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Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K
HISTORIC PERFORMANCES Edith Mathis Mozart | Bartók | Brahms | Schumann | Strauss Selected Lieder Karl Engel Wolfgang Amadé Mozart (1756–1791) Robert Schumann (1810–1897) Das Veilchen K. 476 2:47 Nine Lieder from Myrthen, Op. 25 Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte K. 520 1:41 Widmung 2:11 Abendempfindung an Laura K. 523 4:45 Der Nussbaum 3:27 Dans un bois solitaire K. 308 (295b) 2:54 Jemand 1:36 Der Zauberer K. 472 2:48 Lied der Braut I («Mutter, Mutter, glaube nicht») 2:01 Lied der Braut II («Lass mich ihm am Busen hängen») 1:34 Béla Bartók (1881–1945) Lied der Suleika («Wie mit innigstem Behagen») 2:48 Village Scenes. Slovak Folksongs, Sz. 78 Im Westen 1:16 Was will die einsame Thräne 2:59 Heuernte 1:33 Hauptmanns Weib 1:55 Bei der Braut 1:57 Hochzeit 3:30 Wiegenlied 5:03 Richard Strauss (1864–1949) Burschentanz 2:47 Schlechtes Wetter, Op. 69 No. 5 2:29 Die Nacht, Op. 10 No. 3 2:55 Johannes Brahms (1833–1897) Ach, Lieb, ich muss nun scheiden, Op. 21 No. 3 2:08 Five Songs from 42 Deutsche Volkslieder, WoO 33 Meinem Kinde, Op. 37 No. 3 2:19 Hat gesagt – bleibt’s nicht dabei, Op. 36 No. 3 2:31 Erlaube mir, feins Mädchen 1:15 In stiller Nacht 3:12 encore announcement: Edith Mathis 0:10 Wie komm’ ich denn zur Tür herein? 2:19 Da unten im Tale 2:29 Hugo Wolf (1860–1903) Feinsliebchen, du sollst 4:14 Auch kleine Dinge können uns entzücken from the Italienisches Liederbuch 2:42 recorded live at LUCERNE FESTIVAL (Internationale Musikfestwochen Luzern) Edith Mathis soprano Previously unreleased Karl Engel piano The voice of music The soprano Edith Mathis According to an artist feature of the soprano Edith Mathis, published by the music maga- zine Fono Forum in 1968, an engagement at the New York Met was a “Pour le Mérite” for a singer. -
Magical Returns and the Interior Landscape of Chopin's Mazurkas
Swarthmore College Works Music Faculty Works Music 2010 Magical Returns And The Interior Landscape Of Chopin's Mazurkas Barbara Ann Milewski Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-music Part of the Music Commons Recommended Citation Barbara Ann Milewski. (2010). "Magical Returns And The Interior Landscape Of Chopin's Mazurkas". The Sources Of Chopin's Style: Inspirations And Contexts. 71-80. https://works.swarthmore.edu/fac-music/71 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Music Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Barbara Milewski Magical Returns and the Interior Landscape of Chopin’s Mazurkas In 1880, the writer Marceli Antoni Szulc published an article in Poland’s leading music journal, Echo Muzyczne, in which he continued a discussion of Chopin’s compositions begun earlier in his 1873 mono graph titled Frydery\ Chopin i utwory jego muzyczne [Fryderyk Chopin and his Musical Works]. The discussion concerned conjure up musically ‘scenes’, ‘situations’ or ‘episodes’ that, according to Szulc, ‘reflected the state of the composer’s soul’. To illustrate his point, he turned to a select number of works, among them the A minor Mazurka, Op. 17 No. 4: Chopin did not like program music, and yet more than one of his composi tions, full of expressive character, could rightly be included in this category of music. Who, for example, does not know the No. 4 Mazurka of the Op. 17 set dedicated to Madame Lina Freppa.? It was already known in our country by the title ‘The Little Jew’ before the artist went abroad. -
American Spiritual Program Spring 2009
American Spiritual Ensemble Sunday, February 22, 2009 • 4 p.m. Asbury United Methodist Church Comprised of some of the finest voices in the world, the internationally acclaimed ensemble offers stirring renditions of Negro spirituals, Broadway songs and other music in the African-American tradition. The concert is sponsored by Asbury United Methodist Church; the Peter and Judy Jackson Music Performance Fund; Salisbury University’s Department of Music, Office of the Dean of the Charles R. and Martha N. Fulton School of Liberal Arts and Office of Multicultural Student Services; the SU Foundation, Inc.; and is made possible, in