DOCSLIB.ORG

Eleventh Rehearsal and Concert

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Eleventh Rehearsal and Concert SYMPHONY HALL, BOSTON HUNTINGTON & MASSACHUSETTS AVENUES • Telephones ( Ticket Office / - .g. j^ ' Branch Exchange I Administration Offices J THIRTY-SECOND SEASON, 1912 AND 1913 Dr. KARL MUCK, Conductor prngramm? of % Eleventh Rehearsal and Concert WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, JANUARY 3 AT 2.30 O'CLOCK SATURDAY EVENING, JANUARY 4 AT 8.00 O'CLOCK COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 681 — ^hr^.?f?-^l5l>.«4t i "After the Symphony Concert" a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked w^ith Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people w^ho love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. CHAS. F. LEONARD, 120 Boylston Street BOSTON, MASS. 6S2 Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Concert-master. Noack, S. CHICKERING THE STANDARD PIANO SINCE 1823 Piano of American make has been NOso favored by the musical pubHc as this famous old Boston make. The world's greatest musicians have demanded it and discriminating people have purchased it. The Chickering Piano enjoys the distinction of being the recipient of I2g First Medals and Awards for Superiority Its wonderful tone and action call it to the studio to stimulate and encourage the pupil, and it is sought by teachers and musical people when the best is desired. Made in five sizes of Grands and three of Uprights. CHICKERING WAREROOMS 169 TREMONT STREET Opposite the Cummon 1^ m -^T" -<^ 684 THIRTY-SECOND SEASON. NINETEEN HUNDRED TWELVE AND THIRTEEN Sl^wntlf S^If^arsal an& (Hcnttxt FRIDAY AFTERNOON, JANUARY 3, at 2*30 o'clock SATURDAY EVENING, JANUARY 4, at 8.00 o'clock JPrngramm? Brahms Academic Festival Overture, Op. 8o Arias with Orchestra a. Marcello Recitative "II mio bel foco" and Aria "Quella fiamma" b. Gluck Aria of Paride from "Paride ed Elena," Act I., No. 3 Holbrooke "Queen Mab" (Shakespeare) Poem No. 7, for grand orchestra and chorus (ad lib.), Op. 45 First time in Boston Strauss Songs with Orchestra a. Morgen, Op. 27, No. 4. b. Wiegenlied, Op. 41, No. i. c. Cacilie, Op. 27, No. 2. Bruckner Symphony, E major, No 7 I. AEegro moderato. II. Adagio: Sehr feierlich und langsam. III. Scherzo: Allegro Trio: Etwas langsamer. IV. Finale: Bewegt, Doch nich schnell. SOLOIST Miss ELENA GERHARDT There will be an intermission of ten minutes before the symphony The doors of the hall will be closed during the performance of each n/umber on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the numbers, city of Boston. Revised Re|{ulation of Aui(ust 5. 1898.— Chapter 3, reiatlnii to the coverinii of the bead in places of public amusement Every licensee shall not, in his place of amusetnent, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performasce in such place of any person seated in any sect therein provided for spectators, it being understood that a low head covering without projection, which does Bot obstriict such view, may be wean. Attest: J. M. GALVIN, Qty Oerk 685 L. P. HOLLANDER & CO. ANNOUNCE THEIR GREAT ANNUAL CLEARANCE SALE IN ALL DEPARTMENTS Full particulars in Sunday's Newspapers 202 BOYLSTON STREJET /! STOVELLdG> IMG STERLING ,rf^^^^^ SANDWICH SILVER^ ^^^Pm PLATES The above Plate Price-^ZOQS is one of a choice assortment costing from ^10 00 to^lOOOQ 24 \?