DOCSLIB.ORG

Phaeton's Downfall and Afterwards: Love, Ambition and Magic in António

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Phaeton's Downfall and Afterwards: Love, Ambition and Magic in António 1 Phaeton’s Downfall and Afterwards: love, ambition and magic in António José da Silva’s last puppet opera Dr. Juliet Perkins King’s College London We start with Ovid, because we must, because so many poems, plays and operas are based on Metamorphoses. The boastful youth, goaded by the taunts of Io’s son Epaphus that he has an over-inflated image of his father, seeks confirmation from his mother, Clymene, that he is the son of Phoebus. Swearing by the sun that it is so, she encourages the boy to seek him out. At the palace of the Sun, the god acknowledges Phaeton and promises him anything he wants. Arrogantly, rashly, Phaeton asks to be allowed to drive the sun chariot for a day. Phoebus cannot take back his promise, sworn on the River Styx, so reluctantly lets his son mount the chariot, giving what advice he can on steering the right course and controlling the fiery steeds. It is not long before the horses sense that their load is too light and go out of control. Phaeton panics among the heavenly constellations, the chariot’s crazy careering parches, scorches and frazzles the earth and its inhabitants – a clear case of global warming. At the Earth Mother’s despairing plea to stop this torture, Jupiter kills Phaeton with a thunderbolt and his corpse plunges into the River Eridanus in Italy. The Hesperian naiads bury him and Clymene seeks out his grave; Phoebus goes into eclipse. Phaeton, therefore, is not metamorphosed. It is his sisters, the Helíades, who are changed into poplar trees and whose tears of grief are turned into amber. His relative Cycnus, equally distraught, 1 2 pours out his lament along the banks of the Eridanus and is changed into a swan (Ovid, 2004: 43-66). The story of Phaeton, like that of Icarus, lends itself to a moralizing interpretation: that of pride coming before a fall. This perspective comes into view more or less at the same time as the allegorizing of myth, such as that seen in George Sandys’ 1632 translation of Metamorphoses (Ruthven, 1976: 26-27). We can see the insistence of this trait in the Baroque literature and drama that preceded the Portuguese version under discussion here, Precipício de Faetonte. Its author, António José da Silva, whom the Portuguese still distinguish by the epithet, ‘the Jew’, was Brazilian born but came to Lisbon as a child in 1712, when his New Christian family was summoned to appear before the Inquisition on charges of heresy. Generally identified with a lawyer of the same name who studied at Coimbra University, he is attributed with eight serio-comic operas, performed by puppets, which were first put on in Lisbon between 1733 and 1738, Precipício de Faetonte being the last. In October 1737, he was arrested by the Inquisition and held in prison for two years until being sent to the stake in 1739, found guilty of relaping into Judaism. He was a librettist of undeniable and irrepressible talent. For five of his plots, he drew on the inexhaustible supply of Classical myths, already translated or adapted for the stage by other writers, principally Spanish.1 Imbued with the hybrid norms of the Spanish comedia, that is, the tragicomic inheritance of Lope de Vega and the mythological zarzuela of Calderón de la Barca, Da Silva presented the Lisbon public also with a hybrid genre, operas in Portuguese, combining spoken dialogue with musical items such as arias, duets, ensembles and recitative, in which mythological rulers and heroes, bearing a strong likeness to the 1 An example is his use of Sor Juana Inés de la Cruz’s Amor es más laberinto. See Perkins, 2001: 130-47. 2 3 Portuguese king and court, are both mocked and helped by their servants through the labyrinth of love, to a happy outcome. Although the zarzuela was, by the early eighteenth century, very Italianate, it cannot be assumed that Spanish music theatre was his sole source. His librettos have reflections of seventeenth-century Italian opera, that is, before the reforms in drama carried out by Zeno and Metastasio (Brito, 1989: 107). The obvious conduit for this knowledge must have been the Roman-trained composer, António Teixeira, who wrote the score for at least four of the operas. This dual provenance, Spanish and Italian, of the precursors to Da Silva’s Precipício de Faetonte may be traced a little more closely, albeit briefly here. In his study of the Phaeton myth in Spanish literature, Antonio Gallego Morrell shows how in Garcilaso de la Vega’s hands the youth became the symbol of mad audacity and of impossible love (Morrell, 1961: 37). These aspects are picked up by Calderón de la Barca, in his Comedia famosa, El hijo del Sol, Faetón. Along with the complicated stage machinery, music and singing, came that indispensable ingredient of the cape- and-sword comedy, the love intrigue. The rivalry that Ovid sketched, of Epaphus and Phaeton, is constructed by Calderón into rivalry in love, with jealousy one of the hinges of the action (Morrell, 1961: 47-48). Also, although Calderón’s plethora of nymphs and sirens do not feature in the puppet opera (partially no doubt because of the technical limitations), there is one Calderonian personage – referred to in dialogue but who does not appear on stage – who features prominently in the Portuguese work, the magician Fíton (Calderón de la Barca, 1770: n.p.). If we turn to opera, we see that from its earliest days, circa 1600, the plots were drawn from the Ancient World. Thus, myth and opera have always gone hand in hand. Originally exclusive to a courtly environment, opera was intended to provide not only 3 4 spectacular audio-visual entertainment but also a message and a resolution of conflict. In the words of Manfred Bukofzer: The libretti also clearly indicated the courtly purpose in their themes as well as in their form. Heroes of mythology or ancient history were shown in the stereotyped conflict between honor and love as thinly disguised allegories of the ruling monarch, especially so in France. The customary prologues addressed the ruler directly in the so-called licenza which established the link between the occasion and the topical action. Since the hero represented the monarch, a tragic ending would not have corresponded to the bienséance so that the tragedy was usually brought to a happy ending by the sudden appearance of a deus ex machina. (Bukofer, 1977: 395) The differences between the court opera, commercial (or public) opera and middle-class (or comic opera), and how they evolved cannot be traced here, but two aspects may be signalled (Bukofzer again): The libretti of both the court and commercial operas presented not individual characers but fixed psychological types driven by two affections: ambition and love. […] Since Monteverdi’s Poppea the commercial opera preferred characters taken from history to the mythological heroes of the court opera. […] Whether gods or heroes, they always behaved like Venetians of the seventeenth century. (Bukofzer, 1977: 396) Donald Jay Grout’s engaging introduction to Alessandro Scarlatti’s operas gives several pointers to what we can see in Da Silva’s work. First, elements of pastoral and comedy were common ingredients in the serious drama, with the comic scenes coming at certain definite spots, at the end of acts; second, as far as the personages are concerned, there are three distinct social classes –and here I cite elliptically: 1) rulers – kings, princes, generals, chieftains – always shown as wielding despotic power over everyone else in the cast […]; 2) courtiers, ministers, and confidants, male or female, all belonging to what may be called the middle noble status, some of them loyal to their ruler, some treacherous, as might be required for weaving of the plot; 3) servants, who in turn are of two separate classes: (a) attendants, usually faithful and devoted to their immediate superiors, and (b) at the bottom of this social ladder a pair of servants, typically a man (usually a bass) and a woman or boy, who appear only sporadically in the serious portions of the opera but who always have the comic scenes wholly to themselves. […] Within the group of the serious characters, there are always at least two pairs of lovers; the comic servants will make still a third pair […] Disguises are an indispensable feature of these operas; without them, the whole plot would fall to pieces before it ever got started and they are always perfectly impenetrable.