University of Cincinnati

Total Page:16

File Type:pdf, Size:1020Kb

University of Cincinnati UNIVERSITY OF CINCINNATI Date: 26 December 2007 I, Shu-Ting Yang, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Piano Performance It is entitled: Salute to Bach: Modern Treatments of Bach-Inspired Elements in Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’ Bachianas Brasileiras No. 4 This work and its defense approved by: Chair: __Jeongwon_Joe,_Ph.D.__________ __Eugene_Pridonoff,_M.M._______ __Elizabeth_Pridonoff,_M.M.____ Salute to Bach: Modern Treatments of Bach-Inspired Elements in Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’ Bachianas Brasileiras No. 4 A doctoral document submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music by Shu-Ting Yang 16 November 2007 B.M., National Taiwan Normal University, 1999 M.M., Indiana University, 2002 P.D., Indiana University, 2003 Project Advisor: Jeongwon Joe, Ph.D. Abstract Being two of a few Bach-inspired masterpieces in the twentieth-century keyboard repertoires, Luigi Dallapiccola’s Quaderno Musicale di Annalibera and Heitor Villa-Lobos’ Bachianas Brasileiras No. 4 contain the application of modern treatments on long lasting traditional subjects: the Baroque music style and the B-A-C-H motif. In this document, I discuss both composers’ multi-style blend (neo-Baroque/Serialism for Dallapiccola and neo-Baroque/Nationalism for Villa-Lobos) side by side through a close examination of their biographical background and stages of evolution, followed by a theoretical analysis of these two representative works. Dallapiccola’s mature dodecaphonic technique, along with the usage of symbolism and canonic writing are perfectly fused in Quaderno Musicale di Annalibera. Bachianas Brasileiras No. 4, as the title suggests, shows Villa-Lobos’ ingenious combination of Brazilian folk materials with a Baroque-like style. Finally, I compare the orchestral versions and piano versions in terms of the treatment of Bach-inspired elements through the orchestration. iii Copyright © 2008 by Shu-Ting Yang All rights reserved iv Acknowledgments I would like to express my gratitude to all those who have helped me to complete this document: to my piano professors, Elizabeth and Euguene Pridonoff, whose musicianship in piano performance and passion in piano education have been and will be the model in my musical journey; and to my advisor, Dr. Jeongwon Joe, whose profound musical knowledge and insightful guidance make it possible for me to complete this document. Special thanks to my parents, their selfless love and support have always given me strength to pursue my goals. To my husband, whose companionship and assistance in computer technology have made the writing process a pleasant experience. To my daughter, whose arrival has been the biggest motivation for completing this document. v Table of Contents List of Tables 2 List of Musical Examples 3 Chapter 1. Introduction: Neo-Baroque as A New Twentieth-Century Musical Stream: Bach-Inspired Elements in Modern Music 6 Chapter 2. Luigi Dallapiccola and His Musical Style A. Biographical background 10 B. Stages of tonal transformation and connections with the serialist method 13 C. Piano output 15 Chapter 3. Modern Treatments in Bach-Inspired Quaderno Musicale di Annalibera A. Compositional background 17 B. Homage to Bach 17 C. Modern treatments: serial methods 18 D. Analysis of each movement 20 Chapter 4. Heitor Villa-Lobos and His Musical Style A. Biographical background 47 B. Stages of evolution and connections with folk materials 50 C. Piano output 51 Chapter 5. Modern treatments in Bach-inspired Bachianas Brasileiras No. 4 A. Homage to Bach 54 B. Compositional background 55 C. Modern treatments: neo-classic method and nationalism 56 D. Analysis of each movement 57 Chapter 6. Comparison Between the Piano Originals and the Orchestrated Versions A. Dallapiccola: Variazioni per orchestra 78 B. Villa-Lobos: Bachianas Brasileiras No. 4 83 Chapter 7. Conclusion: Contributions of these Two Pieces Through Modern treatments of Bach-Inspired Elements 93 Bibliography 95 List of Tables Table 3.1. Matrix of the row of Dallapiccola’s Quaderno Musicale di Annalibera 19 Table 3.2. Diagram of the B-A-C-H motif in “Accenti” from Quaderno Musicale di Annalibera 25 Table 3.3. Diagram of the canonic relationship of “Contrapunctus primus” from Quaderno Musicale di Annalibera 27 Table 3.4. Diagram of the B-A-C-H tetrachord in “Contrapunctus primus” from Quaderno Musicale di Annalibera 28 Table 3.5. Organization of the rows in “Contrapunctus secundus” from Quaderno Musicale di Annalibera 30 Table 3.6. The hidden tetrachords in “Contrapunctus secundus” from Quaderno Musicale di Annalibera 32 Table 3.7. Relationship of the rows in “Fregi” from Quaderno Musicale di Annalibera 34 Table 3.8. Presentation of the rows in “Andantine amorose e Contrapunctus tertius” from Quaderno Musicale di Annalibera 36 Table 3.9. Detail formal diagram of “Ritmi” from Quaderno Musicale di Annalibera 38 Table 3.10. Usage of the rows in “Colore” from Quaderno Musicale di Annalibera 42 Table 3.11. Structural analysis of “Ombre” from Quaderno Musicale di Annalibera 44 Table 3.12. Structural analysis of “Quartina” from Quaderno Musicale di Annalibera 45 Table 5.1. Analysis of phrasing in section A of “Preludio” from Bachianas Brasileiras No. 4 60 Table 5.2. Diagram of section B in “Choral” from Bachianas Brasileiras No. 4 66 2 List of Musical Examples Example 3.1. Innovative linear-styled chordal analysis of the B-A-C-H motif in “Simbolo” from Dallapiccola’s Quaderno Musicale di Annalibera, mm. 2-5 21 Example 3.2. “Simbolo” from Quaderno Musicale di Annalibera, mm. 1-5 22 Example 3.3. “Simbolo” from Quaderno Musicale di Annalibera, mm. 9-16, for the relax-tense phrasing and the slow-fast harmonic rhythm 23 Example 3.4. “Simbolo” from Quaderno Musicale di Annalibera, mm. 17-20 23 Example 3.5. “Accenti” from Quaderno Musicale di Annalibera, mm. 1-4 25 Example 3.6. “Contrapunctus primus” from Quaderno Musicale di Annalibera, mm. 1-4 27 Example 3.7. “Linee” from Quaderno Musicale di Annalibera, mm. 1-2 and mm. 6-7 29 Example 3.8. “Contrapunctus secundus” from Quaderno Musicale di Annalibera, mm. 1-3 31 Example 3.9. “Contrapunctus secundus” from Quaderno Musicale di Annalibera, mm. 5-6 31 Example 3.10. “Fregi” from Quaderno Musicale di Annalibera 35 Example 3.11. “Andantine amorose e Contrapunctus tertius” from Quaderno Musicale di Annalibera, mm. 1-5 36 Example 3.12. “Ritmi” from Quaderno Musicale di Annalibera mm. 1-9 38 Example 3.13. Sectional examples of “Ritmi” from Quaderno Musicale di Annalibera 39 Example 3.14. “Ritmi” from Quaderno Musicale di Annalibera mm. 41-44 40 Example 3.15. “Colore” from Quaderno Musicale di Annalibera, mm. 1-3 (with circled notes) 41 Example 3.16. Section A and B of “Ombre” from Quaderno Musicale di Annalibera, mm. 1-3 and 8-9 43 Example 5.1. The arpeggio motive in “Preludio” from Bachianas Brasileiras No.4 58 Example 5.2. The royal theme from Bach’s Musical Offering 58 3 Example 5.3. The arpeggio figures from Bach’s Toccata from Partita in E minor, BWV 830 59 Example 5.4. Application of the passacaglia melody in section A of “Preludio” from Bachianas Brasileiras No. 4 59 Example 5.5. “Preludio” from Bachianas Brasileiras No. 4, mm. 23-27 61 Example 5.6. “Preludio” from Bachianas Brasileiras No. 4, mm. 28-32 62 Example 5.7. “Choral” from Bachianas Brasileiras No. 4, mm. 1-16 63 Example 5.8. “Choral” from Bachianas Brasileiras No. 4, mm. 17-22 64 Example 5.9. Circle of fifths in “Choral” from Bachianas Brasileiras No. 4, mm. 33-43 66 Example 5.10. Modern notation in “Choral” from Bachianas Brasileiras No. 4, mm. 71-73 67 Example 5.11. Folk tune “Ó mana deix’eu ir” from Northeastern Brazil 68 Example 