/IHTEr\ ST- BOSTOW 686 ' — Academic Festival Overture, Op. 8o Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) Brahms wrote two overtures in 1880, —the "Academic" and the "Tragic." They come between the Symphony in D major and that in F major in the hst of his orchestral works. The "Tragic" overture bears the later opus number, but it was written before the "Academic," —as Reimann says, " The satyr-play followed the tragedy." The "Aca- demic" was first played at Breslau, January 4, 1881. The university of that town had given him the degree of Doctor of Philosophy (March II, 1879),* and this overture was the expression of his thanks. The Rector and Senate and members of the Philosophical Faculty sat in the front seats at the performance, and the composer conducted his work, which may be described as a skilfully made pot-pourri or fantasia on students' songs. Brahms was not a university man, but he had known with Joachim the joyous life of students at Gottingen,—at the university made famous by Canning's poem: * "Q. D. B. V. Summis auspiciis Serenissimi ac potentissimi principis Guilelmi Imperatoris Auguste Germanic! Regis Borussicae, etc., eiusque auctoritate regia Universitatis Litterarum Vratislavieusis Rectore Magnifico Ottone Spiegelberg Viro Illustrissimo Joanni Brahms Holsato ariis- musicae severioris in Germa- nia nunc principi ex decreto ordinis philosophorum promotor legitime constitutus Petrus Josephus Elvenich Ordinis Philosophorum h. a. Decanus philosophiae doctoris nomen iura et privUegia honoris causa contulit collataque publico hoc diplomate declaravit die XI mensis Martii A. MDCCCLXXiX. (L.S.)" MOSZKOWSKI—SGAMBATI VICTOR STAUB—RUDOLF FRIML PIANOFORTE SOLOS MOSZKOWSKI, M . VICTOR STAUB No. tourbillon Op. 89, 5. Valse •65 Op. 15. Scintillements. Arabes- que - - .75 '^ — Abounding in freshness and grace Op. 18. En Valsante. Valse mig- ' i at his best. — Moszkowsk A rthur Foote. nonne - - - --'--•--- .60 SGAMBATI. G. RUDOLF FRIML Introduction and Etude brillante Op. 61. Etude fantastique - - - .60 (Reveil des Fees) by E. Prudent. (Schmidt's Educational Series, Op. 62, No. 2. Marche grotesque - .50 No. 90.) Op. 76. Herald of Spring - - - .75 SENT FREE: Thematic catalogue of New Pianoforte Music by Favorite Composers. ARTHUR P. SCHMIDT 120 Boylston Street, Boston, Mass. For Sale by all Music Dealers 687 — — Whene'er with haggard eyes I view This dungeon that I'm rotting in, I think of those companions true Who studied with me at the U —niversity of Gottingen niversity of Gottingen; the university satirized so bitterly by Heine. Brahms wrote to Bernhard Scholz that the title "Academic" did not please him. Scholz suggested that it was "cursedly academic and boresome," and suggested " Viadrina," for that was the poetical name of the Breslau University. Brahms spoke flippantly of this overture in the fall of 1880 to Max Kalbeck. He described it as a "very jolly pot- pourri on students' songs a la Suppe," and, when Kalbeck asked him ironically if he had used the "Foxsong," he answered contentedly, "Yes, indeed." Kalbeck was startled, and said he could not think of such academic homage to the "leathery Herr Rektor, " whereupon Brahms duly replied: "That is also wholly unnecessary." The first of the student songs to be introduced is Binzer's "Wir * hatten gebauet ein stattliches Haus" : "We had built a stately house, and trusted in God therein through bad weather, storm, and horror." The first measures are given out by the trumpets with a peculiarly stately effect. The melody of "Der Landesvater"t is given to the second violins. And then for the first time is there any deliberate attempt to portray the jollity of university life. The "Fuchslied"J (Freshman song), "Was kommt dort von der H5h'," is introduced suddenly by two bassoons accompanied by 'celli and violas pizzicati. There are hearers undoubtedly who remember the singing of this song in Longfellow's "Hyperion"; how the Freshman entered the Kneipe, and was asked with ironical courtesy concerning the health of the leathery Herr Papa who reads in Cicero. Similar impertinent ques- tions were asked concerning the "Frau Mama" and the "Mamsell Soeur"; and then the struggle of the Freshman with the first pipe of tobacco was described in song. "Gaudeamus igitur," § the melody that is familiar to students of all lands, serves as the finale. The overture, is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, double-bassoon, four horns, three trumpets, three trom- bones, bass tuba, a set of three kettledrums, bass drums, cymbals, triangle, strings. The overture was played for the first time in Boston by Theodore Thomas's Orchestra, October 14, 1881. It has been played at concerts of the Boston Symphony Orchestra in Boston, November 18, 1882, * "Wir hatten gebauet." The verses of A. Binzer, to an old tune, were sung for the first time at Jena, November ig, 1819, on the occasion of the dissolution of the Burschenschaft, the German students' association founded in 1815 for patriotic purposes. " t Der Landesvater" is a student song of the eighteenth century. It was published about 1750. " t Was kommt dort" is a student song as old as the beginning of the eighteenth century. § There are many singular legends concerning the origin of " Gaudeamus igitur," but there seems to be no authentic appearance of the song, as it is now known, before the beginning of the eighteenth century, when the song was popular at Jena and Leipsic. 688 ^T^/ Opposite Boston Common ^^^^ X' y 154-155-156 TREMONT STREET The Brilliant Social Functions and Festivities of the pre-Lenten Season have created an unusual demand for gowns of distinction for formal wear — gowns that will stand out at Reception, Dinner, or Opera, not so much for their intrinsic value, as for their artistic excellence.
Load more

Recommended publications
  • Abstracts Papers Read
    ABSTRACTS of- PAPERS READ at the THIRTY-FIFTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY SAINT LOUIS, MISSOURI DECEMBER 27-29, 1969 Contents Introductory Notes ix Opera The Role of the Neapolitan Intermezzo in the Evolution of the Symphonic Idiom Gordana Lazarevich Barnard College The Cabaletta Principle Philip Gossett · University of Chicago 2 Gluck's Treasure Chest-The Opera Telemacco Karl Geiringer · University of California, Santa Barbara 3 Liturgical Chant-East and West The Degrees of Stability in the Transmission of the Byzantine Melodies Milos Velimirovic · University of Wisconsin, Madison 5 An 8th-Century(?) Tale of the Dissemination of Musico­ Liturgical Practice: the Ratio decursus qui fuerunt ex auctores Lawrence A. Gushee · University of Wisconsin, Madison 6 A Byzantine Ars nova: The 14th-Century Reforms of John Koukouzeles in the Chanting of the Great Vespers Edward V. Williams . University of Kansas 7 iii Unpublished Antiphons and Antiphon Series Found in the Dodecaphony Gradual of St. Yrieix Some Notes on the Prehist Clyde W. Brockett, Jr. · University of Wisconsin, Milwaukee 9 Mark DeVoto · Unive Ist es genug? A Considerat Criticism and Stylistic Analysis-Aims, Similarities, and Differences PeterS. Odegard · Uni· Some Concrete Suggestions for More Comprehensive Style Analysis The Variation Structure in Jan LaRue · New York University 11 Philip Friedheim · Stat Binghamton An Analysis of the Beginning of the First Movement of Beethoven's Piano Sonata, Op. 8la Serialism in Latin America Leonard B. Meyer · University of Chicago 12 Juan A. Orrego-Salas · Renaissance Topics Problems in Classic Music A Severed Head: Notes on a Lost English Caput Mass Larger Formal Structures 1 Johann Christian Bach Thomas Walker · State University of New York, Buffalo 14 Marie Ann Heiberg Vos Piracy on the Italian Main-Gardane vs.
