DOCSLIB.ORG

Histories of Heinrich Schu¨ Tz

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Histories of Heinrich Schu¨ Tz Cambridge University Press 978-0-521-19765-6 - Histories of Heinrich Schütz Bettina Varwig Index More information Index Abbate, Carolyn 118, 123 monuments 149, 150 Abert, Anna Amalie 101 St Matthew Passion, BWV 244 45, 53 Ackermann, Statius 67, 68, 91 Bach-Jahrbuch 196 adiaphora 43 Bad Ko¨stritz 151, 160, 216 Adler, Guido 103, 106 Ba¨renreiter publishers 48, 155, 160, 195, 200 Adorno, Theodor 195 Baroque 47, 51, 101, 184, 192, 201, 210 aestheticism 33, 57, 198 Baum, Richard 56, 200 afterlife see eternity Beethoven, Ludwig van 145, 146, 148, 149 Agazzari, Agostino 177, 178 Bellus, Nicolaus 21 Aikin, Judith 93 Benjamin, Walter 137 Albrecht, Georg 122 Berardi, Angelo 178 allegory 1, 3, 4, 5, 15, 23, 25, 60, 65, 72, Berger, Karol 125, 167 78, 84, 88, 119, 135, 136, 137, 140, Berlin 44, 45, 46, 52, 54, 55, 150, 156, 200 153, 162 Olympic Games 1936 56, 158 Altenburg, Michael see also Schu¨tz festivals Gaudium christianum 12, 13, 23 Bernhard, Christoph 177, 179, 184 Anderson, Nicholas 210 Besold, Christoph 176 Andreae, Johann Valentin 133 Bethel (Bielefeld) 199, 200 Apocalypse 23, 24, 40, 124, 134, 135, 170 Bischoff, Ludwig 31 date of 23–4 Bismarck, Otto von 147, 148, 149, 156 imagery 23, 26 Blankenburg, Walter 49, 54, 57, 196, 197 sounds of 3, 25 Blume, Friedrich 103 Arbeitskreis fu¨r Hausmusik 200 Blumenberg, Hans 175 Arcadia 67, 68, 69, 78, 79, 88, 181, Blumenthal, David 134 185, 189 Bo¨hme, Jacob 89 Arcimboldo, Guiseppe 5 Bolin, Norbert 143 Aristotle 1, 71, 72 Bontempi, Andrea 100, 179 Artusi, Giovanni Maria 168, 169, 170, 174, Bossuyt, Ignace 211 178, 179 Brahms, Johannes 152, 191 astrology 7, 24 Breig, Werner 33, 110, 145, 176, 186 Augsburg 26, 217 Breitenfeld, Battle of 134, 139, 217 Peace of 19, 162 Buchanan, George 6 Augustine 78, 170 Buchner, August 58, 78, 82, 91, 144 authority Buelow, George 210 of antiquity 169, 179 Burke, Peter 28 of Luther 22–3 Burmeister, Joachim 207 state 19–22 Butt, John 183, 215 Avenarius, Thomas 14, 15, 17, 18 Caccini, Giulio 168, 169, 174 Bach, Johann Sebastian 53, 55, 125, 148, 149, Calvinism 13, 28, 216 167, 191, 195, 196, 211 Calvisius, Seth 125, 171, 172, 173 compared to Schu¨tz 45, 46, 47, 48–9, 146, canon 148, 149, 201 development of 179–80 festivals 45, 55, 152 German musical 50, 107, 146, 214 ‘Gott der Herr ist Sonn und Schild’, BWV 79 Carion, Johannes 23 44 Carissimi, Giacomo 179 245 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19765-6 - Histories of Heinrich Schütz Bettina Varwig Index More information 246 Index Carter, Tim 111, 180 Oberkonsistorium 19 Catholic church 43, 65 opera in 95, 96, 99, 100, 102 critique of Reformation 22, 170 Reformation centenary 1617 9, 16 music in 31, 32 Schu¨tz in 2, 8, 141, 144, 150, 192, 213, 216, and Reformation centenary 12, 27, 29 217, 218 ritual in 29 Thirty Years War in 141, 161, 165 Cavalli, Francesco 179 Vespers at Kreuzkirche 55 Charlemagne 91, 158 see also Schu¨tz festivals chorale 31, 53, 54, 102, 109, 125, 136, dress codes 90, 133–4 138, 197 Dreßen, Elvira 94 Schu¨tz and 49 Du¨rer, Albrecht 147, 156 Christian I, Elector of Saxony 13, 216 chronology, science of 171 echo 65, 69, 71, 112 City of God see Jerusalem in Dafne 61, 69 clothing, see dress codes in