part, by a grant from the Salisbury Wicomico Arts Council, awarded by the Maryland State Arts Council and the National Endowment for the Arts. AMERICAN SPIRITUAL ENSEMBLE EVERETT MCCORVEY , F OUNDER AND MUSIC DIRECTOR www.americanspiritualensemble.com PROGRAM Walk Together, Children ............................................................arr. William Henry Smith We Shall Walk Through the Valley in Peace ............................................arr. Moses Hogan Plenty Good Room ......................................................................arr. William Henry Smith Oh, What A Beautiful City! ........................................................................arr. Johnie Dean Mari-Yan Pringle, Jeryl Cunningham, Sopranos I Want Jesus to Walk With Me ....................arr. Eurydice Osterman/Tedrin Blair Lindsay Ricky Little, Baritone Fi-yer, Fi-yer Lord (from the operetta Fi-yer! )......................Hall -
The Magic Flute Synopsis
Mozart’s The Magic Flute Synopsis ACT I Three ladies in the service of the Queen of the Night save the fainting Prince Tamino from a serpent (“Zu Hülfe! zu Hülfe!”). When they leave to tell the queen, the bird catcher Papageno bounces in and boasts to Tamino that it was he who killed the creature (“Der Vogelfänger bin ich ja”). The ladies return to give Tamino a portrait of the queen’s daughter, Pamina, who they say is enslaved by the evil Sarastro, and they padlock Papageno’s mouth for lying. Tamino falls in love with Pamina’s face in the portrait (“Dies Bildnis ist bezaubernd schön”). The queen, appearing in a burst of thunder, is grieving over the loss of her daughter; she charges Tamino with Pamina’s rescue (“Zum Leiden bin ich auserkoren”). The ladies give a magic flute to Tamino and silver bells to Papageno to ensure their safety, appointing three spirits to guide them (“Hm! hm! hm! hm!”). Sarastro’s slave Monostatos pursues Pamina (“Du feines Täubchen”) but is frightened away by the feather-covered Papageno, who tells Pamina that Tamino loves her and intends to save her. Led by the three spirits to the Temple of Sarastro, Tamino is advised by a high priest that it is the queen, not Sarastro, who is evil. Hearing that Pamina is safe, Tamino charms the animals with his flute, then rushes to follow the sound of Papageno’s pipes. Monostatos and his cohorts chase Papageno and Pamina but are left helpless by Papageno’s magic bells. Sarastro, entering in great ceremony (“Es lebe Sarastro”), promises Pamina eventual freedom and punishes Monostatos. -
Dossier Pédagogique |
Sommaire Contacts 2 Préparer votre venue 3 Résumé 4 Synopsis 5 Wolfgang Amadeus Mozart (1756-1791) 7 Opera buffa et opera seria 8 La Finta Giardiniera avant Mozart 9 La Finta Giardiniera et la Commedia dell’arte 10 L’orchestre au cours du XVIIIème siècle 11 Guide d’écoute 13 Activités autour de La Finta Giardiniera 26 La musique baroque 28 La voix à l’Opéra 30 Pistes pédagogiques / Histoire des arts 31 Références 32 La Finta Giardiniera à l’Opéra de Lille 33 Le désordre libérateur du désir : note d’intention de David Lescot, metteur en scène. 34 Décor 35 Repères biographiques 36 L’Opéra de Lille. Un lieu, une histoire. 37 Annexes 41 Contacts Service des relations avec les publics : OPERA DE LILLE Claire Cantuel / Agathe Givry / Magali Gaudubois 2, rue des Bons-Enfants 03 62 72 19 13 BP 133 [email protected] 59001 Lille cedex Dossier réalisé avec la collaboration de Nicolas Buytaert, enseignant missionné à l’Opéra de Lille, et de Nicolas Flodrops, chargé de la bibliothèque et des études musicales au Concert d’Astrée. Janvier 2014. 2 Préparer votre venue Ce dossier vous aidera à préparer votre venue avec les élèves. L’équipe de l’Opéra de Lille est à votre disposition pour toute information complémentaire et pour vous aider dans votre approche pédagogique. Si le temps vous manque, nous vous conseillons, prioritairement, de : - lire la fiche résumé et le synopsis détaillé (p. 4 et 5), - faire une écoute des extraits représentatifs de l’opéra (guide d’écoute, p. 10). Si vous souhaitez aller plus loin, un dvd pédagogique sur l’Opéra de Lille peut vous être envoyé sur demande. -
