B 10:00am to 11:00am Information/Online Services & Joliet A Membership Committees 11:00am to 12:00pm New York Relocation Committee Joliet B (open to entire board) 12:00pm Lunch Marquette A/B 12:30pm to 5:00pm Board of Directors’ Meeting Marquette A/B 6:30pm Network Dinners Various locations (optional) Meeting Hotel Detroit Marriott at the Renaissance Center Renaissance Center Detroit, MI 48243 (313) 568-8000 or fax (313) 558-8146 Meeting of the Board of Directors Wednesday, May 4, 2005 Detroit, MI 12:30pm to 5:00pm AGENDA 1. Approval of the minutes of the meeting of February 5, 2005 Tab 1 2. A. Report of the Chairman B. Report of the President Tab 2 3. Finance Report Tab 3 4. Membership Report Tab 4 5. Development Report Tab 5 6. Discussion Topics Tab 6 A. New York Relocation B. Committee on Directors 7. General Reports Tab 7 8. Next Meetings Tab 8 9. Other Business 10. Adjournment OPERA AMERICA Committees - FY2005 Revised 1/26/05 NAME Committee on Finance Membership Information/ NewYork Directors Online Services Relocation Patricia Beggs CHAIR X X Patricia Compton XX X John Conklin X Susan Danis XX David Devan X Anne Ewers XX Linda Golding X Dennis Hanthorn XX Claire Hopkinson XX Speight Jenkins X Paul Kellogg X Barbara Leirvik X David McIntosh XXX Charles MacKay EX OFFICIO EX OFFICIO EX OFFICIO EX OFFICIO EX OFFICIO Janice Mayer Erie Mills X Peter Russell CHAIR Marc Scorca EX OFFICIO EX OFFICIO EX OFFICIO EX OFFICIO EX OFFICIO Kevin Smith CHAIR Ann Stanke X CHAIR Robert Swedberg X Joseph Volpe X Willie Waters Mark Weinstein XX MINUTES OF THE MEETING OF THE BOARD OF DIRECTORS February 5, 2005 Washington, D.C.