DOCSLIB.ORG

|||GET||| Hans Werner Henze: Tristan (1973) 1St Edition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
|||GET||| Hans Werner Henze: Tristan (1973) 1St Edition HANS WERNER HENZE: TRISTAN (1973) 1ST EDITION DOWNLOAD FREE Stephen Downes | 9781351564199 | | | | | Songs of Exile At the summer school, Henze turned to serial technique. Download as PDF Printable version. An unknown error has occurred. On the occasion of Henze's 80th birthday innumerous international concert halls, such as the Konzerthaus Dortmund and the Kungliga Filharmonikerna Stockholms Konserthus, dedicated special concert series to him. Published by Oxford University Press. Algemene informatie. Ondine Henze's Quattro poemi for orchestra in made clear that he had moved far from the principles of the Darmstadt avant-garde. A long tradition of Tristan works would certainly tend to concur. At the summer school, Henze turned to serial technique. This conversation was recorded in Chicago on November 27, Henze's writing protests the lack of freedom that such a prohibition implies, both in music and in life. Henze's unhappy childhood during the onset of Fascism found release in music, which, in spite of. Views Read Edit View history. A Catalog of Works. That and his political views led to conflict with his conservative father. From Wikipedia, the free encyclopedia. He worked as a teacher in a school at Bielefeldformed on progressive lines, but it was closed in by government order because its progressive style was out of step with official views. A shadow of this crisis can be heard towards the end of the work, when it comes to a climax, for which Henze coined the phrase "death cry In he became ballet conductor at the Hessisches Staatstheater Wiesbaden in Wiesbadenwhere he composed two operas for radio, his First Piano Concerto, as well as his first stage work of real note, the jazz-influenced opera Boulevard Solitudea modern recasting of the traditional Manon Lescaut story. Hans Werner Henze. At the same time as Pierre Boulez who first conducted Tristan and Parsifal in the 1 s began his highly allusive transmutation of Wagnerian values with Rituel in memoriam MadernaHenze opted for a more confrontational, explicitly referential memorial. Retrieved Hans Werner Henze: Tristan (1973) 1st edition October Twelve-tone and serial composers. Archives Music: Henze Premiere. Citing articles via Google Scholar. Moroni cared for the composer when he suffered a spectacular emotional collapse during which he barely spoke and had to be encouraged to eat, living as though in a coma. At once vast and intimate, Mediterranean-Classical in its sunlight and German-Romantic in its expressive depth, it is also a fitting memorial to its composer. These proportions enable Downes to continue the exploration of the kind of cross-currents between different phases of musical history which he offered in his recent book, Music and decadence in European modernism: the case of central and eastern Europe Cambridge University Press, ; and although the effect risks allowing the impact of Wagner in general and his own Tristan in particular to overshadow the interpretation of Henze's composition in the context of his wider musico-dramatic output, it is for the most part efficiently done, with a wide a Hans Werner Henze: Tristan (1973) 1st edition of reference that doesn't give undue weight to those more extravagant, Lacan- obsessed avatars of contemporary culture than attract so much attention from impact-seeking musicologists today. His longtime publisher, Schott Music, announced his death in a statement. Henze spent a year from to Hans Werner Henze: Tristan (1973) 1st edition in Cuba. Literaturoper Moment form Postmodern music. Retrieved 3 February Please help to improve this article by introducing more precise citations. See the article in its original context from November 21,Page 23 Buy Reprints. Archived from the original on 10 September Get Books. Mark Berry Mark Berry. One of his greatest successes was the premiere of the opera Die Bassariden at the Salzburg Festival. Heinz von Cramer naar het sprookje van Carlo Graf Gozzi. Download as PDF Printable version. In the late s and early s Henze turned to more traditional forms. See also: List of compositions by Hans Hans Werner Henze: Tristan (1973) 1st edition Henze. Help Learn to edit Community portal Recent changes Upload file. Hindemith, Hartmann and Henze. His Hans Werner Henze: Tristan (1973) 1st edition di danzaon the other hand, required much tighter integration of jazz elements, complete with an on-stage band, which was very different from the more romantic Ondine. InHans Werner Henze: Tristan (1973) 1st edition after Henze's sudden recovery, Moroni died after a lengthy battle with cancer. He settled on the island of Ischia in the Gulf of Naples. Henze pronounced HEN-tzuh did so without wholly negating the past. Luchino Visconti. Hans Werner Henze Hindemith, Hartmann and Henze. Help Learn to edit Community portal Recent changes Upload file. Henze the opportunity for glistening, radiant music, scored