5.12. Introduction of “Aria” from Bachianas Brasileiras No. 4, mm. 1-6 69 Example 5.13. Section A Part I of “Aria” from Bachianas Brasileiras No. 4, mm. 7-22 70 Example 5.14. Section A Part II of “Aria” from Bachianas Brasileiras No. 4, mm. 23-30 70 Example 5.15. Section B of “Aria” from Bachianas Brasileiras No. 4, mm. 38-48 71 Example 5.16. Left-hand melody in Section B of “Aria” from Bachianas Brasileiras No. 4, mm. 68-74 72 Example 5.17. “Dansa” from Bachianas Brasileiras No. 4, mm. 12-25 75 Example 5.18. The “Black key versus White Key” technique used in “Dansa” from Bachianas Brasileiras No. 4, mm. 66-72 75 Example 5.19. The “Sharp versus Flat” technique used in “Dansa” from Bachianas Brasileiras No. 4, mm. 89-97 76 Example 5.20. “Dansa” from Bachianas Brasileiras No. 4, mm. 120-134 76 4 Example 6.1. The 1st movement of Variazioni per orchestra, mm. 21-23 79 Example 6.2. The 3rd movement of Variazioni per orchestra, mm. 1-4 80 Example 6.3. The 7th movement of Variazioni per orchestra, mm. 1-6 81 Example 6.4. The 9th movement of Variazioni per orchestra, mm. 1-6 82 Example 6.5. First page of “Preludio” from the orchestral Bachianas Brasileiras No. 4 84 Example 6.6. Canonic writing in section B of “Preludio” from the orchestral Bachianas Brasileiras No. 4 85 Example 6.7. Cello section in the recapitulation of “Preludio” from the orchestral Bachianas Brasileiras No. 4 85 Example 6.8. Rehearsal nos. 1 and 2 of “Choral” from the orchestral Bachianas Brasileiras No. 4 86 Example 6.9.
Recommended publications
  • Graduate Student Symposium Program
    Graduate Student Symposium Program June 5 &6, 2004 London, Ontario, Canada SATURDAY, JUNE 5 SUNDAY, JUNE 6 9:00-9:30 Registration in Talbot College 141 9:00-10:30 Bryn Hughes, University of Western Paul Sanden Ontario 9:30-11:00 Karen Snell, University of Western Ontario Chair “The use of Sonata Form and Motivic Anita Hardeman “Music Education through Popular Music Concentration in the Early Atonal Works Chair Festivals: A Study of the OM Music of Anton Webern; a Set-theoretical Festival in Ontario, Canada” Analysis of Fünf Sätze für Streichquartett, Op. 5, No. 1” Kelsey Cowger, University of Chicago “Cultural Politics, Representation and the Michael Chikinda, SUNY (Buffalo) Music of Shaft” “The Early Serial Works of Luigi Dallapiccola” 11:00-11:15 Break 10:30-10:45 Break 11:15-12:15 Keynote Address: Dr. Bill Thompson, Aileen Laurin CCIT, University of Toronto 10:45-12:15 Michaela Rejack, Ohio State University Chair “Visual Aspects of Musical Experience” Lara Housez “Introducing Angelika Elias – A True Chair Schenkerian” 12:15-1:15 Lunch at the Grad Club, Middlesex College Amy Lynne Englesdorfer, Indiana 1:15-1:45 Tour of the Gustav Mahler – Alfred Rosé University Rare Book Room, led by Lisa Philpott, “The Poetic Structure of Music: Ruth UWO Music Reference Librarian Crawford Seeger, Verse Form, and the Diaphonic Suite for Solo Flute or Oboe” 1:45-3:15 Paul Sanden, University of Western Mat Langlois Ontario Chair “Creative Recording: Glenn Gould and the Beatles” Jennifer Caines, University of Alberta “Gilbert and Sullivan’s The Mikado:
    [Show full text]
  • The Crucifixion: Stainer's Invention of the Anglican Passion
    The Crucifixion: Stainer’s Invention of the Anglican Passion and Its Subsequent Influence on Descendent Works by Maunder, Somervell, Wood, and Thiman Matthew Hoch Abstract The Anglican Passion is a largely forgotten genre that flourished in the late nineteenth and early twentieth centuries. Modeled distinctly after the Lutheran Passion— particularly in its use of congregational hymns that punctuate and comment upon the drama—Anglican Passions also owe much to the rise of hymnody and small parish music-making in England during the latter part of the nineteenth century. John Stainer’s The Crucifixion (1887) is a quintessential example of the genre and the Anglican Passion that