[…] As for the happy ending, all the couples are finally sorted out. This consummation is usually brought about […] by the last-minute intervention of the ruler, in an exemplary act of renunciation inspired by pity and greatness of soul. The well-known figure of the ‘magnanimous tyrant’ in these dramas is not an arbitrary or merely fashionable 4 5 convention: it is a symbol. The king, in the social hierarchy of Scarlatti’s time, was the secular representative of God. It was in high conformity to that divine model that he should be represented as displaying his mighty power chiefly in the showing of mercy and pity. […]. (Grout, 1979: 7-9) As we shall see, Da Silva echoes this basic format, and cast list, but his purposes were satiric. Within the boundaries of the love intrigue, the librettos as a group are full of ambiguous hints and criticism of tyranny, rigid class distinctions, arbitrary justice and social mores, offset by unambiguous ribaldry. The targets of his satire in fact hark back to the power relations contemporaneous with early opera seria, even though he is writing in the eighteenth century.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Leopold Stokowski
    Leopold Stokowski Enescu Romanian Rhapsody No. 1 Arnold Comedy Overture ‘Beckus the Dandipratt’ Glière Concerto for Coloratura Soprano Tchaikovsky Symphony No. 5 in E minor CC 9107 LEOPOLD STOKOWSKI Leopold Stokowski (1882-1977) George Enescu (1881-1955) 10.46 1 Romanian Rhapsody No. 1 in A Op. 11 (1901) Malcolm Arnold (1921-2006) 7.38 2 Comedy Overture ‘Beckus the Dandipratt’ Op. 5 (1943) Reinhold Glière (1875-1956) 15.04 Concerto for Coloratura Soprano and Orchestra in F minor Op. 82 (1943) 3 I Andante 9.33 4 II Allegro 5.31 Ilse Hollweg, soprano BBC Symphony Orchestra A BBC studio concert, broadcast 5 May 1954. Recording from the Itter Broadcast Collection Pyotr Ilyich Tchaikovsky (1840-1893) Leopold Stokowski talking to members of the International Youth Festival Orchestra during a Symphony No. 5 in E minor Op. 64 (1888) first rehearsal of the Tchaikovsky 5th Symphony at Morley College, London. The young 5 I Andante – Allegro con anima 13.50 musicians, who came from all over the world, played the work at the Royal Albert Hall the 6 II Andante cantabile con alcuna licenza 12.04 following evening, 19 August 1973. (Photo: courtesy Edward Johnson) 7 III Valse. Allegro moderato 5.48 8 IV Finale. Andante maestoso – Allegro vivace 11.38 International Festival Youth Orchestra (1973) Recorded in rehearsal, and in performance at the Royal Albert Hall, 19 August 1973 Recorded by David Kent-Watson for Cameo Classics Cover image : Katherine's Palace hall in Tsarskoe Selo, Russia © 2018 Lyrita Recorded Edition CAMEO CLASSICS is a wholly owned label of LYRITA RECORDED EDITION TRUST Total playing time 75.09 Produced under an exclusive licence from Lyrita by Wyastone Estate Limited, Monmouth, NP25 3SR, UK www.lyrita.co.uk 2 7 CC 9107 LEOPOLD STOKOWSKI performed the last three numbered symphonies, though Nos.
    [Show full text]
  • Concierto Barroco: Estudios Sobre Música, Dramaturgia E Historia Cultural
    CONCIERTO BARROCO Estudios sobre música, dramaturgia e historia cultural CONCIERTO BARROCO Estudios sobre música, dramaturgia e historia cultural Juan José Carreras Miguel Ángel Marín (editores) UNIVERSIDAD DE LA RIOJA 2004 Concierto barroco: estudios sobre música, dramaturgia e historia cultural de Juan José Carreras y Miguel Ángel Marín (publicado por la Universidad de La Rioja) se encuentra bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2012 publicaciones.unirioja.es E-mail: [email protected] ISBN: 978-84-695-4053-4 Afinaban cuerdas y trompas los músicos de la orquesta, cuando el indiano y su servidor se instalaron en la penumbra de un palco. Y, de pronto, cesaron los martillazos y afinaciones, se hizo un gran silencio y, en el puesto de director, vestido de negro, violín en mano, apareció el Preste Antonio, más flaco y narigudo que nunca […] Metido en lo suyo, sin volverse para mirar a las pocas personas que, aquí, allá, se habían colocado en el teatro, abrió lentamente un manuscrito, alzó el arco —como aquella noche— y, en doble papel de director y de ejecutante impar, dio comienzo a la sinfonía, más agitada y ritmada —acaso— que otras sinfonías suyas de sosegado tempo, y se abrió el telón sobre un estruendo de color… Alejo Carpentier, Concierto barroco ÍNDICE PRÓLOGO . 11 INTRODUCCIÓN . 13 PARTE I 1. Juan José Carreras Ópera y dramaturgia . 23 Nota bibliográfica 2. Martin Adams La “dramatic opera” inglesa: ¿un imposible género teatral? .