Exequien 111, 114–18, 123, 126, 128–9 Columbus, Christopher 174, 175 heavenly 112–13, 118 Comes, Natalis 72 musical 32, 51, 61–3, 65, 75 community 196, 199–200 poetic 66, 67, 69, 93 confessionalisation 19, 92 Eggebrecht, Hans Heinrich 201, 203, 204 Contzen, Adam 27 Eggenberg, Ulrich von 14, 217 Copenhagen 79, 217 Eichenauer, Richard 156 Copernicus, Nicolaus 176 ‘Ein feste Burg’ 12, 31, 44, 53, 55 cosmology 167, 176 Einstein, Alfred 49, 51, 99 Council of Trent 178 Eisenach 45, 55 counterpoint 123, 166, 169, 178, 183, 184, Elste, Martin 57 189, 197 Ende, Georg Heinrich von 181 Cranach, Lucas 75, 78 Erasmus, Desiderius 3, 207 Cypess, Rebecca 78 eternity 25, 34, 120–2, 123–4, 137 music of 112, 118–19, 124–5, 138, 172 Dach, Simon 144 time and 124–5 Danzig 166 Darmstadt 58, 97, 217 Fabian, Johannes 177 David, Johann Nepomuk 151, 199 Farina, Carlo 63 death Feinler, Johann 162 art of dying 4, 110–11, 134, 204 Ferber, Wolfgang 138 corpses 138, 140–1 Ferdinand II, King of Bohemia 14, 15 funeral compositions 135–6 Fichte, Johann Gottlieb 148, 156 funeral rites 131, 132–3 Figurenlehre (doctrine of figures) 201, 210 funeral sermons 132, 133 Fink, Gottfried Wilhelm 96, 97, 99, 105 heroic 111, 134–5 Finkensteiner Bund 199, 200 transfiguration 86, 141–3 fireworks 14, 17, 19, 58, 60, 84, 86, 88 see also eternity Fischer, Martin 54 Demantius, Christopher 75 Forchert, Arno 202 Denmark 141, 217 Frandsen, Mary 193 Dieterich, Conrad 22, 27 Frankfurt 1, 20, 72 Dietrich, Fritz 195 see also Schu¨tz festivals Dilthey, Wilhelm 103 Frescobaldi, Girolamo 52 disenchantment 27, 69, 111, 143 Frick, Christoph 31, 34, 121, 122, 123, Distler, Hugo 55, 199 124, 130 Dixon, Scott 20 Friedrich, Martin 42 Dortmund 152 Fruchtbringende Gesellschaft 92 Dresden 5, 8, 13, 15, 19, 28, 32, 47, 58, Fu¨rstenau, Moritz 67, 97, 98, 99 74, 89, 95, 96, 97, 99, 160, 162, 165, 176, 179, 216 Gabrieli, Giovanni 32, 45, 51, 52, 61, 97, 102, congregation 10, 15, 34 103, 145, 158, 172, 184, 216 court chapel 26, 32, 34, 63, 165, 172, 182 Galilei, Vincenzo 170 festivities 16, 86, 138, 217 Geier, Martin 145, 218 Frauenkirche 150, 213 geography 7, 167, 174, 177 Imperial visit to 14, 15, 17–19 Georg II, Landgrave of Hesse-Darmstadt Kunstkammer 65, 71 58, 97, 217 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19765-6 - Histories of Heinrich Schütz Bettina Varwig Index More information Index 247 Georgiades, Thrasybulos 202, 203, 210 Heermann, Johann 138 Gera 4, 109, 114, 132, 217 Heinemann, Michael 95, 100, 210 Gerber, Ernst Ludwig 96, 102 Herberger, Valerius 119, 124, 142 Gerber, Rudolf 153, 154 Herbst, Andreas 207 Gerhard, Anselm 7, 158 Herbst, Wolfgang 13 Gerhard, Johann 121, 124 Herreweghe, Philippe 211 Gerhardt, Paul 144 Heuß, Alfred 147, 153, 155, 194, 200 Gerigk, Herbert 153 Hill, Walter 210 German language 90–1, 92, 148, 202 Hindenburg, Paul von 148, 158 German music historicism, critique of 194–5 conceptions of 146–7, 148, 151, 211 historiography, Lutheran 23, 170–2 versus Italian music 90–1, 103–4 history 3–4 Schu¨tz and 153–4, 202 seventeenth-century concepts of 1–2, 4, 171, German opera 180–1 definitions of 100–2, 104–6 Hitler, Adolf 54, 158 historiography of 96, 98 Hoe¨ von Hoe¨negg, Matthias 9, 10, 12, 16, 20, Germanus, Johannes 24 22, 25, 27, 29, 31, 32, 66, 74, 88, 165 Germany on Calvinism 13 historiography of 147, 