is most often performed and recorded. This article traces the origins of the genre and explores lesser-known early twentieth-century Anglican Passions that are direct descendants of Stainer’s work. Four works in particular will be reviewed within this historical context: John Henry Maunder’s Olivet to Calvary (1904), Arthur Somervell’s The Passion of Christ (1914), Charles Wood’s The Passion of Our Lord according to St Mark (1920), and Eric Thiman’s The Last Supper (1930). Examining these works in a sequential order reveals a distinct evolution and decline of the genre over the course of these decades, with Wood’s masterpiece standing as the towering achievement of the Anglican Passion genre in the immediate aftermath of World War I. The article concludes with a call for reappraisal of these underperformed works and their potential use in modern liturgical worship. A Brief History of the Passion Genre from the sung in plainchant, and this practice continued Medieval Era to the Eighteenth Century through the late medieval and early Renaissance eras.
    [Show full text]
  • A Conductor's Study of George Rochberg's Three Psalm Settings David Lawrence Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2002 A conductor's study of George Rochberg's three psalm settings David Lawrence Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Lawrence, David, "A conductor's study of George Rochberg's three psalm settings" (2002). LSU Major Papers. 51. https://digitalcommons.lsu.edu/gradschool_majorpapers/51 This Major Paper 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 Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A CONDUCTOR’S STUDY OF GEORGE ROCHBERG’S THREE PSALM SETTINGS A Monograph 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 Musical Arts in School of Music By David Alan Lawrence B.M.E., Abilene Christian University, 1987 M.M., University of Washington, 1994 August 2002 ©Copyright 2002 David Alan Lawrence All rights reserved. ii TABLE OF CONTENTS LIST OF TABLES ....................................................................................................................v LIST OF FIGURES..................................................................................................................vi LIST
    [Show full text]
  • Bach Academy Bruges
    ENGLISH Wed 24 Jan — Sun 28 Jan 2018 BACH BEWERKT BACH ACADEMY BRUGES Bach rearranged — 01 — Dear music lover Festival summary Welcome to this eighth Bach than composing for religious services: WED 24 JAN 2018 15.00 Concert hall 17.00 Chamber music hall seeking the essence of music, distilling out BELGIAN PREMIERE Oxalys & Bojan Cicic Academy, with a programme that its language as far as he was able. 19.15 Stadsschouwburg Dietrich Henschel All roads lead to Bach focuses on the parody. The last ten years of his life saw the Introduction by Gloria Schemelli’s Gesangbuch p. 20 composition of the second part of the Carlier (in Dutch) p. 10 Well-Tempered Clavier, the Goldberg 19.15 Chamber music hall As you undoubtedly know, Bach frequently Variations, the Von Himmel Hoch choral 20.00 Stadsschouwburg 17.00 Chamber music hall Introduction by Ignace drew on music by other composers or his variations, The Musical Offering, the Mass Mass B Christine Busch & Bossuyt (in Dutch) own earlier work to mould into new works of in B minor and The Art of the Fugue. None Béatrice Massin & Jörg Halubek his own. The Mass in B minor, for example, of these compositions was written on Compagnie Fêtes galantes Bach. Violin sonatas 20.00 Concert hall is a brilliant interweaving of largely commission. For these works, Bach was i.c.w. Cultuurcentrum Brugge p. 11 Collegium Vocale Gent refashioned parts of earlier cantatas with driven only by artistic inspiration. They So singen wir recht das earned him nothing, and only thirty copies 19.15 Chamber music hall Gratias newly-composed passages.
