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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Abstracts Papers Read
ABSTRACTS of- PAPERS READ at the THIRTY-FIFTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY SAINT LOUIS, MISSOURI DECEMBER 27-29, 1969 Contents Introductory Notes ix Opera The Role of the Neapolitan Intermezzo in the Evolution of the Symphonic Idiom Gordana Lazarevich Barnard College The Cabaletta Principle Philip Gossett · University of Chicago 2 Gluck's Treasure Chest-The Opera Telemacco Karl Geiringer · University of California, Santa Barbara 3 Liturgical Chant-East and West The Degrees of Stability in the Transmission of the Byzantine Melodies Milos Velimirovic · University of Wisconsin, Madison 5 An 8th-Century(?) Tale of the Dissemination of Musico Liturgical Practice: the Ratio decursus qui fuerunt ex auctores Lawrence A. Gushee · University of Wisconsin, Madison 6 A Byzantine Ars nova: The 14th-Century Reforms of John Koukouzeles in the Chanting of the Great Vespers Edward V. Williams . University of Kansas 7 iii Unpublished Antiphons and Antiphon Series Found in the Dodecaphony Gradual of St. Yrieix Some Notes on the Prehist Clyde W. Brockett, Jr. · University of Wisconsin, Milwaukee 9 Mark DeVoto · Unive Ist es genug? A Considerat Criticism and Stylistic Analysis-Aims, Similarities, and Differences PeterS. Odegard · Uni· Some Concrete Suggestions for More Comprehensive Style Analysis The Variation Structure in Jan LaRue · New York University 11 Philip Friedheim · Stat Binghamton An Analysis of the Beginning of the First Movement of Beethoven's Piano Sonata, Op. 8la Serialism in Latin America Leonard B. Meyer · University of Chicago 12 Juan A. Orrego-Salas · Renaissance Topics Problems in Classic Music A Severed Head: Notes on a Lost English Caput Mass Larger Formal Structures 1 Johann Christian Bach Thomas Walker · State University of New York, Buffalo 14 Marie Ann Heiberg Vos Piracy on the Italian Main-Gardane vs. -
JV Stich-Punto
Masarykova univerzita Filozofická fakulta Ústav hudební vědy Hudební věda J. V. Stich-Punto: historie a současnost jeho díla a odkazu pro budoucí generace Bakalářská diplomová práce Drahoš Kopečný Vedoucí práce: prof. PhDr. Lubomír Spurný, Ph.D. Brno 2019 Prohlašuji, že jsem bakalářskou práci vypracoval samostatně s využitím uvedených pramenů a literatury. Podpis: Poděkování Na tomto místě bych rád poděkoval vedoucímu této práce prof. PhDr. Lubomíru Spurnému, Ph.D., za odborné vedení. Dále patří poděkování autora práce paní ředitelce Mgr. Yvettě Zemanové a profesorům Pražské konzervatoře za poskytnutí studijních materiálů a také děkuji PhDr. Janě Mančálové za ochotnou spolupráci při vyhledávání souvislostí v dějinách Žehušic a v životě a díle J. V. Sticha. V neposlední řadě chci též poděkovat Mgr. Janě Svobodové a paní kurátorce Petře Michalové z Městského muzea a knihovny v Čáslavi. Obsah Úvod ........................................................................................................................................................ 7 1. Osobnost Jana Václava Sticha-Punta ............................................................................................... 8 1.1. Stich-Punto skladatelem .......................................................................................................... 8 1.2. Punto – virtuos a jeho technika hry ........................................................................................ 9 1.3. Vliv Sticha-Punta na Mozarta a Beethovena ........................................................................ -
Interpretation of Mozart Concertos with an Historical View
