ABSTRACT Developments in Viennese Operetta in Johann
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French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print. -
Podium Operette: Du Mein Schönbrunn
Podium Operette: Du mein Schönbrunn Kaiserin, Kaiser und Imperiales als Topoi der Wiener Operette Zum 300. Geburtstag Maria Theresias Universitätslehrgang Klassische Operette (Leitung: Wolfgang Dosch) Donnerstag, 11. Mai 2017 18.00 Uhr Musik und Kunst Privatuniversität der Stadt Wien MUK.podium Johannesgasse 4a, 1010 Wien PROGRAMM Leo Fall (1873, Olmütz – 1925, Wien) aus Die Kaiserin (Text: Julius Brammer/ Alfred Grünwald), 1915, Berlin Metropoltheater Wenn die Wiener Edelknaben Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Jantus Philaretou, Bariton Wir sind drei feine Diplomaten Seungmo Jung, Tenor Wonbae Cho, Tenor Jantus Philaretou, Bariton Die Kaiserin: Original Klavierauszug Du mein Schönbrunn Adriana Hernandez Flores, Sopran Mir hat heute Nacht von ein’ Tanzerl geträumt Adriana Hernandes Flores, Sopran Jantus Philaretou, Bariton Ja, so singt man und tanzt man in Wien Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Fritzi Massary als Maria Theresia, UA Berlin 1915 2 Nico Dostal (1895, Korneuburg – 1981, Salzburg) aus Die ungarische Hochzeit (Text: Hermann Hermecke), 1939, Stuttgart Märchentraum der Liebe Wonbae Cho, Tenor Bruno Granichstaedten (1879, Wien – 1944, New York) aus Auf Befehl der Kaiserin (Text: Leopold Jacobson/ Robert Bodanzky), 1915, Wien Wann die Musik spielt Michiko Fujikawa, Sopran Nataliia Ulasevych, Sopran Seungmo Jeong, Tenor Dolores Schmidinger als Maria Theresia, Komm’, die Kaiserin will tanzen Die Ungarische Hochzeit, Lehár Festival Bad Ischl, 2015 © Foto Hofer Sonja Gebert, Sopran Branimir Agovi, Bariton -
PRINT Sonatepetrastojanovica
| 1 | РЕАФИРМАЦИЈА ЗАБОРАВЉЕНЕ СРПСКЕ МУЗИКЕ Петра СТОЈАНОВИЋА 1.Сонате Соната за виолину и клавир бр. 2, оп. 18 I Allegretto 8’ 55’’ II Andante con Variazioni 7’ 51’’ III Allegro con brio 4’ 38’’ 2. Соната за виолу и клавир бр. 2, оп. 108 I Allegro non troppo 7’ 06’’ II Andante molto affectuoso 6’ 11’’ III Rondo 2’ 11’’ 3. Соната у старом стилу за виолончело и клавир оп. 55 I Интродукција и фуга 3’ 38’’ II Menuett 3’ 21’’ III Gavotte 2’ 12’’ IV Air 2’ 53’’ V Финале–Рондо 4’ 39’’ Миљана Поповић Матерни, виолина Љубомир Милановић, виола Срђан Сретеновић, виолончело Неда Хофман, клавир | 2 | REAFIRMATION OF THE FORGOTTEN SERBIAN MUSIC Petar STOJANOVIĆ 1.Sonates Sonata for Violin ofаnd Piano Nо. 2, Op. 18 I Allegretto 8’ 55’’ II Andante con Variazioni 7’ 51’’ III Allegro con brio 4’ 38’’ 2. Sonata for Viola аnd Piano No. 2, Op. 108 I Allegro non troppo 7’ 06’’ II Andante molto affectuoso 6’ 11’’ III Rondo 2’ 11’’ 3. Sonata in Old Style for Cello and Piano Op. 55 I Introduction and Fugue 3’ 38’’ II Menuett 3’ 21’’ III Gavotte 2’ 12’’ IV Air 2’ 53’’ V Finale-Rondo 4’ 39’’ Miljana Popović Materni, violin Ljubomir Milanović, viola Srđan Sretenović, cello Neda Hofman, piano | 3 | РЕАФИРМАЦИЈА ЗАБОРАВЉЕНЕ СРПСКЕ МУЗИКЕ: ТРИ СОНАТЕ ЗА ГУДАЧКИ ИНСТРУМЕНТ И КЛАВИР ПЕТРА СТОЈАНОВИЋА* Успостављање динамичне и високопрофесионалне сарадње између музиколога и музичких извођача чини једну од дугороч- них активности Музиколошког друштва Србије. Нови пројекат Друштва под насловом Реафирмација заборављене српске музи- ке по томе је сличан ранијем пројекту Антологијска дела српске музике, будући да је у оба случаја реч о избору одређених дела из баштине српске уметничке музичке и њиховом представљању путем концертног извођења и трајног звучног записа, објављеног на компакт диску.1 Овога пута, међутим, идеја је потекла директ- но из научних активности представљених на Међународном на- учном скупу На маргинама музиколошког канона: композиторска генерација Петра Стојановића, Петра Крстића и Станислава Би- ничког. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen
Fedora Wesseler, Stefan Schmidl (Hg.), Oscar Straus Beiträge zur Annäherung an einen zu Unrecht Vergessenen Amsterdam 2017 © 2017 die Autorinnen und Autoren Diese Publikation ist unter der DOI-Nummer 10.13140/RG.2.2.29695.00168 verzeichnet Inhalt Vorwort Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................5 Avant-propos Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................7 Wien-Berlin-Paris-Hollywood-Bad Ischl Urbane Kontexte 1900-1950 Susana Zapke (Wien) ................................................................................................................ 9 Von den Nibelungen bis zu Cleopatra Oscar Straus – ein deutscher Offenbach? Peter P. Pachl (Berlin) ............................................................................................................. 13 Oscar Straus, das „Überbrettl“ und Arnold Schönberg Margareta Saary (Wien) .......................................................................................................... 27 Burlesk, ideologiekritisch, destruktiv Die lustigen Nibelungen von Oscar Straus und Fritz Oliven (Rideamus) Erich Wolfgang Partsch† (Wien) ............................................................................................ 48 Oscar Straus – Walzerträume Fritz Schweiger (Salzburg) ..................................................................................................... 54 „Vm. bei Oscar Straus. Er spielte mir den tapferen Cassian vor; -
DIE FLEDERMAUS Johann Strauss II 1874 April 26, 30, May 2, 4, 2014 BATS in the BELFRY: Lyric’S Fledermaus Offers Fine Singing, Excellent Scenic Design, Firm Direction
DIE FLEDERMAUS Johann Strauss II 1874 April 26, 30, May 2, 4, 2014 BATS IN THE BELFRY: Lyric’s Fledermaus offers fine singing, excellent scenic design, firm direction May 1, 2014 By Paul Horsley Die Fledermaus is a surprisingly difficult opera to bring to the stage, deceptively simple on the surface yet filled with comic subtleties and a sort of effortless graciousness that has to be “just right.” The Lyric Opera of Kansas City’s new English-language production that opened April 26th, directed by Tomer Zvulun in his company debut, features first-rate scenic design and magnificent singing but in the end succeeds only partly in capturing the breathless effervescence of the piece. Audiences will enjoy it nevertheless, because the core of this story is implacably funny and much of the music is familiar and beloved. I did not enjoy myself overly, and I’ve devoted no little angst to figuring out why. To begin with the positive, the Lyric has brought some wonderful singers into the mix here. Kelly Kaduce lends substantial heft and a gloriously powerful soprano to the role of Rosalinde, the bored bourgeois housewife in Hapsburg Vienna who is being wooed by a dashing tenor. Her whimsical “Klänge der Heimat” czárdás aria in Act II, in which she tries to prove she’s a Hungarian countess, is a vocal and dramatic highlight of the show. Tall, elegant Liam Bonner offers a warm, delicious baritone to the central role of Eisenstein, the would-be philandering husband, whose earlier offense against his friend Dr. Falke has set the whole intrigue into motion. -
Download the Monthly Film & Event Calendar