Paul Jacobs, Elliott Carter, and an Overview of Selected Stylistic Aspects of Night Fantasies
University of South Carolina Scholar Commons Theses and Dissertations 2016 Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies Alan Michael Rudell University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Rudell, A. M.(2016). Paul Jacobs, Elliott aC rter, And An Overview Of Selected Stylistic Aspects Of Night Fantasies. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3977 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. PAUL JACOBS, ELLIOTT CARTER, AND AN OVERVIEW OF SELECTED STYLISTIC ASPECTS OF NIGHT FANTASIES by Alan Michael Rudell Bachelor of Music University of North Carolina, Chapel Hill, 2004 Master of Music University of South Carolina, 2009 _____________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2016 Accepted by: Joseph Rackers, Major Professor Charles L. Fugo, Committee Member J. Daniel Jenkins, Committee Member Marina Lomazov, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Alan Michael Rudell, 2016 All Rights Reserved. ii ACKNOWLEDGEMENTS I wish to extend my thanks to the members of my committee, especially Joseph Rackers, who served as director, Charles L. Fugo, for his meticulous editing, J. Daniel Jenkins, who clarified certain issues pertaining to Carter’s style, and Marina Lomazov, for her unwavering support. -
The Magic Flute' and It’S Written by a Composer Called Wolfgang Amadeus Mozart
I’VE NEVER BEEN TO THE OPERA BEFORE. WHAT’S IT GOING TO BE LIKE? It’s great fun! You can expect to hear lots of great music and acting. All operas tell a story with performers who act and sing on a stage in costume whilst a band of musicians (aka an orchestra) play along. The opera that you’ll be coming to see is called 'The Magic Flute' and it’s written by a composer called Wolfgang Amadeus Mozart. E WASN'T MOZART AROUND A LONG TIME AGO? IS 'THE MAGIC FLUTE' A T REALLY OLD OPERA? U Yes, Mozart lived over 200 years ago and 'The Magic Flute' was first performed in 1791. However, all the costumes and the set are all brand spanking new and L of course all the people performing aren’t 200 years old! F The costumes, set, lighting and the way the performers act is what’s known as the production, all created by a team of people led by a director. You’ll be coming to see a new production of 'The Magic Flute' today. If you see another C production of 'The Magic Flute' in the future, it’ll look totally different to this one! I G IS THE WHOLE OF 'THE MAGIC FLUTE' SUNG? A Not all of it. 'The Magic Flute' is a type of German opera called a ‘singspiel’ M which means there are several moments where the performers speak instead of singing. E DOES THIS MEAN THAT THE OPERA WILL BE IN GERMAN? H Yes it does! But don’t worry. -
WOLFGANG AMADEUS MOZART Works for the Stage
New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera WOLFGANG AMADEUS MOZART Series II Works for the Stage WORK GROUP 5: OPERAS AND SINGSPIELS VOLUME 8: LA FINTA GIARDINIERA [The Pretended Garden-Girl] SUB-VOLUME 1: ACT I PRESENTED BY RUDOLPH ANGERMÜLLER AND DIETRICH BERKE 1978 International Mozart Foundation, Online Publications V New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications VI New Mozart Edition Work Group 5 · Vol. 8 La finta Giardiniera CONTENTS Sub-volume 1: Editorial Principles ……………..…………………………………………………….. VII Foreword………….…….. …………….……………………………………………… VIII Facsimile: A page from the currently inaccessible autograph………………………….. -
IMAGO MUSICAE Edenda Curavit Björn R
International•Yearbook•of•Musical•Iconography Internationales•Jahrbuch•für•Musikikonographie Annuaire•International•d’Iconographie•Musicale XXIX Annuario•Internazionale•di•Iconografia•Musicale Anuario•Internacional•de•Iconografía•Musical Founded by the International Repertory of Musical Iconography (RIdIM) IMAGO MUSICAE Edenda curavit Björn R. Tammen cum Antonio Baldassarre, Cristina Bordas, Gabriela Currie, Nicoletta Guidobaldi atque Philippe Vendrix Founding editor 1984–2013 Tilman Seebass IMAGO MUSICAE XXIX INSTITUT FÜR KUNST- UND MUSIKHISTORISCHE FORSCHUNGEN Österreichische Akademie der Wissenschaften Wien CENTRE D’ÉTUDES SUPÉRIEURES DE LA RENAISSANCE ISSN • 