    [Show full text]
  • Download Booklet
    Recorded at St John’s Smith Square, London, UK from 10 to 13 January 2020 STURM UND DRANG Produced, engineered and edited by Andrew Mellor Assistant engineer: Brett Cox Volume 2 Design: Toucari Live and Debbie Coates Cover image: A Seastorm by Claude Joseph Vernet (1714-89) Session photography: Roger Way Session filming: Martin Kendrick Music by Haydn, Gluck, Vanhal, Mysliveček and J. C. Bach Harpsichord technician: Guill Clark Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George & Efthalia Koukis and Sherman Lam for making this recording possible. IDA RÄNSLÖV mezzo-soprano We are also grateful to the following people and organisations for their generous support and assistance: Kate THE MOZARTISTS Bingham & Jesse Norman, David Challen CBE & Elizabeth Challen, Jeff & Jennifer Eldredge, Sir Vernon & Lady Ellis, Matthew Truscott (leader) Lucy & Guy Davison, Richard Heason and all the staff at St John’s Smith Square, Hamish & Carole Ritchie, Dyrk Riddell, Joe & Christine Swanson, Tina Vadaneaux, Sir John & Lady Vereker, Raphael & Federica Vermeir, Michael & Rosemary Warburg, and all the other individuals who support our work. IAN PAGE conductor 2 STURM UND DRANG 2 STURM UND DRANG 2 3 sturm und drang 2 final singles.indd 2 03/06/2020 16:23:00 sturm und drang 2 final singles.indd 3 03/06/2020 16:23:00 STURM UND DRANG, Volume 2 Page Page HAYDN: Symphony No. 39 in G minor 10 12 HAYDN: “Fac me vere tecum flere” fromStabat mater 5’22 18 1 1. Allegro assai 5’50 Ida Ränslöv (mezzo-soprano) 2 2. Andante 5’38 3 3.
    [Show full text]
  • NOTES on GLUCK's ARMIDE by CARL VAN VECHTEN ICHARD WAGNER, Like Many Another Great Man, Took
    NOTES ON GLUCK'S ARMIDE By CARL VAN VECHTEN ICHARD WAGNER, like many another great man, took what he wanted where he found it. Everyone has heard Downloaded from R the story of his remark to his father-in-law when that august musician first listened to Die WalkHre: "You will recognize this theme, Papa Liszt?" The motto in question occurs when Sieglinde sings: Kehrte der Voder nun heim. Liszt had used the tune at the beginning of his Faust symphony. Not long ago, in http://mq.oxfordjournals.org/ playing over Schumann's Kinderscenen, I discovered Brunnhilde's magic slumber music, exactly as it appears in the music drama, in the piece pertinently called Kind im Einschlummern. When Weber's Euryanihe was revived recently at the Metropolitan Opera House it had the appearance of an old friend, although comparatively few in the first night audience had heard the opera before. One recognized tunes, characters, and scenes, because Wagner had found them all good enough to use in Tannh&user at University of Toronto Library on July 15, 2015 and Lohengrin. 'But, at least, you will object, he invented the music drama. That, I am inclined to believe, is just what he did not do, as anyone may see for himself who will take the trouble to glance over the scores of the Chevalier Gluck and to read the preface to Alceste. Gluck's reform of the opera was gradual; Orphie (in its French version), Alceste, and IphigSnie en Aulide, all of which antedate Armide, are replete with indications of what was to come; but Armide, it seems to me, is, in intention at least, almost the music drama, as we use the term to-day.
    [Show full text]
  • Christoph Willibald Gluck's Orfeo Ed Euridice & Orphée Et Euridice
    August 6, 2020 – Christoph Willibald Gluck’s Orfeo ed Euridice & Orphée et Euridice On this week’s Thursday Night Opera House, we’ll hear two different versions of the classic Orpheus and Euridice story by the same composer. Orfeo ed Euridice was the first of Christoph Willibald Gluck’s three so-called “reform” operas (the others were Alceste and Paride ed Elena), in which a “noble simplicity” was intended to replace the complicated plots and florid musical style of opera seria. The original version, in Italian and set to a libretto by Ranieri de’ Cazabigi, was first performed at Vienna’s Burgtheater on October 5, 1762, where Orpheus was sung by an alto castrato. Gluck’s revised Orphée et Euridice was premiered on August 2, 1774 at the Royal Academy of Music in Paris, in French and with Orpheus sung by a tenor. When the original Italian version of the opera was revived in the 1920s the role of Orpheus was generally sung by mezzo- sopranos, but nowadays it’s generally sung by countertenors. The musician Orfeo/Orfée (mezzo-soprano Maureen Forrester/tenor Jean-Paul Fouchécourt) mourns the death of his beloved wife Euridice (soprano Teresa Stich- Randall/soprano Catherine Dubosc). Amore/L’Amour (soprano Hanny Steffek/soprano Suzie Le Blanc) tells Orpheus that Zeus will permit Euridice to return to Earth from Hades but if she is released, he must not look back at her until they have returned to the living world. Orpheus charms the Furies with the beauty of his singing and finds Euridice among the Blessed Spirits.
