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Yhtenäistetty Gabriel Fauré : Teosten Yhtenäistettyjen Nimekkeiden Ohjeluettelo / Heikki Poroila
Suomen musiikkikirjastoyhdistyksen julkaisusarja 108 Yhtenäistetty Gabriel Fauré Teosten yhtenäistettyjen nimekkeiden ohjeluettelo Heikki Poroila Suomen musiikkikirjastoyhdistys Helsinki 2012 Julkaisija Suomen musiikkikirjastoyhdistys ry Ulkoasu Heikki Poroila © Heikki Poroila 2012 Toinen laitos, verkkoversio 2.0 01.4 Poroila, Heikki Yhtenäistetty Gabriel Fauré : Teosten yhtenäistettyjen nimekkeiden ohjeluettelo / Heikki Poroila. – Toinen laitos, verkkoversio 2.0. – Helsinki : Suomen musiikkikirjas- toyhdistys, 2012. – 19 s. – (Suomen musiikkikirjastoyhdistyksen julkaisusarja, ISSN 0784-0322 ; 108) – ISBN 952-5363-07-4 (PDF) ISBN 952-5363-07-4 (PDF) Yhtenäistetty Gabriel Fauré 2 Luettelon käyttäjälle GABRIEL FAURÉ (1845 – 1924) ei ole kirjastodokumentoinnin näkökulmasta erityisen hankala sävel- täjä. Useiden sävellysten pysyvä suosio antaa kuitenkin aihetta koko tuotannon standardointiin. Varsinaista teosluetteloa ei ole olemassa, vaan tiedot pohjautuvat keskeisissä hakuteoksissa oleviin luetteloihin. Pääosa Faurén sävellyksistä on opusnumeroituja, numerottomia on vain muutama kymmenen, nekin pääosin vähemmän tunnettuja teoksia. Opusnumerolistassa näyttäisi puuttuvan muutamia numeroita (9, 53, 60, 64, 71, 81, 100), joita ei ole ainakaan toistaiseksi löytynyt. Helsingin Viikissä lokakuussa 2012 Heikki Poroila Yhtenäistetty Gabriel Fauré 3 Opusnumeroidut teokset [Le papillon et la fleur, op1, nro 1] ► 1861. Lauluääni ja piano. Teksti Victor Hugo. ■ La pauvre fleur disait au papillon céleste [Mai, op1, nro 2] ► 1862. Lauluääni ja piano. Teksti Victor Hugo. ■ Puis-que Mai tout en fleurs dans les prés nous réclame [Dans les ruines d’une abbaye, op2, nro 1] ► 1866. Lauluääni ja piano. Teksti Victor Hugo. ■ Seuls, tous deux, ravis, chantants,comme on s’aime [Les matelots, op2, nro 2] ► 1870. Lauluääni ja piano. Teksti Théophile Gautier. ■ Sur l’eau bleue et profonde [Seule!, op3, nro 1] ► 1870. Lauluääni ja piano. Teksti Théophile Gautier. ■ Dans un baiser, l’onde au ravage dit ses douleurs [Sérénade toscane, op3, nro 2] ► 1878. -
Guillaume Tell Guillaume
1 TEATRO MASSIMO TEATRO GIOACHINO ROSSINI GIOACHINO | GUILLAUME TELL GUILLAUME Gioachino Rossini GUILLAUME TELL Membro di seguici su: STAGIONE teatromassimo.it Piazza Verdi - 90138 Palermo OPERE E BALLETTI ISBN: 978-88-98389-66-7 euro 10,00 STAGIONE OPERE E BALLETTI SOCI FONDATORI PARTNER PRIVATI REGIONE SICILIANA ASSESSORATO AL TURISMO SPORT E SPETTACOLI ALBO DEI DONATORI FONDAZIONE ART BONUS TEATRO MASSIMO TASCA D’ALMERITA Francesco Giambrone Sovrintendente Oscar Pizzo Direttore artistico ANGELO MORETTINO SRL Gabriele Ferro Direttore musicale SAIS AUTOLINEE CONSIGLIO DI INDIRIZZO Leoluca Orlando (sindaco di Palermo) AGOSTINO RANDAZZO Presidente Leonardo Di Franco Vicepresidente DELL’OGLIO Daniele Ficola Francesco Giambrone Sovrintendente FILIPPONE ASSICURAZIONE Enrico Maccarone GIUSEPPE DI PASQUALE Anna Sica ALESSANDRA GIURINTANO DI MARCO COLLEGIO DEI REVISORI Maurizio Graffeo Presidente ISTITUTO CLINICO LOCOROTONDO Marco Piepoli Gianpiero Tulelli TURNI GUILLAUME TELL Opéra en quatre actes (opera in quattro atti) Libretto di Victor Joseph Etienne De Jouy e Hippolyte Louis Florent Bis Musica di Gioachino Rossini Prima rappresentazione Parigi, Théâtre de l’Academie Royale de Musique, 3 agosto 1829 Edizione critica della partitura edita dalla Fondazione Rossini di Pesaro in collaborazione con Casa Ricordi di Milano Data Turno Ora a cura di M. Elizabeth C. Bartlet Sabato 20 gennaio Anteprima Giovani 17.30 Martedì 23 gennaio Prime 19.30 In occasione dei 150 anni dalla morte di Gioachino Rossini Giovedì 25 gennaio B 18.30 Sabato 27 gennaio -
References in Potpourris: 'Artificial Fragments' and Paratexts in Mauro Giuliani's Le Rossiniane Opp. 119–123