Kurs: CA 1004 30 hp 2018 Master in Music 120 ECTS Institutionen för Klassisk musik Handledare: Katarina Ström-Harg Examinator: Ronny Lindeborg Mónica Berenguer Caro Interpretation of Mozart concertos with an historical view 1 Preface The basis of this research originally came from my passion for my instrument. I started to think about the importance of Mozart's concertos about 4 years ago, when I began taking orchestra auditions and competitions. A horn player will perform Mozart concertos through his entire musical career, so I think it is necessary to know more about them. I hope to contribute to knowledge for new and future students and I hope that they will be able to access to the content of my thesis whenever they need it. In fact, I may have not achieved my current level of success without a strong support group. First, my parents, who have supported me with love and understanding. Secondly there are my teachers, Katarina Ström-Harg and Annamia Larsson, each of whom has provided patient advices and guidance throughout the research process. Thank you all for your unwavering support. 2 Abstract This thesis is an historical, technical and stylistic investigation of Mozart horn concertos. It includes a description of Mozart’s life; the moment in his life where the concertos were developed. It contains information about Ignaz Leitgeb, the horn player who has a close friendship with Mozart. Also, the explanation of his technical characteristics of the natural horn and the way of Mozart deal with the resources and limitations of this instrument, as well as the way of the interpretation of these pieces had been facilitated by the arrival of the chromatic horn. -
Leopold Stokowski
Leopold Stokowski Enescu Romanian Rhapsody No. 1 Arnold Comedy Overture ‘Beckus the Dandipratt’ Glière Concerto for Coloratura Soprano Tchaikovsky Symphony No. 5 in E minor CC 9107 LEOPOLD STOKOWSKI Leopold Stokowski (1882-1977) George Enescu (1881-1955) 10.46 1 Romanian Rhapsody No. 1 in A Op. 11 (1901) Malcolm Arnold (1921-2006) 7.38 2 Comedy Overture ‘Beckus the Dandipratt’ Op. 5 (1943) Reinhold Glière (1875-1956) 15.04 Concerto for Coloratura Soprano and Orchestra in F minor Op. 82 (1943) 3 I Andante 9.33 4 II Allegro 5.31 Ilse Hollweg, soprano BBC Symphony Orchestra A BBC studio concert, broadcast 5 May 1954. Recording from the Itter Broadcast Collection Pyotr Ilyich Tchaikovsky (1840-1893) Leopold Stokowski talking to members of the International Youth Festival Orchestra during a Symphony No. 5 in E minor Op. 64 (1888) first rehearsal of the Tchaikovsky 5th Symphony at Morley College, London. The young 5 I Andante – Allegro con anima 13.50 musicians, who came from all over the world, played the work at the Royal Albert Hall the 6 II Andante cantabile con alcuna licenza 12.04 following evening, 19 August 1973. (Photo: courtesy Edward Johnson) 7 III Valse. Allegro moderato 5.48 8 IV Finale. Andante maestoso – Allegro vivace 11.38 International Festival Youth Orchestra (1973) Recorded in rehearsal, and in performance at the Royal Albert Hall, 19 August 1973 Recorded by David Kent-Watson for Cameo Classics Cover image : Katherine's Palace hall in Tsarskoe Selo, Russia © 2018 Lyrita Recorded Edition CAMEO CLASSICS is a wholly owned label of LYRITA RECORDED EDITION TRUST Total playing time 75.09 Produced under an exclusive licence from Lyrita by Wyastone Estate Limited, Monmouth, NP25 3SR, UK www.lyrita.co.uk 2 7 CC 9107 LEOPOLD STOKOWSKI performed the last three numbered symphonies, though Nos. -
Concierto Barroco: Estudios Sobre Música, Dramaturgia E Historia Cultural
