The New Complete Edition
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Betulia Liberata
Wolfgang Amadeus Mozart Pietro Metastasio BETULIA LIBERATA 1771 Éditionsǀ ǀ Copyright © 2018 Nicolas Sceaux, Les Talens Lyriques – Christophe Rousset. Nicolasǀ ǀ Sheet music from http://nicolas.sceaux.free.fr typeset using LilyPond on 2018-11-16. Sceauxǀ ǀ Creative Commons Attribution-ShareAlike 4.0 License — free to download, distribute, modify and perform. 2 TABLE DES MATIÈRES Libretto .......................................... 3 1-0 Overtura ......................................... 12 Parte Prima 1-1 Recitativo. Ozia: Popoli di Betulia, ah qual v’ingombra . 23 1-10 Aria. Giuditta: Del pari infeconda ................... 79 1-2 Aria. Ozia: D’ogni colpa la colpa maggiore ............ 24 1-11 Recitativo. Ozia, Cabri, Giuditta: Oh saggia, oh santa, 1-3 Recitativo. Cabri, Amital: E in che sperar? ............ 47 oh eccelsa donna! ................................. 91 1-4 Aria. Cabri: Ma qual virtù non cede .................. 48 1-12 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 93 1-5 Recitativo. Ozia, Cabri, Amital: Già le memorie antiche . 54 1-13 Recitativo. Oh saggia, oh santa, oh eccelsa donna! ..... 100 1-6 Aria. Amital: Non hai cor, se in mezzo a questi ......... 56 1-14 Aria. Achior: Terribile d’aspetto ..................... 102 1-7 Recitativo. Ozia, Amital, Coro: E qual pace sperate ..... 65 1-15 Recitativo. Ti consola, Achior ....................... 112 1-8 Aria con Coro. Ozia, Coro: Pietà, se irato sei ........... 67 1-16 Aria. Giuditta: Parto inerme, e non pavento ........... 114 1-9 Recitativo. Cabri, Amital, Ozia, Giuditta: Chi è costei, 1-17 Coro: Oh prodigio! Oh stupor! ....................... 133 che qual sorgente aurora ........................... 74 Parte Seconda 2-1 Recitativo. Achior, Ozia: Troppo mal corrisponde ...... 144 2-9 Recitativo. -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
14 January 2011 Page 1 of 9
Radio 3 Listings for 8 – 14 January 2011 Page 1 of 9 SATURDAY 08 JANUARY 2011 05:37AM virtuosity, but it's quite possible he wrote this concerto to play Mozart, Wolfgang Amadeus (1756-1791) himself. One early soloist commented that the middle SAT 01:00 Through the Night (b00wx4v1) Alma Dei creatoris (K.277) movement was 'too clever by half', but it's the finale that's The Genius of Mozart, presented by John Shea Ursula Reinhardt-Kiss (soprano); Annelies Burmeister (mezzo); catches most attention today, as it suddenly lurches into the Eberhard Büchner (tenor); Leipzig Radio Chorus & Symphony 'Turkish' (or more accurately Hungarian-inspired) style - and 01:01AM Orchestra), Herbert Kegel (conductor) the nickname has stuck. Mozart, Wolfgang Amadeus (1756-1791) Thamos, König in Ägypten (K.345) 05:43AM Conductor Garry Walker is no stranger to Mozart, last season Monteverdi Choir; English Baroque Soloists; cond. by John Mozart, Wolfgang Amadeus (1756-1791) he visited the St David's Festival in West Wales with the Eliot Gardiner 16 Minuets (K.176) (excerpts) Nos.1-4 orchestra, taking the 'Haffner' symphony. Today he conducts Slovak Sinfonietta, cond. Tara Krysa the players in Symphony No. 25, written when Mozart was a 01:50AM teenager. It's his first symphony in a minor key, and maybe the Mozart, Wolfgang Amadeus (1756-1791) 05:51AM passion and turbulence we hear in the outer movements a young Piano Sonata in C minor (K. 457) (1784) Mozart, Wolfgang Amadeus (1756-1791) man struggling out of his adolescence. Denis Burstein (piano) Quartet for strings in B flat major (K.458) "Hunt" Quatuor Mosaïques MOZART 02:15AM Violin Concerto No. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
