Catalogo Nr. 27 Primavera 2004
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
La Traviata Synopsis 5 Guiding Questions 7
1 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of La Traviata Synopsis 5 Guiding Questions 7 The History of Verdi’s La Traviata 9 Guided Listening Prelude 12 Brindisi: Libiamo, ne’ lieti calici 14 “È strano! è strano!... Ah! fors’ è lui...” and “Follie!... Sempre libera” 16 “Lunge da lei...” and “De’ miei bollenti spiriti” 18 Pura siccome un angelo 20 Alfredo! Voi!...Or tutti a me...Ogni suo aver 22 Teneste la promessa...” E tardi... Addio del passato... 24 La Traviata Resources About the Composer 26 Online Resources 29 Additional Resources Reflections after the Opera 30 The Emergence of Opera 31 A Guide to Voice Parts and Families of the Orchestra 35 Glossary 36 References Works Consulted 40 2 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. Meet the Characters / The Story/ Resources Fostering familiarity with specific operas as well as the operatic art form, these sections describe characters and story, and provide historical context. Guiding questions are included to suggest connections to other subject areas, encourage higher-order thinking, and promote a broader understanding of the opera and its potential significance to other areas of learning. Guided Listening The Guided Listening section highlights key musical moments from the opera and provides areas of focus for listening to each musical excerpt. -
Thesis Submission
Rebuilding a Culture: Studies in Italian Music after Fascism, 1943-1953 Peter Roderick PhD Music Department of Music, University of York March 2010 Abstract The devastation enacted on the Italian nation by Mussolini’s ventennio and the Second World War had cultural as well as political effects. Combined with the fading careers of the leading generazione dell’ottanta composers (Alfredo Casella, Gian Francesco Malipiero and Ildebrando Pizzetti), it led to a historical moment of perceived crisis and artistic vulnerability within Italian contemporary music. Yet by 1953, dodecaphony had swept the artistic establishment, musical theatre was beginning a renaissance, Italian composers featured prominently at the Darmstadt Ferienkurse , Milan was a pioneering frontier for electronic composition, and contemporary music journals and concerts had become major cultural loci. What happened to effect these monumental stylistic and historical transitions? In addressing this question, this thesis provides a series of studies on music and the politics of musical culture in this ten-year period. It charts Italy’s musical journey from the cultural destruction of the post-war period to its role in the early fifties within the meteoric international rise of the avant-garde artist as institutionally and governmentally-endorsed superman. Integrating stylistic and aesthetic analysis within a historicist framework, its chapters deal with topics such as the collective memory of fascism, internationalism, anti- fascist reaction, the appropriation of serialist aesthetics, the nature of Italian modernism in the ‘aftermath’, the Italian realist/formalist debates, the contradictory politics of musical ‘commitment’, and the growth of a ‘new-music’ culture. In demonstrating how the conflict of the Second World War and its diverse aftermath precipitated a pluralistic and increasingly avant-garde musical society in Italy, this study offers new insights into the transition between pre- and post-war modernist aesthetics and brings musicological focus onto an important but little-studied era. -
Cronologia Ii