CONCIERTO BARROCO Estudios sobre música, dramaturgia e historia cultural CONCIERTO BARROCO Estudios sobre música, dramaturgia e historia cultural Juan José Carreras Miguel Ángel Marín (editores) UNIVERSIDAD DE LA RIOJA 2004 Concierto barroco: estudios sobre música, dramaturgia e historia cultural de Juan José Carreras y Miguel Ángel Marín (publicado por la Universidad de La Rioja) se encuentra bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2012 publicaciones.unirioja.es E-mail: [email protected] ISBN: 978-84-695-4053-4 Afinaban cuerdas y trompas los músicos de la orquesta, cuando el indiano y su servidor se instalaron en la penumbra de un palco. Y, de pronto, cesaron los martillazos y afinaciones, se hizo un gran silencio y, en el puesto de director, vestido de negro, violín en mano, apareció el Preste Antonio, más flaco y narigudo que nunca […] Metido en lo suyo, sin volverse para mirar a las pocas personas que, aquí, allá, se habían colocado en el teatro, abrió lentamente un manuscrito, alzó el arco —como aquella noche— y, en doble papel de director y de ejecutante impar, dio comienzo a la sinfonía, más agitada y ritmada —acaso— que otras sinfonías suyas de sosegado tempo, y se abrió el telón sobre un estruendo de color… Alejo Carpentier, Concierto barroco ÍNDICE PRÓLOGO . 11 INTRODUCCIÓN . 13 PARTE I 1. Juan José Carreras Ópera y dramaturgia . 23 Nota bibliográfica 2. Martin Adams La “dramatic opera” inglesa: ¿un imposible género teatral? . -
Giovanni Punto'nun 6 No'lu Korno Konçertosu' Nun
Sahne ve Müzik Eğitim - Araştırma e-Dergisi ISSN: 2149-7079 4. Sayı [email protected] Ocak/2017 GIOVANNI PUNTO'NUN 6 NO'LU KORNO KONÇERTOSU’ NUN İCRA YÖNÜNDEN İNCELENMESİ * Bahadır ÇOKAMAY Başvuru Tarihi 25.11.2016; Kabul Tarihi: 06.01.2017 ÖZ Korno’nun birçok üflemeli çalgının doğmasına neden olduğu bilinmektedir. 18.yüzyıl boyunca valf ve perde sistemi olmadan solo olarak orkestrada kullanılmıştır. Çalgı icrasında virtüözite anlayışı çerçevesinde örnek olarak, kemanda Paganini, piyanoda Liszt ne ise 18.yüzyılda kornoda da Giovanni Punto olarak kabul edilmiş, ve birçok müzik otoritesinin üst düzey olumlu yorumlarını almıştır. Punto’nun korno icrasına getirdiği yeniliklerin yanında korno edebiyatı için bestelediği eserler, Türkiye’de çok tanınmamasına rağmen Avrupa’da ve dünyanın birçok ülkesinde korno icracılarının repertuarına girmiştir. Bu araştırmada Barok, Klasik ve Romantik Dönemi bir arada barındıran 18.yüzyılın ünlü korno virtüözü Giovanni Punto’nun korno edebiyatının zor eserlerinden biri olan 6 No’lu Korno Konçertosu, sözü edilen yüzyıl içindeki gelişmeler ışığında incelenmiştir. Anahtar Sözcükler : Korno, Konçerto, Giovanni Punto, Form A STUDY OF HORN CONCERTO NO.6 by GIOVANNI PUNTO ACCORDING PERFORMANCE ABSTRACT The horn is known as the first brass instrument and the leader of them. Secondly it is used as solo in orchestras without valve and ventil system in 18th century. Giovanni Punto is accepted in horn in 18th century as same as Paganini in violin or Liszt in piano acc to the virtuosity understanding in playin instrument and also was honored with positive comments of authorities. Punto’s innovations in playing horn and in lots of countries in the world, in the literature of corn really well known in European countries and also took its place even if they are not known enough in Turkey. -
Quaderni Di Teoria Sociale 2009
Quaderni di Teoria Sociale | Quaderni di Teoria PARTE MONOGRAFICA numero Su Max Weber Quaderni Massimo Pendenza, Massimo Rosati, Presentazione | Dimitri D’Andrea, Tra adattamento e rifiuto. Verso una teoria delle immagini del mondo | Gregor Fitzi, Protestantesimo e coscienza della modernità | Enrico 2009 Donaggio, Spiriti del capitalismo. Variazioni sul tema | Elettra Stimilli, Ascetismo ed economia | Massimo di Teoria Sociale Del Forno, Invenzione a due voci. Simmel, Weber e il paradigma della musica | Mariella Nocenzi, Il pa- radosso weberiano: il potere non legittimo e la città | Marta Losito, La Weberforschung e la sociologia in Italia. SAGGI 9 Olimpia Affuso, Memoria-magazine. Memorie individuali e sfere pubbliche mediate | Sergio Belardinelli, L’identità culturale europea tra universalismo e pluralità | Massimo Cerulo, Un sentire controverso. L’ homo sentiens fluttuante tra le ambivalenze tardomoderne | Spinella Dell’Avanzato, Trasformazioni della democrazia e comune cultura politica | Alberto Izzo, Irene Strazzeri, Rifiuti. Tragedia mondiale e occultamento ideologico | Roberto Segatori, Il ruolo della sociologia politica nell’Italia contemporanea. L’ INTERVI S TA Critica e spirito del capitalismo. Intervista a Luc Boltanski. LIBRI IN DI S CU ss IONE Il testo in discussione: Hermann Lübbe, La politica dopo l’Illuminismo. Leonardo Allodi, Tecnica e morale in Hermann Lübbe | Maria Aparecida Ferrari, La possibilità di un altro Illuminismo | Ivo Germano, Ci salveranno i media? Il senso di sfida comunicazionale di Hermann Lübbe | Gianfranco Morra, Quale politica dopo l’Illuminismo? Altri testi Lorenzo Bruni, Il riscatto del sogno e la traccia nella trama del presente. M. Gauchet, R. Redeker, Utopia e modernità | Massimo Cerulo, Esperienze che s’incontrano: il ruolo dell’empatia nella vita quotidia- na. -
Il Teatro Significa Vivere Sul Serio Quello Che Gli Altri Nella Vita Recitano Male.”1
1 Introduction “Il teatro significa vivere sul serio quello che gli altri nella vita recitano male.”1 Many years ago a young boy sat with his friend, the son of a lawyer, in the Corte Minorile of Naples, watching as petty criminals about his age were being judged for their offenses. One ragged pick-pocket who had been found guilty demanded to be led away after being sentenced; instead he was left there and his loud pleas were completely disregarded. Unwilling to tolerate this final offense of being treated as though he were invisible, the juvenile delinquent, in an extreme act of rebellion, began smashing the chains around his hands against his own head until his face was a mask of blood. Horrified, the judge finally ordered everybody out of the court. That young boy sitting in court watching the gruesome scene was Eduardo De Filippo and the sense of helplessness and social injustice witnessed left an indelible mark on the impressionable mind of the future playwright. Almost sixty years later, at the Accademia dei Lincei, as he accepted the Premio Internazionale Feltrinelli, one of Italy’s highest literary accolades, De Filippo recalled how it was that this early image of the individual pitted against society was always at the basis of his work: Alla base del mio teatro c’è sempre il conflitto fra individuo e società […] tutto ha inizio, sempre, da uno stimolo emotivo: reazione a un’ingiustizia, sdegno per l’ipocrisia mia e altrui, solidarietà e simpatia umana per una persona o un gruppo di persone, ribellione contro leggi superate e anacronistiche con il mondo di oggi, sgomento di fronte a fatti che, come le guerre, sconvolgono la vita dei popoli.2 The purpose of this thesis is twofold: to provide for the first time a translation of Eduardo’s last play, Gli esami non finiscono mai (Exams Never End), and to trace the development of his dramatic style and philosophy in order to appreciate their culmination 1 Enzo Biagi, “Eduardo, tragico anche se ride,” Corriere della Sera , 6 March 1977. -
2019 Preview Notes • Week Three
2019 Preview Notes • Week Three Friday, July 26 at 8:00pm—Marlboro College Dining Hall Piano Trio in F Major, Op. 80 (1847) Three Songs from William Robert Schumann Shakespeare (1953) Born June 8, 1810 Igor Stravinsky Died July 29, 1856 Born June 17, 1882 Duration: approx. 30 minutes Died April 6, 1971 Last Marlboro performance: 2018 Duration: approx. 7 minutes Last Marlboro Performance: 2012 Schumann wrote three piano trios, and though the opus designations between Schumann’s first two trios span When Mitsuko Uchida announced her co-directorship of almost 20 numbers, the trios were both composed in the Marlboro Music with Jonathan Biss last summer, she same year. Schumann himself stated that the second quoted Shakespeare’s beloved comment on music from makes a “friendlier and more immediate impression” than Twelfth Night: “If music be the food of love, play on!” The the first, which was written in a “time of gloomy moods.” Bard’s