153–4 on Catholicism 25, 29, 132 national monuments 149 on ritual 27, 29 seventeenth-century conceptions of and Saxon politics 13, 91 89–90 Hoffmann, Hans 53, 54, 56, 198, 199 Gerstberger, Karl 196 Holy Roman Empire 3, 4, 8, 88, 90, 166, 216 Gockel, Balthasar 92 Horace 137 Goethe, Johann Wolfgang von 147, Huch, Ricarda 144 148, 149 Huyssen, Andreas 160 Gordon, Bonnie 89 Gottfried, Johann Ludwig 1, 2, 170, 176, 181 Ingen, Ferdinand van 65 Go¨ttingen 44, 197, 199 interiority 103, 152–3 Gottsched, Johann Christoph 96, 104, 105 Isselburg, Peter 69 Gra¨bner, Paul 24 Italy 59, 67, 90, 97, 105, 172, 183, 217 Grass, Gu¨nter 146, 158, 159, 160 The Meeting at Telgte 144–5, 159 Jerusalem, heavenly 24, 119, 125, 142, 162 Greenblatt, Stephen 175 Jo¨de, Fritz 200 Greulich, Karl 196 Johann Georg I, Elector of Saxony 8, 13, 19, 20, Großgebauer, Theophil 38 58, 97, 165, 166, 182, 216, 217 Grote, Gottfried 200 Johann Georg II, Elector of Saxony 165, Gruppe 47 159, 160 193, 217 Gryphius, Andreas 144 John, Eckhard 146 Guarini, Giovanni Battista 186 Johnston, Gregory 110 Il pastor fido 67, 68 Josquin Desprez 171, 177, 179 Gurlitt, Wilibald 51 Gustavus Adolphus, King of Sweden 134, 139, kairos 215 144, 154, 155, 158, 217 Kamlah, Wilhelm 199, 211, 212 death of 134, 135, 136 Kampfbund fu¨r deutsche Kultur 146, 147, 202 in German historiography 154 Kassel 160, 216 Gustav Adolf-Stiftung 154 Katholische Liga 11, 13, 216 Kaufmann, Thomas 141 Hainhofer, Philipp 26, 34 Keller, Jacob 22 Hamburg 52, 82, 105, 161, 165 Kendrick, Robert 15, 38 Hammerstein, Helga-Robinson 10, 31, 38 Kepler, Johannes 176 Handel, Georg Friedrich 44, 53, 146, 148 Kiesewetter, Raphael Georg 96 Hanning, Barbara 89 Kircher, Athanasius 65 Harsdo¨rffer, Georg Philipp 5, 71, 93, 106, 139 Kittel, Christoph 192, 217 Seelewig see Staden, Theophil Kleppis, Gregor 18 Hartmann, Karl Amadeus 154 Ko¨hler, Siegfried 100 Hasse, Karl 202 Koslofsky, Craig 132 Hassenrichter, Hans 150 Kreidler, Walter 103 Hausmusik 200 Kretzschmar, Hermann 99, 106 heavenly music see eternity Krummacher, Friedhelm 210 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19765-6 - Histories of Heinrich Schütz Bettina Varwig Index More information 248 Index Langhans, Wilhelm 146, 153 L’Orfeo 15, 63, 107, 118 Lasso, Orlando di 171, 207 ‘Quel augellin che canta’ 186, 189 Lebzelter, Friedrich 59, 172 Vespro della Beata Vergine 15, 63, 118, 216 Lehmann, Mathias 154 ‘Audi coelum’ 62, 63, 65, 84 Leipzig 45, 50, 53, 90, 133, 147, 149, 151, 152, ‘Duo Seraphim’ 112, 118 171, 194, 200, 217 Monteverdi, Giulio Cesare 168 Thomaskirche choir 55, 149, 166, 191 Montreux, Nicolas de 1 Vespers at Thomaskirche 52, 55 Moritz, Landgrave of Hesse 8, 145, 216 Lepenies, Wolf 158 Moser, Hans Joachim 48, 49, 51, 56, 103, 118, Levitz, Tamara 160 154, 195, 197, 200, 203 listening (musical) 111, 137–8 as performer 47 in Lutheranism 29, 34, 43 Schu¨tz biography 51, 145, 156, 158, 160
Load more

Recommended publications
  • Mora Wade the RECEPTION of OPITZ's Ludith DURING the BAROQUE by Virtue of Its Status As the Second German Opera Libretto, Martin
    Mora Wade THE RECEPTION OF OPITZ'S lUDITH DURING THE BAROQUE By virtue of its status as the second German opera libretto, Martin Opitz's ludith (1635), has received little critical attention in its own right. l ludith stands in the shadow of its predecessor, Da/ne (1627),2 also by Opitz, as weH as in that of a successor, Harsdörffer and Staden's See/ewig (1644), the first German-Ianguage opera to which the music is extant today.3 Both libretti by Opitz, Dafne and ludith, are the earliest examples of the reception of Italian opera into German-speaking lands.4 Da/ne was based on the opera ofthe 1. Martin Opitz: ludith. Breslau 1635. See also Kar! Goedeke: Grund­ risz zur Geschichte der deutschen Dichtung. Vol. III. Dresden 1886. p. 48. Aversion of this paper was given at the International Conference on the German Renaissance, Reformation, and Baroque held from 4-6 April 1986 at the University of Kansas, Lawrence. Support from the Newberry Library in Chicago and from the National Endowment for the Humani­ ties to use the Faber du Faur Collection at the Beinecke Library of Yale University enabled me to undertake and complete this project. A special thanks to Christa Sammons, curator of the German collection at the Beinecke, for providing me with a copy of ludith. 2. Martin Opitz: Dafne. Breslau 1627. 3. Georg Philipp Harsdörffer: Frauenzimmer Gesprächspiele. Vol. IV. Nürnberg 1644. Opitz's 'ludith' has only three acts and has no extant music. Löwenstern's music to Tscherning's expanded version of Opitz's 'ludith' was not published until 1646, a full two years after 'Seelewig'.
    [Show full text]
  • 3. Monody and Opera
    Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced
    [Show full text]
  • Histories of Heinrich Schu¨ Tz
    Cambridge University Press 978-0-521-19765-6 - Histories of Heinrich Schütz Bettina Varwig Frontmatter More information HISTORIES OF HEINRICH SCHU¨ TZ Bettina Varwig places the music of the celebrated Dresden composer Heinrich Schu¨tz in a richly detailed tapestry of cultural, political, religious and intellectual contexts. Four key events in Schu¨tz’s career – the 1617 Reformation centenary, the performance of his Dafne in 1627, the 1636 funeral composition Musicalische Exequien, and the publication of his motet collection Geistliche Chor-Music (1648) – are used to explore his music’s resonances with broader historical themes, including the effects of the Thirty Years War, contemporary meanings of classical mythology, Lutheran attitudes to death and the afterlife, as well as shifting conceptions of time and history in light of early modern scientific advances. These original seventeenth-century circumstances are treated in counter- point with Schu¨tz’s fascinating later reinvention in nineteenth- and twentieth-century German musical culture, providing a new kind of musicological writing that interweaves layers of historical inquiry from the seventeenth century to the present day. bettina varwig is a music historian with wide-ranging interests in early modern European culture. She has held fellowships at Magdalen College, Oxford, and the University of Cambridge, and is now a lecturer at King’s College London. She has published widely on the music of Heinrich Schu¨tz and J. S. Bach. This is her first book. © in this web service Cambridge
    [Show full text]
  • Death and the Female Body in Homer, Vergil, and Ovid