SAT 2:00 Film SAT 7:00 Film SAT 7:00 Film 4:00 Film Hale County Ugetsu. T3 Suzakumon. T2 The Devil’s Temple. Film & Event Calendar 7 This Morning, This 14 21 T2 Events & Programs 7:00 Film 10:20 Family Evening. T1 10:20 Family 10:20 Family WED An Evening with 6:30 Film Gallery Sessions Explore This! Activity Stations Tours for Fours. Tours for Fours. Tours for Fours. 4:30 Film Shannon Plumb. T2 Gonza the Spearman. Daily, 11:30 a.m. & 1:30 p.m. Sat, Apr 7 & Sun, Apr 8, Education & Education & Education & 25 The Nothing Factory. T2 Museum galleries 1:00–3:00 p.m. Floor 5 Research Building Research Building Research Building 1:30 Film T2 Mr. Blandings Builds 7:00 Film Join us for conversations and Explore art through fun and 10:20 Family 10:20 Family 10:20 Family His Dream House. T2 In the Last Days of activities that offer insightful and engaging activities for all ages. A Closer Look for MON A Closer Look for A Closer Look for SUN WED the City. T1 unusual ways to engage with art. Kids. Education & Kids. Education & Kids. Education & 4:30 Film Free with admission 1 4 Research Building 9 Research Building Research Building Gonza the Spearman. Limited to 25 participants SUN See moma.org for TUE T2 Family Films: Yum! Films 10:20 Family 7:30 Event 1:00 Family 1:30 Film 12:00 Family up-to-date listings. 29 Art Lab: Nature About Food Tours for Fours. -
OPERA GLOSSARY – the CULTURE CONCEPT CIRCLE Aficionado - a Devoted Fan Or Enthusiast
OPERA GLOSSARY – THE CULTURE CONCEPT CIRCLE aficionado - A devoted fan or enthusiast. apron - The front part of the stage between the curtain and the orchestra pit. aria - Italian word for "air." a song for solo voice with instrumental accompaniment. baritone - The medium male voice. lies between the low bass voice and the higher tenor voice. baroque - The period of music from the early to mid 1600's to the mid 1700's. Baroque operas are characterized by emotional, highly stylized and flowery presentations. bass - The lowest of the male voices. bass-baritone - A male voice which combines the quality of the baritone with the depth of the bass, avoiding the extremes of either range. basso profundo - The most serious bass voice. bel canto - Italian for "beautiful singing." In a bel canto style opera, the beauty of singing is more important than the plot or the words. bravo! - Bravo is the Italian word for expressing appreciation to a male performer. brava! - Bravo is the Italian word for expressing appreciation to a female performer bravi! - Bravo is the Italian word for expressing appreciation to two or more performers. cadenza - Near the end of an aria, a series of difficult, fast high notes that allow the singer to demonstrate vocal ability. classical - The period in music from roughly the mid 1700's to the early 1800's. coloratura soprano - A very high pitched soprano. also the description of singing which pertains to great feats of agility - fast singing, high singing, trills, and embellishments. commedia dell'arte - A style of dramatic presentation popular in Italy from the 16th century on; the commedia characters were highly stylized and the plots frequently revolved around disguises, mistaken identities and misunderstandings. -
Early 20Th-Century Operetta from the German Stage: a Cosmopolitan Genre
This is a repository copy of Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150913/ Version: Accepted Version Article: Scott, DB orcid.org/0000-0002-5367-6579 (2016) Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. The Musical Quarterly, 99 (2). pp. 254-279. ISSN 0027-4631 https://doi.org/10.1093/musqtl/gdw009 © The Author 2016. Published by Oxford University Press. This is an author produced version of a paper published in The Musical Quarterly. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre Derek B. Scott In the first four decades of the twentieth century, new operettas from the German stage enjoyed great success with audiences not only in cities in Europe and North America but elsewhere around the world.1 The transfer of operetta and musical theatre across countries and continents may be viewed as cosmopolitanism in action. -
ARSC Journal
HISTORICAL VOCAL RECORDINGS ROSSINI: Le Comte Ory. Michel Roux, basso (Robert); Jeannette Sinclair, soprano (Alice); Juan Oncina, tenor (Count Ory); Monica Sinclair, con tralto (Ragonde); Ian Wallace, baritone (The Governor); Cora Canne Meijer, mezzo-soprano (Isolier); Sari Barabas, soprano (Countess Adele); Dermot Troy, tenor (A Young Nobleman); The Glyndebourne Festival Or chestra and Chorus; Vittorio Gui, conductor. EMI RLS 744. "The delicious Comte Ory," wrote Chorley in 1854, "has, with all the beauty of its music, never been a favorite anywhere. Even in the theater for which it was written, the Grand Oplra of Paris, where it still keeps its place - when Cinti-Damoreau was the heroine - giving to the music all the playfulness, finish, and sweetness which could possibly be given - the work was heard with but a tranquil pleasure ••• " He goes on to blame the libretto (by Scribe and Delaistre-Poirson) which in its day was indeed rather shocking, with Count Ory's "gang" gaining admission, disguised as nuns, to the castle of the Countess he is pursuing - male voices and all! The opera was rediscovered in the 1950's and enjoyed a real success at Glyndebourne in 1954. The recording was made two years later. The New York City Opera finally got around to Le Comte Ory a year or so ago. There are several obvious reasons for the neglect of this gem of an opera. Though the score is full of delights there is no Largo al facto tum or Una voce poco fa. The arias are brilliant but not sure fire. It is not a vehicle; the soprano and tenor roles call for virtuosity of a high order, but this is an ensemble opera and no one can take over the spotlight. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Ohlsson Plays Brahms Saturday, May 2Nd, 2020
Ohlsson Plays Brahms nd Saturday, May 2 , 2020 Johann Strauss II Tales from the Vienna Woods (1825-99) Franz Lehár Merry Widow Waltz (1870-1948) Erich Korngold Sea Hawk Suite (1897-1957) Johannes Brahms Piano Concerto No. 1 in D minor, Op. 15 (1856-1891) Maestoso Adagio Rondo: Allegro non troppo Johann Strauss II (1825-99) composed many types of dances, including polkas, quadrilles, and over 500 waltzes, hence his nicknamee “The Waltz King.” Born into a musical family in Austro-Hungary, he and his two brothers all became composers of “light classical” music, although only Johann II is well known today. Johann Sr did not want his sons to study music, and in fact whipped Junior when he first discovered him practicing the violin. It was only when Dad deserted the family for his mistress that the brothers were able to study music openly. In later years Johann II became friends with Johannes Brahms, to whom he dedicated his waltz, “Weid, umschlungen, Millionen!” ("Be Embraced, You Millions!"). The favor was returned when Strauss’s wife asked Brahms to autograph her fan (a custom in which the composer included several bars of his music along with his name); instead Brahms wrote a few bars of “The Blue Danube” with the words, “Unfortunately NOT by Johannes Brahms.” Along with that perennial favorite, “The Emperor Waltz” and “The Tritsch-Tratsch Polka” are among Johann II’s most popular pieces today. He also composed six waltzes that call for a zither, including “Tales from the Vienna Woods,” written in 1868. This waltz includes solos for flute and zither (a string quartet plays the part if a zither player cannot be found), and after various episodes ends with a rubato violin duet capped by a final snare drum roll and the full orchestra’s joyous approval.