APRIL 2009 LIST See Inside for Valid Dates
tel 0115 982 7500 fax 0115 982 7020 APRIL 2009 LIST See inside for valid dates Dear Customer As the weather here becomes positively agreeable and the evenings lengthen, we offer you a cornucopia of delights containing both new growth and old returning favourites in a seductively priced spring bouquet - we hope you cannot resist! The major new release this month is Angela Hewitt’s re-visit of the Bach 48, a fresh look at this masterpiece of the keyboard repertoire. The reports indicate a quite different approach from her original recordings a decade ago, resulting from her years of performing and living with this music - a ‘new-found freedom’ as Ms Hewitt calls it. We have made it available at a special price for this list, along with reductions on the whole of her Hyperion back catalogue. The LSO Live Gergiev Mahler series continues with Symphony no.8 recorded in the mammoth acoustic of St Paul’s Cathedral. DG, in this Handel year, provide us with the first ever studio recording of his neglected Ezio, first performed in London in 1732 and a fine example of ‘opera seria’. For fans of the Gheorghiu/Alagna duo, there is a fascinating new world premiere recording on the Larghetto label (see page 8) of excerpts from a little known opera by Vladimir Cosma, Marius and Fanny, inspired by the writings of Marcel Pagnol. As always, we have negotiated reduced price offers - HM Gold, Praga, Delphian, Accord, Handel sets on Hyperion, EMI Gemini and British Composers, and the Medici Arts DVD catalogue. Make the most of them. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
3149028135572.Pdf
1 2 WOLFGANG AMADEUS MOZART BETULIA LIBERATA SANDRINE PIAU · AMANDA FORSYTHE · TERESA IERVOLINO PABLO BEMSCH · NAHUEL DI PIERRO ACCENTUS LES TALENS LYRIQUES CHRISTOPHE ROUSSET 3 Ce projet a reçu le généreux soutien de Monsieur Nizam Kettaneh. Les répétitions et la représentation publique du 22 juin 2019 à la Seine Musicale ont reçu le généreux soutien de Monsieur Alain Blanc-Brude. Enregistré par Little Tribeca le 22 juin 2019 et du 29 juin au 1er juillet 2019 à la Seine Musicale, Boulogne-Billancourt. Direction artistique : Gaëtan Juge Prise de son : Gaëtan Juge et Frédéric Briant Montage, mixage et mastering : Ignace Hauville Édition musicale : Nicolas Sceaux pour Les Talens Lyriques Traduction française par Dennis Collins (note) et Mary Pardoe (livret) English translation by Mary Pardoe (libretto) Deutsche Übersetzung von Hilla Maria Heintz (Libretto - Textbeilage) L’introduction par Simon Keefe, tirée du programme du concert donné à l’occasion de la Mozartwoche 2019, est ici reproduite avec l’autorisation de la Stiftung Mozarteum Salzburg. Les Talens Lyriques sont soutenus par le ministère de la Culture-DRAC Île-de-France, la Ville de Paris et le Cercle des Mécènes. L’ensemble remercie ses Grands Mécènes : la Fondation Annenberg / GRoW – Gregory et Regina Annenberg Weingarten, Madame Aline Foriel-Destezet et Mécénat Musical Société Générale. Les Talens Lyriques sont depuis 2011 artistes associés, en résidence à la Fondation Singer-Polignac. [LC] 83780 · AP235 ℗ 2020 Little Tribeca · Les Talens Lyriques © 2020 Little Tribeca · Les Talens Lyriques 1 rue Paul Bert, 93500 Pantin apartemusic.com lestalenslyriques.com 4 WOLFGANG AMADEUS MOZART BETULIA LIBERATA KV 118 [1771] Azione sacra in due parti Libretto by Pietro Metastasio 5 6 1. -