for a chamber orchestra. Henze in His large oeuvre of works is extremely varied in style, having been influenced by serialismatonalityStravinskyItalian musicArabic music and jazzas well as traditional schools of German composition. He settled on the island of Ischia in the Gulf of Naples. Henze was personally affected and sought psychotherapeutic help. Close mobile search navigation Article Navigation. The older boys, including Hans, were enrolled in the Hitler Youth. Genre s. His political critique reached its high point in with the premiere of his opera We Come to the River. Sign In. This Hans Werner Henze: Tristan (1973) 1st edition also signalled a strong leaning towards music involving the voice. October Learn how and when to remove this template message. Twelve-tone and serial composers. In Henze received the Hans Werner Henze: Tristan (1973) 1st edition Music Prize, which has carried his name since In he founded the Munich Biennalean "international festival for new music theatre", of which he was Hans Werner Henze: Tristan (1973) 1st edition artistic director. Wystan Hugh Auden en Chester Kallman. In January he left Ischia and moved to the mainland to live in Naples. He famously drove south one day across the Alps, not leaving his car Hans Werner Henze: Tristan (1973) 1st edition he arrived in Italy, settling there for good, albeit with plenty of confrontational visits to home soil to come. Retrieved 3 February Retrieved 27 August The radio opera version of his early opera Ein Landarzt based on Franz Kafka's story of the same name was awarded the 'Prix Italia' as early as Henze had to break off his studies after being conscripted into the army intowards the end of the Second World War. It is no coincidence, one might add, that Mann would prove a continuing preoccupation for Henze, as for instance in his subsequent Third Violin Concerto. In his early years he worked with twelve-tone techniquefor example in his First Symphony and First Violin Concerto of His music expressed passionate but mixed feelings about his German heritage. Download as PDF Printable version. Toccata senza fuga. Add links. Mark Berry Mark Berry. By using our website, you agree to the use of cookies as described in our Privacy Policy. Wolfgang Hildesheimer. And he found little sympathy at home for his embrace of the Romantic past. Widor on Organ Performance Practice and Technique. From Wikipedia, the free encyclopedia. Hans Werner Henze By John R. As a long-term resident of Italy, Henze might have been expected, again like Britten, to find sustenance in aspects of Verdian style and structure. Whether or not Henze 's operas which often set German texts amount to a constructive counterbalance to a post-war German cultural context deeply tainted by Wagner's social and political Nachlass, his most direct confrontation with Wagner's musical ethos came at a crucial time in his own compositional evolution: and so, though rarely performed since its completion inhis Tristan, Preludes for piano, electronic tapes and orchestra, is a historical document of sufficient interest to warrant its inclusion in Ashgate 's intrepid Landmarks in Music Since series. As he grew older, the matter of Germany became increasingly important to his music. Search Menu. In January he left Ischia and moved to the mainland to live in Naples. Hans Werner Henze. Trampler in excerpts, sounded hastily prepared and gave little insight into methods or meanings. Wikimedia Commons. If the problem persists, please try again in a little while. His later works, while less controversial, continued his political and social engagement. He was trained as a radio officer. The textures for the cantata Kammermusikrev. Klassiekopera. See the article in its original context from November 21,Page 23 Buy Reprints. Henze spent a year from to teaching in Cuba. Hans Werner Henze: Tristan The Bassarids. The undertaking provoked a creative crisis, out of which Mr. Having written his Cuban-inflected Sixth Symphony — produced during a period when he spent a great deal of time in Cuba — he composed his Seventh for the Berlin Philharmonic, taking Beethoven as his model. Retrieved 27 August In ontving hij de Westfaalse muziekprijsdie sinds zijn naam draagt. Toccata senza fuga. Henze's Quattro poemi for orchestra in made clear that he had moved far from the principles of the Darmstadt avant-garde. A long tradition of Tristan works would certainly tend to concur. Ondine Advanced Search. In January he left Ischia and moved to the mainland to live in Naples. His political critique reached its high point in with the premiere of his opera We Come to the River. Moroni cared for the composer when he suffered a spectacular emotional collapse during which he barely spoke and had to be encouraged to eat, living as though in a coma. Twelve-tone and serial composers. In particular, his stage works reflect "his consistent cultivation of music for the theatre throughout his life". Henze began studies at the state music school of Braunschweig inwhere he studied piano, percussion, and theory.