references to music, throughout his plays as well as This trio in F Major romps through a version of sonata his poems, are many. In this collection of songs, form in the first movement, exuberantly exploring Stravinsky chose to set Sonnet VIII, Music to hear, Ariel’s unexpected keys and closing with enthusiasm. The lyrical song “Five Fathoms Deep” from The Tempest, and the second movement provides balance, and the third cuckoo’s song “When Daisies Pied” from Love’s Labour’s movement continues with a quirkily elegant, dance-like Lost. Stravinsky combines some tonal implications with sense of motion. The final movement draws on previous limited serialist techniques to illustrate each song, themes to conclude the piece with mounting excitement. -
Copyright by Denise Parr-Scanlin 2005
Copyright by Denise Parr-Scanlin 2005 The Treatise Committee for Denise Parr-Scanlin Certifies that this is the approved version of the following treatise: Beethoven as Pianist: A View Through the Early Chamber Music Committee: K.M. Knittel, Supervisor Anton Nel, Co-Supervisor Nancy Garrett Robert Mollenauer David Neumeyer David Renner Beethoven as Pianist: A View Through the Early Chamber Music by Denise Parr-Scanlin, B.M., M.F.A. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December, 2005 Dedication To my mother and first piano teacher, Daisy Elizabeth Liles Parr Acknowledgements I wish to acknowledge the kind assistance of my treatise committee, Dr. Kay Knittel, Dr. Anton Nel, Professor Nancy Garrett, Dr. Robert Mollenauer, Dr. David Neumeyer, and Professor David Renner. I especially thank Dr. Kay Knittel for her expert guidance throughout the project. I also thank Janet Lanier for her assistance with the music examples and my husband, Paul Scanlin, for his constant support and encouragement v Beethoven as Pianist: A View Through the Early Chamber Music Publication No._____________ Denise Parr-Scanlin, D.M.A. The University of Texas at Austin, 2005 Supervisors: K.M. Knittel, Anton Nel Our inability to reconstruct what Ludwig van Beethoven must have sounded like as a pianist is one of the more vexing questions of music history. Unreliable sources and his short performing career, in addition to a lack of virtuoso public pieces, have contributed to this situation. -
Chamberworks a Musical Joke
presents ChamberWorks A Musical Joke Letitia Quante, violin David Horak, violin and viola Marcia Cassidy, viola John Dunlop, cello Patrick Kennelly, horn Michael Huang ’20, horn Sun, Jan 19, 1 pm Top of the Hop • Dartmouth College • 2020 ChamberWorks is a series of free concerts presented by the Hop and the Dartmouth Department of Music, showcasing the talent of faculty and special guests, and is made possible by support from the Griffith Fund. Program Horn Quartet in E flat Major, K. 407 Wolfgang Amadeus Mozart (1756–1791) I. Allegro II. Andante III. Rondo: Allegro Quartet in C major, Op. 33, no. 3 The Bird Joseph Haydn (1732–1809) I. Allegro Moderato II. Scherzo – Allegro III. Largo IV. Presto Ein Musikalischer Spass (A Musical Joke), K. 522 Wolfgang Amadeus Mozart I. Allegro II. Menuetto and trio III. Adagio cantabile IV. Presto Program Notes Horn Quintet in E flat major K. 407 Germany and Austria and earning a considerable salary Wolfgang Amadeus Mozart (1756-1791) during a brief stint with Haydn’s orchestra in Esterhazy. Unfortunately, recent scholarship has cast doubt on the Mozart’s works containing parts for the horn can broadly idea, long-cherished by horn players, that he retired from be put in two categories: those written for hornists playing to open a cheesemonger’s shop on the outskirts whose playing he knew and esteemed, and those who of Vienna. couldn’t be trusted. Of the first category, to which his Horn Quintet K. 407 belongs, most were written for his But even if those biographical details were unknown, friend Joseph Leitgeb (or Leutgeb).