DOCSLIB.ORG

Ann Hallenberg Mezzosoprano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ann Hallenberg Mezzosoprano Ann Hallenberg mezzosoprano Stile Galante Isabella Bison, violin I Rossella Borsoni, violin II Nadine Henrichs, viola Agnieszka Osza n´ca, cello Szilárd Chereji, double bass Andrea Friggi, harpsichord Alessandro Denabian, horn I Fabio Forgiarini, horn II Daniel Lanthier, oboe I Claudia Anichini, oboe II Sari Straatsma, flute I Raquel Martorell Dorta, flute II Stefano Aresi direction Ann Hallenberg, Stefano Aresi The Farinelli Manuscript Recorded in Diemen (Schuilkerk De Hoop), the Netherlands, on 9-12 April 2019 Madrid, 1753. Österreichische Nationalbibliothek Mus. Hs. 19111 Engineered and produced by Fabio Framba Digital editing: Andrea Friggi n Production assistants: Luca Benedetti, Valentina Anzani Language coach: Valentina Di Taranto anonymous [possibly Carlo Broschi Farinelli (1705-1782) after Giovanni Antonio Giay (1690-1764)] Executive producer: Michael Sawall 1 Son qual nave che agitata (aria)* 12:59 Editorial director: Carlos Céster Essay translations: Mark Wiggins ( eng ), Pierre Élie Mamou ( fra ), Susanne Lowien ( deu ) gaetano latilla (1711-1788) Design: Valentín Iglesias Photos: Natascia Diamanti (Mood Photostudio) 2 Vuoi per sempre abbandonarm i? (aria) 11:00 Photo location: Museo Internazionale e Biblioteca della Musica (Bologna, Italy) niccolò conforto (1718-1793) © 2019 note 1 music gmbh 3 Ogni dì più molesto (recitativo) 1:41 4 Non sperar, non lusingarti (aria) 10:17 n geminiano giacomelli (1692-1740) Acknowledgements for their contribution to the project’s success to Anna Stegmann, Giorgio van Ballegooijen, Moos Rovers, Nicolò Turatello, Livio Marcaletti, Cristina Targa, 5 Quell’usignolo (aria)* 10:27 Sanae Takeyama, Carla Frezzato, Cinzia Laura Di Mattia, Emmanuel Keates, Jenny Servino, Luca Manghi, Thomas Leibnitz, Cembali Frezzato & Di Mattia, Holger Schmitt-Hallenberg, Enrico Tabellini, Dario Della Porta giovanni battista mele (1693/4-after 1752) 6 Io sperai del porto in seno (aria) 9:51 anonymous [possibly Geminiano Giacomelli] 7 Invan ti chiamo, invan ti cerco, amato (recitativo) 3:12 8 Al dolor che vo’ sfogando (aria) 11:57 * with Farinelli’s original da capos 4 5 Ann Hallenberg, Isabella Bison, Rossella Borsoni Stefano Aresi, Agnieszca Osza n´ca, Andrea Friggi 6 7 the farinelli manuscript the farinelli manuscript er with additional strips of paper) the ornaments and Numerous unfounded pieces of information, nave che agitata ) were created in the final seven years cadenzas sung by him in the da capo sections. Today, blindly regurgitated in the literature, continue to cir - of the singer’s operatic career prior to his settling in this Vienna manuscript thus provides the most fasci - culate regarding the repertoire actually performed the Iberian Peninsula. The remaining three arias ( Io The Farinelli Manuscript nating evidence of the musical thought which during these evening concerts: indeed, the regularly sperai del porto in seno , Vuoi per sempre abbandonarmi and Farinelli wanted to leave of himself and of his powers. cited sources (Charles Burney and Giovenale Sacchi), Non sperar, non lusingart i), in contrast, were originally It is well known that, after a distinguished totally lacking in reliability on this point, directly written for other singers for performances organized At the end of March 1753, from Madrid where he had career elsewhere in Europe and his experience in contributed to the propagation of these rumours; the by Farinelli – by then responsible for musical events been residing since 1737, Carlo Broschi, “Farinelli”, London on stage with the Opera of the Nobility only trustworthy records are those left by Farinelli given at the Spanish court – which he went on to sent to the Empress Maria Theresa a magnificent and (which had closed down in 1737), the celebrated himself. The castrato speaks of his own daily per - include as part of his own repertoire. lavish hand-written volume of some ninety pages, soprano castrato had accepted the