Chaconne Compositions from the Seventeenth
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An Exciting Quote from the Text Will Lure Readers Into the Story. Quotes Must
We all know that a painter creates art with paints...a singer creates art with The story of Hansel their voice...and a musician creates and Gretel was beautiful sounds with their instrument. published by the BUasell ethti si ssp aacne ator tf ofcoursm o nt ootoh ear nimdp oitr taisn t cnreewast, esduc h asB wrointhnienrgs a G croinmtrmac ti,n w inning awards, or announcing new events. Make the story effective, accurate and co1h8e1re2n.t . BAevfooidre t hthe apt,a ssive voice. Focus on bright, by the movement of the body. It can tell original writing. Make your story fun, creative, direct and sHpaencisfice.l Uasnindg Gfarcetste, lb ahcaksg round and depth will help ayo sut oexrpyla, ine xthper ehosws aan dc wohnyc oefp at soitru atthioonu. gSahttis, fyo rth e eaxnp eicnttaetiroensst ionf gy ohuisr taourdicieanlc e, but also surprise and eevnteenrta sinh thoewm .e Umseo tthioisn s.pace to focus on other importanlti nneeawgs,e s. uIct hb aeslo wningnsin tgo aa c gonrotruacpt , owfi nEnuinrgo pawearnd s, or announcing new events. Make the story effective, accurate and coherent. Avoid the passive voice. Focus tales about children who outwit witches or on bright, original writing. Make your story fun, creative, direct and specific. Using facts, background and ogres into whose hands they have involuntarily Use this space to focus on other important newsf,a slulechn . This type of story, wPheurlel aQ famuioly’tse as winning a contract, winning awardcs,h ilodrr en are abandoned (usually in the woods) announcing new events. Make the story e"ffaeAcrteivn et,h oeuxghct ittoi nhagve qoruigointaete df rino tmhe mthedeie val accurate and coherent. -
Monsieur De Pourceaugnac, Comédie-Ballet De Molière Et Lully
Monsieur de Pourceaugnac, comédie-ballet de Molière et Lully Dossier pédagogique Une production du Théâtre de l’Eventail en collaboration avec l’ensemble La Rêveuse Mise en scène : Raphaël de Angelis Direction musicale : Florence Bolton et Benjamin Perrot Chorégraphie : Namkyung Kim Théâtre de l’Eventail 108 rue de Bourgogne, 45000 Orléans Tél. : 09 81 16 781 19 [email protected] http://theatredeleventail.com/ Sommaire Introduction ......................................................................................................................................... 2 La farce dans l’œuvre de Molière ................................................................................................ 3 Molière : éléments biographiques ............................................................................................. 3 Le comique de farce .................................................................................................................... 4 Les ressorts du comique dans Monsieur de Pourceaugnac .............................................. 5 Musique baroque et comédie-ballet ........................................................................................... 7 Qui est Jean-Baptiste Lully ? ........................................................................................................ 7 La musique dans Monsieur de Pourceaugnac ..................................................................... 8 La commedia dell’arte ................................................................................................................. -
Les Opéras De Lully Remaniés Par Rebel Et Francœur Entre 1744 Et 1767 : Héritage Ou Modernité ? Pascal Denécheau
Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? Pascal Denécheau To cite this version: Pascal Denécheau. Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? : Deuxième séminaire de recherche de l’IRPMF : ”La notion d’héritage dans l’histoire de la musique”. 2007. halshs-00437641 HAL Id: halshs-00437641 https://halshs.archives-ouvertes.fr/halshs-00437641 Preprint submitted on 1 Dec 2009 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. P. Denécheau : « Les opéras de Lully remaniés par Rebel et Francœur : héritage ou modernité ? » Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? Une grande partie des œuvres lyriques composées au XVIIe siècle par Lully et ses prédécesseurs ne se sont maintenues au répertoire de l’Opéra de Paris jusqu’à la fin du siècle suivant qu’au prix d’importants remaniements : les scènes jugées trop longues ou sans lien avec l’action principale furent coupées, quelques passages réécrits, un accompagnement de l’orchestre ajouté là où la voix n’était auparavant soutenue que par le continuo. -
Commedia Dell'arte Au
FACULTÉ DE PHILOLOGIE Licence en Langues et Littératures Modernes (Français) L’IMPORTANCE DE LA COMMEDIA DELL’ARTE AU THÉÂTRE DE MOLIÈRE MARÍA BERRIDI PUERTAS TUTEUR : MANUEL GARCÍA MARTÍNEZ SAINT-JACQUES-DE-COMPOSTELLE, ANNéE ACADEMIQUE 2018-2019 FACULTÉ DE PHILOLOGIE Licence en Langues et Littératures Modernes (Français) L’IMPORTANCE DE LA COMMEDIA DELL’ARTE AU THÉÂTRE DE MOLIÈRE MARÍA BERRIDI PUERTAS TUTEUR : MANUEL GARCÍA MARTÍNEZ SAINT-JACQUES-DE-COMPOSTELLE, ANNÉE ACADEMIQUE 2018-2019 2 SOMMAIRE 1. Résumé…………………………………………………………………………………4 2. Introduction……………………………………………………………………………..5 3. De l’introduction de la commedia dell’Arte dans la cour française……………….6 a. Qu’est-ce que c’est la commedia dell’Arte ?............................................6 i. Histoire………………………………………………...……………....6 ii. Caractéristiques essentielles…………………………………….….6 b. Les Guerres d’Italie et les premiers contacts………………………..……..8 i. Les Guerres d’Italie………………………………………………......8 ii. L’introduction de la commedia dell’Arte à la cour française……..9 4. La commedia dell’Arte dans le théâtre français………...………………………...11 a. La comédie française………………………………………………………..11 b. Molière………………………………………………………………………..12 5. La commedia dell’Arte dans la comédie de Molière……………………………...14 a. L’inspiration…………………………………………………………………..14 b. La forme et contenu…………………………………………………..……..17 c. Les masques et l’art visuel………………………………………………….19 i. La disposition scénographique…………………………………….19 ii. Le mélange de genres…………………………………………......20 iii. Les lazzi……………………………………………………………...24 iv. Les masques………………………………………………………...26 1. Personnages inspirés aux masques italiens…………….26 2. Apparitions des masques de la commedia dell’Arte.......27 3. De nouveaux masques……….……………………………27 4. Le multilinguisme……..…………………………………….29 6. Conclusions…………………………………………………………………………...32 7. Bibliographie………………………………………………………………………….34 3 IJNIVERSIOAOF DF SANTIAGO DE COMPOSTElA FACULTADE DE l ,\C.lJL'JAlJL UL I ILUI U:\1,\ rllOLOXfA 2 6 OUT. -
ONYX4106.Pdf
DOMENICO SCARLATTI (1685–1757) Sonatas and transcriptions 1 Scarlatti: Sonata K135 in E 4.03 2 Scarlatti/Tausig: Sonata K12 in G minor 4.14 3 Scarlatti: Sonata K247 in C sharp minor 4.39 4 Scarlatti/Friedman: Gigue K523 in G 2.20 5 Scarlatti: Sonata K466 in F minor 7.25 6 Scarlatti/Tausig: Sonata K487 in C 2.41 7 Scarlatti: Sonata K87 in B minor 4.26 8 Gieseking: Chaconne on a theme by Scarlatti (Sonata K32) 6.43 9 Scarlatti: Sonata K96 in D 3.52 10 Scarlatti/Tausig: Pastorale (Sonata K9) in E minor 3.49 11 Scarlatti: Sonata K70 in B flat 1.42 12 Scarlatti/Friedman: Pastorale K446 in D 5.09 13 Scarlatti: Sonata K380 in E 5.57 14 Scarlatti/Tausig: Sonata K519 in F minor 2.54 15 Scarlatti: Sonata K32 in D minor 2.45 Total timing: 62.40 Joseph Moog piano Domenico Scarlatti’s legacy of 555 sonatas for harpsichord represent a vast treasure trove. His works fascinate through their originality, their seemingly endless richness of invention, their daring harmonics and their visionary use of the most remote tonalities. Today Scarlatti has once again established a firm place in the pianistic repertory. But the question preoccupying me was the influence his music had on the composers of the Romantic era. If we cast an eye over the countless recordings of transcriptions and arrangements of his contemporary Johann Sebastian Bach (1685–1750), it becomes even clearer that in Scarlatti’s case, we find hardly anything comparable. A fascinating process of investigation eventually led me to Carl Tausig (1841–1871), Ignaz Friedman (1882–1948) and Walter Gieseking (1895–1956). -
Three BJ S-Three Chaconnes Byron Cantrell
Three BJ s-Three Chaconnes Byron Cantrell Ever since Hans von Bulow coined the expression "the three B's" in denoting J. S. Bach, Beethoven, and Brahms to the exclusion of other fine composers whose family names begin with that same initial letter, numerous comparisons have been made regarding the composition techniques of these masters. Although distinct forms are associated with the different time periods within which each lived, all three of these men are regarded as superior composers of variations. Each has treated the usual melodico-harmonic forms so idiomatically that commentary is too often limited to banal remarks on similarities or non- comparative discussion of individual works. The continuous variation form, the chaco nne, has, however, been ingeniously used by these three masters, and, because most of the aspects of the form are demonstrably retained by each of them, comparisons can effectively be made. Emerging in the late Renaissance, the chaconne gained enormous popu- larity during the Baroque era; indeed, no opera in the Italian style was considered complete during this age without one or more numbers in chaconne form. But with the Classical period came a strong preference for melodico-harmonic variations and opera buffa finales, and the ostinato variation idea seemed destined for oblivion. It was Johannes Brahms, late in the Romantic period, who handsomely revived the chaconne and thus paved the way for its popularity among later composers. In his book, The Technique of Variation, Dr. Robert U. Nelson devotes considerable space to a discussion of Baroque chaco nne practice in the instrumental field. In order to consider the three pieces selected for study here, a list of fourteen points has been extracted from Dr. -
CENTURY ORGAN MUSIC for the Degree of MASTER of MUSIC By
ol 0002 -T-E CHACONNE AND PASSACAGLIA IN TVVENTIETH CENTURY ORGAN MUSIC THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By U3arney C. Tiller, Jr., B. M., B. A. Denton, Texas January, 1966 TABLE OF CONTENTS Chapter Page I. INTRODUCTION . II. THE HISTORY OF THE CHACONNE AND PASSACAGLIA . 5 III. ANALYSES OF SEVENTEEN CHACONNES AND PASSACAGLIAS FROM THE TWENTIETH CENTURY. 34 IV. CONCLUSIONS . 116 APPENDIX . 139 BIBLIOGRAPHY. * . * . * . .160 iii LIST OF TABLES Table Page I. Grouping of Variations According to Charac- teristics of Construction in the Chaconne by Brian Brockless. .. 40 TI. Thematic Treatment in the Chaconne from the Prelude, Toccata and Chaconne by Brian Brockless. .*0 . 41 III. Thematic Treatment in the Passacaglia from the Passacaglia and Fugue by Roland Diggle. 45 IV. Thematic Treatment in the Passacaglia from the Moto Continuo and Passacglia by 'Herbert F. V. Thematic Treatment in the Passacaglia from the Introduction and Passacaglia by Alan Gray . $4 VI. Thematic Treatment in the Passacaglia from the Introduction and Passacaglia b Robert . .*. -...... .... $8 Groves * - 8 VII. Thematic Treatment in the Passacaglia by Ellis B. Kohs . 64 VIII. Thematic Treatment in the Passacaglia from the Introduction and Passaglia in A Minor by C. S. Lang . * . 73 IX. Thematic Treatment in the Passacaglia from the Passaca a andin D Minor by Gardner Read * . - - *. -#. *. 85 X. Thematic Treatment in the Passacaglia from the Introduction, Passacgland ugue by Healey Willan . 104 XI. Thematic Treatment in the Passacaglia from the Introduction, Passacaglia and F by Searle Wright . -
Queerness in French Baroque Opera: the Relationship Between Achilles and Patroclus in Jean Baptiste Lully’S Achille Et Polyxène
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 5-7-2021 Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène Jason Thompson [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Thompson, Jason, "Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène" (2021). Master's Theses. 210. https://digscholarship.unco.edu/theses/210 This Dissertation/Thesis is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2021 JASON TRAVIS THOMPSON ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School QUEERNESS IN FRENCH BAROQUE OPERA: THE RELATIONSHIP BETWEEN ACHILLES AND PATROCLUS IN JEAN-BAPTISTE LULLY’S ACHILLE ET POLYXÈNE A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Jason Travis Thompson College of Performing and Visual Arts School of Music Music History and Literature May 2021 This Thesis by: Jason Travis Thompson Entitled: Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène has been approved as meeting the requirement for the Degree of Master of Music in the College of Performing and Visual Arts in the School of Music, Program of Music History and Literature. -
Youth Guide to the Department of Youth and Community Development Will Be Updating This Guide Regularly
NYC2015 Youth Guide to The Department of Youth and Community Development will be updating this guide regularly. Please check back with us to see the latest additions. Have a safe and fun Summer! For additional information please call Youth Connect at 1.800.246.4646 T H E C I T Y O F N EW Y O RK O FFI CE O F T H E M AYOR N EW Y O RK , NY 10007 Summer 2015 Dear Friends: I am delighted to share with you the 2015 edition of the New York City Youth Guide to Summer Fun. There is no season quite like summer in the City! Across the five boroughs, there are endless opportunities for creation, relaxation and learning, and thanks to the efforts of the Department of Youth and Community Development and its partners, this guide will help neighbors and visitors from all walks of life savor the full flavor of the city and plan their family’s fun in the sun. Whether hitting the beach or watching an outdoor movie, dancing under the stars or enjoying a puppet show, exploring the zoo or sketching the skyline, attending library read-alouds or playing chess, New Yorkers are sure to make lasting memories this July and August as they discover a newfound appreciation for their diverse and vibrant home. My administration is committed to ensuring that all 8.5 million New Yorkers can enjoy and contribute to the creative energy of our city. This terrific resource not only helps us achieve that important goal, but also sustains our status as a hub of culture and entertainment. -
New York City Ballet MOVES Tuesday and Wednesday, October 24–25, 2017 7:30 Pm
New York City Ballet MOVES Tuesday and Wednesday, October 24–25, 2017 7:30 pm Photo:Photo: Benoit © Paul Lemay Kolnik 45TH ANNIVERSARY SEASON 2017/2018 Great Artists. Great Audiences. Hancher Performances. ARTISTIC DIRECTOR PETER MARTINS ARTISTIC ADMINISTRATOR JEAN-PIERRE FROHLICH THE DANCERS PRINCIPALS ADRIAN DANCHIG-WARING CHASE FINLAY ABI STAFFORD SOLOIST UNITY PHELAN CORPS DE BALLET MARIKA ANDERSON JACQUELINE BOLOGNA HARRISON COLL CHRISTOPHER GRANT SPARTAK HOXHA RACHEL HUTSELL BAILY JONES ALEC KNIGHT OLIVIA MacKINNON MIRIAM MILLER ANDREW SCORDATO PETER WALKER THE MUSICIANS ARTURO DELMONI, VIOLIN ELAINE CHELTON, PIANO ALAN MOVERMAN, PIANO BALLET MASTERS JEAN-PIERRE FROHLICH CRAIG HALL LISA JACKSON REBECCA KROHN CHRISTINE REDPATH KATHLEEN TRACEY TOURING STAFF FOR NEW YORK CITY BALLET MOVES COMPANY MANAGER STAGE MANAGER GREGORY RUSSELL NICOLE MITCHELL LIGHTING DESIGNER WARDROBE MISTRESS PENNY JACOBUS MARLENE OLSON HAMM WARDROBE MASTER MASTER CARPENTER JOHN RADWICK NORMAN KIRTLAND III 3 Play now. Play for life. We are proud to be your locally-owned, 1-stop shop Photo © Paul Kolnik for all of your instrument, EVENT SPONSORS accessory, and service needs! RICHARD AND MARY JO STANLEY ELLIE AND PETER DENSEN ALLYN L. MARK IOWA HOUSE HOTEL SEASON SPONSOR WEST MUSIC westmusic.com Cedar Falls • Cedar Rapids • Coralville Decorah • Des Moines • Dubuque • Quad Cities PROUD to be Hancher’s 2017-2018 Photo: Miriam Alarcón Avila Season Sponsor! Play now. Play for life. We are proud to be your locally-owned, 1-stop shop for all of your instrument, accessory, and service needs! westmusic.com Cedar Falls • Cedar Rapids • Coralville Decorah • Des Moines • Dubuque • Quad Cities PROUD to be Hancher’s 2017-2018 Season Sponsor! THE PROGRAM IN THE NIGHT Music by FRÉDÉRIC CHOPIN Choreography by JEROME ROBBINS Costumes by ANTHONY DOWELL Lighting by JENNIFER TIPTON OLIVIA MacKINNON UNITY PHELAN ABI STAFFORD AND AND AND ALEC KNIGHT CHASE FINLAY ADRIAN DANCHIG-WARING Piano: ELAINE CHELTON This production was made possible by a generous gift from Mrs. -
Le Bourgeois Gentilhomme Molière/ Denis Podalydès
Cahier pédagogique Le Bourgeois gentilhomme Molière/ Denis Podalydès Théâtre de la place Manège de la caserne Fonck 09/11>16/11/2012 Sommaire A propos du Bourgeois gentilhomme 3 Résumé de la pièce 4 L’intrigue 5 Analyse des personnages 6 Résumé acte par acte 7 Titre et quartiers de noblesse culturelle 9 Les pratiques culturelles de Monsieur Jourdain 9 L’esthétique populaire de Monsieur Jourdain 11 Pierre Bourdieu 12 Le caractère de Monsieur Jourdain 14 Après la représentation, comme si vous y étiez… 16 Molière : le génie 17 La vie de Monsieur de Molière 19 La jeunesse de Molière 20 Les débuts difficiles 21 Les débuts de la gloire 23 Le temps des scandales 27 L’apogée de sa carrière 31 Les dernières saisons théâtrales 33 La mort de Molière 35 Les Créateurs 41 Note d’intention de Denis Podalydès 43 Note d’intention d’Eric Ruf 44 Biographies 47 Denis Podalydès, metteur en scène 47 Christophe Coin, compositeur 47 Eric Ruf, scénographie 48 Christian Lacroix, costumes 49 Infos pratiques 51 Crédits bibliographiques 52 La Presse 53 2 A propos du Bourgeois gentilhomme Dans Le Bourgeois gentilhomme, Molière tire le portrait d’un aventurier de l’esprit n’ayant d’autre désir que d’échapper à sa condition de roturier pour poser le pied sur des territoires dont il est exclu… la découverte d’une terra incognita qui, de par sa naissance, lui est interdite. Pourquoi se moquer de Monsieur Jourdain ? Le bourgeois se pique simplement de découvrir ce qu’aujourd’hui nous nommons « la culture » et il s’attelle au vaste chantier de vivre ses rêves… Et qu’importe si ces rêves sont ceux d’un homme ridicule. -
Atheneum Nantucket Dance Festival
NANTUCKET ATHENEUM DANCE FESTIVAL 2011 Featuring stars of New York City Ballet & Paris Opera Ballet Benjamin Millepied Artistic Director Dorothée Gilbert Teresa Reichlen Amar Ramasar Sterling Hyltin Tyler Angle Daniel Ulbricht Maria Kowroski Alessio Carbone Ana Sofia Scheller Sean Suozzi Chase Finlay Georgina Pazcoguin Ashley Laracey Justin Peck Troy Schumacher Musicians Cenovia Cummins Katy Luo Gillian Gallagher Naho Tsutsui Parrini Maria Bella Jeffers Brooke Quiggins Saulnier Cover: Photo of Benjamin Millepied by Paul Kolnik 1 Welcometo the Nantucket Atheneum Dance Festival! For 177 years the Nantucket Atheneum has enriched our island community through top quality library services and programs. This year the library served more than 200,000 adults, teens and children year round with free access to over 1.4 million books, CDs, and DVDs, reference and information services and a wide range of cultural and educational programs. In keeping with its long-standing tradition of educational and cultural programming, the Nantucket Atheneum is very excited to present a multifaceted dance experience on Nantucket for the fourth straight summer. This year’s performances feature the world’s best dancers from New York City Ballet and Paris Opera Ballet under the brilliant artistic direction of Benjamin Millepied. In addition to live music for two of the pieces in the program, this year’s program includes an exciting world premier by Justin Peck of the New York City Ballet. The festival this week has offered a sparkling array of free community events including two dance-related book author/illustrator talks, Frederick Wiseman’s film La Danse, Children’s Workshop, Lecture Demonstration and two youth master dance classes.