References in Potpourris: ‘Artificial Fragments’ and Paratexts in Mauro Giuliani’s Le Rossiniane Opp. 119–123 Francesco Teopini Terzetti Casagrande, Hong Kong The early-nineteenth-century guitar virtuoso Mauro Giuliani (1781– 1829) was a master of the potpourri, a genre of which the main characteristic is the featuring of famous opera themes in the form of musical quotations. Giuliani’s Le Rossiniane comprises six such potpourris for guitar, composed at the time when Rossini was the most famous operatic composer in Europe; they are acknowledged as Giuliani’s chef-d’oeuvre in this genre. Through an investigation of the original manuscripts of Le Rossiniane No. 3, Op. 121, and No. 5, Op. 123, I consider that Giuliani, apparently in order to be fully understood by both performers and audiences, wanted to overtly reference these musical quotations; and that he left various paratextual clues which in turn support the validity of my observations. Utilizing both music and literary theory my analysis investigates and categorizes three types of peritextual elements adopted by Giuliani in order to classify and reference the quoted musical themes in Le Rossiniane for both performers and the public: title, intertitle, and literal note. Further investigation of these works also leads to the hypothesis that each of Giuliani’s musical quotations, called in this paper artificial fragments, can be considered as a further, and essential referential element within the works. At the beginning of the nineteenth century the making of potpourris was the quickest way to compose ‘new’ and successful music. Carl Czerny (1791–1857) stated that the public of that time “experience[d] great delight on finding in a composition some pleasing melody […] which it has previously heard at the Opera […] [and] when […] introduced in a spirited and brilliant manner […] both the composer and the practiced player can ensure great success” (1848 online: 86). -
L'importanza Dell'etica Nella Grande Interpretazione Musicale: Testimonianze E Incontri Con Celebri Pianisti
L’importanza dell’etica nella grande interpretazione musicale: testimonianze e incontri con celebri pianisti Kazimierz Morski Pianista. Direttore d’orchestra. Catedratico di Scienze Musicali Università Slesiana di Katowice Università Autonoma di Madrid1 Università di Roma 2 “Tor Vergata”2 Sintesi. Il saggio è frutto di personali esperienze e di considerazioni sorte nell’accostarsi a grandi personaggi della musica, in questo caso pianistica, il cui impegno etico-estetico sta alla base della profonda grandezza di esecuzioni divenute ormai patrimonio storico. Modelli in tal senso sono stati Neuhaus, Benedetti Michelangeli o Arrau per chi, come me, ha potuto incontrarli o sentirli in concerto e si trova oggi a porli nella prospettiva storica assieme ad altri artisti del mondo compositivo ed interpretativo. Nonostante le differenze e le soggettive concezioni di approccio alla musica, dal concertismo puro, all’impegno didattico, alla riflessione teorica, quanto appare nelle loro realizzazioni è un atteggiamento umano e culturale spesso celato da un nobile riserbo, segno irripetibile dell’arte nella sua essenza. Di qui l’affermazione della necessaria componente etica nell’ambito estetico delle grandi interpretazioni, sia in relazione all’originaria idea creativa che al suo mutare a seconda del gusto e delle epoche. Le testimonianze addotte conducono a profonde considerazioni sul rapporto tra l’elemento ontologico relativo soprattutto alla creatività e quello fenomenologico soggetto alle continue variazioni del modo di sentire. Parole chiave. idea creativa - interpretazione ideale - esecuzione - concertismo - pianisti - personalità artistica - virtuosismo - espressione- tradizione - didattica - etica - estetica - esperienze – testimonianze. Abstract. This essay is the result of personal experiences and considerations while addressing the fate of great musicians – in this case of piano players - whose ethic-aesthetic commitment is behind the greatness of certain interpretations that have become part our cultural heritage. -
Acc Ross LOCANDINA 2014