    [Show full text]
  • Quaderni Di Teoria Sociale 2009
    Quaderni di Teoria Sociale | Quaderni di Teoria PARTE MONOGRAFICA numero Su Max Weber Quaderni Massimo Pendenza, Massimo Rosati, Presentazione | Dimitri D’Andrea, Tra adattamento e rifiuto. Verso una teoria delle immagini del mondo | Gregor Fitzi, Protestantesimo e coscienza della modernità | Enrico 2009 Donaggio, Spiriti del capitalismo. Variazioni sul tema | Elettra Stimilli, Ascetismo ed economia | Massimo di Teoria Sociale Del Forno, Invenzione a due voci. Simmel, Weber e il paradigma della musica | Mariella Nocenzi, Il pa- radosso weberiano: il potere non legittimo e la città | Marta Losito, La Weberforschung e la sociologia in Italia. SAGGI 9 Olimpia Affuso, Memoria-magazine. Memorie individuali e sfere pubbliche mediate | Sergio Belardinelli, L’identità culturale europea tra universalismo e pluralità | Massimo Cerulo, Un sentire controverso. L’ homo sentiens fluttuante tra le ambivalenze tardomoderne | Spinella Dell’Avanzato, Trasformazioni della democrazia e comune cultura politica | Alberto Izzo, Irene Strazzeri, Rifiuti. Tragedia mondiale e occultamento ideologico | Roberto Segatori, Il ruolo della sociologia politica nell’Italia contemporanea. L’ INTERVI S TA Critica e spirito del capitalismo. Intervista a Luc Boltanski. LIBRI IN DI S CU ss IONE Il testo in discussione: Hermann Lübbe, La politica dopo l’Illuminismo. Leonardo Allodi, Tecnica e morale in Hermann Lübbe | Maria Aparecida Ferrari, La possibilità di un altro Illuminismo | Ivo Germano, Ci salveranno i media? Il senso di sfida comunicazionale di Hermann Lübbe | Gianfranco Morra, Quale politica dopo l’Illuminismo? Altri testi Lorenzo Bruni, Il riscatto del sogno e la traccia nella trama del presente. M. Gauchet, R. Redeker, Utopia e modernità | Massimo Cerulo, Esperienze che s’incontrano: il ruolo dell’empatia nella vita quotidia- na.
    [Show full text]
  • Il Teatro Significa Vivere Sul Serio Quello Che Gli Altri Nella Vita Recitano Male.”1
    1 Introduction “Il teatro significa vivere sul serio quello che gli altri nella vita recitano male.”1 Many years ago a young boy sat with his friend, the son of a lawyer, in the Corte Minorile of Naples, watching as petty criminals about his age were being judged for their offenses. One ragged pick-pocket who had been found guilty demanded to be led away after being sentenced; instead he was left there and his loud pleas were completely disregarded. Unwilling to tolerate this final offense of being treated as though he were invisible, the juvenile delinquent, in an extreme act of rebellion, began smashing the chains around his hands against his own head until his face was a mask of blood. Horrified, the judge finally ordered everybody out of the court. That young boy sitting in court watching the gruesome scene was Eduardo De Filippo and the sense of helplessness and social injustice witnessed left an indelible mark on the impressionable mind of the future playwright. Almost sixty years later, at the Accademia dei Lincei, as he accepted the Premio Internazionale Feltrinelli, one of Italy’s highest literary accolades, De Filippo recalled how it was that this early image of the individual pitted against society was always at the basis of his work: Alla base del mio teatro c’è sempre il conflitto fra individuo e società […] tutto ha inizio, sempre, da uno stimolo emotivo: reazione a un’ingiustizia, sdegno per l’ipocrisia mia e altrui, solidarietà e simpatia umana per una persona o un gruppo di persone, ribellione contro leggi superate e anacronistiche con il mondo di oggi, sgomento di fronte a fatti che, come le guerre, sconvolgono la vita dei popoli.2 The purpose of this thesis is twofold: to provide for the first time a translation of Eduardo’s last play, Gli esami non finiscono mai (Exams Never End), and to trace the development of his dramatic style and philosophy in order to appreciate their culmination 1 Enzo Biagi, “Eduardo, tragico anche se ride,” Corriere della Sera , 6 March 1977.
    [Show full text]
  • Biblioteca Di Studi Di Filologia Moderna – 27 –
    BIBLIOTECA DI STUDI DI FILOLOGIA MODERNA – 27 – BIBLIOTECA DI STUDI DI FILOLOGIA MODERNA Collana Open Access del Dipartimento di Lingue, Letterature e Studi Interculturali Università degli Studi di Firenze Direttore Beatrice Töttössy Coordinamento editoriale Fabrizia Baldissera, John Denton, Fiorenzo Fantaccini, Donatella Pallotti, Ernestina Pellegrini, Beatrice Töttössy Comitato scientifico internazionale Fabrizia Baldissera (Università degli Studi di Firenze), Enza Biagini (Professore Emerito, Università degli Studi di Firenze), Nicholas Brownlees (Università degli Studi di Firenze), Arnaldo Bruni (studioso), Martha Canfield (studiosa), Richard Allen Cave (Emeritus Professor, Royal Holloway, University of London), Piero Ceccucci (studioso), Massimo Ciaravolo (Università degli Studi di Firenze), John Denton (Università degli Studi di Firenze), Anna Dolfi (Università degli Studi di Firenze), Mario Domenichelli (studioso), Maria Teresa Fancelli (Professore Emerito, Università degli Studi di Firenze), Massimo Fanfani (Università degli Studi di Firenze, Accademia della Crusca), Fiorenzo Fantaccini (Università degli Studi di Firenze), Michela Landi (Università degli Studi di Firenze), Paul Geyer (Rheinische Friedrich-Wilhelms-Universität Bonn), Ingrid Hennemann (studiosa), Donald Kartiganer (Howry Professor of Faulkner Studies Emeritus, University of Mississippi, Oxford, Miss.), Sergej Akimovich Kibal’nik (Institute of Russian Literature [the Pushkin House], Russian Academy of Sciences; Saint-Petersburg State University), Ferenc Kiefer (Research
    [Show full text]
  • Between Venice, Lubowla in Spiš and Kraków: Prince Teodor Lubomirski – an Enthusiast of Italian Opera (A Preliminary Study)
    Musicologica Brunensia 53 / 2018 / Supplementum https://doi.org/10.5817/MB2018-S-13 Between Venice, Lubowla in Spiš and Kraków: Prince Teodor Lubomirski – An Enthusiast of Italian Opera (A Preliminary Study) Anna Ryszka-Komarnicka / [email protected] Institute of Musicology, Warsaw University, PL Abstract Prince Teodor Lubomirski staged 4 operas in his Polish estates: Venceslao, La fede ne’tradimenti, Mariane, Griselda (1725–1727). The Kraków prints of the libretti for the first 3 operas follow the Venetians prints (1722, 1721, 1724), while the Cracovian Griselda is a pasticcio probably pre- pared on the base of the variant of the opera staged in Venice in 1720 (mus. G. M. Orlandini). Acting as a patron of opera in Poland was a part of a Teodor’s well-thought-out policy aimed at standing out against the other Polish aristocrats, at bringing entertainments to himself and his morganatic wife and at an attempt to break the society’s aversion by means of offering the attractions that were hardly accessible in Poland at the time. The repertoire of his theatre was in perfect accord with such aims, especially taking into consideration Zeno’s Griselda, allegori- cally enhancing the status of Teodor’s own wife and children. Teodor’s ephemeral musical hob- by was by no means uncommon in 18th-century Poland. Like many other Polish aristocrats he saw opera as a good way to improve his own social status, but contrary to the West-European royal and princely courts, he did not perceive the genre as the medium of political propaganda that would be worth money.