    DEATH AND THE FEMALE BODY IN HOMER, VERGIL, AND OVID Katherine De Boer Simons A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Depart- ment of Classics. Chapel Hill 2016 Approved by: Sharon L. James James J. O’Hara William H. Race Alison Keith Laurel Fulkerson © 2016 Katherine De Boer Simons ALL RIGHTS RESERVED ii ABSTRACT KATHERINE DE BOER SIMONS: Death and the Female Body in Homer, Vergil, and Ovid (Under the direction of Sharon L. James) This study investigates the treatment of women and death in three major epic poems of the classical world: Homer’s Odyssey, Vergil’s Aeneid, and Ovid’s Metamorphoses. I rely on recent work in the areas of embodiment and media studies to consider dead and dying female bodies as representations of a sexual politics that figures women as threatening and even mon- strous. I argue that the Odyssey initiates a program of linking female death to women’s sexual status and social class that is recapitulated and intensified by Vergil. Both the Odyssey and the Aeneid punish transgressive women with suffering in death, but Vergil further spectacularizes violent female deaths, narrating them in “carnographic” detail. The Metamorphoses, on the other hand, subverts the Homeric and Vergilian model of female sexuality to present the female body as endangered rather than dangerous, and threatened rather than threatening. In Ovid’s poem, women are overwhelmingly depicted as brutalized victims regardless of their sexual status, and the female body is consistently represented as bloodied in death and twisted in metamorphosis.
    [Show full text]
  • Echos in Und Um »Dafne«*
    Echos in und um »Dafne«* Bettina Varwig er verlorene Notentext zu Heinrich Schütz’ Pastoraldrama Dafne ist eine der denk wür digsten DLeerstellen in der Musikgeschichte des frühen 17. Jahrhunderts. Seit Johann Christoph Gottsched das Stück 1757 zum »ers ten deutschen Singspiel« erklärte1 und Gott fried Wilhelm Fink 1834 seine Wiederentdeckung zu einer Aufgabe von nationaler Bedeutung erhob2, haben sich im mer weit läufi gere Spekulationen um das Werk gesammelt. Diese reichen von der Frage, wie das ursprüngliche italienische Textbuch in die Hände von Schütz und seinem Textdichter Martin Opitz gelangt sein könnte3, bis hin zur mutmaßlichen Größe der Bühne 4, auf der das Stück am 13. April 1627 bei der Torgauer Hochzeit der sächsischen Prinzessin Sophie Eleonore mit Georg II. von Hessen »musicaliter agirt« wurde 5. Letzt- lich zielen fast alle diese Hypothesen auf die Beantwortung einer Hauptfrage ab, nämlich ob das Werk als erste deutsche Oper zu gelten habe oder nicht; oder, anders gefragt, ob es eine wie auch immer geartete rezitativische Schreibweise enthielt. Die meisten Historiker des 19. und 20. Jahrhunderts haben diese Frage eindeutig bejaht. Wolfram Steude hat sie in einem Beitrag von 1991 mit einigen schlagenden Argu - menten verneint 6. Kürzlich hat Elisabeth Rothmund wieder ein vorsichtiges »ja« ausgesprochen, in einer Monographie, die sich hauptsächlich mit Schütz’ deutscher Identität und seinen daraus erwach- senden kulturpatriotischen Bestrebun gen beschäftigt7. Mein eigenes Interesse gilt weniger dem Problemkreis der Dafne als spezifi sch deutschem Unter- fangen oder ihrem umstrittenen Status als Ausgangspunkt einer nationalen Operntradition. Irmgard Scheitler kommt in einem vor kurzem erschienenen Aufsatz zu dem treff enden Schluss, die erhaltenen Quellen seien »einfach zu dürftig, um aus ihnen tragfähige Schlüsse zu ziehen«8.