0255-8831 Université François-Rabelais de Tours € 80.00 ISBN • 978-7096-897-2 LIM Libreria•Musicale•Italiana Centre National de la Recherche Scientifique, UMR 7323 IMAGO MUSICAE International•Yearbook•of•Musical•Iconography Internationales•Jahrbuch•für•Musikikonographie Annuaire•International•d’Iconographie•Musicale Annuario•Internazionale•di•Iconografia•Musicale Anuario•Internacional•de•Iconografía•Musical Edenda curavit Björn R. Tammen cum Antonio Baldassarre, Cristina Bordas, Gabriela Currie, Nicoletta Guidobaldi atque Philippe Vendrix Founding editor 1984–2013 Tilman Seebass IMAGO MUSICAE XXIX Libreria•Musicale•Italiana Founded by the International Repertory of Musical Iconography (RIdIM) Graphic design and Layout: Vincent Besson, CNRS-CESR ISSN: 0255-8831 ISBN: 978-88-7096-897-2 © 2017, LIM Editrice, Lucca Via di Arsina 296/f – 55100 Lucca All rights reserved – Printed in -
Robert Schumann (1810 – 1856)
English Johannes Brahms (1833 – 1897) Concerto for Piano and Orchestra No. 2 in B Flat op. 83 (1878-81) Brahms' first piano concerto had plunged him into a state of deep crisis. His "Seven Years' War" lasted from 1854 to 1861, and he still cursed his completed work. But now, in 1881, he happily announced a new success. In a letter dated 7 July, Brahms wrote to Elisabeth von Herzogenberg: I want to tell you that I have written a tiny little piano concerto with a little wisp of a scherzo. It is set in B flat – I am afraid I have used this otherwise good source of milk too often and too much. If we consider Brahms notorious shyness of big and pompous words, we can read an almost tender pride here. So here we have a rare case where Brahms, otherwise his own harshest critic, tells us that his piano concerto op. 83 had turned out well. And after its premiere in Vienna, critic Eduard Hanslick observed: Brahms' Christmas gift to the people of Vienna this year is a gem of a concerto. The Concerto in B Flat is - in a more stricter sense than alleged of the other concertos - a major symphony with an obbligato piano. This concerto type does not aim to display the pianist's virtuosity but to integrate it sensibly into the symphonic fabric. The mature Brahms never subjects his formal - and very logical - construction to academic constraints. This is clear from the very start of the first movement with its prelude-like opening, the famous dialogue between horn and piano. -
Major Themes in the Magic Flute Filled with Ritual and Symbolism
Major Themes in The Magic Flute Filled with ritual and symbolism, Mozart’s final masterpiece is a playful but profound look at man's search for love and his struggle to attain wisdom and virtue. From the virtuosic arias of the Queen of the Night to the folksong-like melodies of the bird catcher Papageno, the full range of Mozart's miraculous talent is on display in this magical fairy-tale opera. That The Magic Flute is a barely veiled Masonic allegory cannot be doubted. It acts, in fact, as a kind of introduction to the secret society. Its story celebrates the main themes of masonry: good vs. evil, enlightenment vs. ignorance, and the virtues of knowledge, justice, wisdom and truth. The evocation of the four elements (earth, air, water and fire), the injunction of silence in the Masonic ritual, the figures of the bird, the serpent and the padlock as well as the ‘rule of three’ all play important roles in the plot or in the musical fabric of the opera (three ‘Ladies’, three ‘Boys’, three loud chords at the beginning of the overture signifying the three ‘knocks’ of the initiates at the temple, three temples, the three flats of E-flat Major which is the primary tonality of the work, etc.) All of these symbols and characteristics come from Egyptian lore and the various original texts of Masonry; hence the opera’s libretto is set in Egypt, although many productions eschew that specification. Sources: operapaedia.org & sfopera.com Definition of Freemasonry (the Masonic order) Freemasonry is a fraternal organization that arose from obscure origins in the late 16th to early 17th century. -
Mozart's Operas, Musical Plays & Dramatic Cantatas
Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct.