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Guide to Talia (Revised and Updated Spring 1580)
Guide to Talia (revised and updated spring 1580) Contents 1. Pronunciation Guide 2. City Guide 3. Corteo Cards 4. The Manoush 5. The di Chimici family 6. Stravaganti 7. Talismans 8. Religion 9. Silver 10. Differences between Talia and Italy 2 1. Pronunciation Guide Places Bellezza Bell-ETS-ah Bellona Bell-OHN-ah Cittanuova Chitt-ah-NWOHV-a Classe CLASS-ay Fortezza For-TETS-ah Giglia JEE-lyah Montemurato Mon-tay-moo-RAHT-oh Moresco Mor-ESK-oh Padavia Pad-AHV-ee-ah Remora Ruh-MORE-ah Romula ROMM-oo-lah Volana Vol-AHN-ah People Alfredo Al-FRAY-doh Andrea An-DRAY-ah Arianna Ar-ee-AHN-ah Aurelio Ow-RAY-lee-oh Beatrice Bay-ah-TREECH-ay Celestino Chel-ess-TEE-noh Cesare CHEZ-ah-ray Crinamorte Crinna-MORE-tay di Chimici dee KIM-ee-chee Duchessa Dook-ESS-ah Enrico Poggi En-REEK-oh PODG-ee Fabrizio Fab-REEZ-yoh Falco FAHL-koh Fausto Ventura FOWST-oh Ven-TOO-rah Filippo FILL-ee-poh Flavia FLAH-vee-ah Francesca Frahn-CHESS-kah Gaetano Guy-TAHN-oh Gentile Jen-TEEL-ay Germano Jer-MAHN-oh Giorgio JAW-joh Giovanni Gambone Joh-VAHN-nee Gam-BOHN-ay Giuditta Miele Jew-DITT-ah MYAY-lay Giunta JUNE-tah Guido GWEE-doh Jacopo YAK-oh-poh Leonora Lee-on-ORE-ah Luciano Loo-CHAHN-oh Lucien LOO-syuhn Matteo Nucci Matt-AY-oh NOO-chee Michele Borca Mick-AY-lay BOR-kah Paola POWL-ah Paolo POWL-oh Raffaella Raff-eye-ELL-ah Rodolfo Rod-OL-foh Sulien SOO-lyuhn Teresa Ter-AY-zah Valeria Val-AIR-ee-ah 3 2. -
STRAVAGANZA Thed’ Birthamore! of Opera at the Medici Court
STRAVAGANZA theD’ birthAMORE! of opera at the medici court PYGMALION RAPHAËL PICHON STRAVAGANZA D’AMORE! La nascita dell’opera alla corte dei Medici La naissance de l’opéra à la cour des Médicis / The birth of opera at the Medici court 1589-1608 Musiques / Musics Lorenzo Allegri (1567-1648), Antonio Brunelli (1577-1630), Giovanni Battista Buonamente (c.1595-1642), Giulio Caccini (1551-1618), Emilio de’ Cavalieri (avant 1550-1602), Girolamo Fantini (1600-1675), Marco da Gagliano (1582-1643), Cristofano Malvezzi (1547-1599), Luca Marenzio (1553-1599), Alessandro Orologio (c.1550-1633), Jacopo Peri (1561-1633), Alessandro Striggio (c.1536-1592). Textes / Texts Giovanni de’ Bardi (1534-1612), Gabriello Chiabrera (1552-1638), Giovanni Battista Guarini (1538-1612), Cristoforo Castelletti (?-1596), Laura Lucchesini (1550-c.1597), Lotto del Mazza (?-1597), Giovanni Battista Pigna (1523-1575), Ottavio Rinuccini (1562-1621). Reconstitution : Raphaël Pichon & Miguel Henry Pygmalion Raphaël Pichon FRANZ LISZT CD 1 Primo Intermedio All’imperio d’Amore 1 | 1. Stravaganza d’Amore! - Toccata – La Renuccini (Girolamo Fantini) 1’47 2 | 2. O fortunato giorno, a 30 – La Pellegrina - Florence, 1589, intermedio VI 3’12 (Cristofano Malvezzi-Ottavio Rinuccini) 3 | 3. Ineffabile ardore, a 6 – Il Rapimento di Cefalo - Florence, 1600 1’07 (Giulio Caccini-Gabriello Chiabrera) 4 | 4. O che felice giorno, a voce sola (Giulio Caccini-Anonyme) 4’20 Sophie Junker 5 | 5. Ineffabile ardore, a 6 – Il Rapimento di Cefalo - Florence, 1600 1’00 (Giulio Caccini-Gabriello Chiabrera) 6 | 6. La dipartita é amara, a 4 (Luca Marenzio-Giovanni Battista Pigna) 2’13 Maïlys de Villoutreys, Lucile Richardot, Zachary Wilder Davy Cornillot, Safir Behloul, Renaud Bres 7 | 7. -
Jenny Ponzo Religious Narratives in Italian Literature After the Second Vatican Council Religion and Reason
Jenny Ponzo Religious Narratives in Italian Literature after the Second Vatican Council Religion and Reason Founded by Jacques Waardenberg Edited by Gustavo Benavides, Michael Strausberg, and Ann Taves Volume 59 Semiotics of Religion Edited by Massimo Leone, Fabio Rambelli, and Robert Yelle Volume 2 Jenny Ponzo Religious Narratives in Italian Literature after the Second Vatican Council A Semiotic Analysis ISBN 978-3-11-049984-1 e-ISBN (PDF) 978-3-11-049783-0 e-ISBN (EPUB) 978-3-11-049602-4 Library of Congress Control Number 2018968025 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston Printing and binding: CPI books GmbH, Leck www.degruyter.com Acknowledgements This bookpresents astudyinitiated in 2014 when Iwas awarded an LMU Research Fellowship at theLudwig-Maximilians-University Munich (Germany). Iwishtothank this institution, Robert Yelle (chairofthe Interfaculty Programmefor theStudy of