ACCADEMIA ROSSINIANA Seminario permanente di studio sui problemi della interpretazione rossiniana diretto da Alberto Zedda 2014 3~18 luglio Teatro Sperimentale PROGRAMMA Giovedì 3 luglio Sabato 12 luglio 11.00 - 13.30 Inaugurazione dell’Accademia e 10.30 - 13.30 Master Class Juan Diego Flórez presentazione dei corsi 15.30 - 19.30 L’avventura del trucco Luca Oblach Gianfranco Mariotti, Alberto Zedda 15.30 - 19.00 Corso di interpretazione vocale Domenica 13 luglio Riposo condotto da Alberto Zedda Coordinamento musicale Anna Bigliardi Lunedì 14 luglio 10.30 - 13.00 Corso di interpretazione vocale Venerdì 4 luglio 16.00 - 17.30 Cantare Rossini: teoria e pratica 10.30 - 13.30 Corso di interpretazione vocale 18.30 - 20.00 Incontro con gli artisti di Armida 16.00 - 18.00 Dalla funzione dei muscoli del tronco al canto Frank Musarra Martedì 15 luglio 10.30 - 13.30 Corso di interpretazione vocale Sabato 5 luglio 15.00 - 16.30 Il mio lavoro come regista d’opera 10.30 - 13.30 Master Class Mario Martone 15.30 - 18.30 La consapevolezza dei risuonatori 18.00 - 20.00 Incontro con gli artisti di al servizio del timbro vocale: fisiologia Aureliano in Palmira e prevenzione Franco Fussi Mercoledì 16 luglio Domenica 6 luglio Riposo 10.30 - 12.30 Corso di interpretazione vocale 12.30 - 13.30 Discussione su temi e contenuti Lunedì 7 luglio dell’Accademia 2014 10.30 - 13.30 Corso di interpretazione vocale 15.30 - 19.30 Momenti di interpretazione 16.00 - 18.00 Il suono e l’improvvisazione e improvvisazione Elisabetta Courir Marco Mencoboni Giovedì 17 luglio Martedì -
Leonard Bernstein's Piano Music: a Comparative Study of Selected Works
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2018 Leonard Bernstein's Piano Music: A Comparative Study of Selected Works Leann Osterkamp The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2572 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LEONARD BERNSTEIN’S PIANO MUSIC: A COMPARATIVE STUDY OF SELECTED WORKS by LEANN OSTERKAMP A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2018 ©2018 LEANN OSTERKAMP All Rights Reserved ii Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Musical Arts. Date Ursula Oppens Chair of Examining Committee Date Norman Carey Executive Director Supervisory Committee Dr. Jeffrey Taylor, Advisor Dr. Philip Lambert, First Reader Michael Barrett, Second Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Leonard Bernstein’s Piano Music: A Comparative Study of Selected Works by Leann Osterkamp Advisor: Dr. Jeffrey Taylor Much of Leonard Bernstein’s piano music is incorporated in his orchestral and theatrical works. The comparison and understanding of how the piano works relate to the orchestral manifestations validates the independence of the piano works, provides new insights into Bernstein’s compositional process, and presents several significant issues of notation and interpretation that can influence the performance practice of both musical versions. -
THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW in 1949, to Mark the Centennial of the Death of Fryderyk
THE KOSCIUSZKO FOUNDATION CHOPIN PIANO COMPETITION HISTORICAL OVERVIEW In 1949, to mark the centennial of the death of Fryderyk Chopin, the Kosciuszko Foundation’s Board of Trustees authorized a National Committee to encourage observance of the anniversary through concerts and programs throughout the United States. Howard Hansen, then Director of the Eastman School of Music, headed this Committee, which included, among others, Claudio Arrau, Vladimir Horowitz, Serge Koussevitzky, Claire Booth Luce, Eugene Ormandy, Artur Rodzinski, George Szell, and Bruno Walter. The Chopin Centennial was inaugurated by Witold Malcuzynski at Carnegie Hall on February 14, 1949. A repeat performance was presented by Malcuzynski eight days later, on Chopin’s birthday, in the Kosciuszko Foundation Gallery. Abram Chasins, composer, pianist, and music director of the New York Times radio stations WQXR and WQWQ, presided at the evening and opened it with the following remarks: In seeking to do justice to the memory of a musical genius, nothing is so eloquent as a presentation of the works through which he enriched our musical heritage. … In his greatest work, Chopin stands alone … Throughout the chaos, the dissonance of the world, Chopin’s music has been for many of us a sanctuary … It is entirely fitting that this event should take place at the Kosciuszko Foundation House. This Foundation is the only institution which we have in America which promotes cultural relations between Poland and America on a non-political basis. It has helped to understand the debt which mankind owes to Poland’s men of genius. At the Chopin evening at the Foundation, two contributions were made. -