    [Show full text]
  • The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for the Order of Malta in the Late Eighteenth Century
    The Complete Sacred Music of Nicolò Isouard (1773 – 1818) and Maltese Sacred Music for The Order of Malta in the Late Eighteenth Century. By Richard Sydney Benedict Divall Doctor of Letters (Honoris Causa – Monash 1992) and Doctor of the University (Honoris Causa – Australian Catholic University 2004) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy MCD University of Divinity 2013 MCD University of Divinity To Whom it May Concern This is to certify that the thesis and music editions presented by me for the degree of Doctor of Philosophy comprises only my original work except where due acknowledgment is made in the text to all other material used. Signature: ____________________________________ Name in Full: ____________________________________ Date: ____________________________________ Abstract. Nicolò Isouard (1773-1818) is considered Malta’s national composer. After studies in France and Naples, he returned to his homeland, where from 1794 to 1798 he was an aspiring composer, and employee of the Order of Malta. In 1994 a collection of thirty-three autographs of hitherto unknown sacred music by Isouard appeared at the Bibliothèque Nationale, Paris, and I recognised the importance of these manuscripts. My intentions are to provide a précis on the Order, as the sovereign entity ruling Malta at the time, and the sacred music composed for them in their great Conventual Church in Valletta – now St John’s Co-Cathedral. The thesis will provide the background to Isouard’s early career and a complete edition and commentary of all of his sacred music, including additional works found during the research process, and a catalogue of his stage works.
    [Show full text]
  • Music Migration in the Early Modern Age
    Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania.
    [Show full text]
  • The Chalumeau in Eighteenth-Century Vienna: Works for Soprano and Soprano Chalumeau Elizabeth Crawford
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Chalumeau in Eighteenth-Century Vienna: Works for Soprano and Soprano Chalumeau Elizabeth Crawford Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE CHALUMEAU IN EIGHTEENTH - CENTURY VIENNA: WORKS FOR SOPRANO AND SOPRANO CHALUMEAU By ELIZABETH CRAWFORD A Treatise submitted to the College of Music In partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2008 The members of the Committee approve the treatise of Elizabeth Crawford defended on March 17, 2008. ________________________________ Frank Kowalsky Professor Directing Treatise ________________________________ James Mathes Outside Committee Member ________________________________ Jeff Keesecker Committee Member ________________________________ John Parks Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii Dedicated to my mother and to the memory of my father. iii ACKNOWLEDGEMENTS I would like to thank the members of my committee – Dr. Frank Kowalsky, Professor Jeff Keesecker, Dr. Jim Mathes, and Dr. John Parks – for their time and guidance. Thanks also to the staff of the Österreichische Nationalbibliothek for their assistance and to Eric Hoeprich for his insight and patience. iv TABLE OF CONTENTS List of Musical Examples . vi Preface . vii Chapter 1 – The Chalumeau . 1 Chapter 2 – Italian Influence in Vienna . 8 Chapter 3 – Musical Life at Court . 13 Chapter 4 – Giovanni Bononcini (1670-1747) . 17 Chapter 5 – Joseph I, Habsburg (1678-1711) . 23 Chapter 6 – Johann Joseph Fux (1660-1741) .
