Alexander Pushkin's “Scene from Faust”
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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice. -
COCKEREL Education Guide DRAFT
VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19 -
Chicago Symphony Orchestra
Pittsburgh Symphony Orchestra 2015-2016 Mellon Grand Classics Season April 1, 2 and 3, 2016 MANFRED MARIA HONECK, CONDUCTOR EMANUEL AX, PIANO / , BOY SOLOIST / , SOPRANO / , BASS THE ALL UNIVERSITY CHOIR CHRISTINE HESTWOOD AND ROBERT PAGE, DIRECTORS / CHILDREN’S CHORUS / , DIRECTOR JOHANNES BRAHMS Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 I. Allegro non troppo II. Allegro appassionato III. Andante IV. Allegretto grazioso Mr. Ax Intermission CARL ORFF “Fortuna imperatrix mundi” from Carmina Burana for Chorus and Orchestra LEONARD BERNSTEIN Chichester Psalms for Chorus, Boy Soloist and Orchestra I. Psalm 108, vs. 2 (Maestoso ma energico) — Psalm 100 (Allegro molto) II. Psalm 23 (Andante con moto, ma tranquillo) — Psalm 2, vs. 1-4 (Allegro feroce) — Meno come prima III. Prelude (Sostenuto molto) — Psalm 131 (Peacefully flowing) — Psalm 133, vs. 1 (Lento possibile) boy soloist GIUSEPPE VERDI Overture to La forza del destino GIUSEPPE VERDI “Te Deum” (No. 4) from Quattro Pezzi Sacri April 1-3, 2016, page 2 for Chorus and Orchestra soprano soloist ARRIGO BOITO Prologue to Mefistofele for Bass Solo, Chorus, Children’s Chorus and Orchestra bass soloist April 1-3, 2016, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA JOHANNES BRAHMS Born 7 May 1833 in Hamburg, Germany; died 3 April 1897 in Vienna, Austria Concerto No. 2 in B-flat major for Piano and Orchestra, Opus 83 (1878, 1881) PREMIERE OF WORK: Budapest, 9 November 1881; Redoutensaal; Orchestra of the National Theater; Alexander Erkel, conductor; Johannes Brahms, soloist PSO PREMIERE: 15 January 1909; Carnegie Music Hall; Emil Paur, conductor and soloist APPROXIMATE DURATION: 50 minutes INSTRUMENTATION: woodwinds in pairs plus piccolo, four horns, two trumpets, timpani and strings In April 1878, Brahms journeyed to Goethe’s “land where the lemon trees bloom” with two friends, the Viennese surgeon Theodor Billroth and the composer Carl Goldmark. -
Download Vasily Zhukovsky's Romanticism and the Emotional
Download Vasily Zhukovsky's Romanticism and the Emotional History of Russia (Northwestern University Press Studies in Russian Literature and Theory) by Ilya Vinitsky (2015-05-31) PDF Book Download, PDF Download, Read PDF, Download PDF, Kindle Download Download Vasily Zhukovsky's Romanticism and the Emotional History of Russia (Northwestern University Press Studies in Russian Literature and Theory) by Ilya Vinitsky (2015-05-31) PDF Download PDF File Download Kindle File Download ePub File Our website also provides Download Vasily Zhukovsky's Romanticism and the Emotional History of Russia (Northwestern University Press Studies in Russian Literature and Theory) by Ilya Vinitsky (2015-05-31) PDF in many format, so don’t worry if readers want to download Vasily Zhukovsky's Romanticism and the Emotional History of Russia (Northwestern University Press Studies in Russian Literature and Theory) by Ilya Vinitsky (2015-05-31) PDF Online that can’t be open through their device. Go and hurry up to download through our website. We guarantee that e-book in our website is the best and in high quality. Download Vasily Zhukovsky's Romanticism and the Emotional History of Russia (Northwestern University Press Studies in Russian Literature and Theory) by Ilya Vinitsky (2015-05-31) PDF Bestselling Books Vasily Zhukovsky's Romanticism and the Emotional History of Russia (Northwestern University Press Studies in Russian Literature and Theory) by Ilya Vinitsky (2015-05-31) PDF Download Free, The Last Mile (Amos Decker series), Memory Man... Vasily Zhukovsky's Romanticism and the Emotional History of Russia (Northwestern University Press Studies in Russian Literature and Theory) by Ilya Vinitsky (2015-05-31) PDF Free Download The benefit you get by reading this book is actually information inside .. -
Three Poems on the Death of Pushkin
STEPHANIE SANDLER THE LAW, THE BODY, AND THE BOOK: THREE POEMS ON THE DEATH OF PUSHKIN ... the Cheated Eye Shuts Arrogantly-in the Grave- Another way-to See- Emily Dickinson No fact of Alexander Pushkin's life or work was so important in constructing modern mythologies of Pushkin as his death. As a preliminary effort toward understanding those modern myths, I propose here to consider three nineteenth-century poems on Pushkin's death, all written soon thereafter. Mikhail Lermontov's "Smert' poeta" ("The Death of the Poet," 1837) de- fined Pushkin's death as an act of social violence and created a powerful discourse about Pushkin's death based on moral judgment. His definition itself constituted a symbolic act in Russian political and cultural life: "Smert' poeta" attained great authority for succeeding generations' writings about Pushkin's death and about the political context of his life. Less well-known accounts by Vasilii Zhukovskii and Countess Evdokiia Rostopchina will show more personal and strictly historical responses, foreshadowing the unorthodox responses of some of Pushkin's later readers. At the time of his death in a duel in 1837, Alexander Pushkin was admired as Russia's great national poet. Though his fame had declined during the 1830s, crowds who waited for news of the dying poet revealed how much Pushkin was loved and how pro- found was Russia's loss. The transformation of the death into tributes to his greatness began at once,l and Lermontov's "Smert' 1. For a survey of nineteenth-century poems about Pushkin, see R. V. Iezuitova, "Evoliutsiia obraza Pushkina v russkoi poezii XIX veka," Pushkin: Issledovaniia i materialy, 5 (1967), 113-39. -
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............................................................................... -
Inhaltsübersicht
Johann Wolfgang Goethe • Faust Inhaltsübersicht Prolog im Himmel 1 – Die Wette Seite 10 Gott (Der Herr) und der Teufel (der in diesem Stück „Mephisto- pheles“ heißt) treffen sich im Himmel. Der Teufel findet die Welt schlecht. Gott stimmt nicht zu und nennt als Beispiel den Doktor Faust, der im Grunde ein guter Mensch sei. Der Teufel wettet, dass er den Doktor Faust zum Bösen verführen wird. Gott nimmt die Wette an. Nacht 2 – Faust beschwört den Erdgeist Seite 14 Faust denkt über den Sinn seines Lebens nach. Er hat zwar alles studiert, was möglich ist. Er ist sogar Doktor. Aber das, was die Welt im Innersten zusammenhält, hat er nicht heraus bekommen. Könnte ihm die Magie (Zauberei) helfen? – Tatsächlich gelingt es ihm, den Erdgeist zu beschwören. Doch Faust kann die schreckliche Erscheinung des Erdgeistes nicht ertragen. 2 Inhaltsübersicht 3 – Faust denkt an Selbstmord Seite 19 Faust ist tief enttäuscht, weil er den Erdgeist nicht halten konnte. Was für einen Sinn hat sein Leben noch? Er nimmt Gift aus dem Regal und will Selbstmord begehen. – Aber Glockenklang und Chorgesang kündigen das Osterfest an und halten ihn von seinem Vorhaben ab. Vor dem Tor 4 – Der Osterspaziergang Seite 22 Es ist ein schöner Ostermorgen. Vor den Stadttoren spa zieren die glücklichen Menschen, Bauern, Hand- werksburschen, Dienstmädchen, Schüler, Bürger, Bettler und Soldaten. Schließlich treten auch Faust und sein Gehilfe Wagner auf. Faust freut sich an dem bunten Treiben. Zum Schluss kommt ein schwarzer Pudel zu ihnen. Studierzimmer 5 – Des Pudels Kern Seite 28 Faust nimmt den Pudel mit nach Hause und möchte seine gelehrten Studien fortsetzen. -
Proquest Dissertations
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e 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 indicate 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. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Artxsr, Ml 48106-1346 USA 800-521-0600 UMI* NOTE TO USERS Page(s) missing in number only; text follows. Page(s) were microfilmed as received. 131,172 This reproduction is the best copy available UMI FRANK WEDEKIND’S FANTASY WORLD: A THEATER OF SEXUALITY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University Bv Stephanie E. -
Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