Bizet – L' Arlésienne
BIZET – L’ ARLÉSIENNE Fauré – Masques et Bergamasques Gounod – Faust Ballet Music HY BRID MU Orchestre de la Suisse Romande LTICHANNEL Kazuki Yamada Georges Bizet (1838-1875) Charles Gounod (1818-1893) THEATRE MUSIC IN THE always had to be connected to the content L’Arlésienne Faust Ballet Music CONCERT HALL of the drama it preceded, and to introduce the work’s protagonists through musical Suite No. 1 13. Les Nubiennes, valse (Allegretto) 2. 47 When we consider the intrinsic bond means. “It must moreover concern 14. Adagio 4. 34 between theatre and music, though opera itself with the entire play, while at the 1. Prélude 6. 50 15. Danse Antique (Allegretto) 1. 47 and ballet are what immediately come to same time preparing its beginning, and, 2. Minuetto 3. 06 16. Variations de Cléopâtre (Moderato mind, there is yet another art form that correspondingly, also serving as an 3. Adagietto 3. 58 maestoso) 1. 44 embodies this association, and which appropriate introduction to the play’s 4. Carillon 4. 48 17. Les Troyennes (Moderato) 2. 56 especially in the 19th century enjoyed initial entrances.” The entr’actes should, 18. Variations du Miroir (Allegretto) 2. 05 great popularity: incidental music. In a according to Scheibe, “address both the Suite No. 2 19. Danse de Phryné (Allegro vivo) 2. 46 period in which all theatres had either a close of the preceding act, and the start Arranged by Ernest Guiraud pianist or a smaller or larger orchestra in of the following one. I.e., these interludes Total playing time: 69. 56 their employ, stage plays were generally must connect both acts with one another, 5. -
LEGNANI Rossini Variations
Luigi LEGNANI Rossini Variations L’Italiana in Algeri Guillaume Tell Armida • Zelmira La Cenerentola La donna del lago Marcello Fantoni, Guitar Luigi Legnani (1790–1877): Rossini Variations Luigi Legnani, guitarist and composer, born in Ferrara, Italy, 1813. Stendhal commented ‘When Rossini wrote studied in his early years to be an orchestral string player. ‘L’Italiana his youthful genius was bursting into flower’. The Rossini – L’Italiana in Algeri (The Italian Girl in ™ Variation 1: Più mosso 1:06 But he branched off into singing and appeared in operas Overture begins with a dramatic Largo section. This is £ Algiers): “Gran Sinfonia”, Op. 2 8:33 Variation 2: Più lento 0:51 by Rossini, Pacini and Donizetti as a tenor following his followed by a lively Allegro spiritoso. 1 Largo 1:42 ¢ Variation 3: Tempo primo 0:53 debut in Ravenna in 1807. He began his concert career as The setting for the opera is the palace of the Bey of 2 Allegro spiritoso 6:51 ∞ Variation 4 1:01 a guitarist in Milan in 1819, and performed in Vienna in Algiers. The first scene introduces a chorus of the eunuchs § Variation 5: Minore, Un poco più moderato 2:27 Rossini – Guillaume Tell: Overture, Op. 202 1822, later touring Italy, Germany, and Switzerland, of the harem. Elvira, the Bey’s wife, complains that her (excerpts) 7:40 ¶ Variation 6: Allegro brillante 1:22 His friendship with Paganini who described him as ‘the husband no longer loves her. Haly, the captain of the Bey’s 3 Andante 3:15 • Coda 1:24 leading player of the guitar’ has often been written about corsairs, is told to go and find an Italian wife for the Bey. -
Rossini: La Recepción De Su Obra En España
EMILIO CASARES RODICIO Rossini: la recepción de su obra en España Rossini es una figura central en el siglo XIX español. La entrada de su obra a través de los teatros de Barcelona y Madrid se produce a partir de 1815 y trajo como consecuencia su presen- cia en salones y cafés por medio de reducciones para canto de sus obras. Más importante aún es la asunción de la producción rossiniana corno símbolo de la nueva creación lírica europea y, por ello, agitadora del conservador pensamiento musical español; Rossini tuvo una influencia decisi- va en la producción lírica y religiosa de nuestro país, cuyo mejor ejemplo serían las primeras ópe- ras de Ramón Carnicer. Rossini correspondió a este fervor y se rodeó de numerosos españoles, comenzando por su esposa Isabel Colbrand, o el gran tenor y compositor Manuel García, termi- nando por su mecenas y amigo, el banquero sevillano Alejandro Aguado. Rossini is a key figure in nineteenth-century Spain. His output first entered Spain via the theatres of Barcelona and Madrid in 1815 and was subsequently present in salons and cafés in the form of vocal reduc- tions. Even more important is the championing of Rossini's output as a model for modern European stage music which slwok up conservative Spanish musical thought. Rossini liad a decisive influence on die sacred and stage-music genres in Spain, the best example of which are Ramón Carnicer's early operas. Rossini rec- ipricated this fervour and surrounded himself with numerous Spanish musicians, first and foremost, his wife Isabel Colbrand, as well as die great tenor and composer Manuel García and bis patron and friend, the Sevil- lan banker Alejandro Aguado. -
Colorful Characters
Livermore-Amador Symphony Lara Webber, Music Director & Conductor Arthur P. Barnes, Music Director Emeritus Saturday, February 23, 2019, 8 p.m. Bankhead Theater, Livermore Colorful Characters William Tell Overture Gioachino Rossini (1792–1868) Cello Concerto No. 1 Joseph Haydn in C major, Hob. VIIb/1—1st movement (1732–1809) Alexander Canicosa-Miles, soloist Soirées Musicales Benjamin Britten Suite of Movements from Rossini (1913–1978) I. March II. Canzonetta III. Tirolese IV. Bolero V. Tarantella INTERMISSION with entertainment in the lobby by Element 116 Piano Concerto No. 1 Franz Liszt in E-flat major (1811–1886) Daniel Mah, soloist Billy the Kid Suite Aaron Copland (1900–1990) Introduction: The Open Prairie Street in a Frontier Town Mexican Dance and Finale Prairie Night (Card Game) Gun Battle Celebration (after Billy’s Capture) Billy’s Death The Open Prairie Again The audience and performers are invited to enjoy cookies, cider, coffee, and sparkling wine in the lobby after the concert at a reception hosted by the Livermore-Amador Symphony Guild. Music Director position underwritten by the Chet and Henrietta Fankhauser Trust Orchestra Conductor Cello Horn Lara Webber Peter Bedrossian Christine-Ann Immesoete Principal Principal First Violin Alan Copeland James Hartman Sara Usher Aidan Epstein Bryan Waugh Concertmaster Nathan Hunsuck H. Robert Williams Juliana Zolynas Hildi Kang Assistant Trumpet Concertmaster Joanne Lenigan Paul Pappas Michael Portnoff Norman Back Principal Feliza Bourguet String Bass Bob Bryant Judy Eckart Markus Salasoo -
Claudio Arrau: Número 20 Entre Los 20 Más Grandes Pianistas En El Disco
18/5/2020 [CEDOC] Muestra XML Publicación Fecha de publicación Cuerpo Sección Autor El Mercurio 13-08-2010 Cuerpo A Cultura Juan Antonio Muñoz H. Página Materia Supervisor 12 Cultura y espectáculos LPBL Claudio Arrau: número 20 entre los 20 más grandes pianistas en el disco Encuesta de la revista Music de la BBC a 100 famosos pianistas de nuestros días, ubica al artista chileno entre los mejores de la historia de las grabaciones. La lista es liderada por Sergei Rachmaninov. Juan Antonio Muñoz H. Por el atractivo especial que entre otros instrumentistas despiertan los ejecutantes de piano, la revista "Music" de la BBC publicó este mes una encuesta a 100 grandes pianistas de nuestros días, destinada a escoger a los 20 más grandes de la historia del disco. En el lugar número 20 se ubicó el chileno Claudio Arrau (1903-1991). La publicación destaca el talento precoz de Arrau, que hizo que "el gobierno chileno financiara su viaje a Berlín para buscar allí al mejor profesor. Durante unos pocos años, Martin Krause, alumno de Liszt, fue como un padre para él, introduciéndolo en un vasto rango de cultura y ayudándolo a desarrollar su trascendental técnica. Cuando Krause murió, en 1918, Arrau quedó desolado y entró en el psicoanálisis. Gradualmente, construyó una inmensa reputación internacional, en especial después de la Segunda Guerra Mundial. A pesar de que podía demostrar un deslumbrante virtuosismo, su verdadera preocupación fue la búsqueda, la exploración de las grandes obras, sobre todo de Beethoven y Schubert. Arrau fue un fáustico entre los pianistas, siempre descontento y alterado, que además cultivaba calidez y profundidad de tono únicas", se lee en "Music".