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Scuola Pianistica Milanese»
Guido Salvetti Forse non ci fu una «scuola pianistica milanese» Una valutazione del ruolo del pianoforte nella vita musicale milanese del primo Ottocen- to deve dar ragione di aspetti non poco contraddittori. Da un lato appare chiaro il ruolo secondario del pianoforte nelle istituzioni pubbliche di istruzione e di concerto. Dall’al- tro appare imponente l’attività che potremmo dire privata, quale ci viene testimoniata dai ‹nobili dilettanti› e dai cataloghi editoriali. Osserviamo innanzi tutto alcuni dati recentemente raccolti sulle pubbliche accade- mie del Regio Conservatorio, a partire dalla sua fondazione nel 1808.1 Pur tenendo conto delle inevitabili lacune di uno spoglio d’archivio, appaiono clamorose le assenze di esi- bizioni pianistiche per interi anni, sommerse da un enorme numero di brani operistici e di ariette. Nei primi dieci anni di vita dell’istituzione, l’insegnante Benedetto Negri propone alle autorità e al pubblico cittadino soltanto questi due interventi pianistici: 8 ottobre 18122 Wolfgang Amadeus Mozart Variazioni per clavicembalo Giovanni Battista Rabitti3 1 ottobre 18154 Friedrich Heinrich Himmel Sonata per pianoforte5 [Luigi] Rabitti «minore» con accompagnamento di corni da caccia: Giacomo Belloli e Giuseppe Schiroli 1 Milano e il suo Conservatorio, a c. di Guido Salvetti, Milano 2003; cd-rom allegato, Appendice iv: Cronologia dei saggi degli allievi dal 1809 al 1896. Questa è l’avvertenza iniziale: «Per la compilazione della cronologia sono stati consultati i programmi di sala e, in alternativa, le recensioni apparse sulla Gazzetta musicale di Milano e sulla Perseveranza. In generale, per i titoli si è mantenuta la grafia come appare nel documento originale; dove è stato possibile si è provveduto, invece, a completare i nomi degliallieviedegliautori». -
103 the Music Library of the Warsaw Theatre in The
A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska. -
Opera Olimpiade
OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Russianness in the Works of European Composers Liudmila Kazantseva Department of Theory and History of Music Astrakhan State Concervatoire Astrakhan, Russia E-mail: [email protected] Abstract—For the practice of composing a conscious Russianness is seen more as an exotic). As one more reproduction of native or non-native national style is question I’ll name the ways and means of capturing Russian traditional. As the object of attention of European composers origin. are constantly featured national specificity of Russian culture. At the same time the “hit accuracy” ranges here from a Not turning further on the fan of questions that determine maximum of accuracy (as a rule, when finding a composer in the development of the problems of Russian as other- his native national culture) to a very distant resemblance. The national, let’s focus on only one of them: the reasons which out musical and musical reasons for reference to the Russian encourage European composers in one form or another to culture they are considered in the article. Analysis shows that turn to Russian culture and to make it the subject of a Russiannes is quite attractive for a foreign musicians. However creative image. the European masters are rather motivated by a desire to show, to indicate, to declare the Russianness than to comprehend, to II. THE OUT MUSICAL REASONS FOR REFERENCE TO THE go deep and to get used to it. RUSSIAN CULTURE Keywords—Russian music; Russianness; Western European In general, the reasons can be grouped as follows: out composers; style; polystyle; stylization; citation musical and musical. -
Das Tragico Fine Auf Venezianischen Opernbühnen Des Späten 18
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Heidelberger Dokumentenserver Das tragico fine auf venezianischen Opernbühnen des späten 18. Jahrhunderts Textband Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Ruprecht-Karls-Universität Heidelberg Zentrum für Europäische Geschichts- und Kulturwissenschaften Musikwissenschaftliches Seminar vorgelegt bei Prof. Dr. Silke Leopold von Katharina Kost November 2004 INHALT DANKSAGUNG............................................................................................. IV TEIL I: DIE FRAGE EINLEITUNG .................................................................................................................... 2 Die Geschichte des tragico fine in der italienischen Oper des 18. Jahrhunderts – Forschungsüberblick ........................................................................................................ 2 Tragico fine zwischen 1695 und 1780 ......................................................................... 4 Bislang in der Forschung berücksichtigte Aspekte im Repertoire ab 1780 .................. 9 Fragestellung und Vorgehensweise ................................................................................ 15 Die Eingrenzung des Repertoires .............................................................................. 15 Das Repertoire im Überblick ..................................................................................... 18 Untersuchung anhand von Vergleichen – Dramaturgie -