invitation of formances, for example, in the private letters On the basis of our current knowledge, it is dif - elegantly decorated with intricate ornamental frames Elisabetta Farnese, second wife of Felipe V, king of addressed to his friend Sicinio Pepoli, where he men - ficult to identify with any certainty the composer for and edgings in light and brilliant colours. The manu - Spain, to take up residence at the latter’s court. tions, in general terms, programmes consisting of all of the pieces of music to be found in the Mus. Hs. script, today kept in the Österreichische National- Legend has it that, each evening, this superb musi - “eight or nine arias”, although he does not indicate 19111 manuscript, but it is, however, possible to pro - bibliothek (Mus. Hs. 19111), contains eight pieces of cian was wont to give the sovereigns a private concert their titles. As previously mentioned, Farinelli clearly vide sufficiently plausible scientific data relating to music (six arias and two recitatives) which the cele - with the purpose of alleviating the mental disorders stated – at the start of this manuscript – that these them. The renowned aria Quell’usignolo is assuredly brated castrato singer described in his preface as of the monarch. However, as recent studies have works formed part of the repertoire which he used to the work of Geminiano Giacomelli; it comes from being “a small choice of those arias which, in an unin - demonstrated, this interpretation of Farinelli’s role at perform during these occasions. To date, these arias Merope (first performed in Venice in 1734), but is terrupted series over many years, have contributed in court (one that is currently still very much in fashion) are the only ones which, without a shadow of a doubt, given with a section B different to the one much bet - my mouth to the private comfort of my endearing is false and is a case of “fake news” avant la lettre , cre - were sung by Farinelli in the context of the famous ter known by present day audiences. The recitative, Sovereigns.” ated and spread about by the English press principal - evening concerts for the kings and queens of Spain. Invan ti chiamo, invan ti cerco, amato , and the aria With this collection (and particularly with the ly for nationalist reasons. Thus, from a strictly histor - which follows it, Al dolor che vo sfogando , are taken first three works) Farinelli was keen – as he said – to ical point of view, the fact that Farinelli actually was n from the London pasticcio Sabrina , whose libretto recreate in the mind of the empress “the impression giving private concerts each evening for the members was written by the poet Paolo Rolli in 1737; the of the range, and the other qualities of my voice”. As of the royal family (a custom conformed by many pri - The authorship of these works has, up to now, been music for these two pieces is currently lacking attri - early as the eighteenth century the manuscript was vate letters and by court archives) has precious little treated in a rather careless manner – involving errors bution, but the close similarities with music by perceived, therefore, as an exceptional example of the to do with the poor state of mind of Felipe V; all the of cataloguing and a misunderstanding of a section of Geminiano Giacomelli are worthy of interest. taste, and of the artistic and technical possibilities of more so since this custom continued serenely and the manuscript’s introduction – which has led certain Moreover, in this particular case, there is no reason the very famous castrato in the fullness of his maturi - calmly on during the reign of his successor Fernando historians to attribute the works (without any real to exclude the possibility of this aria being an adap - ty. In order to compliment his self-portrait more suc - VI, who had a very strong personal relationship with foundation from a scholarly point of view) to the cas - tation for the forces available at the Spanish Court, cessfully, moreover, Farinelli added to two of the arias the singer – whom he ennobled, making him a trato himself. The first three arias in the collection and carried out by one of the composers resident in the manuscript (by using red and blue inks togeth - Caballero of the Orden de Calatrava. (Quell’usignolo , Al dolor che vo sfogando and Son qual there. 