Opuscolo 20-21 Dic.Pdf
Wolfgang Amadeus Mozart (Salisburgo 1756 – Vienna 1791) a l 1 6 a La Betulia liberata, Oratorio sacro in due parti per soli, coro ed orchestra, K 118 (K 74c) S Interpreti: Personaggi: i Roberto De Gennaro Crescenti Ozia, Principe di Betulia, tenore d Lorena Scarlata Rizzo Giuditta, Vedova di Manasse, mezzosoprano e Chiara Fiorani Amital, Nobile donna israelita, soprano t Alfonso Michele Ciulla Achior, Principe degli Ammoniti, basso o Serena Vitale Cabri, Capo del Popolo, soprano N Martina Mazzola Carmi, Capo del Popolo, soprano Ouverture - Allegro (re minore). Andante. Pre - PARte II: sto - 2 oboi, 2 fagotti, 4 corni, 2 trombe troppo mal corrisponde - Recitativo (Achior, PARte I: Ozia) Popoli di Betulia - Recitativo (Ozia) 10. Se Dio veder tu vuoi - Aria (Ozia) - Andante 1. D'ogni colpa la colpa maggiore - Aria (Ozia) (la maggiore) - 2 oboi, 2 corni, archi - Allegro aperto (si bemolle maggiore) - 2 Confuso io son - Recitativo (Achior, Ozia, oboi, 2 corni, archi Amital) e in che sperar? - Recitativo (Cabri, Amital) 11. Quel nocchier, che in gran procella - Aria 2. Ma qual virtù non cede - Aria (Cabri) - Mo - (Amital) - Allegro (si bemolle maggiore). An - derato (sol minore) - archi dante (sol minore). Allegro (si bemolle mag - Già le memorie antiche - Recitativo (Ozia, Ca - giore) - 2 oboi, 2 corni bri, Amital) Lungamente non dura - Recitativo (Ozia, Ami - 3. Non hai cor, se in mezzo a questi - Aria (Ami - tal, Choeur, Cabri, Giuditta, Achior) tal) - Allegro (mi bemolle maggiore). Andante Appena da Betulia partii - Recitativo (Giuditta, (do minore). Allegro (mi bemolle maggiore) Amital, Ozia) - archi - 2 oboi, 2 fagotti, 2 corni, archi Oh prodigo! Oh portento! - Recitativo (Ozia, e qual pace sperate - Recitativo (Ozia, Amital, Cabri, Achior, Giuditta, Amital) Coro) 12. -
635212061923.Pdf
8771_CO_Strum und Drang BOOKLET_FINAL.indd 1 10/12/2019 15:25 Recorded at St John’s Smith Square, London, UK from 4 to 6 January 2019 STURM UND DRANG Produced, Engineered and Edited by Andrew Mellor Assistant engineer: Brett Cox Design: Toucari Live and Debbie Coates Volume 1 Cover image: Shipwreck by Claude Joseph Vernet (1714-1789) Session photography: Benjamin Ealovega Session filming: Martin Kendrick Music by Gluck, Jommelli, Haydn, Beck and Traetta Italian language coach: Matteo dalle Fratte Harpsichord technician: Malcolm Greenhalgh Orchestra playing on period instruments at A = 430 Hz CHIARA SKERATH soprano The recording of Haydn’s ‘La Passione’ symphony is dedicated to Ken Coates, in loving memory. We are extremely grateful to George & Efthalia Koukis and Koukis Aviation for making this recording possible. THE MOZARTISTS Matthew Truscott (leader) We are also grateful to the following people and organisations for their generous support and assistance: Kate Bingham & Jesse Norman, Sir Vernon & Lady Ellis, Jeffery & Jennifer Eldredge, Jeanette Grohe, Richard Heason and all the staff at St John’s Smith Square, Pearce & Beaujolais Rood, Hamish and Carole Ritchie, Dyrk Riddell, Joe IAN PAGE conductor & Christine Swanson, Tina Vadaneaux, Michael & Rosemary Warburg, and all the other individuals who support our work. 2 STURM UND DRANG 1 STURM UND DRANG 1 3 sturm8771_CO_Strum und drang 1 finalund forDrang nick.indd BOOKLET_FINAL.indd 2 2 09/12/201910/12/2019 11:12:16 15:25 sturm und drang 1 final for nick.indd 3 09/12/2019 11:12:16 Recorded -