    [Show full text]
  • The Dramatic Stage and New Modes of Performance in Late Eighteenth-Century Naples
    Tradition, Innovation, and Experimentation: The Dramatic Stage and New Modes of Performance in Late Eighteenth-Century Naples Anthony R. DelDonna Summary: Naples in the last thirty years of the eighteenth-century was characterized by a fervent climate of theatrical experimentation. Although too often viewed as the last stronghold of Metastasian dramatic principles and traditions, the city was deeply influenced by the “reform culture” of Northern Europe. These exterior influences were bolstered by the contributions of local practitioners, whether composers, performers, and theorists. This essay is a brief consideration of how the ideas of “reform culture” affected contemporary Neapolitan theatrical practices and the emergence of new works in the city. A critical source for “reformed” theatrical philosophy was the work of Antonio Planelli (1747–1803), whose treatise Dell’opera in musica (1772) is a significant exploration and commentary on the dramatic stage of the Bourbon capital. Progressing from theatrical philosophy to existing practice, I will consider how the prevailing conditions animated the creation of the largely unknown cantata/ pastorale/opera, La pietà d’amore (1782) by the singer, composer, and Calzabigi protégé Vito Giuseppe Millico (1737–1802), created expressly for Naples under the sway of reform principles and his direct collaborations with the poet of Orfeo, Alceste, and Paride ed Elena. My study concludes with an examination of the emergence of the so-called “Lenten tragedy” or azione sacra per musica, a theatrical form created in the exclusive environs of the Teatro di San Carlo, the royal theater of the Bourbon capital, yet imparting a new theatrical aesthetic and modes of representation for contemporary sacred genres consistent to select ideals of reform culture.
    [Show full text]
  • Bel Canto’ a Dream to Aspire To, Or an Achievable Reality
    ‘Bel Canto’ A dream to aspire to, or an achievable reality. ‘Quite a bit about the concept of bel canto has long been open to interpretation, including the meaning of this loose term itself, which literally translates as beautiful singing’1. As a passionate operatic tenor, I am fascinated in exploring bel canto singing, otherwise known as ‘The Golden Age of Song.’ What is it about those early singers that won that acclaimed title compared to opera singers today? Were they superior in their vocal instrument and was it purely through the teachings of the bel canto technique, or were there other factors at play? Tommasini from the New York Times explains that “The term did not come into fashion until midway through the 19th century”2. Does this mean the term should perhaps not become exclusive to an era and rather a term used to describe a sound quality? “Opera buffs today use the term bel canto all the time. Yet we each seem to bring a different set of assumptions to the concept”2. Over the course of this year I have significantly developed my technique as a classical singer, but the question I want to ask myself is ‘could I in this present day develop a bel canto voice?’ In order to explore these questions, I will focus on two contrasting songs. The first, ‘O del mio dolce ardor’ from Christoph Willibald Gluck’s 1770 opera Paride ed Elena and the second, ‘Bring Him Home’ from the 1980 musical Les Miserables by Claude Michel Schonberg and Alain Boublil.