8 | english english | 9 the farinelli manuscript the farinelli manuscript Another well-known aria currently, Son qual nave problems concerning around in the wake of a tradition whose basic con - being described in the studies of Livio Marcaletti), che agitata , appeared for the first time in Mitridate by the performance practice ceptual model embraced diminution, the filling in of that is to say: cercar della nota , anticipazione della nota , Giovanni Antonio Giay, performed in Venice in 1730: spaces offered by the composer... a manner of under - anticipazione della sillaba , trills and mordents, porta - the work has frequently been attributed either to Tackling the complete recording of the works from standing the role of the singer which changed radical - menti . As far as possible the cadenzas have been deliv - Johann Adolf Hasse or to Riccardo Broschi, both the 19111 manuscript requires, first of all, the casting ly starting with the 1760s: a shift of which we are ered in one breath (which is in accordance with the assertations made upon somewhat shaky founda - of substantial doubt upon one’s own convictions over often ignorant of its profoundest meanings. treatises). The missing da capos and cadenzas have tions. At the present time, the version existing in the umpteen questions regarding performance practice Not being able here to comment upon all the been written by the undersigned with the aim of Farinelli manuscript is regarded as a unicum , the result as well as a readiness to turn upside down one’s vision procedures which have been involved in the prepara - avoiding imitating the model found in the two orna - of a radical reworking, perhaps carried out by the cas - of Farinelli’s art and of his generally accepted musical tory research for this recording (and which has mented Farinelli arias, and by referring to the com - trato himself.
Load more

Recommended publications
  • UNIVERSITY of CALIFORNIA Los Angeles Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early M
    UNIVERSITY OF CALIFORNIA Los Angeles Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Sara Victoria Torres 2014 © Copyright by Sara Victoria Torres 2014 ABSTRACT OF THE DISSERTATION Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia by Sara Victoria Torres Doctor of Philosophy in English University of California, Los Angeles, 2014 Professor Christine Chism, Co-chair Professor Lowell Gallagher, Co-chair My dissertation, “Marvelous Generations: Lancastrian Genealogies and Translation in Late Medieval and Early Modern England and Iberia,” traces the legacy of dynastic internationalism in the fifteenth, sixteenth, and early-seventeenth centuries. I argue that the situated tactics of courtly literature use genealogical and geographical paradigms to redefine national sovereignty. Before the defeat of the Spanish Armada in 1588, before the divorce trials of Henry VIII and Catherine of Aragon in the 1530s, a rich and complex network of dynastic, economic, and political alliances existed between medieval England and the Iberian kingdoms. The marriages of John of Gaunt’s two daughters to the Castilian and Portuguese kings created a legacy of Anglo-Iberian cultural exchange ii that is evident in the literature and manuscript culture of both England and Iberia. Because England, Castile, and Portugal all saw the rise of new dynastic lines at the end of the fourteenth century, the subsequent literature produced at their courts is preoccupied with issues of genealogy, just rule, and political consent. Dynastic foundation narratives compensate for the uncertainties of succession by evoking the longue durée of national histories—of Trojan diaspora narratives, of Roman rule, of apostolic foundation—and situating them within universalizing historical modes.
    [Show full text]
  • Sources for the History of Art Museums in Portugal» Final Report
    PROJETHA Projects of the Institute of Art History Sources for the History of Art Museums in Portugal [PTDC/EAT-MUS/101463/2008 ] Final Report PROJETHA_Projects of the Institute of Art History [online publication] N.º 1 | «Sources for the History of Art Museums in Portugal» _ Final Report Editorial Coordination | Raquel Henriques da Silva, Joana Baião, Leonor Oliveira Translation | Isabel Brison Institut of Art History – Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa | 2013 PROJETHA_ Projects of the Institute of Art History SOURCES FOR THE HISTORY OF ART MUSEUMS IN PORTUGAL CONTENTS Mentioned institutions - proposed translations _5 PRESENTATION | Raquel Henriques da Silva _8 I. PARTNERSHIPS The partners: statements Instituto dos Museus e da Conservação | João Brigola _13 Museu Nacional de Arte Antiga | António Filipe Pimentel _14 Art Library of the Calouste Gulbenkian Foundation | Ana Paula Gordo _15 II . THE TASKS TASK 1. The origins of the Galeria Nacional de Pintura The origins of the Galeria Nacional de Pintura | Hugo Xavier _17 TASK 2. MNAA’s historical archives database, 1870-1962 The project “Sources…” at the Museu Nacional de Arte Antiga | Celina Bastos e Luís Montalvão _24 Report of the work undertaken at the Archive of the Museu Nacional de Arte Antiga. Research Fellowship | Andreia Novo e Ema Ramalheira _27 TASK 3. Exhibitions in the photographic collection of MNAA . The Photographic Archive at the Museu Nacional de Arte Antiga. A historical sketch | Hugo d’Araújo _35 TASK 4. Inventory and study of the “Arrolamentos” of the Royal Palaces of Necessidades and Ajuda. The project “Sources…” at the Palácio Nacional da Ajuda | PNA _52 Report of the work undertaken at the Palácio Nacional da Ajuda.
    [Show full text]
  • El Real Sitio De Aranjuez Como Escenario De La Fiesta Cortesana Durante El Reinado De Fernando VI Y Bárbara De Braganza
    El Real Sitio de Aranjuez como escenario de la fiesta cortesana durante el reinado de Fernando VI y Bárbara de Braganza Dr. Cristóbal Marín Tovar CES Felipe II (UCM) Turismo Resumen: Los Reales Sitios fueron unos espacios óptimos para la celebración de la fiesta cortesana ya durante el reinado de los Austrias, y especialmente con la dinastía de los Borbones. Aranjuez alcanzó su mayor esplendor durante el reinado de Fernando VI y Bárbara de Braganza, cuando Carlos Broschi, Farinelli, hizo de este lugar un escenario incomparable, aprovechando la unión entre naturaleza y artificio, para celebrar diversos acontecimientos, especialmente la onomástica del soberano. Palabras clave: fiesta cortesana, arte efímero, Reales Sitios, Aranjuez, Austrias, Borbones, Farinelli, Jardines, escenografía, Flota del Tajo, ópera. Abstract: The Royal residences were ideal spaces for the celebration of the court festival already during the reign of the Habsburgs, and specially with the dynasty of the Bourbons. Aranjuez reached its major splendour during the reign of Ferdinand VI and Barbara of Portugal, when Carlos Broschi, Farinelli, made of this place an incomparable scene, taking advantage of the union between nature and artifice, to celebrate diverse events, specially the day of the personal name of the King. Keywords: royal festival, ephemeral art, royal residences, Aranjuez, Habsburgs, Bourbons, Farinelli, Gardens, scenery, Fleet of Tajo, opera. Cuando hablamos de fiestas en términos generales, y refiriéndonos a aquellas que se celebraron durante los años del barroco en particular, tenemos que tener en cuenta que estas servían para varios propósitos, algunos de ellos calculados y otros de incierto e imprevisible alcance. No todas las celebraciones tienen la misma categoría, puesto que por un lado tenemos fiestas muy costosas, vinculadas a los reyes y a la corte, y otras mucho más modestas, asociadas con el pueblo llano en el ámbito de sus más arraigadas tradiciones.
    [Show full text]
  • Special List 316: Festivities
    special list 316 1 RICHARD C.RAMER Special List 316 Festivities 2 RICHARDrichard c. C.RAMER ramer Old and Rare Books 225 east 70th street . suite 12f . new york, n.y. 10021-5217 Email [email protected] . Website www.livroraro.com Telephones (212) 737 0222 and 737 0223 Fax (212) 288 4169 November 5, 2018 Special List 316 Festivities Items marked with an asterisk (*) will be shipped from Lisbon. SATISFACTION GUARANTEED: All items are understood to be on approval, and may be returned within a reasonable time for any reason whatsoever. Visitors BY APPOINTMENT special list 316 3 Special List 316 Festivities Hails the Ascension of D. Maria I to the Throne of Portugal 1. Alegrias de Portugal pela felicissima exaltação da Rainha Fidelissima Nossa Senhora, a Senhora D. Maria I ao throno desta monarquia no alegre, e faustissimo dia 13 de Maio de 1777. Lisbon: Na Offic. de Antonio Rodri- gues Galhardo; vendem-se em caza de Antonio Jozé Livreiro na rua da Arrochella defronte do adro de S. Bento, e na mesma Officina, 1777. 4°, recent plain wrappers. Woodcut Portuguese royal arms on title page. In good to very good condition. 7 pp. $80.00 FIRST and ONLY EDITION of this ode honoring D. Maria I’s ascension to the throne. It begins “Ode. / Que preciozo orvalho o Ceo derrama / Oh Nós de Luzo Geração ditoza! ….” D. Maria (b. 1734) became Portugal’s first queen regnant on February 24, 1777, after the death of her father D. José I. She reigned until her death in 1816, although by 1792 she was suffering such severe mental illness that her son, the future D.
    [Show full text]
  • Property Rights, Land and Territory in the European Overseas Empires
    Property Rights, Land and Territory in the European Overseas Empires Edited by José Vicente Serrão Bárbara Direito, Eugénia Rodrigues and Susana Münch Miranda Direitos de Propriedade, Terra e Território nos Impérios Ultramarinos Europeus Property Rights, Land and Territory in the European Overseas Empires Direitos de Propriedade, Terra e Território nos Impérios Ultramarinos Europeus Edited by José Vicente Serrão Bárbara Direito, Eugénia Rodrigues and Susana Münch Miranda © 2014 CEHC-IUL and the authors. All rights reserved. Title: Property Rights, Land and Territory in the European Overseas Empires. Edited by: José Vicente Serrão, Bárbara Direito, Eugénia Rodrigues, Susana Münch Miranda. Editorial Assistant: Graça Almeida Borges. Year of Publication: 2014. Online Publication Date: April 2015. Published by: CEHC, ISCTE-IUL. Avenida das Forças Armadas, 1649-026 Lisboa, Portugal. Tel.: +351 217903000. E-mail: [email protected]. Type: digital edition (e-book). ISBN: 978-989-98499-4-5 DOI: 10.15847/cehc.prlteoe.945X000 Cover image: “The home of a ‘Labrador’ in Brazil”, by Frans Post, c. 1650-1655 (Louvre Museum). This book incorporates the activities of the FCT-funded Research Project (PTDC/HIS-HIS/113654/2009) “Lands Over Seas: Property Rights in the Early Modern Portuguese Empire”. Contents | Índice Introduction Property, land and territory in the making of overseas empires 7 José Vicente Serrão Part I Organisation and perceptions of territory Organização e representação do território 1. Ownership and indigenous territories in New France (1603-1760) 21 Michel Morin 2. Brazilian landscape perception through literary sources (16th-18th centuries) 31 Ana Duarte Rodrigues 3. Apropriação econômica da natureza em uma fronteira do império atlântico 43 português: o Rio de Janeiro (século XVII) Maria Sarita Mota 4.
    [Show full text]
  • Dom Manuel II of Portugal. Russell Earl Benton Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1975 The oD wnfall of a King: Dom Manuel II of Portugal. Russell Earl Benton Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Benton, Russell Earl, "The oD wnfall of a King: Dom Manuel II of Portugal." (1975). LSU Historical Dissertations and Theses. 2818. https://digitalcommons.lsu.edu/gradschool_disstheses/2818 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that die photographer suspected that the copy may have moved during exposure and thus cause a blurred image.