The Classical Period (1720-1815), Music: 5635.793
DOCUMENT RESUME ED 096 203 SO 007 735 AUTHOR Pearl, Jesse; Carter, Raymond TITLE Music Listening--The Classical Period (1720-1815), Music: 5635.793. INSTITUTION Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 42p.; An Authorized Course of Instruction for the Quinmester Program; SO 007 734-737 are related documents PS PRICE MP-$0.75 HC-$1.85 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Course Content; Course Objectives; Curriculum Guides; *Listening Habits; *Music Appreciation; *Music Education; Mucic Techniques; Opera; Secondary Grades; Teaching Techniques; *Vocal Music IDENTIFIERS Classical Period; Instrumental Music; *Quinmester Program ABSTRACT This 9-week, Quinmester course of study is designed to teach the principal types of vocal, instrumental, and operatic compositions of the classical period through listening to the styles of different composers and acquiring recognition of their works, as well as through developing fastidious listening habits. The course is intended for those interested in music history or those who have participated in the performing arts. Course objectives in listening and musicianship are listed. Course content is delineated for use by the instructor according to historical background, musical characteristics, instrumental music, 18th century opera, and contributions of the great masters of the period. Seven units are provided with suggested music for class singing. resources for student and teacher, and suggestions for assessment. (JH) US DEPARTMENT OP HEALTH EDUCATION I MIME NATIONAL INSTITUTE -
Welkom Achtergrondartikelen Programma's En Toelichtingen Musici Informatie
2 welkom welcome 7 achtergrondartikelen articles 41 programma's en toelichtingen programmes and program notes 99 musici musicians 135 informatie information 1 Beste Biënnale bezoeker, Na drie succesvolle edities van de worden gepresenteerd leeft bij ons voort. In Dear Biennial visitor, The Biennial also offers young professionals Biënnale kan met voorzichtige trots worden deze Biënnale worden liefst elf gloednieuwe After three successful editions of the Amsterdam and amateurs the opportunity to make their geconstateerd dat er een unieke traditie is composities ten doop gehouden, daarnaast Cello Biennial, we can conclude with guarded way into the spotlight. A great number of young ontstaan in het Muziekgebouw aan ’t IJ. Van zijn er dagelijks composities te horen die – pride that a unique tradition has been established professionals have entered the National Cello 26 oktober tot en met 3 november 2012 is het ten onrechte – zelden worden uitgevoerd. in the Muziekgebouw aan ‘t IJ. From October 26 Competition or signed up for the twelve public weer zo ver: het hele gebouw gonst dan van Ondertussen is de Biënnale ook de plek through November 3, the tradition continues: the masterclasses, workshops or Open Podium. In de celloklanken. waar jonge professionals en amateurs entire building will buzz with the sound of the addition there is the ever-popular Mega Kinder Dit festivalboek maakt u wegwijs in het zich in de kijker kunnen spelen. Veel jonge cello. Cello Orkest (MegaKCO), where approximately volledige programma van deze Vierde professionele cellisten schreven zich in voor This festival book will guide you through the 140 young amateurs will bundle their efforts and Amsterdamse Cello Biënnale. -
The Howard Mayer Brown Libretto Collection
• The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali