German Operas Are Listed in the Alphabetical Register, but Cross-Referred to Their Composer, Where Page References Will Be Found
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Theatre and Music in Roman Macedonia
TRIANTAFYllIA GIANNOU THEATRE AND MUSIC IN ROMAN MACEDONIA To Prof. G. M. Sifakis, with gratitude ABSTRACT: This article aims to examine theatrical and musical activ ity in the Macedonian region during the Roman era. Literary and epi graphic evidence, theatre buildings and dramatic monuments present only some facets of the diversity of cultural life in Roman Macedonia, which we endeavour to reconstitute. At the same time, through the extant scraps of information we attempt to trace the history of Greek theatre up to the end of the Imperial age, stressing the scenic and thymelic contests but also including the performances of musicians, mimes, pantomimes, and other “paratheatrical” artists. HE FIRST DECADES OF ROMAN SOVEREIGNTY over the Macedonian Tkingdom were a time of cultural and economic decline; gradually, how ever, some of the new administrative centres (e.g. Amphipolis and Thes salonike) would become active, Beroia would assume a more important role, and Roman colonies would be founded. This is the new political con text within which we shall be following both the continuation of panhel lenic and local theatrical and musical shows and the changes that emerged in the artistic and religious life of the Macedonians through the interven tions of the Roman administration and the impact of Roman culture gen erally. Our attention will focus on theatrical and musical events and on performances of “paratheatrical” artists: mimes, dancers, buffoons, con * This study was written within the framework of the “Ancient Theatre Electronic Docu mentation Project” (under the aegis of the Institute for Mediterranean Studies); the first part was published in Logeion 6 (2016); a version of it was published in Greek (2012). -
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. -
Musik-Katalog Bassetthorn Bassettklarinette
Musik-Katalog für Bassetthorn (3604 Werke) und Bassettklarinette (189 Werke) von Thomas Graß und Dietrich Demus Stand vom 31.Mai 2020 Ergänzungen und Berichtigungen des Katalogs aus dem Sachbuch: „Das Bassetthorn. Seine Entwicklung und seine Musik“, 2. Aufl. 2004, Hrsg. T. Grass und D. Demus, BOD, ISBN 3-8311-4411-7. [email protected] [email protected] Formatierung und Druckherstellung: Michael Baasner 1 Inhaltsverzeichnis 1. Konzerte mit Solo-Bassetthorn 5 1.1 Solo für ein oder mehrere Bassetthörner und Orchester oder Sinfonisches Blasorchester ........5 1.2 Werke mit Solo-Bassetthorn, weiteren Solo-Instrumenten oder Singstimme und Orchester oder Blasorchester, auch Sinfonie Concertanti .........................................................................13 1.3 Historische Bearbeitungen für Bassetthorn und fälschlich oder fraglich dem Bassetthorn zugeschriebene Solowerke mit Orchester .................................................................................18 2 Kammermusik 19 2.1 Bassetthorn Solo ........................................................................................................................19 Duos 24 2.2 Bassetthorn und Klavier / Cembalo / Orgel / Vibraphon / elektronische Musik / Tape ..............24 2.3 Zwei Bassetthörner ....................................................................................................................34 2.4 Bassetthorn und ein anderes Instrument / Singstimme .............................................................37 2.5 Bassetthorn und Gitarre -
Olimpie Olimpie
gaspare spontini : olimpie Olimpie Tragédie lyrique en trois actes, imitée de Voltaire, sur un livret de Charles Brifaut et Michel Dieulafoy, créée dans sa deuxième version au théâtre de l’Académie royale de musique le 27 février 1826. Création dans sa première version en 1819. Éditions Fondazione Pergolesi Spontini, Jesi (Italie), en collaboration avec le Palazzetto Bru Zane. Édition critique sous la direction de Federico Agostinelli. PERSONNAGES : Cassandre , fils d’Antipatre, roi de Macédoine Antigone , roi d’une partie de l’Asie Statira , veuve d’Alexandre, connue d’abord sous le nom d’Arzane Olimpie , fille d’Alexandre et de Statira connue d’abord sous le nom d’Aménaïs L’Hiérophante , grand-prêtre Arbate , officier de Cassandre Hermas , officier d’Antigone Prêtres, Ministres inférieurs, Initiés, Mages, Prêtresses, Grands du royaume, Soldats, Bacchantes, Amazones, Navigateurs , etc . La scène est à Éphèse. Olimpie Lyric tragedy in three acts, after Voltaire, on a libretto by Charles Brifaut and Michel Dieulafoy, revived at the theatre of the Académie Royale de Musique on 27 February 1826. First version premiered in 1819. Published by Fondazione Pergolesi Spontini, Jesi (Italy), in collaboration with the Palazzetto Bru Zane. Critical edition under the supervision of Federico Agostinelli. DRAMATIS PERSONÆ: Cassander , son of Antipater, King of Macedonia Antigonus , King of part of Asia Statira , widow of Alexander, living under the name of Arzane Olympias , daughter of Alexander and Statira, living under the name of Amenaïs The Hierophant , the high priest who presides over the celebration of the great mysteries Arbates , officer of Cassander Hermas , officer of Antigonus Priests, Lesser ministers, Initiates, Soothsayers, Priestesses, Nobles of the realm, Soldiers, Bacchantes, Amazons, Navigators , etc . -
9783849816360.Pdf
AV Kuratorium: Olaf Briese (Berlin), Erika Brokmann (Detmold), Birgit Bublies-Godau (Bochum), Claude Conter (Luxemburg), Norbert Otto Eke (Paderborn), Jürgen Fohrmann (Bonn), Gustav Frank (München) Martin Friedrich (Ber- lin), Bernd Füllner (Düsseldorf ), Detlev Kopp (Bielefeld), Rainer Kolk (Bonn), Hans-Martin Kruckis (Bielefeld), Christian Liedtke (Düsseldorf ), Harro Müller (New York), Maria Porrmann (Köln), Rainer Rosenberg (Ber- lin), Peter Stein (Lüneburg), Florian Vaßen (Hannover), Michael Vogt (Bie- lefeld), Fritz Wahrenburg (Paderborn), Renate Werner (Münster) FVF Forum Vormärz Forschung Jahrbuch 2009 15. Jahrgang Literatur und Recht im Vormärz herausgegeben von Claude D. Conter AISTHESIS VERLAG Das FVF im Internet: www.vormaerz.de Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Das FVF ist vom Finanzamt Bielefeld nach § 5 Abs. 1 mit Steuer-Nr. 305/0071/1500 als gemeinnützig anerkannt. Spenden sind steuerlich absetzbar. Namentlich gekennzeichnete Beiträge müssen nicht mit der Meinung der Redaktion übereinstimmen. Redaktion: Detlev Kopp Print-Ausgabe: 2010, ISBN 978-3-89528-772-5 © Aisthesis Verlag Bielefeld 2020 Postfach 10 04 27, D-33504 Bielefeld Satz: Germano Wallmann, www.geisterwort.de Alle Rechte vorbehalten ISBN 978-3-8498-1636-0 www.aisthesis.de Inhalt I. Schwerpunktthema: Literatur und Recht im Vormärz Claude D. Conter (Luxemburg) -
Ricci Francesco Siciliani.Pdf
Franco Carlo Ricci Francesco Siciliani Sessant'anni di vita musicale in Italia Edizioni Scientifiche Italiane Teatro alla Scala Rai Eri 1 Patrocini Ministero dei Beni e delle Attività Culturali Accademia Nazionale di Santa Cecilia Teatro alla Scala di Milano Teatro Comunale di Firenze Teatro San Carlo di Napoli Teatro La Fenice di Venezia Teatro dell'Opera di Roma Federazione Italiana Club Unesco Volume pubblicato con il contributo del Consiglio Nazionale delle Ricerche e con il contributo dei Fondi di Ateneo dell'Istituto di Scienze Umane e delle Arti dell'Università degli Studi della Tuscia-Viterbo Ricci, Franco Carlo Francesco Siciliani (1911-1996). Sessant'anni di vita musicale in Italia Collana: Musica e Musicisti Napoli: Edizioni Scientifiche Italiane, 2003 Roma: Rai Radiotelevisione Italiana, 2003 Teatro alla Scala pp. 756+80 f.t.; 22,2 cm ISBN 88-495-0392-X © 2003 Rai Radiotelevisione Italiana 00195 Roma, viale Mazzini, 14 E-mail: [email protected] © 2003 Edizioni Scientifiche Italiane S.p.A. 80121 Napoli, via Chiatamone, 7 00185 Roma, via dei Taurini, 27 Internet: www.esispa.com E-mail: [email protected] I diritti di traduzione, riproduzione e adattamento totale o parziale e con qualsiasi mezzo (compresi i microfilms e le copie fotostatiche) sono riservati per tutti i Paesi. 2 Sommario Prefazioni LORIN MAAZEL 9 LUCIANO BERIO 12 PREMESSA 13 1. La formazione e gli anni giovanili 21 2. Il periodo bellico 53 3. L'approdo al Maggio Musicale Fiorentino 73 4. I primi Anni Cinquanta 97 5. Médée, Guerra e pace e Agnes von Hohenstaufen 133 6. Ultimi anni al Maggio Musicale Fiorentino 165 7. -
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. -
Numerical Listing
SEQ DISC NO LABEL CDN PRICE PERFORMER DESCRIPTION a a THREE FOR TWO! ON ALL ITEMS PRICED AT £5.00, ONE- THIRD (1/3) OFF ALL ORDERS FOR 3 OR MORE a a 23776 0 10 1441-3 Supraphon, blue m A1 £10.00 Talich, Vaclav Vol. 1. Suk: Serenade for Strings; Asrael; Ripening. Czech PO c 22047 1 11 1106 Supraphon s A1 £5.00 Vlach SQ Beethoven: Quartets, Opp.18-1; 18-6 bb 22524 1 11 1755 Supraphon s A1 £5.00 Prague SQ Lubomir Zelezny: Clt. Quintet; Wind Quintet; Piano Trio. Prague Wind Quintet, Smetana Trio bb 23786 10 Penzance, USA m A1 £8.00 Callas, Maria, s Wagner: Parsifal, Act 2. Baldelli, Modesti, Pagliughi, -Gui. Live, 20.xi.50. In Italian a 22789 1007831 VdsM, References m A1 £7.00 Kreisler, Fritz, vn Beethoven; Sonatas 5, "Spring"; 9, "Kreutzer". F. Rupp, pf bb 23610 101 Rara Avis, lacquer m A-1- £10.00 Ginsburg, Grigory, pf Liszt: Bells of Geneva, Campanella, Rigoletto, Spanish Rhapsody / Weber: Rondo brillante / Chopin: Etudes, Op.25, 1-3. From 78s, semi-private issue b 22800 12T 160 Topic m A1 £7.00 Folk Songs of Britain, 1 Child Ballads 1. Various artists (field recordings) e 22707 13029 AP DGG, Archiv, Ger., m A1 £40.00 Schneiderhan, Wolfgang, vn Bach: Partita 2, D minor, for solo violin. Sleeve: buff, gatefold 10" bb 22928 133 004 SLPE DGG, Ger., tulip, 10" s A1 £12.00 Bolechowska, Alina, s Chopin: Lieder. S. Nadgrizowski, pf a 22724 133 122 SLP DGG, Ger., red, tulip, s A1 £12.00 Markevitch, Igor, dir Mozart: Coronation Mass. -
''Olympie'' De Spontini, Entre Tragédie Lyrique Et Grand Opéra
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hal - Université Grenoble Alpes "Olympie" de Spontini, entre trag´edielyrique et grand op´era Olivier Bara To cite this version: Olivier Bara. "Olympie" de Spontini, entre trag´edielyrique et grand op´era.Voltaire `al'op´era, Classiques Garnier, pp.111-134, 2011. <hal-00909764> HAL Id: hal-00909764 https://hal.archives-ouvertes.fr/hal-00909764 Submitted on 26 Nov 2013 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. Olympie de Spontini, entre tragédie lyrique et grand opéra Tout travail sur l’adaptation lyrique des œuvres littéraires a pour mérite d’attirer l’attention sur quelques titres oubliés de l’histoire de l’opéra, éclairés seulement par le nom illustre de l’écrivain qui en fournit la source. Le danger peut toutefois être double. On prêtera volontiers une trop grande attention à quelque œuvre mineure, rehaussée exagérément par une origine littéraire qu’elle ne mérite guère. On prêtera beaucoup, aussi, à tel écrivain censé avoir nourri, à son corps défendant et en tout anachronisme, tantôt le melodramma romantique, tantôt le grand opéra historique, simplement parce que ces genres lyriques ont puisé dans son œuvre. -
Spontini's Olimpie: Between Tragédie Lyrique and Grand Opéra
Spontini’s Olimpie : between tragédie lyrique and grand opéra Olivier Bara Any study of operatic adaptations of literary works has the merit of draw - ing attention to forgotten titles from the history of opera, illuminated only by the illustrious name of the writer who provided their source. The danger, however, may be twofold. It is easy to lavish excessive attention on some minor work given exaggerated importance by a literary origin of which it is scarcely worthy. Similarly, much credit may be accorded to such-and-such a writer who is supposed – however unwittingly and anachronistically – to have nurtured the Romantic melodramma or the historical grand opéra , simply because those operatic genres have drawn on his or her work. The risk is of creating a double aesthetic confusion, with the source work obscured by the adapted work, which in turn obscures its model. In the case of Olimpie , the tragédie lyrique of Gaspare Spontini, the first danger is averted easily enough: the composer of La Vestale deserves our interest in all his operatic output, even in a work that never enjoyed the expected success in France. There remains the second peril. Olimpie the tragédie