Written for the Clothing and Profession Ceremonies, with Special Reference to Compositions Based on the Book of Judith Musicology Today • Vol

Total Page:16

File Type:pdf, Size:1020Kb

Written for the Clothing and Profession Ceremonies, with Special Reference to Compositions Based on the Book of Judith Musicology Today • Vol th Italian 17Journal xyz 2017; -and1 (2): 122–135 The First Decade (1964-1972) Research Articleth 18Max Musterman, -CenturyPaul Placeholder What Is So Different About Neuroenhancement? Was ist so anders am Neuroenhancement? DramaticPharmacological and Mental Self-transformation Works in Ethic Comparison Pharmakologische und mentale Selbstveränderung im ethischen Vergleich withhttps://doi.org/10.1515/xyz-2017-0010 Music, received February 9, 2013; accepted March 25, 2013; published online July 12, 2014 Abstract: In the concept of the aesthetic formation of knowledge and its as soon as possible and success-oriented application, insightsWritten and profits for without the Clothing the and reference to the arguments developed around 1900. The main investigation also includes the period between the entry into force and theProfession presentation inCeremonies, its current with Special version. Their function as part of the literary portrayalReference and narrative to technique. Compositions Based on Keywords: Function, transmission, investigation, principal,the Book period of Judith* Dedicated to Paul Placeholder ANNA RYSZKA-KOMARNICKA 1 Studies and Investigations Institute of Musicology, University of Warsaw Email: [email protected] The main investigation also includes the period between the entry into force and the presentation in its current version. Their function as part of the literary por- trayal and narrative technique. *Materials*Max Musterman: for this article Institute were of Marine collected Biology, as part National of the Taiwan project Ocean ‘Księga University, Judyty 2 Pei-Ning w oratoriach włoskich epoki baroku Road Keelung 20224, Taiwan (R.O.C), e-mail: [email protected] (1621-ok.Paul Placeholder: 1750)’ [‘InstituteThe ofBook Marine of Judith Biology, in National Italian Taiwan Baroque Ocean University,Oratorios, 2 Pei-Ning 1621–c. 1750’], financed by the Na- tionalRoad Science Keelung Centre 20224, PolandTaiwan (R.O.C), on the e-mail: basis [email protected] decision no. DEC-2011/01/B/HS2/04723. Journal xyz 2017; 1 (2): 122–135 Open Open Access. Access. © © 2020 2017 MustermannAnna Ryszka-Komarnicka, and Placeholder, publishedpublished by by De Sciendo. Gruyter. ThisThis work work is is licensed under the Creative Commonslicensed Attribution-NonCommercial-NoDerivatives under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. 4.0 License. The First Decade (1964-1972) Research Article Max Musterman, Paul Placeholder What Is So Different About Neuroenhancement? Was ist so anders am Neuroenhancement? Pharmacological and Mental Self-transformation in Ethic Comparison Pharmakologische und mentale Selbstveränderung im ethischen Vergleich https://doi.org/10.1515/xyz-2017-0010 received February 9, 2013; accepted March 25, 2013; published online July 12, 2014 Abstract: In the concept of the aesthetic formation of knowledge and its as soon as possible and success-oriented application, insights and profits without the reference to the arguments developed around 1900. The main investigation also includes the period between the entry into force and the presentation in its current version. Their function as part of the literary portrayal and narrative technique. Keywords: Function, transmission, investigation, principal, period Dedicated to Paul Placeholder 1 Studies and Investigations The main investigation also includes the period between the entry into force and the presentation in its current version. Their function as part of the literary por- trayal and narrative technique. *Max Musterman: Institute of Marine Biology, National Taiwan Ocean University, 2 Pei-Ning Road Keelung 20224, Taiwan (R.O.C), e-mail: [email protected] Paul Placeholder: Institute of Marine Biology, National Taiwan Ocean University, 2 Pei-Ning Road Keelung 20224, Taiwan (R.O.C), e-mail: [email protected] Open Access. © 2017 Mustermann and Placeholder, published by De Gruyter. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. Italian 17th- and 18th-Century Dramatic Works with Music, Written for the Clothing and Profession Ceremonies, with Special Reference to Compositions Based on the Book of Judith Musicology Today • Vol. 17 • 2020 DOI: 10.2478/muso-2020-0004 include: nine rappresentazioni sacre and sixty-two non- stage compositions (oratorios, in some cases dialogues ABSTRACT or cantatas), written in the years 1621-1764. Some of them were performed and disseminated in print many Late 16th- and early 17th-century Italian theatrical works (with or times (altogether I have found nearly 140 such recorded without music) based on the Book of Judith are perceived as associated instances). My list omits the numerous settings of with women, who acted as their performers (in female monasteries), Metastasio’s oratorio La Betulia liberata, except for its dedicatees, or patrons. This paper considers the reasons for the loosening of such ties in the Baroque genres of dialogue and oratorio, first Viennese premiere with music by Georg Reutter 2 which evolved in the circles of religious and lay congregations, in Jr (1734) . This event, on the one hand, summed up which women were either marginalised or altogether excluded. The some of the trends in the manner the Book of Judith had link between women and the oratorio genre was thus maintained only been used in Italian Baroque oratorios. On the other, it in the case of the so-called palace oratorios. Oratorios did not gain a opened a new chapter in the history of such adaptations, solid footing in the music life of female religious orders, either. Their th th presence mainly made itself felt in the space suspended between the which lasted until the late 18 /early 19 centuries, monastic and secular worlds, namely, in the context of the ceremonies and musically already belonged to a different era. The of clothing and profession, which were celebrated with performances of popularity of Betulia led to a reduction in the number cantatas, dialogues, or oratorios. A survey of such repertoire from the of new libretti on this subject written in the Italian th th 17 and 18 centuries has revealed an astonishing wealth of subjects Peninsula. Only a few of them appeared in 1734-1764, and approaches: allegorical works, saints’ lives, Old Testament stories praising parents who offered their children up to God, happy weddings, and this was followed by nearly 20 years in which Italian or the deeds of extraordinary women. The Book of Judith occupies an authors abandoned the theme altogether. important place among the latter subjects, which emphasised the fides Relatively few (only c. 20%) of these events were and fortitudo of those entering monastic life. Existing works (such as related to the intention of honouring women or satisfying Metastasio’s Betulia) were also sometimes used. Some texts were written their artistic interests3. Hitherto research into the ways specially for such occasions, and they demonstrate individual qualities. th Metastasio’s solemn and exalted model was followed even in such small- this topic was exploited in the Italian art of the late 16 th scale pieces as the Florentine componimento sacro Giuditta of 1750. The and early 17 centuries suggests there should be more rappresentazione La Giuditte (1621) depicts the strength of faith not such cases. It has been indicated by researchers that the only of Judith herself, but also (contrary to the Biblical account) – of theatrical repertoire based on the Book of Judith (including the Bethulian society as an allegory of Bologna and its inhabitants. texts set to music in their entirety, such as the Florentine La Comic elements were smuggled into the Paduan oratorio Giuditta (1735). To sum up, dramatic works with music based on the Book of Juditta by librettist Andrea Salvadori and composer Marco Judith, written for the ceremonies of women entering the monastery, da Gagliano, 1626) was particularly closely associated which have hitherto remained marginal to academic research, represent with the culture of female monasteries and the patronage a promising field for further studies. of rich and powerful women, some of whom even held the helm of the state4. Such repertoire was a convenient Key words: Book of Judith, Italian oratorio, female monasteries, clothing ceremony, profession ceremony the Book of Judith (1621–1764), Meant for Performance with SEVERAL COMMENTS ON THE BOOK OF Musical Settings’], Warszawa, Instytut Muzykologii UW, 2017, pp. 451–529 (the list in the Appendix also includes several JUDITH, WOMEN, AND ORATORIOS pieces by non-Italian authors who had very close links to Italy). 