    [Show full text]
  • Rokas SBG Prog Final
    Pianist Rokas & 2017 CMF Artist Valuntonis Thursday 2nd May 2019, 7.30pm The Priory Church of St Bartholomew the Great Thank you for coming to this evening’s recital – to enjoy this spectacular church, and s u p p o r t C i t y M u s i c F o u n d a t i o n A r t i s t , p i a n is t R o k a s V a l u n t o n i s . CMF’s mission is ‘turning talent into success’. We select exceptional professional musicians at the start of their careers when managing ‘the business of music’ can be a challenge, and support them with a comprehensive career development programme. We arrange mentoring, run workshops, do agency and management, make CDs, videos and websites, commission new music, secure airtime on BBC Radio 3 and promotion though online, print and social media, and put on our own recitals and concerts. CMF Alumni tell us of the many ways CMF has helped them during those very fragile early stages of their professional careers. Getting the necessary visibility, and developing networks, gaining recognition in the industry, having recordings – all this has allowed them to secure their careers as performers. Our aim is that CMF Artists are ready for four decades or more of contributing to society’s culture and wellbeing – reaching hundreds of thousands through live performance, CDs, streaming, broadcast, teaching and mentoring – giving back a thousandfold what CMF has given them. If you'd like to support our work you can donate online (cafdonate.cafonline.org/7944) or by cheque (post to: Church House, Cloth Fair, London EC1A 7JQ).
    [Show full text]
  • Maritime Portugal and Renaissance Portraits of the Royal Court
    Journal of Global Initiatives: Policy, Pedagogy, Perspective Volume 11 Number 1 Examining Complex Relationships in the Article 7 Portuguese Speaking World October 2016 Blending Myth and Reality: Maritime Portugal and Renaissance Portraits of the Royal Court Barbara von Barghahn George Washington University, Department of Fine Arts and Art History, Washington, DC, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/jgi Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, and the Portuguese Literature Commons This work is licensed under a Creative Commons Attribution 4.0 License. Recommended Citation von Barghahn, Barbara (2016) "Blending Myth and Reality: Maritime Portugal and Renaissance Portraits of the Royal Court," Journal of Global Initiatives: Policy, Pedagogy, Perspective: Vol. 11 : No. 1 , Article 7. Available at: https://digitalcommons.kennesaw.edu/jgi/vol11/iss1/7 This Article is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Journal of Global Initiatives: Policy, Pedagogy, Perspective by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Blending Myth and Reality: Maritime Portugal and Renaissance Portraits of the Royal Court Cover Page Footnote I only provide references, a very fine bibliography of sources. This article is available in Journal of Global Initiatives: Policy, Pedagogy, Perspective: https://digitalcommons.kennesaw.edu/jgi/ vol11/iss1/7 Barbara von Barghahn Journal of Global Initiatives Vol. 11, No. 1, 2016, pp. 9-42. Blending Myth and Reality: Maritime Portugal and Renaissance Portraits of the Royal Court Barbara von Barghahn George Washington University Abstract An incalculable loss of art was suffered by Portugal on November 1, 1755, when Lisbon was essentially leveled by a 9.0 earthquake that lasted six minutes and was followed by an immense tsunami.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of Computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indícate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are availabüe for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 NorthZeebRoad, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 EDICION CRITICA DE TEODOSIOII, DE FRANCISCO MANUEL DE MELO, CON UN ESTUDIO CRITICO Y ANALITICO DOCTORAL DISSERTATION Presented in Partial Fullfilment of the Requirements for the Degree Doctor of Philosophy in the Spanish Literature Program of The Ohio State University b y Héctor Brasil-Laurenzo, M.