    [Show full text]
  • Bernini Struts
    Part II Material and Social Transformations 3 Bernini Struts Michael Cole Few works in the history of sculpture are more admired for the sheer skill of their carving than Gianlorenzo Bernini’s Apollo and Daphne (figure 3.1). Charles Avery counts it among the pieces that established Bernini as ‘‘the greatest sculptor in the world.’’1 Peter Rockwell maintains that ‘‘any sculptor who looks at Bernini’s Apollo and Daphne can only come away astonished.’’2 And Howard Hibbard concludes his discussion of the statue by suggesting that it is too dazzling, showing ‘‘a quality of immature excess, of virtuosity for its own sake.’’3 The Apollo and Daphne has come to stand as the perfect antithesis to the modernist principle of ‘‘truth to materials,’’ the ultimate illustration of the artist defying his medium’s very nature. Indeed, it has become difficult, in view of the Apollo and Daphne, to imagine what Bernini could not make marble do. No wonder Jennifer Montagu caused a small sensation when she argued that its most famous features were executed by Bernini’s gifted assistant Giuliano Finelli rather than by the master himself.4 Bernini began the Apollo and Daphne in 1622 and had largely completed it by 1624, the last year of his employment with Cardinal Scipione Borghese. Roughly contemporary with the sculptor’s David (1623–4) and still standing in the building for which it was made, it represents the culmination of a series of works that, as Rudolf Preimesberger sug- gested in a classic article, ask to be measured collectively against a sixteenth-century, largely Florentine, tradition.5 The Apollo and Daphne and the other statues Bernini made for the Cardinal were collectors’ pieces, appealing explicitly to a cultivated audience with a historical sensibility and a keen awareness of sculptural practice.
    [Show full text]
  • RLT Conductor Repertoire 2017
    RYAN TURNER, conductor SELECTED REPERTOIRE OPERA/THEATRE Mar%n Le Vin herbé Boston Lyric Opera Glass In the Penal Colony Boston Lyric Opera Harbison The Great Gatsby Emmanuel Music and Tanglewood Stravinsky The Rake’s Progress Emmanuel Music Mozart La Clemenza di Tito Emmanuel Music Abducon from the Seraglio Emmanuel Music Apollo et Hyacinthus Emmanuel Music Handel Apollo e Dafne Emmanuel Music Susannah Emmanuel Music Purcell Dido and Aeneas Longy School of Music Bernstein Candide Boston College Weill Seven Deadly Sins Emmanuel Music/Urbanity Dance Vaughan Williams Riders to the Sea Plymouth State College Sondheim A LiGle Night Music Emmanuel Music Company The Boston Conservatory Merrily We Roll Along Holy Cross La Chiusa Hello Again The Boston Conservatory Porter Anything Goes Boston College Rodgers/Hammerstein Carousel Plymouth State College Lerner/Lowe Brigadoon Papermill Theatre (NH) Darion/Leigh Man of La Mancha Papermill Theatre (NH) VOCAL/CHORAL/ORCHESTRAL Bach Complete Sacred Cantatas BWV 1-200 B Minor Mass, BWV 232 Magnificat, BWV 243 St John Passion, BWV 245 St MaGhew Passion, BWV 244 Weihnachts-Oratorium, BWV 248 St Mark Passion BWV 247 (reconstructed) Phoebus and Pan, BWV 201 Complete Motets BWV 225-230 Bach, CPE Meine Seele erhebt den Herrn, H 819 Beethoven Concert Arias Boccherini Stabat Mater Bononcini Stabat Mater Brahms Schicksalslied, op. 54 BriZen Cantata Misericordium Buxtehude Das nuegeborne Kindelein, BuxWV 13 Jesu, meine Freude, BuxWV 60 Magnificat, BuxWV anh. 1 Sicut Moses, BuxWV 97 Charpen%er Messe de minuit Corigliano Fern Hill Duruflé Requiem Dvorak Te Deum Fauré Requiem Finzi For St. Cecilia Magnificat Handel Chandos Anthems 1, 3, 6, 8, 10, 11 Alexander’s Feast Apollo e Dafne Dengen Te Deum Judas Maccabaeus Messiah Susannah Haydn Lord Nelson Mass LiGle Organ Mass Harbison Crossroads (premiere) But Mary Stood Supper at Emmaus (world premiere) Mendelssohn Elijah, op.