La Pantomima Del Grande Castrato E Le Sue Risultanze Coreutiche: L’Ezio Di Marchesi E Lefèvre*
Philomusica on-line 16 (2017) La pantomima del grande castrato e le sue risultanze coreutiche: l’Ezio di Marchesi e Lefèvre* Andrea Chegai Università di Roma “La Sapienza” [email protected] § Non è frequente che i coreografi § Choreographers writing about settecenteschi scrivano di melodramma melodrama and their opinions on e si pronunzino sui cantanti, o vice- singers and virtuosi are uncommon versa. La formazione professionale e la in the Eighteenth Century. The concezione del teatro da parte di professional training of dancers and ballerini e coreografi ci appare distinta choreographers and their conception e autonoma rispetto a quella dei grandi of theatre appear autonomous virtuosi del dramma per musica. La compared to those of the great reciproca influenza, che vi fu, pare virtuosi of the dramma per musica. quindi circoscriversi in Italia alla Their reciprocal influence, which was condivisione dei soggetti fra i due however present, seems therefore to generi di spettacolo e alla contiguità be limited in Italy to the sharing of temporale di atti d’opera ed entr’acte di subjects between the two kinds of danza. Il caso qui esaminato, che pone spectacle and the temporal contiguity al centro le figure del castrato Luigi of Opera acts and of entr’acte for Marchesi (1754-1829) e del coreografo dance. The case here examined, Domenico Lefèvre (173?-181?), e la centred on the figures of the castrato ricognizione sulla bibliografia critica Luigi Marchesi (1754-1829) and the dell’epoca mettono in luce alcuni non choreographer Domenico Lefèvre trascurabili punti di contatto fra canto (173?-181?), and the survey on the e ballo pantomimo riguardo alla critical bibliography of this period, recitazione scenica e ad alcune reveal some convergences between tipologie di aria d’opera, che ancora a singing and pantomime dance in fine Settecento risentono della stage acting and in some types of diffusione e del ruolo sociale della arie, which are still affected at the danza. -
Paul Schoenfield's' Refractory'method of Composition: a Study Of
Paul Schoenfield's 'Refractory' Method of Composition: A Study of Refractions and Sha’atnez A document submitted to the Graduate School of The University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music by DoYeon Kim B.M., College-Conservatory of Music of The University of Cincinnati, 2011 M.M., Eastman School of Music of The University of Rochester, 2013 Committee Chair: Professor Yehuda Hanani Abstract Paul Schoenfield (b.1947) is a contemporary American composer whose works draw on jazz, folk music, klezmer, and a deep knowledge of classical tradition. This document examines Schoenfield’s characteristic techniques of recasting and redirecting preexisting musical materials through diverse musical styles, genres, and influences as a coherent compositional method. I call this method ‘refraction’, taking the term from the first of the pieces I analyze here: Refractions, a trio for Clarinet, Cello and Piano written in 2006, which centers on melodies from Mozart’s Le nozze di Figaro (The Marriage of Figaro). I will also trace the ‘refraction’ method through Sha’atnez, a trio for Violin, Cello and Piano (2013), which is based on two well-known melodies: “Pria ch’io l’impegno” from Joseph Weigl’s opera L’amor marinaro, ossia il corsaro (also known as the “Weigl tune,” best known for its appearance in the third movement of Beethoven’s Trio for Piano, Clarinet, and Cello in B-flat Major, Op.11 (‘Gassenhauer’)); and the Russian-Ukrainian folk song “Dark Eyes (Очи чёрные).” By tracing the ‘refraction’ method as it is used to generate these two works, this study offers a unified approach to understanding Schoenfield’s compositional process; in doing so, the study both makes his music more accessible for scholarly examination and introduces enjoyable new works to the chamber music repertoire. -
Beethoven's Fourth Symphony: Comparative Analysis of Recorded Performances, Pp
BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY A Dissertation Presented to the Faculty of the Graduate School Of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Mark Christopher Ferraguto August 2012 © 2012 Mark Christopher Ferraguto BEETHOVEN’S FOURTH SYMPHONY: RECEPTION, AESTHETICS, PERFORMANCE HISTORY Mark Christopher Ferraguto, PhD Cornell University 2012 Despite its established place in the orchestral repertory, Beethoven’s Symphony No. 4 in B-flat, op. 60, has long challenged critics. Lacking titles and other extramusical signifiers, it posed a problem for nineteenth-century critics espousing programmatic modes of analysis; more recently, its aesthetic has been viewed as incongruent with that of the “heroic style,” the paradigm most strongly associated with Beethoven’s voice as a composer. Applying various methodologies, this study argues for a more complex view of the symphony’s aesthetic and cultural significance. Chapter I surveys the reception of the Fourth from its premiere to the present day, arguing that the symphony’s modern reputation emerged as a result of later nineteenth-century readings and misreadings. While the Fourth had a profound impact on Schumann, Berlioz, and Mendelssohn, it elicited more conflicted responses—including aporia and disavowal—from critics ranging from A. B. Marx to J. W. N. Sullivan and beyond. Recent scholarship on previously neglected works and genres has opened up new perspectives on Beethoven’s music, allowing for a fresh appreciation of the Fourth. Haydn’s legacy in 1805–6 provides the background for Chapter II, a study of Beethoven’s engagement with the Haydn–Mozart tradition. -
Sarti's Fra I Due Litiganti and Opera in Vienna
John Platoff Trinity College March 18 2019 Sarti’s Fra i due litiganti and Opera in Vienna NOTE: This is work in progress. Please do not cite or quote it outside the seminar without my permission. In June 1784, Giuseppe Sarti passed through Vienna on his way from Milan to St. Petersburg, where he would succeed Giovanni Paisiello as director of the imperial chapel for Catherine the Great. On June 2 Sarti attended a performance at the Burgtheater of his opera buffa Fra i due litiganti il terzo gode, which was well on its way to becoming one of the most highly successful operas of the late eighteenth century. At the order of Emperor Joseph II, Sarti received the proceeds of the evening’s performance, which amounted to the substantial sum of 490 florins.1 Fra i due litiganti, premiered at La Scala in Milan on September 14, 1782, had been an immediate success, and within a short time began receiving productions in other cities. It was performed in Venice under the title I pretendenti delusi; and it was the third opera produced in Vienna by the newly re-established opera buffa company there in the spring of 1783. By the time of Sarti’s visit to the Hapsburg capital a year later, Fra i due litiganti was the most popular opera in Vienna. It had already been performed twenty-eight times in its first season alone, a total unmatched by any other operatic work of the decade. Thus the Emperor’s awarding 1 Link, National Court Theatre, 42 and n. -
Call for Papers Luigi Marchesi (1754-1829), “Ocean of Sopranos”: Career of a Castrato Singer
CALL FOR PAPERS LUIGI MARCHESI (1754-1829), “OCEAN OF SOPRANOS”: CAREER OF A CASTRATO SINGER Bergamo, October 16-17, 2015 CFP deadline: March 30, 2015 Luigi Marchesi was one of the most famous singers of the second half of the Eighteenth Century, acclaimed performer of operas by Pasquale An- fossi, Domenico Cimarosa, Alessandro Tarchi, Johann Simon Mayr, Nic- colò Zingarelli, Antonio Salieri, Giuseppe Sarti, Francesco Bianchi, Josef Mysliveček, etc. The brilliant career of this emblematic castrato spread across Europe: enormous triumphs throughout Italy were followed by travels to St. Peter- sburg, London, Warsaw and Vienna. Thanks to his incredible coloratura, a legendary range, and a dazzling singing technique, Marchesi proved himself to be the perfect performer for extremely virtuosic and heroic roles. With Rubinelli and Pacchierotti he was universally considered one of the most important singers of his time. Marchesi was also fiercely criticized: his style in embellishments and his acting became topics for discussions strongly influenced by the incipient sunset of the castrati era in theatres. Stile Galante (Amsterdam) wishes to dedicate to Luigi Marchesi a two-day international conference, to be held in Bergamo on October 16-17, 2015. CONFERENCE BOARD Nicholas Baragwanath (University of Nottingham) Rosa Cafiero (Università Cattolica di Milano) Damien Colas (CNRS) Paolo Fabbri (Università degli Studi di Ferrara) Giulia Giovani (Centro Studi sulla Cantata Italiana) Claudio Toscani (Università degli Studi di Milano). The international conference Luigi Marchesi, “Ocean of Sopranos”: Career of a Castrato Singer is a part of The Luigi Marchesi Project (<www.luigimarchesimusic.com>). Conference proceedings are going to be published by February 2016. -
MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A. -
EJ Full Draft**
Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation 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 Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today.