lyrique , premiered in its multiple versions between 1819 and 1826, is based on a tragedy by Voltaire dating from 1762. Composed in a period of transition by a figure who had triumphed during the Empire period, it is inspired by a Voltaire play less well known (and less admired) than Zaïre , Sémiramis or Le Fanatisme . Hence Spontini’s work, on which its Voltairean origin sheds but little light, initially seems enigmatic in 59 gaspare spontini: olimpie aesthetic terms: while still faithful to the subjects and forms of the tragédie lyrique , it has the reputation of having blazed the trail for Romantic grand opéra , so that Voltaire might be seen, through a retrospective illusion, as a distant instigator of that genre. -
Concertante Opera ¦ Opéra En Concert
CONCERTANTE OPERA ¦ OPÉRA EN CONCERT 1 Ben ik schuldig, omdat ik bemind ben geweest, zelfs met mijn lichaam? Ben ik schuldig, omdat ik zelf heb bemind – buiten mijn stand, in een vreemde cultuur, een andere godsdienst? Is het niet aanmatigend over schuld te spreken, als enkel de liefde de wonden van de mensheid kan genezen? Suis-je coupable d’avoir été aimée, même avec mon corps ? Suis-je coupable d’avoir aimé hors de mon rang, de ma culture et sous un autre dieu ? N’est-il pas arrogant de parler de faute quand seul l’amour peut guérir les blessures de l’humanité ? – Ileana Tautu 2 Fierrabras Franz Schubert Heroisch-romantische Oper in drei Akten, D.796 (1823) Libretto von Josef Kupelwieser Musik von Franz Schubert Creatie ¦ Création Hoftheater, Karlsruhe, 9/2/1897 Muzikale leiding ¦ Direction musicale Ádám Fischer Koorleiding ¦ Direction des chœurs Martino Faggiani Tekstbewerking ¦ Adaptation du texte Ileana Tautu Dramaturgie ¦ Dramaturgie Krystian Lada König Karl Steven Humes Emma Juliane Banse Roland Dietrich Henschel Ogier Gijs Van der Linden Eginhard Charles Workman Boland Robert Bork Fierrabras Kurt Streit Florinda Elisabeth Meister Maragond Margriet van Reisen Brutamonte Károly Szemerédy Vertelster ¦ Narratrice Elisabeth Orth Symfonieorkest en koor van de Munt ¦ Orchestre symphonique et chœurs de la Monnaie Vlaams Radio Koor Konzertmeister Zygmunt Kowalski 21 & 24 januari ¦ janvier 2015 Paleis voor Schone Kunsten ¦ Palais des Beaux-Arts Productie ¦ Production De Munt ¦ La Monnaie Coproductie ¦ Coproduction Bozar 3 Programma ¦ Programme Franz Schubert (1797-1828) Fierrabras Heroisch-romantische Oper in drei Akten, D.796 Ouvertüre Erster Akt Nr. 1. Chor: “Der runde Silberfaden” (Fräulein und Jungfrauen, Emma) Nr. -
Nationalisierung Der Deutschen Oper Im Späten Vormärz 1840–1848 Beihefte Zum Archiv Für Musikwissenschaft
Während des sogenannten späten Vor- politischen und gesellschaftlichen Lebens märz, der 1840 mit der Rheinkrise begann nieder. Auch bei der deutschen Oper, die Natalia Nationalisierung und bis zum Ausbruch der 1848er März- ein Nischendasein führte und als unpo- Nicklas revolution reichte, herrschte in Deutsch- litisch, realitätsfern und vor allem als land eine aufgeheizte Stimmung. Auslöser reformbedürftig galt, setzte ein Wandel der deutschen Oper waren Spannungen mit Nachbarstaaten ein. Gefördert wurde dies besonders von und eine wachsende Unzufriedenheit des Anhängern der Nationalstaatsidee, die im späten Vormärz aufstrebenden Bürgertums über die beste- glaubten, durch die Nationalisierung der henden Verhältnisse. Als Folge davon ge- Oper auch zur nationalen Mobilisierung wann die Idee eines deutschen National- der Gesellschaft und zur politischen Ein- 1840–1848 staats, von dem man sich eine Lösung für heit Deutschlands beitragen zu können. die Probleme versprach, breiten Zuspruch. Natalia Nicklas geht in diesem Band den Die zentrale Rolle, die der eigenen Nation zugrundeliegenden theoretischen Vorstel- und allem, was mit ihr in Verbindung ge- lungen nach und fragt nach ihrer Umset- bracht wurde, damit zukam, schlug sich zung in der Praxis. in einer tiefgreifenden Veränderung des Nationalisierung der deutschen Oper 1840–1848 Vormärz im späten www.steiner-verlag.de BzAfMw Beihefte zum Archiv für Musikwissenschaft 79 79 Franz Steiner Verlag Natalia Nicklas ISBN 978-3-515-11717-3 9 7 8 3 5 1 5 1 1 7 1 7 3 Natalia Nicklas Nationalisierung