    [Show full text]
  • The Metamorphosis As a Figure of the Boundary Between Life and Death
    The Metamorphosis as a Figure of the Boundary Between Life and Death Rosalba Galvagno The metamorphic myth handed down to occidental culture by the great poem of Metamorphoses by Ovid is concerned, beyond the transformational variety of its figurations, with the fundamental structure of subjectivity. More precisely, it represents the paradigmatic figure of a Subject who lies on the limit or tries to cross it in order to get possession of an object in fact inaccessible, that object through which nearly all the heroes of metamorphosis are pushed toward or they are attracted from. The metamorphosis may represent, in fact, the possible outcome of a destiny that, unlike the tragic one devoted to a beautiful death, is rather marked by that entre-deux, from that limen between life and death, from that extreme area, that last refuge that a fallen being can still live in. The metamorphic hero is in fact punished by a change but at the same time he is saved from death or suffering which has become intolerable as evidenced, among the numerous suggestions scattered not only in the poem of Metamorphoses, but in general in literature and art of all times, by the metamorphic adventure of Daphne, the nymph who turns into a tree under the pressure of a desire which she can no longer escape from. According to the traditional Ovidian typology, metamorphosis are divided into: animal, vegetable, liquid, mineral; and their process can be descending or, but very rarely, ascending. Metamorphosis usually involves a decreasing process, if compared to humanity. Man can indeed be transformed into an animal, plant, water, stone and, in Between, vol.
    [Show full text]
  • Busenello Satirico: New Sources for Apollo and Dafne
    Performing Premodernity Online – Volume 1 (January 2015) Busenello satirico: New Sources for Apollo and Dafne JEAN-FRANÇOIS LATTARICO Performed at the Teatro San Cassiano for Carnival in 1640, Gli amori di Apollo e di Dafne is the first musical drama of Busenello and the first collaboration between the poet and Francesco Cavalli, who was to dominate the Venetian operatic stage for more than three decades. It constitutes one of the two earliest Venetian operas to be survived by a score1—the other is Le nozze di Teti, represented the previous season. The work belongs to the new system of production that had made a genuine industry out of the operatic theatre, at the border between artistic creation and the merchandising of its object, and giving rise to a number of professions, among them the impresario,2 the project manager of this entertainment, of a new genre which, although courtly and elitist at its Florentine origins, had become, in Republican Venice, the object of a true popular craze. From 1639 until 1644 the Tron theatre at S. Cassiano was managed by Cavalli himself, in collaboration with the choreographer G. B. Balbi, who had already gained fame from his participation in Andromeda by Ferrari and Manelli, which had inaugurated Venetian public opera in 1637. Apollo e Dafne constitutes in more than one way, the inaugural work of a new genre. The dimension of rewriting, inseparable from operatic theatre is here fully in evidence, but in a manner that blends an homage to the first Florentine stories (fables) and the deviant satirical and sarcastic approach which characterizes the work of members of the Venetian Accademia degli Incogniti3.
    [Show full text]
  • Johann Nauwach's <I>Teütscher Villanellen</I>
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Johann Nauwach's Teütscher Villanellen: A Critical Performance Edition with Performance Practice Commentary Christopher Pfund The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3375 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] JOHANN NAUWACH’S TEÜTSCHER VILLANELLEN A CRITICAL PERFORMANCE EDITION WITH PERFORMANCE PRACTICE COMMENTARY by CHRISTOPHER PFUND A dissertation submitted to the Graduate Faculty in music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York. 2019 © 2019 CHRISTOPHER PFUND All Rights Reserved ii Johann Nauwach’s Teütscher Villanellen A Critical Performance Edition with Performance Practice Commentary by Christopher Pfund This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. ______________________ __________________________________________ Date Scott Burnham Chair of the Examining Committee _______________________ __________________________________________ Date Norman Carey Executive Officer Supervisory Committee: Janette Tilley, Advisor Sally Sanford, First Reader Anne Stone Scott Burnham THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Johann Nauwach’s Teütscher Villanellen: A Critical Performance Edition with Performance Practice Commentary by Christopher Pfund Advisor: Janette Tilley Johann Nauwach (1595–1630) was an early seventeenth-century German lutenist who was sent to Florence to study with Medici court lutenist, Lorenzo Allegri (1567–1648).
    [Show full text]
  • Apollo & Dafne.Indd
    March 18, 2016 at Vancouver Playhouse Early Music Vancouver board of directors Tony Knox president Spencer Corrigal cpa,ca treasurer Sharon Kahn past president Stuart Bowyer Chris Guzy Tim Rendell cpa,ca Ingrid Söchting Vincent Tan Mark Vessey Fran Watters CultureCulture is the expression is the expression of Canada’s soul; of itCanada’s defines soul;La culture it defines est l’expression us andde l’âme helps du Canada. bring ÷ us and helps bring us together. The Government of Elle contibue à nous définir et à nous unir. Le Canadaus together.places great valueThe onGovernment culture and is of Canadagouvernement places great du Canada value accorde on culture beaucoup committedand is to committed supporting the artsto supportingand our artists. Thisthe artsd’importance and our artists. à la culture, This et il isa à whycœur de we soutenir José Verstappen cm is why we are proud to support these performances les arts et les artistes canadiens. C’est pour cette artistic director emeritus by Earlyare proudMusic Vancouver. to support Through these its ecclectic performances raison by queEarly nous Musicsommes fiersVancouver. d’appuyer la performances and other artistic activities, this présentation de ces concerts par l’organisme Early organizationThrough gives its Canadian ecclectic musicians performances the chance to andMusic other Vancouver. artistic Grâce activities, a ses spectacles this et autres ÷ demonstrateorganization their talent gives and bring Canadian our culture musicians to life. activités the chance artistiques, to cetdemonstrate organisme donne la chance It lets music lovers discover melodies and harmonies aux musiciens canadiens de faire valoir leur talent et thattheir may come talent from and a distant bring time, our but stillculture have the to life.d’animer It lets notre music culture.
    [Show full text]
  • Heinrich Schütz – Meister Der Motette
    Heinrich Schütz – Meister der Motette Lerninhalte: • Kennenlernen des Lebensweges von Heinrich Schütz • Wissen um wichtige Werke von Heinrich Schütz • Wissen, warum Schütz als Meister der Motette bezeichnet wird • Wissen, was eine Motette ist • Hören von Ausschnitten aus Werken des Komponisten • Wertung der Bedeutung des Komponisten Heinrich Schütz Arbeitsmittel/Medien: • Arbeitsblatt: Heinrich Schütz • Bild für die Tafel: Heinrich Schütz (Gemälde von C. Spetner) • Folie 1: Lebensstationen von Heinrich Schütz • Folie 2: Die Kriegsgräuel (Zeichnungen von Jacques Callot) • Folie 3: Heinrich Schütz: Kurzbiogra e • Folie 4: Wichtige Werke • Folie 5: Motetten-Texte: SWV 372/373/374 • Folie 6: Gräuel des Krieges/Westfälischer Friede zu Münster (Gerard Terborch, 1648) • Folie 7: Motette • Infoblätter 1/2: Heinrich Schütz – „Vater der deutschen Musik“ • CD: Heinrich Schütz: Geistliche Chormusik, 1648 (CPO 999546-2). Weser-Renaissance Bremen, Manfred Cordes (1998) Motette „Verleih uns Frieden“, SWV 372 • www.youtube.com: Heinrich Schütz: Motette „Verleih uns Frieden“, SWV 372 (2:42) Calmus Ensemble Leipzig Folie 3 Heinrich Schütz Kurzbiogra e Er wurde am 8. Oktober 1585 in Köstritz (Thüringen) geboren und starb am 6. November 1672 in Dresden. Schütz studierte zuerst Jura, ging dann, gefördert durch Landgraf Moritz von Hessen, nach Italien (Stipendium in Venedig, daher Kontakt zu Claudio Monteverdi und Giovanni Gabrieli). Schütz brachte die Neuerungen der italienischen Musik zu Beginn des 17. Jahrhunderts nach Deutschland und wurde so einer der entscheidenden Wegbereiter des deutschen Barock. Sein großer Ein uss macht sich schon am Werk seiner Zeitgenossen, so etwa bei J. H. Schein, bemerkbar. 1617 wur- de Schütz Dresdner Hofkapellmeister. Er schrieb die erste Oper in deutscher Sprache („Dafne“, Musik verschollen), außerdem Madrigale, geistliche Konzerte, Motetten und Passionen.
    [Show full text]