    [Show full text]
  • Dismantling the Time: a Theoretical and Practical Basis for Sinusoidal Deconstruction
    Dismantling the time: a theoretical and practical basis for sinusoidal deconstruction Ángel Arranz Master Thesis Institute of Sonology Royal Conservatory of The Hague 2008 Music gives soul to the universe, wings to the thought, flying to the imagination, charm to the sadness, bliss and life to everything. (Plato) Aeterna Renovatio 2 Abstract “The basic purpose of this project is to build an auto-conductive non-harmonic musical system with nine instrumental parts and/or a live electronics field. One of the main properties is dispensability: any of the parts may be omitted without damage in the macrostructure. As the absence of some parts as the combinatorial variability of them do not affect the musical efficacy of the composition. Such a system will be possible thanks to the observation of some compositional conductive models of the past (Flemish polyphony) and some more present, as Xenakis’s stochastic music. Fundamentally, this task is made by means of ‘seeds’, minimal elemental shapes, which create the macro and micro levels of the work. In the first level of the composition, the macroform level, the seeds are implemented in a computer-assisted composition environment using the AC Toolbox program, where a graphics-based grammar is set on a discourse that is drawn in a unique stochastic gesture and later deconstructed. In the second level of composition, the microform level, the seed’s data are used as a controller of electronic gestures implemented in the Max/MSP program. The principal purpose of this level will be to enlarge the compositional domain and give an opportunity of extension to the physical possibilities of instruments, driving it towards the micro-sounds and other parallel temporal processes and having their own self-sufficient process inside the work”.
    [Show full text]
  • Generalized Interval System and Its Applications
    Generalized Interval System and Its Applications Minseon Song May 17, 2014 Abstract Transformational theory is a modern branch of music theory developed by David Lewin. This theory focuses on the transformation of musical objects rather than the objects them- selves to find meaningful patterns in both tonal and atonal music. A generalized interval system is an integral part of transformational theory. It takes the concept of an interval, most commonly used with pitches, and through the application of group theory, generalizes beyond pitches. In this paper we examine generalized interval systems, beginning with the definition, then exploring the ways they can be transformed, and finally explaining com- monly used musical transformation techniques with ideas from group theory. We then apply the the tools given to both tonal and atonal music. A basic understanding of group theory and post tonal music theory will be useful in fully understanding this paper. Contents 1 Introduction 2 2 A Crash Course in Music Theory 2 3 Introduction to the Generalized Interval System 8 4 Transforming GISs 11 5 Developmental Techniques in GIS 13 5.1 Transpositions . 14 5.2 Interval Preserving Functions . 16 5.3 Inversion Functions . 18 5.4 Interval Reversing Functions . 23 6 Rhythmic GIS 24 7 Application of GIS 28 7.1 Analysis of Atonal Music . 28 7.1.1 Luigi Dallapiccola: Quaderno Musicale di Annalibera, No. 3 . 29 7.1.2 Karlheinz Stockhausen: Kreuzspiel, Part 1 . 34 7.2 Analysis of Tonal Music: Der Spiegel Duet . 38 8 Conclusion 41 A Just Intonation 44 1 1 Introduction David Lewin(1933 - 2003) is an American music theorist.
    [Show full text]
  • Where Are Some of Our N E Region MONC Winners This 2019-2020 Season?
    Where are some of our N E Region MONC winners this 2019-2020 season? Soprano Erica Petrocelli (2018): Annina in La Traviata at LA Opera Baritone Xiaomeng Zhang (2018): Rossini’s Figaro with Opera Columbus Bass-baritone Daniel Noyola (2018): First Soldier in Salome, Ceprano in Rigoletto in Houston Soprano Sandra Hamaoui (2017): Gretel and Coraline (Mark-Anthony Turnage) in Zurich Soprano Gabriella Reyes (2017): 2019 Richard Tucker Career Grant Winner. Musetta in Santa Fe (2019); Liu, First Lady, at the Met; Cio-Cio-San in 7 Deaths of Maria Callas in Zurich Soprano Angela Vallone (2017): Alkandre in Pénélope , Doralice in Rossini’s La Gazzetta , Second Niece in Peter Grimes ), First Lady-in Waiting in Der Prinz von Hombur g (Henze) in Frankfurt Tenor Andrés Moreno García (2017): Parpignol, Gastone, Innkeeper in Der Rosenkavalier , Eusebio in La Piccola Cubana , Kuska in Kovanshchina at Berlin’s Unter den Linden Counter-tenor Jakub Józef Orliński (2016): Cyrus in Belshazzar in Zurich; Tolomeo in Karlsruhe; Arsemene in Serse at the Théâtre des Champs-Elysées and Rouen; Armindo in San Francisco Mezzo-soprano Allegra De Vita (2015): La Cenerentola’ s Angelina with Boston Midsummer Opera; Maddalena in Austin; Albine in Thaïs with Maryland Lyric Opera Soprano Leah Hawkins (2015): Masha in Queen of Spades, Strawberry Woman in Porgy and Bess at the Met (Dec.); Desdemona in 7 Deaths of Maria Callas (Marina Abramović) in Zurich Baritone Brian Vu (2015): a Lackey in Der Rosenkavalier and Bruhlmann in Werther at the Met; Figaro ’s Almaviva in Kentucky;
    [Show full text]
  • Thesis Submission
    Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era.