    [Show full text]
  • Translating, Adapting, and Performing Opera in Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte at the King's Theatre" (2017)
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Translating, Adapting, And Performing Opera In Eighteenth- Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Lily Tamara Kass University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Comparative Literature Commons, Music Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Kass, Lily Tamara, "Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre" (2017). Publicly Accessible Penn Dissertations. 2379. https://repository.upenn.edu/edissertations/2379 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2379 For more information, please contact [email protected]. Translating, Adapting, And Performing Opera In Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte At The King's Theatre Abstract This dissertation examines music and text circulation in cosmopolitan Europe during the last decades of the eighteenth century through the lens of translation. London in the late eighteenth and early nineteenth centuries was the largest center of Italian operatic performance outside of Italy. All performances sung at the King’s Theatre, London, were sung in Italian, the presumed language of opera, even when the works had been originated in other languages. This created the need for a culture of translation and adaptation of works from abroad, making them suitable for a London audience partially through the retention of foreignness and partially through domesticating practices. In the 1790s, a period of political tension between Britain and post-Revolution France, four French operas were presented at the King's Theatre in Italian translations attributed to the poet Lorenzo Da Ponte (1749-1838): Gluck's Iphig�nie en Tauride, Gr�try's Z�mire et Azor, Monsigny's La belle Ars�ne, and Sacchini's Arvire et �v�lina.
    [Show full text]
  • Haydn Philemon Und Baucis
    DNHAYHAYDNNDYADNDHYADHAYDNHNDYAYADNHHAYDNYDNHADHYNAHAYDND- NHYADADYNYDNHAHAYDNNDAYDHAYDNDNHYAYANHDHAYDNHDYANYHNDA- HAYDNNYDAHNAY HDHAYDNDANHYHDAN YHAYDN DNAYYDNHAHAYDNH- DYANYADNHNYAHDHAYDNHDYANNDHAY HDNY HAYDNNDYHAYDNAHDNYHYADN- H AY DN HDYNANYDHAHNADYYDANHDHYANDYHANYDHAYDNYNDAHDYHANYDH- DANY HAYDNDNAYHHAYDNYAHNDHAYDNYDHNAHAYDNDYANDNHDYAYHN- DAHAYDNDAYNHNHYDAHAYDNADYNHADYHNDYHNAYHNDAHAYDNYANHDH- DANYHDYNANHDY HAYDNHNYDANYDANANDYHHAYDNDNHYANYDAHHAYDNDNAHYN- HYDAHNDAYHAYDNHAYDNNAYDHADYNHHAYDNDYANHYANDH HNYADHAYDNNDÝAH DNHAYHAYDNNDYADNDHYADHAYDNHNDYAYADNHHAYDNYDNHADHYNAH- DYANNDHAY HDNYDNHAYHAYDNNDYADNDHYADHAYDNHNDYAYADNHHAYDNY- DNHADHYNAHAYDNDNHYADADYNYDNHAHAYDNNDAYDHAYDNDNHYAYANHDHAYDN- HDYANYHNDAHAYDNNYDAHNAY HDHAYDNDANHYHDAN YHAYDNHDNAYYDN- HAHAYDNHDYANYADNHNYAHDPHILEMONHAYDNHDYAN UNDNDHAY BAUCISHDNYAHAYDNNDYHAYDNAH- DNYHYADNH AY DN HDYNANYDHAa marionetteHNADY operaYDANHDHYANDYHANYDHAYDNYNDAHDYH- ANYDHDANY HAYDNDNAYHHAYDNYAHNDHAYDNYDHNAHAYDNDYANDNHDYAYHN- DAHAYDNDAYNHNHYDA ADYHNDYHNAYHNDA HD- christophHAYDN genzADYNH philemon HAYDNYANHD ANYHDYNANHDYAHAYDNHNYDANYDANANDYHHAYDNDNHYANYDAHHAYDNDNAHYN- HYDAHNDAYHAYDNNAYDHADYNHmarenHAYDN engelhardtDYANH baucisYANDH HNYADHAYDNNDÝAH DNHAYHAYDNNDYADNDHYADjanHAYDN petryka aretHNDYAYADNHHAYDNYDNHADHYNAH- DYANNDHAY HDNYDNHAYHAYDNNDYADNDHYADHAYDNHNDYAYADNHHAYDNY- DNHADHYNAHAYDNDNHYADADYNYDNHAalexandra reinprecht narcissaHAYDNNDAYDHAYDNDNHYAYANHDHAYDN- HDYANYHNDAHAYDNNYDAHfrank hoffmannNAY HD HAYDN jupiter DANHYHDAN YHAYDNHDNAYYDN- HAHAYDNHDYANYADNHNYAHDhermannHAYDN beilHDYAN merkur NDHAY HDNYAHAYDNNDYHAYDNAH-
    [Show full text]
  • Mary Rowen Obelkevich, Associate Editor GENERAL EDITING: Margaret Ross Griffel, Associate Editor REPORTS-DOMESTIC: D
    EDITOR-IN-CHIEF: L. MICHAEL GRIFFEL ADJUNCT EDITOR: Mary Rowen Obelkevich, associate editor GENERAL EDITING: Margaret Ross Griffel, associate editor REPORTS-DOMESTIC: D. Jay Rahn, associate editor REPORTS-FOREIGN: Emmanuel Leemans, associate editor Robert Fuller, assistant editor ARTICLES: Isabelle Emerson, associate editor Miriam Kartch, editorial assistant DISSERTATIONS: Josephine Mongiardo Cooper, associate editor Susan Testa, associate editor BIBLIOGRAPHICA: Thomas W. Baker, associate editor June Lord-Wood, editorial assistant SPECIAL PROJECTS: Tamara Lowe Dworsky, associate editor Leonie Rosenstiel, associate editor Maurie Sommer, associate editor Bonnie Lester, assistant editor BUSINESS: Stephen Willis, Manager, associate editor Jack Light, Advertising, assistant editor SECRETARY: Cynthia Schwan FACULTY ADVISOR: Edward A. Lippman Copyright © 1971, The Trustees of Columbia University in the City of New York Printed in Great Britain by Wm. Clowes & Sons, Ltd., London CORRESPONDING EDITORS Domestic Patricia T. Nolan Boston University, Boston, Mass. Alexander Silbiger Brandeis University, Waltham, Mass. Harriet Franklin Brown University, Providence, R.I. Myrl Hermann Bryn Mawr College, Bryn Mawr, Pa. Harrison M. Schlee Carnegie-Mellon University, Pittsburgh, Pa. Marilyn Holt Case Western Reserve University, Cleveland, Ohio Robert E. Houston Catholic University of America, Washington, D.C. Nathan Bergenfeld City University of New York,Brooklyn College,Brooklyn, N.Y. Adrienne F. Block City University of New York, Hunter College, New York, N.Y. Bea Friedland City University of New York, Queens College, Flushing, N.Y. Mary R. Obelkevich Columbia University, New York, N.Y. Gaynor G. Jones Cornell University, Ithaca, N.Y. Thomas Kelly Harvard University, Cambridge, Mass. James C. Griesheimer Indiana University, Bloomington, Ind. Howard Knopf Juilliard School, New York, N.Y.
    [Show full text]
  • Música, Teatro E Cinema CRANMER, D
    Revista MúsicaHodie,Goiânia -V.16,209p.,n.1,2016 Artigos Científicos - Temática: Música, Teatro e Cinema CRANMER, D. Giuseppe Millico and La pietà d’amore: from Naples to Lisbon to Rio de Janeiro. 104_artigo Revista Música Hodie, Goiânia, V.16 - n.1, 2016, p. 45-52 Giuseppe Millico and La pietà d’amore: from Naples to Lisbon to Rio de Janeiro David Cranmer (FCSH/Universidade NOVA de Lisboa, Lisbon, Portugal) [email protected] Abstract: Giuseppe Millico, best known in his time as a castrato singer and to posterity for his connections with Christoph Gluck, was also a composer of songs and dramatic works. This article traces the career of one of the lat- ter, the pastoral drama La pietà d’amore. It was first performed in Naples in 1782, where, unusually, it was also pub- lished. It subsequently came to be staged in Lisbon, the following year, and at the Ópera Nova Theatre, Rio to Janeiro, probably in 1786. In addition, certain aspects of the preface to the printed edition are considered, as well as manu- script scores and libretti relating to the known productions. Keywords: Giuseppe Millico; La pietà d’amore; Ópera Nova; Ajuda; Antonio Lucchesi. Giuseppe Millico e La pietà d’amore: de Nápoles a Lisboa ao Rio de Janeiro Resumo: Giuseppe Millico, célebre no seu tempo como cantor castrato e conhecido pela posteridade sobretudo de- vido às suas ligações com Christoph Gluck, foi igualmente compositor de canções e obras dramáticas. Este artigo de- bruça-se sobre a disseminação de uma destas últimas, o drama pastoral La pietà d’amore.
    [Show full text]
  • Sappho, Nine Fragments for Contralto
    Sir Granville Bantock Sappho, Nine Fragments for contralto A Program of Silver Thread Productions and Aegean Arts Sir Edward John Poynter, The Siren (1864) A Publication of Clairview Books LINCOLN CENTER BOOK LAUNCH EDITION June 8th 2016 GRANVILLE BANTOCK by Jeffrey M. Duban from available sources as adapted and enlarged Early Life and Development Granville Ransome Bantock (1868-1946) was born in London to an eminent Scottish surgeon (George Granville Bantock) and a munificent and vivacious theater-loving mother (Elizabeth “Bessie” Ransome). Though intended by his parents for the Indian Civil Service, he suffered poor health and initially turned to chemical engineering. Sooner drawn to music, at age 20 he entered the Royal Academy of Music, where he studied harmony and composition with Frederick Corder – the first translator of Wagner’s Ring into English, and the teacher of illustrious students including Arnold Bax, York Bowen, Alan Blush, and Eric Coates. 1 Early conducting engagements took Granville around the world body of songs and choral music. However, with the emergence of a new with a musical comedy troupe. He pioneered the practice of devoting generation of composers after World War I, Bantock’s music lost some entire concerts to single composers. In 1890, he became Principal of the of its éclat. The BBC nonetheless commissioned and performed his three Birmingham and Midland Institute School of Music, and in January 1908 biggest scores from the years between the wars: the massive setting of The premiered Delius’ Brigg Fair with the Liverpool Orchestral Society. Song of Songs, The Pilgrim’s Progress, and Pagan Symphony.
    [Show full text]
  • Christoph Willibald Gluck 1774-1779: Vers Un Style Universel?: Contribution À L'analyse D'iphigénie En Aulide, Armide
    Christoph Willibald Gluck 1774-1779 : vers un style universel ? : Contribution à l’analyse d’Iphigénie en Aulide, Armide, Iphigénie en Tauride, Echo et Narcisse Julien Garde To cite this version: Julien Garde. Christoph Willibald Gluck 1774-1779 : vers un style universel ? : Contribution à l’analyse d’Iphigénie en Aulide, Armide, Iphigénie en Tauride, Echo et Narcisse. Musique, musicologie et arts de la scène. Université Jean Monnet - Saint-Etienne, 2013. Français. NNT : 2013STET2186. tel- 01059088 HAL Id: tel-01059088 https://tel.archives-ouvertes.fr/tel-01059088 Submitted on 29 Aug 2014 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Université Jean Monnet, Saint-Étienne École doctorale Lettres, Langues, Linguistique et Arts (ED 484) Laboratoire de recherche LIRE – UMR 5611 THÈSE Pour obtenir le grade de DOCTEUR DE L’UNIVERSITÉ DE SAINT-ÉTIENNE Discipline : Musicologie Présentée et soutenue par Julien GARDE le 13 Décembre 2013 CHRISTOPH WILLIBALD GLUCK 1774-1779 : VERS UN STYLE UNIVERSEL ? CONTRIBUTION À L’ANALYSE D’IPHIGÉNIE EN AULIDE, ARMIDE, IPHIGÉNIE EN TAURIDE, ÉCHO ET NARCISSE Sous la direction de : M. Alban RAMAUT Professeur, Université de Saint-Étienne JURY : M. Jean-Christophe BRANGER Maître de conférences HDR, Université de Saint-Étienne Mme France MARCHAL-NINOSQUE Professeur, Université de Franche-Comté M.
    [Show full text]