    [Show full text]
  • Guide to Louisiana Resources in Spanish Archives
    GUIDE TO LOUISIANA RESOURCES IN SPANISH ARCHIVES The Historic New Orleans Collection https://www.hnoc.org/research/online-resources Guadalupe Fernández Morente Esther González Pérez INTRODUCTION Louisiana, a Spanish province from 1762 to 1803, enjoys a particularly rich archival legacy. The importance of that legacy has been recognized by successive generations of historians, archivists, and administrators. Antonio de Sedella, during his first tenure (1787–90) as pastor of the then parish church of St. Louis, undertook a project to recopy for security and posterity the essential records of the church. The decision proved invaluable when many of the documents were destroyed in the 1788 New Orleans fire. Pierre Clément Laussat, the French colonial prefect charged with the transfer of Louisiana from Spain to France and France to the United States, fought to preserve the integrity of the Spanish archives. In 1846 Louisiana Secretary of State Charles E. A. Gayarré began an official project to organize, collect, and maintain colonial records. He subsequently secured funds so that blank paper could be purchased for the copying of Louisiana records in France and Spain. In 1850 Gayarré issued his Report on Louisiana Archives in Spain to the state legislature. While Gayarré’s projects were not continued, other individuals came forth with new ideas that would eventually realize the value of Gayarré’s vision. The Carnegie Institution played a major role, publishing William R. Shepherd’s Guide to the Materials for the United States in Spanish Archives (Simancas, the Archivo Histórico Nacional, and Seville) (1907); Luis Marino Pérez’s Guide to the Materials from American History in Cuban Archives (1907); Herbert Eugene Bolton’s Guide to Materials for the History of the United States in the Principal Archives of Mexico (1913); and Roscoe R.
    [Show full text]
  • Brother to the Sun King: Philippe, Duke of Orleans Free
    FREE BROTHER TO THE SUN KING: PHILIPPE, DUKE OF ORLEANS PDF Nancy Nichols Barker | 368 pages | 01 Dec 1998 | JOHNS HOPKINS UNIVERSITY PRESS | 9780801861642 | English | Baltimore, MD, United States Philippe I, Duke of Orleans' Peculiar Life and Blood Rivalry Shaped Kingdoms His heirs formed a junior collateral branch of the royal dynasty. He Duke of Orleans originally known by the title "Duke of Anjou". As a son of a French king, Philippe ranked as a fils de Franceand as the king's younger brother, he was invariably referred to at court simply as Monsieur. She was known at court as MadameHenriette d'Angleterre Henrietta of England or affectionately as Minette and was a famed beauty. Philippe was said to have doted Brother to the Sun King: Philippe Henriette for the first year of their marriage, but their relationship soon turned sour when she allegedly began an affair with the Count of Guiche [1] and went on to seek comfort from others. Philippe openly paraded his mignons in front of his wife and the whole court. She soon attracted the attention of the King. In time, Louis indeed Duke of Orleans in love with Louise and made her his mistress. Reluctantly, and somewhat bitterly, Henriette stepped aside. She is said to have eventually taken one of her husband's earlier conquests, Armand de Gramont as a lover. Despite this marital dissension, several children were born of their union. However, Henriette, known for her fragile and delicate health, had four miscarriages in the space of five years. It was there that the Duchess died at the age of twenty-six.
    [Show full text]
  • Frommer's Portugal 18Th Edition
    Portugal 18th Edition by Darwin Porter & Danforth Prince Here’s what the critics say about Frommer’s: “Amazingly easy to use. Very portable, very complete.” —Booklist “Detailed, accurate, and easy-to-read information for all price ranges.” —Glamour Magazine “Hotel information is close to encyclopedic.” —Des Moines Sunday Register “Frommer’s Guides have a way of giving you a real feel for a place.” —Knight Ridder Newspapers About the Authors Veteran travel writers Darwin Porter and Danforth Prince have written numerous bestselling Frommer’s guides, notable to Germany, France, Italy, England, and Spain. Porter, who was bureau chief for the Miami Herald when he was 21, wrote the first Frommer’s guide to Germany; Prince, who began writing with Porter in 1982, worked for the Paris bureau of the New York Times. Published by: Wiley Publishing, Inc. 111 River St. Hoboken, NJ 07030-5774 Copyright © 2004 Wiley Publishing, Inc., Hoboken, New Jersey. All rights reserved. No part of this publication may be reproduced, stored in a retrieval sys- tem or transmitted in any form or by any means, electronic, mechanical, photo- copying, recording, scanning or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978/750-8400, fax 978/646-8600. Requests to the Publisher for per- mission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317/572-3447, fax 317/572-4447, E-Mail: [email protected].
    [Show full text]