2 For a list of musical settings and performances of Betulia, cf. M. In the Baroque, the Book of Judith was a highly Valente, ‘Introduzione’, in P. Anfossi, Betulia liberata, G. Pelliccia popular source of religious motifs taken up in the fine (ed.), Roma, MOS edizioni, 2008, pp. XI–XXIX. arts, literature, and music. In Italian repertoires alone, I 3 For a list of such works, cf. Ryszka-Komarnicka, Księga have been able to identify 71 different dramatic works Judyty…, pp. 440–442. on these themes, written in lingua volgare or latina, and 4 E. Weaver, Convent Theatre in Early Modern Italy: Spiritual Fun meant for performance with musical settings1. These and Learning for Women, Cambridge, Cambridge University Press, 2002 (especially at pp. 141–148); K. Harness, Echoes of Women’s Voices: Music, Arts and Female Patronage in Early Modern 1 Cf. A. Ryszka-Komarnicka, Księga Judyty w oratoriach włoskich Florence,
Recommended publications
  • UNIVERSITY of ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER Mcneill: French Horn ELLEN Mcneill: Soprano ALEXANDRA
    UNIVERSITY OF ABERDEEN CONCERT SERIES 2019 -2O20 OPENING CONCERT PETER McNEILL: French Horn ELLEN McNEILL: Soprano ALEXANDRA WEBBER GARCIA: Violin JEREMY COLEMAN: Piano KING’S COLLEGE CHAPEL Thursday 19th September, 2019 In my sixth year at school, in the French class, we studied a poem by Alfred De Vigny entitled Le Cor – The Horn. The opening line read: “J’aime le son du cor, le soir, au fond des bois”. I have always remembered that line which suggests the evocative misty reverberant sound of which the French horn is capable. The second piece in the concert ‘Waldvöglein’ by Franz Paul Lachner deals with woodland but even in the first movement of the opening work, ‘Horn Sonata in F major, op. 17’ by Beethoven with its sense of echo, its leaps, its variety in dynamics and with wonderfully expressive playing over the full range of the horn, De Vigny’s romantic and atmospheric description of the horn sound came to mind. Beneath it though, Jeremy Coleman’s dazzlingly virtuosic piano playing lit up Beethoven’s music to perfection. In the comparatively short slow second movement, the horn was gentle and beautifully smooth. Peter McNeill made his horn part flow so freely. Then the ‘song and dance’ music of the finale delivered moments of electrifying energy from both horn and piano. Horn and piano were joined by Peter’s sister Ellen a delightfully clear sounding soprano in ‘Waldvöglein’ by Lachner described as ‘the most successful composer of the Schubert circle’. Ellen has a delightfully silver-toned soprano voice. She would be perfect in the role of the young virginal Sophie von Faninal in Richard Strauss’s opera ‘Der Rosenkavalier’.
    [Show full text]
  • Betulia Liberata
    Wolfgang Amadeus Mozart Pietro Metastasio BETULIA LIBERATA 1771 Éditionsǀ ǀ Copyright © 2018 Nicolas Sceaux, Les Talens Lyriques – Christophe Rousset. Nicolasǀ ǀ Sheet music from http://nicolas.sceaux.free.fr typeset using LilyPond on 2018-11-16. Sceauxǀ ǀ Creative Commons Attribution-ShareAlike 4.0 License — free to download, distribute, modify and perform. 2 TABLE DES MATIÈRES Libretto .......................................... 3 1-0 Overtura ......................................... 12 Parte Prima 1-1 Recitativo. Ozia: Popoli di Betulia, ah qual v’ingombra . 23 1-10 Aria. Giuditta: Del pari infeconda ................... 79 1-2 Aria. Ozia: D’ogni colpa la colpa maggiore ............ 24 1-11 Recitativo. Ozia, Cabri, Giuditta: Oh saggia, oh santa, 1-3 Recitativo. Cabri, Amital: E in che sperar? ............ 47 oh eccelsa donna! ................................. 91 1-4 Aria. Cabri: Ma qual virtù non cede .................. 48 1-12 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 93 1-5 Recitativo. Ozia, Cabri, Amital: Già le memorie antiche . 54 1-13 Recitativo. Oh saggia, oh santa, oh eccelsa donna! ..... 100 1-6 Aria. Amital: Non hai cor, se in mezzo a questi ......... 56 1-14 Aria. Achior: Terribile d’aspetto ..................... 102 1-7 Recitativo. Ozia, Amital, Coro: E qual pace sperate ..... 65 1-15 Recitativo. Ti consola, Achior ....................... 112 1-8 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 67 1-16 Aria. Giuditta: Parto inerme, e non pavento ........... 114 1-9 Recitativo. Cabri, Amital, Ozia, Giuditta: Chi è costei, 1-17 Coro: Oh prodigio! Oh stupor! ....................... 133 che qual sorgente aurora ........................... 74 Parte Seconda 2-1 Recitativo. Achior, Ozia: Troppo mal corrisponde ...... 144 2-9 Recitativo.
    [Show full text]
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • Choose Yourfavorite Three Concerts
    CHOOSE YOUR FAVORITE THREE CONCERTS. You’ll Save 33% – That’s Up to $200 in Savings with Added Benefits Call 212-875-5656 or visit nyphil.org/CYO33 and use promo code CYO33. ** U.S. Premiere–New York Philharmonic Co-Commission with the London Philharmonic Orchestra *** World Premiere–New York Philharmonic Commission † Commissions made possible by The Marie-Josée Kravis Prize for New Music †New York City Premiere–New York Philharmonic Co-Commission Tuesday Wednesday Thursday Friday Saturday 7:30pm 7:30pm 7:30pm 8:00pm 8:00pm unless otherwise noted unless otherwise noted Conductor Guest Artists Program Esa-Pekka Leila Josefowicz violin RAVEL Mother Goose Suite NOV Salonen Esa-Pekka SALONEN Violin Concerto NOV OCT OCT NOV conductor (New York Concert Premiere) 5 30 31 1 2 SIBELIUS Symphony No. 5 (11:00am) Bernard Miah Persson soprano J.S. BACH Cantata No. 51, Jauchzet Labadie Stephanie Blythe Gott in allen Landen! conductor mezzo-soprano HANDEL “Let the Bright Seraphim” Frédéric Antoun tenor from Samson Andrew Foster- MOZART Requiem NOV NOV NOV Williams bass 7 8 9 Matthew Muckey trumpet New York Choral Artists Joseph Flummerfelt director Alan Gilbert Liang Wang oboe R. STRAUSS Also sprach Zarathustra conductor Glenn Dicterow, violin NOV Christopher ROUSE Oboe Concerto NOV NOV NOV 15 (New York Premiere) 19 14 16 R. STRAUSS Don Juan (2:00pm) Glenn Dicterow, violin Alan Gilbert Paul Appleby tenor BRITTEN Serenade for Tenor, Horn, conductor Philip Myers horn and Strings Kate Royal soprano BRITTEN Spring Symphony Sasha Cooke mezzo-soprano NOV NOV NOV New York Choral Artists 21 22 23 Joseph Flummerfelt director Brooklyn Youth Chorus Dianne Berkun- Menaker director Alan Gilbert Paul Appleby tenor MOZART Symphony No.
    [Show full text]
  • Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras
    Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p.
    [Show full text]
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Handel's Oratorios and the Culture of Sentiment By
    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee 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 Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
    [Show full text]
  • Check out the Show's Study Guide
    STUDY GUIDE Prepared by Dramaturg Andy Knight The Miraculous Journey of Edward Tulane • SOUTH COAST REPERTORY •1 TABLE OF CONTENTS PART I: THE PLAY 3. The.Characters 3. The.Story 4. Going.by.the.Book:.An.Excerpt.from. ......The Miraculous Journey of Edward Tulane 5. Awards.for Edward Tulane. 5. Meet.the.Playwright:.Dwayne.Hartford. 5. Meet.the.Author:.Kate.DiCamillo. 6. An.Interview.with.Author.Kate.DiCamillo. 7. From.Page.to.Stage:.Bringing Edward Tulane.to.Life PART II: CLASSROOM ACTIVITIES Before the Show 8. Questions.for.Discussion.and.Activities.. 8. American.History.in.Edward Tulane 9. Words,.Words,.Words! After the Show 10. Discussion.About.the.Theatre 10. Discussion.About.the.Play 11. Activities. PART III: AT THE THEATRE 12. .Welcome.to.the.Julianne.Argyros.Stage 12. .Theatre.Etiquette 12. .Student.Tips.for.Theatre.Trips 12. .Programs PART IV: EDUCATION STATION 13. California.Visual.and.Performing.Arts.Framework 14. Five.Strands.of.Art.Education 15. Basic.Theatre.Vocabulary PART V: RESOURCES 16. More.Information.on. The Miraculous Journey of Edward Tulane. 16. More.About.Author.Kate.DiCamillo. 16. More.About.the.1930s 2 • SOUTH COAST REPERTORY • The Miraculous Journey of Edward Tulane Part I: The Play THE CHARACTERS • The Traveler, the storyteller who portrays: Pellegrina, the Society Lady, Martin, Lolly, Jack, the Watchman, the Old Lady, Marlene and Lucius Clarke • The Woman, the storyteller who portrays: Abilene, Nellie, Lucy the Dog, Sarah Ruth, Neal, the Doll, the Old Doll and the Shopper • The Musician, the storyteller who portrays the voice of Edward’s thoughts and emotions • The Man, the storyteller who portrays: Abilene’s Father, Amos, Lawrence, Bull and Bryce THE STORY he Miraculous Journey of Edward Tulane hobo named Bull, calls the china rabbit Malone, and begins in a house on Egypt Street in the for seven happy years the threesome travels the open mid-1920s.
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • Doctoral Recital
    Department of Music College of Fine Arts presents a Doctoral Recital Kim Kehau Chai II, bassoon Albina Asryan, piano Tiana Harjo, viola Tallyn Wesner, clarinet Clinton L. Williams, conductor Allison McSwain, trumpet Kim Weller, dancer PROGRAM Antonio Vivaldi Concerto for Bassoon in D minor, RV 480 (1678-1741) I. Allegro II. Larghetto III. Allegro motto John Williams The Five Sacred Trees (b. 1932) I. E6 Mugna - Freely II. Tartan - Energico III. E6 Rossa- Slowly IV. Craeb Uisnig- With Intensity V. Dathi- Slowly and Reflectively INTERMISSION John Steinmetz Tango for Solo Bassoon (b. 1951) Gabriel Faure Piece (1845-1924) I. Adagio, motto tranquil/a David Diamond Chamber Symphony (1915-2005) I. Lento sostenuto II. Scherzo III. Passacaglia IV. Motto allegro This recital is presented in partial fulfillment of the requirements for the degree Doctor of Musical Arts in Applied Music. Kim Kehau Chai II is a student ofDr . Janis McKay. Monday, October 31, 2011 5:30p.m. Dr. Arturo Rando-Grillot Recital Hall Lee and Thomas Beam Music Center University of Nevada, Las Vegas Program Notes Antonio Vivaldi worked most of his life in Venice, employed by one of the four Ospedali, orphanages/schools mostly for illegitimate daughters of the Italian nobility. These Osepdali became four of the finest music conservatories in the world at that time. Vivaldi composed at least 37 works for the bassoon, more than any other instrument except the violin. Typical of the baroque style, this work uses light and quick articulations and ornaments expected of players from that period in the first and third movements. The second movement is lyrical, exploiting the singing qualities of the bassoon.
    [Show full text]
  • Verdi Otello
    VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers;
    [Show full text]
  • 3149028135572.Pdf
    1 2 WOLFGANG AMADEUS MOZART BETULIA LIBERATA SANDRINE PIAU · AMANDA FORSYTHE · TERESA IERVOLINO PABLO BEMSCH · NAHUEL DI PIERRO ACCENTUS LES TALENS LYRIQUES CHRISTOPHE ROUSSET 3 Ce projet a reçu le généreux soutien de Monsieur Nizam Kettaneh. Les répétitions et la représentation publique du 22 juin 2019 à la Seine Musicale ont reçu le généreux soutien de Monsieur Alain Blanc-Brude. Enregistré par Little Tribeca le 22 juin 2019 et du 29 juin au 1er juillet 2019 à la Seine Musicale, Boulogne-Billancourt. Direction artistique : Gaëtan Juge Prise de son : Gaëtan Juge et Frédéric Briant Montage, mixage et mastering : Ignace Hauville Édition musicale : Nicolas Sceaux pour Les Talens Lyriques Traduction française par Dennis Collins (note) et Mary Pardoe (livret) English translation by Mary Pardoe (libretto) Deutsche Übersetzung von Hilla Maria Heintz (Libretto - Textbeilage) L’introduction par Simon Keefe, tirée du programme du concert donné à l’occasion de la Mozartwoche 2019, est ici reproduite avec l’autorisation de la Stiftung Mozarteum Salzburg. Les Talens Lyriques sont soutenus par le ministère de la Culture-DRAC Île-de-France, la Ville de Paris et le Cercle des Mécènes. L’ensemble remercie ses Grands Mécènes : la Fondation Annenberg / GRoW – Gregory et Regina Annenberg Weingarten, Madame Aline Foriel-Destezet et Mécénat Musical Société Générale. Les Talens Lyriques sont depuis 2011 artistes associés, en résidence à la Fondation Singer-Polignac. [LC] 83780 · AP235 ℗ 2020 Little Tribeca · Les Talens Lyriques © 2020 Little Tribeca · Les Talens Lyriques 1 rue Paul Bert, 93500 Pantin apartemusic.com lestalenslyriques.com 4 WOLFGANG AMADEUS MOZART BETULIA LIBERATA KV 118 [1771] Azione sacra in due parti Libretto by Pietro Metastasio 5 6 1.
    [Show full text]