    [Show full text]
  • Il Ritorno D'ulisse in Patria
    IL RITORNO D’ULISSE IN PATRIA Opera in un Prologo e tre Atti Musica di Claudio Monteverdi Libretto di Giacomo Badoaro Il Ritorno d’Ulisse in Patria IL RITORNO LE RETOUR D’ULYSSE D’ULISSE IN PATRIA DANS SA PATRIE Opera in un Prologo e tre Atti Opéra en un prologue et trois actes Musica di Claudio Monteverdi Musique de Claudio Monteverdi Libretto di Giacomo Badoaro Livret de Giacomo Badoaro secondo l’Odissea di Omero d’après l’Odyssée d’Homère Prima rappresentazione: Première représentation : Venezia, Teatro SS. Giovanni e Venise, Teatro SS. Giovanni e Paolo, 1640 Paolo, 1640 Personaggi Personnages Prologo Prologue L’Humana Fragilità, soprano o tenore La Fragilité humaine, soprano ou ténor Il Tempo, basso Le Temps, basse La Fortuna, soprano La Fortune, soprano Amore, soprano L’Amour, soprano Dei Dieux Giove, tenore Jupiter, basse Nettuno, basso Neptune, basse Minerva, soprano Minerve, soprano Giunone, soprano Junon, soprano Mortali Mortels Ulisse, baritone Ulysse, bariton Penelope, sposa di Ulisse, contralto Pénélope, son épouse, contralto Telemaco, figlio di Ulisse, tenore o soprano Télémaque, son fils, ténor ou soprano Melanto, mezzo-soprano Mélantho, suivante de Pénélope, mezzo-soprano Eumete, tenore Eumée, un berger, ténor Eurimaco, tenore Eurymaque, amant de Mélantho, ténor Ericlea, contralto Euryclée, nourrice d’Ulysse, soprano Pisandro, tenore Pisandre, ténor Anfinomo, tenore Amphinome, ténor Antinoo, basso Antinoüs, basse Iro, tenore Iros, serviteur des prétendants, ténor Feaci, coro celeste e marittimo Phéaciens, chœur céleste et maritime Il Ritorno d’Ulisse in Patria L’argument Nous ne donnons pas de découpage en scène et acte, qui sont différents suivant les manuscrits.
    [Show full text]
  • The Late Choral Works of Igor Stravinsky
    THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY _________________________________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia ________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________________________ by RUSTY DALE ELDER Dr. Michael Budds, Thesis Supervisor DECEMBER 2008 The undersigned, as appointed by the dean of the Graduate School, have examined the thesis entitled THE LATE CHORAL WORKS OF IGOR STRAVINSKY: A RECEPTION HISTORY presented by Rusty Dale Elder, a candidate for the degree of Master of Arts, and hereby certify that, in their opinion, it is worthy of acceptance. _________________________________________ Professor Michael Budds ________________________________________ Professor Judith Mabary _______________________________________ Professor Timothy Langen ACKNOWLEDGEMENTS I would like to express my deepest gratitude to each member of the faculty who participated in the creation of this thesis. First and foremost, I wish to recognize the ex- traordinary contribution of Dr. Michael Budds: without his expertise, patience, and en- couragement this study would not have been possible. Also critical to this thesis was Dr. Judith Mabary, whose insightful questions and keen editorial skills greatly improved my text. I also wish to thank Professor Timothy Langen for his thoughtful observations and support. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………...ii ABSTRACT……………………………………………………………………………...v CHAPTER 1. INTRODUCTION: THE PROBLEM OF STRAVINSKY’S LATE WORKS…....1 Methodology The Nature of Relevant Literature 2. “A BAD BOY ALL THE WAY”: STRAVINSKY’S SECOND COMPOSITIONAL CRISIS……………………………………………………....31 3. AFTER THE BOMB: IN MEMORIAM DYLAN THOMAS………………………45 4. “MURDER IN THE CATHEDRAL”: CANTICUM SACRUM AD HONOREM SANCTI MARCI NOMINIS………………………………………………………...60 5.
    [Show full text]
  • Il Quarto Padre Della Dodecafonia
    Mario Ruffini, Il quarto padre della dodecafonia, in: «Caffè Michelangiolo», Rivista di discussione e cultura, Accademia degli Incamminati, IX, 2 (maggio- agosto 2004), Firenze, Pagliai Polistampa, 2004, Copertina, Frontespizio, Retrofrontespizio, pp. 4-12 In occasione del primo centenario della nascita di Luigi Dallapiccola (1904-2004), Caffè Michelangiolo ha chiesto a Mario Ruffini uno scritto commemorativo sul compositore e un bilancio delle celebrazioni Nel primo centenario della nascita di Luigi Dallapiccola (1904-2004) uno scritto commemorativo e alcune considerazioni IL QUARTO PADRE DELLA DODECAFONIA di Mario Ruffini Quando in tutto il mondo un personaggio viene ricordato in occasione del centenario della nascita, vuol dire che la sua opera è ormai un valore riconosciuto e condiviso della coscienza collettiva. Questo è il dato forse più rilevante delle celebrazioni dedicate alla figura di Luigi Dallapiccola. È utile pertanto ricordare le opere più significative del grande compositore e sottolineare gli aspetti peculiari del suo dettato etico e estetico. Due sono i capolavori che maggiormente caratterizzano Luigi Dallapiccola: la Trilogia, che percorre il primo periodo come una biografia (Canti di prigionia; Il Prigioniero; Canti di liberazione) e l’Ulisse che segna l’arrivo di tutto il percorso. Negli scritti giovanili Dallapiccola ricorda il periodo di internamento a Graz, quando l’assidua frequentazione del Teatro dell’Opera lo portò a una profonda conoscenza delle opere di Richard Wagner, di cui il quattordicenne istriano dichiara
    [Show full text]
  • Polyphonic Harmony in Three of Ferruccio Busoni's Orchestral Elegies
    POLYPHONIC HARMONY IN THREE OF FERRUCCIO BUSONI’S ORCHESTRAL ELEGIES Colin Davis, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Timothy L. Jackson, Major Professor Hendrik Schulze, Committee Member Stephen Slottow, Committee Member Frank Heidlberger, Committee Member and Chair of the Department of Music History, Theory, and Ethnomusicology Benjamin Brand, Directory of Graduate Studies for the College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Davis, Colin. Polyphonic Harmony in Three of Ferruccio Busoni’s Orchestral Elegies. Doctor of Philosophy (Musicology - Music Theory), May 2015, 225 pp., 82 musical examples, bibliography, 91 titles. This dissertation focuses on three of Busoni’s late orchestral works known as “orchestral elegies”: Berceuse élégiaque (Elegie no. 1, 1909), Gesang vom Reigen der Geister (Elegie no. 4, 1915), and Sarabande (Elegie no. 5, 1918-19). The study seeks to provide a better understanding of Busoni’s late style as a crucial bridge from late nineteenth-century chromaticism in the works of Liszt, Wagner, and others to the post-tonal languages of the twentieth century. At the heart of this study lies a particular concept that forms the basis of many characteristic features of Busoni’s late style, namely the concept of polyphonic harmony, or harmony as a cumulative result of independent melodic lines. This concept is also related to a technique of orchestration in which the collective harmony is sounded in such a way that the individual voices are distinct. In the highly personal tonal language of Busoni’s late works, passages often consist of a web of motives weaved throughout the voices at the surface level of the music.
    [Show full text]