Religion,whereIwasaffiliated), and Angelika Mooser-Sainer forher administrative support. After the end of the LMU ResearchFellowship, Icontinued to work on this book in the frame of my project “NeMoSanctI – New Models of Sanctity in Italy (1960s-2010s),” which has receivedfunding from the European ResearchCouncil (ERC) underthe European Union’sHorizon 2020 research and innovation pro- gramme (grant agreement No. 757314). NeMoSanctI is hosted by the Department of Philosophy and Educational Sci- ences of the University of Turin. Aspecial thank youtoUgo Volli (former Depart- ment Dean for Research) and Donatella Mutti for their dedication in following and accompanying the first steps of the project at the Unversity of Turin. -
Download Booklet
SETTECENTO Baroque Instrumental music from the Italian States THE PAPAL STATES (BOLOGNA) REPUBLIC OF VENICE Sonata for 2 violins & continuo in b Concerto for recorder, 2 violins & continuo in a, Giuseppe Antonio Brescianello (c1690-1758) RV 108 Antonio Vivaldi (1678-1741) u Largo [4.00] g KINGDOM OF NAPLES REPUBLIC OF VENICE i Presto [2.54] Allegro [2.54] h Sonata for recorder, 2 violins & continuo in c Sonata for cello & continuo in a o Adagio [2.35] Largo [2.46] Alessandro Scarlatti (1660-1725) Antonio Vandini (c1690-1778) j p Presto [3.24] Allegro [3.04] 1 Moderato [1.40] 0 Largo [4.26] 2 Fuga [2.09] q Allegro [2.13] Total timings: [70.48] REPUBLIC OF VENICE 3 Largo [1.31] w Allegro assai [1.00] Sonata for violin & continuo in e, Op 1.5, Be6 4 Andante [1.47] Giuseppe Tartini (1692-1770) 5 KINGDOM OF NAPLES Andante-Adagio [1.31] a Largo [3.09] Sonata for recorder, 2 violins & continuo in g s Allegro [2.50] Francesco Mancini (1672-1737) REPUBLIC OF VENICE d Adagio [1.05] Sonata for violin & continuo in g, Op 4.12 e Largo [3.32] f Allegro assai [4.02] Evaristo Felice Dall’Abaco (1675-1742) r Fuga [3.19] 6 Largo [2.07] t Largo [2.37] 7 Presto e spiccato [1.23] y Spiritoso [1.55] 8 Passagaglio un poco vivace [3.57] 9 Giga: Allegro assai [2.41] LA SERENISSIMA ADRIAN CHANDLER DIRECTOR / VIOLIN tabea Debus recorders www.signumrecords.com The early 1600s saw a dramatic increase in the faithful would admire and contemplate St was a very fine player. -
Schola Cantorum Basiliensis a Mini-Canzoniere for Margherita Gonzaga D’Este (Ferrara, 1582)
A mini-canzoniere for Margherita Gonzaga d’Este (Ferrara, 1582) We thank the following institutions for their kind support: Villa ITatti The Harvard University Center for ItalianRenaissanceStudies In the 16th century the pieces in printed books of unaccompanied mad- rigals are normally grouped and ordered according to musical principles such as system, cleffing and final. A quick survey of the printed books by the main madrigal composers of the last quarter of the century bears out this assertion. The published books of unaccompanied madrigals by Luzzasco Luzzaschi, however, do not follow the same principle. Anthony Newcomb will suggest that especially in one of them (the Third, dated 1582) dedicated to Mar ghe- rita Gonzaga d’Este, Duchess of Ferrara, another method of organization was followed. This proves to be closer to the authorized collections of po- ems from Ferrarese academies and by the principle Ferrarese poets of the time, Torquato Tasso and Battista Guarini. Luzzaschi’s Third book, in other terms, will be presented as a mini-canzoniere dedicated to Margheri- ta, centered around a single poetic theme, and ordered internally by groups linked together both by poetic topics and musical detail. ive student musicians of the Schola Cantorum Basiliensis will exem- F We are grateful for the generous support of the donators plify some of the madrigals discussed by Anthony Newcomb and compare Ruth and Hans-Joachim Rapp-Moppert in memoriam them with the repertoire of the celebrated Concerto delle dame di Ferrara. Their programme includes works by Luzzaschi, Jacques de Wert, Lodovi- Schola Cantorum Basiliensis co Agostini and other contempories; and it re-enacts the historical practice On the recto: Frans Pourbus the Younger (attr.), Portrait of Margherita Gonzaga Grand Tour d’Este, Ferrara, Palazzina Marfisa, courtesy of the Musei Civici di Arte Antica, Ferrara. -
Santo Lapis La Stravaganza & 12 Harpsichord Sonatas
SANTO LAPIS LA STRAVAGANZA & 12 HARPSICHORD SONATAS LUIGI ACCARDO TRACKLIST P. 2 AN EXPORT-BRANDED MUSICIAN ENG P. 4 UN MUSICISTA FORMATO ESPORTAZIONE ITA P. 10 Santo Lapis (1699-1765) 2 Home AD 107 La Stravaganza & 12 Harpsichord Sonatas Sonnates pour le clavessin 10 Sonata X – Vivo e distacato 3’37 1 Sonata I – A piacere. Allegro 3’27 11 Sonata XI – Tempo di Menuet 4’09 2 Sonata II – Vivace. Tempo di Menuet 3’55 12 Sonata XII – Allegro 4’00 3 Sonata III – Spiritoso 3’29 4 Sonata IV – Vivo e distacato 4’10 La Stravaganza per il cembalo 5 Sonata V – Menuet affetuoso 4’10 13 Andante 3’00 6 Sonata VI – Andante 5’17 14 Vivo e fugato 3’32 7 Sonata VII – Con spirito 3’51 15 Menuet variato 8’42 8 Sonata VIII – Allegro 2’58 9 Sonata IX – Spiritoso 3’06 Total length 61’33 3 Luigi Accardo harpsichord Keith Hill, Manchester, 2001 (after anonymous, Germany early 18th century) www.luigiaccardo.com Sources: tSonnates pour le clavessin, The Hague, 1746. tLa Stravaganza per il cembalo, The Hague,1757. Recorded 22-23 October 2016 at Cascina Bugatti, Gerre de’ Caprioli, Cremona, Italy. Executive Producer: Luigi Accardo Recording Producer: Enrico Bissolo Recording Engineer, Mastering & Editing: Matteo Costa 2017 Luigi Accardo, under exclusive licence to Outhere Music France / ©2017 Outhere Music France 4 Home An Export-Branded Musician “I wish to to inform you that Signor Santo Lapi has run off with a young woman to Germany, some say Vienna and others elsewhere; he has left his poor wife in such distress that she tried to throw herself out of a window”. -
Reproductions Supplied by EDRS Are the Best That Can Be Made from the Original Document. Your Pca an Annotated Booklist for Middle &Hod
DOCUMENT RESUME ED 481 397 CS 512 447 AUTHOR Brown, Jean E., Ed.; Stephens, Elaine C., Ed. TITLE Your Reading: An Annotated Booklist for Middle School and Junior High. llth Edition. NCTE Bibliography Series. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-5944-3 ISSN ISSN-1051-4740 PUB DATE 2003-00-00 NOTE 400p.; Foreword by Joan Bauer. Afterword by Joyce Hansen. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock no. 59443: $24.95 members, $33.95 nonmembers). Tel: 800-369-6283 (Toll Free); Web site: http://www.ncte.org. PUB TYPE Books (010) Guides Classroom Teacher (052) Reference Materials Bibliographies (131) EDRS PRICE EDRS Price MF01/PC17 Plus Postage. DESCRIPTORS *Adolescent Literature; Annotated Bibliographies; *Fiction; Junior High Schools; Middle Schools; *Nonfiction; *Reading Material Selection; Recreational Reading; *Thematic Approach IDENTIFIERS *Information Books; *Trade Books ABSTRACT Organized around the theme of "challenges," the llth edition of "Your Reading" offers annotations of more than 1,200 books for young adults. Intended for teachers, librarians, parents, and students, this booklist presents recently published books that can be read for many purposes--for sheer enjoyment of the story, to pique curiosity orsatisfy it, to find new information or confirm old, to completeschool assignments, or for the exhilaration of escape. It is divided into thefollowing parts: Foreword (Joan Bauer);(1) Challenges of Coming of Age (Families; -
Saving Venice”: Local, Global and Transnational Perspectives on Cultural Heritage in Children’S Fantasy
humanities Article “Saving Venice”: Local, Global and Transnational Perspectives on Cultural Heritage in Children’s Fantasy Lindsay Myers Italian Studies, National University of Ireland, Galway H91 TK33, Ireland; [email protected] Received: 15 February 2019; Accepted: 20 May 2019; Published: 29 May 2019 Abstract: Children’s literature has always been heavily influenced by the local and national climate in which it is produced, the birth of this literature having coincided in many places with the formation of the nation-state. Over the last 50 years, however, the effects of globalization have radically transformed the relationship between authors and their markets, and a new tension has arisen in children’s texts between the local and the global. Celebrating commonality across boundaries while simultaneously safeguarding the tutelage of cultural heritage can be particularly difficult, especially when (as is the case with Venice) that heritage has been singled out by UNESCO as being under threat. This essay undertakes a close reading of three 21st-century fantasies for children set in Venice: Mary Hoffman’s Stravaganza: City of Masks, Laura Walter’s Mistica Maeva e l’anello di Venezia, and Michelle Lovric’s The Undrowned Child, all of which have been translated into other languages and reached audiences far beyond their places of origin. It asks what we mean when we speak about cultural heritage conservation in children’s literature today and the extent to which the preservation of Venice’s cultural heritage is being depicted in this literature as a transnational phenomenon. Keywords: children’s narratives; cultural heritage; citizenship education; fantasy; Venice Children’s literature has always been heavily influenced by the local and national climate in which it is produced, the birth of this literature having coincided in many places with the formation of national identity1. -
Music of the Gods: Solo Song and Effetti Meravigliosi in the Interludes for La Pellegrina
Music of the Gods: Solo Song and effetti meravigliosi in the Interludes for La pellegrina Nina Treadwell Introduction During April and May of 1589, some three thousand foreigners made their way to the city of Florence to take part in the wedding celebrations for Ferdinando I de' Medici and the French princess Christine of Lorraine. Because of the magnitude of the events that took place and the wealth of surviving information, historians of art, theater, and music have written much about these festivities. The set of interludes that were performed in the Uffizi theater between the acts of Girolamo Bargagli's comedy La pellegrin ai-the high point of the wedding celebrations-have been given special attention. With a seventy-two page official booklet by academician Bastiano de' Rossi2 and numerous other surviving sources, the Pellegrin a interludes have generated a considerable literature dedicated to explicating intertextual connections relating to the classical allusions that inspired their conception (for more recent additions, see Ketterer 1999; Marignetti 1996). Yet, as many scholars have at least pointed out-beginning with the work of Aby Warburg-much of the erudite imagery that was presented went completely over the audience's heads (1932:280-81). Similarly, there is evidence to suggest that many audience members did not comprehend the vocal music's sung texts on a word-by-word basis, but that the music was nevertheless meaningful to them. This study addresses the performative efficacy of the Pellegrina inter ludes' solo songs because the songs garnered considerable attention during their performance in the Uffizi theater. -
Italians and the Invention of Race: the Poetics and Politics of Difference in the Struggle Over Libya, 1890-1913
Italians and the Invention of Race: The Poetics and Politics of Difference in the Struggle over Libya, 1890-1913 Lucia Re 1. Race and Italian identity The manifestations of racism and xenophobia in Italy since the 1990s, especially in response to the new waves of immigration from “the other side” of the Mediterranean, have prompted scholars and cultural critics to take up once again the question of the role of race in Italian history. 1 Once thought to be only a temporary aberration of the Fascist era and essentially alien to the Italian “character,” racism has emerged as a recurrent trait in the behavior and cultural assumptions of Italians, including some of its most prominent political leaders. It is a trait that can arguably be traced back to the nineteenth century, even before the country’s unification. 2 The myth of the “good Italian” finally seems to have crumbled, while race-oriented studies have started to unveil an Italian “tradition” of racism that most textbook accounts of Italian history had long obfuscated or entirely elided. Yet even as racism re-emerges, and is sanctioned by discriminatory laws and policies against immigrants, current political discourse continues to minimize it, while downplaying or denying the historic faults of Italian colonialism and resuscitating the proverbial myth of Italian kindness and moral superiority. 3 The contemporary 1 This study is part of a book in progress about Italy and Africa in the modern and modernist Italian literary imagination and cultural identity, from d’Annunzio to Ennio Flaiano’s Tempo di uccidere (1947). I would like to thank the anonymous peer-review readers of this study for their useful comments.