Load more

Recommended publications
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • English Translation of the German by Tom Hammond
    Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p.
    [Show full text]
  • Ondine - Diary of a Ballet Online
    6qNin [Download free ebook] Ondine - Diary of a Ballet Online [6qNin.ebook] Ondine - Diary of a Ballet Pdf Free Hans Werner Henze ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #4990267 in Books 2015-10-30Original language:EnglishPDF # 1 8.50 x .31 x 5.51l, .54 #File Name: 185273095176 pages | File size: 15.Mb Hans Werner Henze : Ondine - Diary of a Ballet before purchasing it in order to gage whether or not it would be worth my time, and all praised Ondine - Diary of a Ballet: 2 of 2 people found the following review helpful. Dear Hans, thanks for sharing, you're the cat's pajamas. Better, you're The Cat's Fugue.By J. FaulkThese extracts, melded together, from the composer's diary were published in Germany in 1959 and in English in 2003.In 1957 Ashton and Henze meet in Ischia to convert the old German folktale Undine into a ballet scenario that choreographer, composer, and the great ballerina Fonteyn can find inspiring (as well as the traditionalist London audience). The tale commences in the hut of a fisherman and his wife and their foundling daughter, actually an ondine. The girl immediately falls in love (so far as an ondine can) with the guest Knight. It takes Ashton and Henze a long time to jettison this commonplace setting. Meanwhile, Henze's diary wanders off into appreciation of Italian life.Henze goes to London to write the music and his diary shares the milieu with us. Designer Lila De Nobili comes over from Paris and joins in the ever-shifting ideas.
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
    Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett:
    [Show full text]
  • HANS WERNER HENZE: TRISTAN (1973) for Thomas Christopher Downes Hans Werner Henze: Tristan (1973)
    HANS WERNER HENZE: TRISTAN (1973) For Thomas Christopher Downes Hans Werner Henze: Tristan (1973) STEPHEN DOWNES University of Surrey, UK First published 2011 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2011 Stephen Downes Stephen Downes has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage orretrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Downes, Stephen C., 1962– Hans Werner Henze – Tristan (1973). – (Landmarks in music since 1950) 1. Henze, Hans Werner, 1926– Tristan. 2. Wagner, Richard, 1813-1883–Influence. I. Title II. Series 780.9’2-dc22 Library of Congress Cataloging-in-Publication Data Downes, Stephen C., 1962– Hans Werner Henze : Tristan (1973) / Stephen Downes. p. cm. – (Landmarks in music since 1950) Includes bibliographical references and index. ISBN 978-0-7546-6655-4 (hardcover : alk. paper) 1. Henze, Hans
    [Show full text]
  • Musical Conception, Para-Musical Events and Stage Performance in Jani Christou’S Strychnine Lady (1967)
    Musical conception, para-musical events and stage performance in Jani Christou’s Strychnine Lady (1967) Giorgos Sakallieros Department of Music Studies, Aristotle University of Thessaloniki, Greece [email protected] Konstantinos Kyriakos Department of Theatre Studies, University of Patras, Greece [email protected] Proceedings of the fourth Conference on Interdisciplinary Musicology (CIM08) Thessaloniki, Greece, 3-6 July 2008, http://web.auth.gr/cim08/ Background in music analysis. Jani Christou (1926-1970) was a eminent Greek avant-garde composer who expanded the traditional aesthetics of musical conception, as well as of concert and stage performance, to a whole new art-form that involved music, philosophy, psychology, mythical archetypes, and dramatic setting. His ideals and envisagements, constantly evolving from the late 1950s, are profoundly denoted in his late works, created between 1965-1968 (Mysterion, Anaparastasis I – III, Epicycle, Strychnine Lady). These works, originally conceived as ‘stage rituals’, include instrumental performance, singing, acting, dance, tape and visual effects, and thus combine musical and para-musical events and gestures. Background in theatre studies. From the early 1960s music theatre comprised a major field of avant-garde composition in which spectacle and dramatic impact were emphasized over purely musical factors. Avant-garde performance trends and media, such as Fluxus or happenings, had a significant impact on several post-war composers both in Europe and North America (i.e. Cage, Ligeti, Berio, Nono, Kagel, Henze, Stockhausen, Birtwistle and Maxwell Davies), which led to the establishment and flourish of the experimental music theatre during the 1960s and 1970s. The use of new dramatic and musical means combined elements of song, dance, mimic, acting, tape, video and visual effects which could be tailored to a wide range of performing spaces.
    [Show full text]
  • Dimensión Política E Independencia Art Í Stica En Hans We Rner Henze
    Theorie und Praxis DaF Teoría y Práctica Dimensión política e independencia art í s t i c a en Hans We rner Henze MARÍA CORREDERA GONZÁLEZ Granada ans We rner Henze es uno faschistischen Herrschaft. Ich sah, wie aus Italia sin re t o rno; una especie de exilio de los compositores ale- diesem Erbe ein neuer Staat entstand, mit voluntario como manifestación y pro t e s- manes contemporáneos den alten miesen Figuren» (Henze, 1984: ta también de la situación del desarro l l o más conocidos e impor- 149). Referente a la música, Henze, que social y político que iba tomando Alema- tantes de posguerra, y, en un principio se había ocupado de la nia desde la Segunda Guerra Mundial. p robablemente también, dodecafonía, no se atiene a las normas y Italia no sólo se convierte en su nuevo uno de los más pro l í f i- leyes dominadas por las vanguardias com- h o g a r, sino que le ofrece la posibilidad de cos. En su larga trayec- positivas en torno a Darmstadt, que le re- adentrarse en su cultura clásica y re l a c i o- toria compositiva ha tra- sultaban herméticas y le re c o rtaban su li- narse con intelectuales y artistas de iz- tado todos los género s b e rtad de composición. La música para q u i e rdas, como Luchino Visconti, Paolo musicales, desde nume- Henze tenía que estar llena de significa- Passolini, Elsa Morante o Luigi Nono, rosas óperas, sinfonías, do, ser directa y comunicativa, llegar al que probablemente influyeran en una u c o n c i e rtos, ballets, ora- mundo, manifestarse en él, tener una for- otra magnitud en su desarrollo social y torios, cantatas, música ma auténtica (Henze, 1984: 98).
    [Show full text]
  • The Element of List in Thirteenth-Century Courtly Romances, with Emphasis on Heinrich Von Dem Türlin’S Diu Crône
    “MIT GRÔZEN LISTEN WART GESTALT”: THE ELEMENT OF LIST IN THIRTEENTH-CENTURY COURTLY ROMANCES, WITH EMPHASIS ON HEINRICH VON DEM TÜRLIN’S DIU CRÔNE by Gary C. Shockey Within the greater corpus of courtly romance in the thirteenth century, the concept of list, or cunning, assumes a particularly alluring position. Poets and philosophers throughout the whole of the Middle Ages were clearly fascinated by the notion of a knight, a king, a lady of the court, a seneschal, or a scoundrel twisting others in such a manner as to achieve remarkable success in some venture. The ambiguities of the human condition most likely led men and women to exploit weaknesses in others for personal or professional gain, as well as for the benefit of the realm or sovereign. Clever cunning, guile, and the substance of the quick-thinking man or woman proved to be riveting material for both courtly audiences and the emerging bourgeoisie in the cities and towns, and we are blessed with a variety of texts which demonstrate the art of perspicacity in a myriad of forms. Cognizant of their influence, poets readily employed many of these attributes as socially acceptable vehicles of change, both in a positive and negative sense. The individual bard deliberately chose a path for his protagonists: he or she could use guile in a decidedly evil way, or perhaps in a manner designed to effect a positive outcome. Thus, arguments on the moral underpinnings of list remained the domain of the writer; the poets themselves offer a variety of views on this subject.
    [Show full text]
  • Music Resources – Library Update – March, 2014
    Music Resources – Library Update – March, 2014 This music collection’s update is dedicated to the great Canadian music personality Charles Thomas “Stompin’ Tom” Connors who died one year ago this month. “Stompin’ Tom” is widely known for his songs Bud the Spud and The Hockey Song…the latter frequently performed at games throughout the NHL. Within the music business, Tom is greatly admired for his unswerving support for Canadian musicians – including promoting their work through the record labels he founded. Tom, this one’s for you! UBC Library’s music collection receives new materials regularly. The following are highlights from recent acquisitions. A quick way to make your way through the lists below is to use the ‘Control F’ function on your keyboard and search by composer or instrument of interest. Otherwise, the materials are grouped by books, e-books and scores. Call numbers link to catalogue records for more information. “Click here” links to text or performance. Books Britten: Essays, Letters and Opera Guides Keller, Hans, Christopher Wintle, A. M. Garnham, Ines Schlenker, Kate Hopkins, Milein Cosman, and Cosman Keller Art and Music Trust. 2013. Woodbridge, Suffolk: Cosman Keller Art and Music Trust in association with Plumbago Books. Call Number: ML410 B853 K455 2013 Location: I.K. BARBER LIBRARY stacks Mapping Canada's Music: Selected Writings of Helmut Kallmann Kallmann, Helmut, John Beckwith, and Robin Elliott. 2013. Waterloo, Ont: Wilfrid Laurier University Press. Call Number: ML205 K35 2013 Location: I.K. BARBER LIBRARY stacks Fandom, Authenticity, and Opera: Mad Act n tt S n in in- -Si i Fishzon, Anna.
    [Show full text]
  • Download Download
    Teresa de Lauretis Futurism: A Postmodern View* The importance of Modernism and of the artistic movements of the first twenty or so years of this century need not be stressed. It is now widely acknowledged that the "historical avant-garde" was the crucible for most of the art forms and theories of art that made up the contemporary esthetic climate. This is evidenced, more than by the recently coined academic terms "neoavanguardia" and "postmodernism," 1 by objective trends in the culture of the last two decades: the demand for closer ties between artistic perfor- mance and real-life interaction, which presupposes a view of art as social communicative behavior; the antitraditionalist thrust toward interdisciplinary or even non-disciplinary academic curri- cula; the experimental character of all artistic production; the increased awareness of the material qualities of art and its depen- dence on physical and technological possibilities, on the one hand; on the other, its dependence on social conventions or semiotic codes that can be exposed, broken, rearranged, transformed. I think we can agree that the multi-directional thrust of the arts and their expansion to the social and the pragmatic domain, the attempts to break down distinctions between highbrow and popular art, the widening of the esthetic sphere to encompass an unprecedented range of phenomena, the sense of fast, continual movement in the culture, of rapid obsolescence and a potential transformability of forms are issues characteristic of our time. Many were already implicit, often explicit, in the project of the historical avant-garde. But whereas this connection has been established and pursued for Surrealism and Dada, for example, Italian Futurism has remained rather peripheral in the current reassessment; indeed one could say that it has been marginalized and effectively ignored.
    [Show full text]
  • Recent Publications in Music 2009
    Fontes Artis Musicae, Vol. 56/4 (2009) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2009 On behalf of the International Association of Music Libraries Archives and Documentation Centres / Pour le compte l'Association Internationale des Bibliothèques, Archives et Centres de Documentation Musicaux / Im Auftrag der Die Internationale Vereinigung der Musikbibliotheken, Musikarchive und Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2008. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in the IAML journal Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. Compiled and edited by Geraldine E. Ostrove Reporters: Austria: Thomas Leibnitz Canada: Marlene Wehrle China, Hong Kong, Taiwan: Katie Lai Croatia: Zdravko Blaţeković Czech Republic: Pavel Kordík Estonia: Katre Rissalu Finland: Ulla Ikaheimo, Tuomas Tyyri France: Cécile Reynaud Germany: Wolfgang Ritschel Ghana: Santie De Jongh Greece: Alexandros Charkiolakis Hungary: Szepesi Zsuzsanna Iceland: Bryndis Vilbergsdóttir Ireland: Roy Stanley Italy: Federica Biancheri Japan: Sekine Toshiko Namibia: Santie De Jongh The Netherlands: Joost van Gemert New Zealand: Marilyn Portman Russia: Lyudmila Dedyukina South Africa: Santie De Jongh Spain: José Ignacio Cano, Maria José González Ribot Sweden Turkey: Paul Alister Whitehead, Senem Acar United States: Karen Little, Liza Vick. With thanks for assistance with translations and transcriptions to Kersti Blumenthal, D.
    [Show full text]