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International Conference on Arts, Design and Contemporary Education (ICADCE 2016) Russianness in the Works of European Composers Liudmila Kazantseva Department of Theory and History of Music Astrakhan State Concervatoire Astrakhan, Russia E-mail: [email protected] Abstract—For the practice of composing a conscious Russianness is seen more as an exotic). As one more reproduction of native or non-native national style is question I’ll name the ways and means of capturing Russian traditional. As the object of attention of European composers origin. are constantly featured national specificity of Russian culture. At the same time the “hit accuracy” ranges here from a Not turning further on the fan of questions that determine maximum of accuracy (as a rule, when finding a composer in the development of the problems of Russian as other- his native national culture) to a very distant resemblance. The national, let’s focus on only one of them: the reasons which out musical and musical reasons for reference to the Russian encourage European composers in one form or another to culture they are considered in the article. Analysis shows that turn to Russian culture and to make it the subject of a Russiannes is quite attractive for a foreign musicians. However creative image. the European masters are rather motivated by a desire to show, to indicate, to declare the Russianness than to comprehend, to II. THE OUT MUSICAL REASONS FOR REFERENCE TO THE go deep and to get used to it. RUSSIAN CULTURE Keywords—Russian music; Russianness; Western European In general, the reasons can be grouped as follows: out composers; style; polystyle; stylization; citation musical and musical. -
Gretchen's Shade by Nicole Martinelli, English
Commentary on “Gretchen’s Shade By Nicole Martinelli, English 275 Contracts with the devil ignorantly made, true meeting with a very forward Faust in the street, to their reunion at her neighbor’s house, this love found and lost, an innocent young girl story endeavors to turn the virginal love interest corrupted by the promises of an older man – into her own protagonist. The reader can take these tropes are neither new nor uncommon but several detours to get there, but all roads they do all culminate in Johann Wolfgang Von eventually lead back to that shade, Faust, that Goethe’s Faust. The German play surrounding she can never quite shake. Underneath the bargains made with devils give rise to dozens of deceit, of course, Faust does love Gretchen – but popular derivations from Queen’s “Bohemian never so honestly as Gretchen loves him while Rhapsody” to films like The Shining and the young girl is lusted after and preyed upon by Bedazzled and even anime like Death Note. The the older man. It’s an unfortunately common piece inspires Faustian deals to be made in all tale that is told, and lived, sorts of media and time and time again. throughout popular cul- From Lolita to Twilight, ture. the story hardly ever At its core, Faust depicts its women making may be about a man healthy decisions. seeking to live to his Here, as the read- fullest capacity and dis- er, we are offered several cover the secrets of life, decisions that differ from but we also see who the original incarnation. -
The Education of Alexander and Nicholas Pavlovich Romanov The
Agata Strzelczyk DOI: 10.14746/bhw.2017.36.8 Department of History Adam Mickiewicz University in Poznań The education of Alexander and Nicholas Pavlovich Romanov Abstract This article concerns two very different ways and methods of upbringing of two Russian tsars – Alexander the First and Nicholas the First. Although they were brothers, one was born nearly twen- ty years before the second and that influenced their future. Alexander, born in 1777 was the first son of the successor to the throne and was raised from the beginning as the future ruler. The person who shaped his education the most was his grandmother, empress Catherine the Second. She appoint- ed the Swiss philosopher La Harpe as his teacher and wanted Alexander to become the enlightened monarch. Nicholas, on the other hand, was never meant to rule and was never prepared for it. He was born is 1796 as the ninth child and third son and by the will of his parents, Tsar Paul I and Tsarina Maria Fyodorovna he received education more suitable for a soldier than a tsar, but he eventually as- cended to the throne after Alexander died. One may ask how these differences influenced them and how they shaped their personalities as people and as rulers. Keywords: Romanov Children, Alexander I and Nicholas I, education, upbringing The education of Alexander and Nicholas Pavlovich Romanov Among the ten children of Tsar Paul I and Tsarina Maria Feodorovna, two sons – the oldest Alexander and Nicholas, the second youngest son – took the Russian throne. These two brothers and two rulers differed in many respects, from their characters, through poli- tics, views on Russia’s place in Europe, to circumstances surrounding their reign.