C R O N O L O G I A II (dal 1901 in poi) (ultimo aggiornamento: 24 giugno 2021) Avvertenze • Questa cronologia, per ragioni di spazio, non comprende diverse informazioni che si possono trovare, in particolare, nei seguenti capitoli del sito: “Catalogo opere musicali”; “Direzione concerti”; “I luoghi dell’avventura artistica / L’esperienza lauretana” (per l’attività dal 1904 al 1926, come direttore della Cappella Musicale della Basilica di Loreto); “Incarichi” (tra cui molti “Collaudi d’organo”); “Onorificenze e premi”. • Le citazioni senza il nome dell’autore, sono di Tebaldini. • Abbreviazioni usate: s.d. (senza data) / d.m. (dati mancanti). • La cronologia è suscettibile di perfezionamenti e integrazioni che verranno apportati a seguito di ulteriori ricerche. 1901 30 gennaio. A Milano partecipa ai funerali di Verdi. 24 febbraio. Parte per Milano con quattro studenti della classe di composizione (Bruno Barilli, Gustavo Campanini, Gilmo Candiolo, Ildebrando Pizzetti) per partecipare al corteo delle rappresentanze intorno al feretro glorioso di Giuseppe Verdi che viene portato, insieme a quello della moglie Giuseppina Strepponi, dal Cimitero Monumentale alla Casa di Riposo per Musicisti fatta costruire da Verdi stesso. 27 febbraio. Con i quattro allievi è presente alla cerimonia di traslazione della salme. Arturo Toscanini dirige l’orchestra che esegue Va’ pensiero. Tutti i presenti lo intonano in coro in un’atmosfera di comprensibile, alta commozione. La sera porta gli allievi alla Scala per assistere alla rappresentazione dell’Elisir d’amore di Donizetti sotto la direzione di Toscanini che gli aveva fatto ottenere i biglietti-omaggio. 28 febbraio. Torna alla Scala con gli studenti per il Tristano e Isotta di Wagner, sempre diretto da Toscanini. -
Symphony Orchestrh
li>V\\V,[ VVx< BOSTON SYMPHONY ORCHESTRH ^^v f^^ •^-^ PRoGRsnnE 1(20 )| The DURABIUTY of PIANOS and the permanence of their tone quality surpass anything that has ever before been obtained, or is possible under any other conditions. This is due to the Mason & Hamlin system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construc- tion—The Mason & Hamlin Tension Resonator Catalogue Mailed on Application Old Pianos Taken in Exchange MASON & HAMLIN COMPANY Established 1854 <i Opp. Institute of Technolog^y 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON (S-MASSACHUSETTS AVENUES Ticket Office, 1492 l„ ,„ TelephonesT»io«t,^«^o i Back Bay j Administration Offices, 3200 J TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor Programme nf % Twentieth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, APRIL 1 AT 2.30 O'CLOCK SATURDAY EVENING, APRIL 2 AT 8.00 O'CLOCK COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1493 Mme. TERESA CARRENO On her tour this season will use exclusively Piano. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY G. L SCHIRMER & CO., 338 Boylston Street, Boston, Mass. 1494 Boston Symphony Orchestra PERSONNEL Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. HofiFmann, J. Krafift, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. -
Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941
Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941 by Elizabeth Crisenbery Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Advisor ___________________________ Benjamin Earle ___________________________ Philip Rupprecht ___________________________ Louise Meintjes ___________________________ Roseen Giles Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2020 ABSTRACT Performing Fascism: Opera, Politics, and Masculinities in Fascist Italy, 1935-1941 by Elizabeth Crisenbery Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Advisor ___________________________ Benjamin Earle ___________________________ Philip Rupprecht ___________________________ Louise Meintjes ___________________________ Roseen Giles An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2020 Copyright by Elizabeth Crisenbery 2020 Abstract Roger Griffin notes that “there can be no term in the political lexicon which has generated more conflicting theories about its basic definition than ‘fascism’.” The difficulty articulating a singular definition of fascism is indicative of its complexities and ideological changes over time. This dissertation offers -
INTRODUCTION and LITERATURE REVIEW a Subject
CHAPTER 1: INTRODUCTION AND LITERATURE REVIEW A Subject for Our Time I want plots that are great, beautiful, varied, daring ... daring to an extreme, new in form and at the same time adapted to composing. If a person says I have done thus and so because Romani, Cammarano, and others did so ... then we no longer understand each other. Precisely because of the fact that those great men did it that way, I should like to have something different done. I shall have La Dame aux Camélias performed in Venice. It will perhaps be called La Traviata. A subject from our own time. Another person would perhaps not have composed it because of the costumes, because of the period, because of a thousand other foolish objections. I did it with particular pleasure. Everybody cried out when I proposed to put a hunchback on the stage. Well, I was overjoyed to compose Rigoletto, and it was just the same with Macbeth, and so on ...1 The plot of La traviata centres on its eponymous heroine Violetta and the development of her character whose posizione must be projected musically.2 Verdi used the term posizione to describe the plot-and-character-driven gesture which must be ‘articulated musically’.3 According to Gilles de Van, it ‘arises from a particular moment in the plot; a situation [posizione] almost invariably corresponds to a phase in 1 Werfel, Franz and Stefan, Paul, Verdi: The Man in His Letters, trans. Edward Downes (New York: Vienna House, 1973), p. 373. 2 The term posizione and other Italian terms and expressions will be found in the Glossary at the end of this thesis. -
La Vedova Scaltra
Rubelli (da «Il Crociato in Egitto», n 1/2007) FONDAZIONE TEATRO LA FENICE DI VENEZIA Radio3 per la Fenice Opere della Stagione Lirica 2007 trasmesse in diretta dal Teatro La Fenice domenica 14 gennaio 2007 ore 19.00 Il crociato in Egitto di Giacomo Meyerbeer sabato 10 febbraio 2007 ore 19.00 La vedova scaltra di Ermanno Wolf-Ferrari martedì 20 marzo 2007 ore 19.00 Erwartung di Arnold Schönberg Francesca da Rimini di Sergej Rachmaninov mercoledì 20 giugno 2007 ore 18.00 Siegfried di Richard Wagner venerdì 21 settembre 2007 ore 19.00 Signor Goldoni di Luca Mosca domenica 9 dicembre 2007 ore 19.00 Turandot di Giacomo Puccini Concerti della Stagione Sinfonica 2006-2007 trasmessi in diretta del Teatro La Fenice Bernhard Klee (domenica 3 dicembre 2006) Concerti della Stagione Sinfonica 2006-2007 trasmessi in differita del Teatro La Fenice Eliahu Inbal (sabato 14 ottobre 2006) Dmitrij Kitajenko (venerdì 17 novembre 2006) Gerd Albrecht (giovedì 7 dicembre 2006) Ola Rudner (sabato 27 gennaio 2007) Michel Tabachnik (sabato 31 marzo 2007) Pietari Inkinen (giovedì 17 maggio 2007) www.radio3.rai.it – per le frequenze n. 800.111.555 FONDAZIONE AMICI DELLA FENICE STAGIONE 2007 Incontro con l’opera Sale Apollinee - Teatro La Fenice martedì 9 gennaio 2007 ore 18.00 OLGA VISENTINI ePIER LUIGI PIZZI Il crociato in Egitto Sale Apollinee - Teatro La Fenice martedì 6 febbraio 2007 ore 18.00 PAOLO COSSATO La vedova scaltra Sale Apollinee - Teatro La Fenice lunedì 12 marzo 2007 ore 18.00 QUIRINO PRINCIPE Erwartung - Francesca da Rimini Sale Apollinee - Teatro La Fenice lunedì 16 aprile 2007 ore 18.00 LORENZO ARRUGA La traviata Sale Apollinee - Teatro La Fenice lunedì 11 giugno 2007 ore 18.00 GIORGIO PESTELLI Siegfried Sale Apollinee - Teatro La Fenice lunedì 17 settembre 2007 ore 18.00 LUCA MOSCA, GIANLUIGI MELEGA e PAOLO PETAZZI Signor Goldoni Clavicembalo francese a due manuali copia dello strumento di Goermans-Taskin, costruito attorno Sale Apollinee - Teatro La Fenice alla metà del XVIII secolo (originale presso la Russel lunedì 1 ottobre 2007 ore 18.00 Collection di Edimburgo). -
Il Romancero Gitano Di Mario Castelnuovo-Tedesco Da
IL ROMANCERO GITANO DI MARIO CASTELNUOVO-TEDESCO DA FEDERICO GARCIA LORCA ANGELO GILARDINO La poesia di Federico García Lorca ha esercitato una vera e propria fascinazione sui compositori del Novecento. Un elenco delle musiche scritte su testi del poeta spagnolo, o comunque ispirate alle sue poesie e alle sue opere teatrali, occuperebbe molte pagine. Mi limito a osservare che non sono stati soltanto compositori di madre lingua e di cultura ispanica a scrivere musiche vocali e strumentali lorchiane, ma anche – anzi soprattutto – compositori di altre nazionalità e culture. Fra loro, spicca la figura del compositore fiorentino Mario Castelnuovo-Tedesco (1895-1968), che scrisse un ciclo di sette composizioni per coro misto e chitarra intitolato Romancero Gitano. Questo scritto prende in esame tale composizione, con il proposito di mettere in luce le relazioni esistenti tra il testo poetico e la musica. MARIO CASTELNUOVO-TEDESCO E LA LETTERATURA SPAGNOLA Nato a Firenze nel 1895 da una agiata famiglia di banchieri, Mario Castelnuovo-Tedesco fu istruito da precettori privati e anche la sua precoce vocazione musicale fu inizialmente coltivata da un rinomato insegnante di pianoforte, Edgardo del Valle de Paz, che gli impartì lezioni a domicilio. In età adolescenziale, fu ammesso al Conservatorio della sua città, dove compì gli studi di pianoforte e di composizione. Gli furono maestri Antonio Scontrino e poi Ildebrando Pizzetti. Il severo insegnamento di Pizzetti lasciò nella formazione di Castelnuovo-Tedesco una traccia indelebile, irrobustendo la sua fertile musicalità naturale con una formidabile tecnica compositiva, 2 che contraddistinguerà tutta la sua opera. Dopo un favorevolissimo sviluppo della sua carriera di compositore, che si svolse sotto il segno della buona sorte per almeno vent’anni, nel 1938 Castelnuovo-Tedesco fu colpito, come tutti i cittadini italiani di religione ebraica, dalle leggi razziali. -
'Il Trovatore'. Photo © 2007 Ken Howard
IIll TTrroovvaaTToorree Priti Gandhi as Inez (left) and Paoletta Marrocu as Leonora in the San Diego Opera production of Verdi's 'Il Trovatore'. Photo © 2007 Ken Howardhttp://www.mvdaily.com/articles/2007/04/il-trovatore1.htm A Letter to the Teachers Dear Teachers, Opera Colorado is pleased to provide engaging educational programs and performances for students across Colorado. What follows is a guide that we hope you and your students find useful, as we explore Giuseppe Verdi’s Il Trovatore. In the spirit of exploration, we have included various lessons that connect Il Trovatore with different subjects of learning. The lessons reference the new Colorado Department of Education’s Academic Standards: specifically, focusing on the fourth grade expectations. This does not mean, however, that these lessons should be limited to this age group. While we would be very pleased if you used these lessons in the exact format provided, we encourage you to expand, alter, and adapt these lessons so that they best fit your students’ abilities and development. After all, the teacher knows their student’s needs best. We would appreciate your feedback on our teacher evaluation form found at the end of this guide, and we hope that you enjoy all that Opera Colorado has to offer! Ciao! - Cherity Koepke - Director of Education & Community Programs - Meghan Benedetto - Manager of Education & Community Programs - Amelia Newport - Education Intern 2 Contact us to learn more! Opera Colorado’s Education & Community Programs department offers many more programs to assist your students as they continue to discover the world of opera. We have programs that take place at the Ellie Caulkins Opera House as well as programs that we can bring directly to your classroom. -
Editing the Double Bass Concerto of Antonio Scontrino
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2020 Editing the Double Bass Concerto of Antonio Scontrino Roberto Pineda Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Pineda, Roberto, "Editing the Double Bass Concerto of Antonio Scontrino" (2020). Dissertations. 1835. https://aquila.usm.edu/dissertations/1835 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. EDITING THE DOUBLE BASS CONCERTO OF ANTONIO SCONTRINO by Roberto Pineda A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Marcos Machado, Committee Chair Dr. Joseph Brumbeloe Dr. Christopher Goertzen Dr. Hsiaopei Lee Dr. Stephen Redfield December 2020 COPYRIGHT BY Roberto Pineda 2020 Published by the Graduate School ABSTRACT Antonio Scontrino (1850-1922) was an important Italian Romantic composer, virtuoso double bassist, and respected pedagogue who is relatively unknown outside of the Italian musical community. His compositional output is prolific and includes string quartets, operas, symphonies, concerti, solo pieces, songs, and religious works. Indeed, Scontrino was a compelling composer who deserves more attention from the international musical community. In addition to his compositional expertise, he was an artful double bass performer whose works for the instrument, while distinctly idiomatic, are compositions of high quality. -
Clicca Per Scaricare Il Libretto Celebrativo Dell'evento
Decennale dell’Estudiantina Ensemble Bergamo Raccontare la storia dell’Estudiantina Bergamasca ci porta al 2009, dieci anni fa, quando nacque l’idea di farla rinascere dopo più di mezzo secolo. Come sarebbe stato possibile riproporre un progetto ‘estinto’ alla fine degli anni ’50 del Novecento? Occorreva una condivisione tra diverse componenti: associazioni musicali (legate agli strumenti a pizzico), istituzioni scolastiche e culturali, ma soprattutto un progetto vivo, capace di generare interesse e coinvolgimento nelle nuove generazioni. Dai discorsi vissuti durante la mia frequenza alla classe di Mandolino del M° Ugo Orlandi, allora presso il Conservatorio Pollini di Padova, si è deciso di valutare quali realtà bergamasche potessero avere a cuore questo progetto. Tutto è risultato semplice e naturale: si sono lasciati coinvolgere il Prof. Ugo Punzi, allora Dirigente dell’Istituto Comprensivo Muzio con indirizzo musicale (ora Dirigente del Liceo Scientifico Mascheroni di Bergamo), il M° Giacomo Parimbelli, presidente dell’associazione Bergamo Chitarra, il M° Michele Guadalupi presidente dell’associazione Centro Musica Antica, la Fondazione e gli Amici della MIA, l’Assessorato alla cultura del Comune di Bergamo, il Liceo Musicale Suardo e, non ultima, la Biblioteca Mai - Donizetti con i suoi preziosissimi Fondi Musicali. E’ doveroso ricordare anche tutti quei musicisti* che hanno dato, e continuano a farlo, un costante contributo professionale in questi anni: tra questi molti alunni ed ex-alunni dei corsi di chitarra dell’indirizzo musicale -
TRACING OPERATIC PERFORMANCES in the LONG NINETEENTH CENTURY Practices, Performers, Peripheries
9 DocMus Research Publications TRACING OPERATIC PERFORMANCES IN THE LONG NINETEENTH CENTURY Practices, Performers, Peripheries Edited by Anne Kauppala, Ulla-Britta Broman-Kananen and Jens Hesselager 9 DocMus Research Publications ULLA-BRITTA BROMAN-KANANEN is a university HANNELE KETOMÄKI received her Doctor of Music degree researcher at the Sibelius Academy (University of the Arts from the Sibelius Academy in 2012. Her study examines Helsinki). In 2010–2013 she worked on the project “The Oskar Merikanto's national ideals and his activities in the Finnish Opera Company (1873–1879) from a Microhistorical music festivals by the Finnish Kansanvalistusseura. She Perspective: Performance Practices, Multiple Narrations is the manager of Academic Development at the Sibelius and Polyphony of Voice”, and later in “Opera on the Move: Academy (University of the Arts Helsinki). Transnational Practices and Touring Artists in the Long 19th Century Norden”. HILARY PORISS is Associate Dean of Academic and Faculty Affairs, and Associate Professor of Music in the College of GÖRAN GADEMAN has been since 2006 the dramaturgist Arts, Media and Design at Northeastern University. Her and casting coordinator and since 2007 associate professor research interests include the 19th-century Italian and French at the Gothenburg Opera. In his doctoral thesis he studied re- opera performance culture and aesthetics. She has authored alism and opera (Realismen på Operan, Stockholm University, Changing the Score: Arias, Prima Donnas, and the Authority 1996). His book Operabögar (Gay Opera Lovers) appeared in of Performance (2009) and co-edited Fashions and Legacies 2004. He also contributed to the New Swedish Theatre History of Nineteenth-Century Italian Opera (2010) and The Arts of (2007).