    [Show full text]
  • Oratorios Semaine Sainte
    ORATORIOS POUR LA SEMAINE SAINTE ITALIE XVir SIÈCLE GIACOMO ANTONIO PERTI LUIGI ROSSI FONDATION SOCIÉTÉ GÉNÉRALE POUR LA MUSIQUE LA SOCIÉTÉ GÉNÉRALE ET LES ARTS FLORISSANTS ASSOCIENT LEURS TALENTS. MUSIQUE ! Lully, Charpentier, Monteverdi, Purcell, Rameau, et bien d'autres encore, un répertoire exceptionnel pour un ensemble unique. Fondé par William Christie en 1979, l'ensemble "Les Arts Florissants" joue un rôle capital dans la redécouverte d'œuvres baroques françaises et européennes. L'association des Arts Florissants et de la Société Générale permet de faire revivre et de diffuser ce patrimoine musical auprès d'un public de plus en plus nombreux. Place à la musique ! FONDATION SOCIÉTÉ GÉNÉRALE POUR LA MUSIQUE Conjuguons nos talentS. ORATORIO della PASSIONE Musique de Giacomo Antonio PERTI (1661-1756) POESIE DE GIACOMO ANTONIO BERGAMORI Entracte ORATORIO per la SETTIMANA SANTA omms?) Musique de Luigi ROSSI (1598-1653) POESIE DE GIULIO CESARE RAGGIOLI MARS 1989 AQUITAINE SAINT-MEDARD-EN-JALLES le 16 à 21 h ÉGLISE SEMAINES CHORALES DE TOURCOING TOURCOING le 18 à 20 h 30 ÉGLISE NOTRE-DAME DES ANGES SEMAINE SAINTE A CAEN CAEN le 20 à 20 h 30 ÉGLISE NOTRE-DAME DE LA GLORIETTE CENTRE de MUSIQUE BAROQUE de VERSAILLES VERSAILLES le 21 à 20 h 30 CHAPELLE ROYALE ENREGISTRÉ PAR SEMAINE SAINTE en ARLES ARLES le 22 à 21 h 00 ST-MARTIN-DU-MÉJAN VENDREDI SAINT à COLMAR COLMAR le 24 à 20 h 30 MUSÉE D'UNTERLINDEN Avec la participation de la Fondation Société Générale pour la Musique du Ministère de la Culture et du Conseil Régional d'Aquitaine LPRO
    [Show full text]
  • Ornamentation in Mozart's Concert Arias for Aloysia Weber: the Traditions of Singing and Embellishment
    ORNAMENTATION IN MOZART'S CONCERT ARIAS FOR ALOYSIA WEBER: THE TRADITIONS OF SINGING AND EMBELLISHMENT by Joanne Williamson Dorenfeld B.Mus., Oberlin Conservatory, 1967 M.Mus., The University of Michigan, 1968 A Thesis Submitted in Partial Fulfillment of The Requirements for the Degree of Doctor of Musical Arts in The Faculty of Arts (Department of Music) We accept this thesis as conforming to the required standard The University of British Columbia April, 1976 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my writ ten pe rm i ss i on . Department of Music The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 April 28. 1976 ii ABSTRACT The concert arias of Mozart actually include not only arias written specifically for concert but also interpolations which subsequently assumed the character of concert arias. Those in the following study were written for Aloysia Weber, Mozart's first love and, later, his sister-in-law. These arias are interesting for a.number of reasons: First, the fact that they are seldom performed today raises questions about singing technique in the late eighteenth century. Second, the musical requirements which fostered this technique must have been grounded in a tradition of embellishment--a subject worthy of investigation.
    [Show full text]