DOCSLIB.ORG

Ernest Guiraud: a Biography and Catalogue of Works

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ernest Guiraud: a Biography and Catalogue of Works Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Ernest Guiraud: A Biography and Catalogue of Works. Daniel O. Weilbaecher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Weilbaecher, Daniel O., "Ernest Guiraud: A Biography and Catalogue of Works." (1990). LSU Historical Dissertations and Theses. 4959. https://digitalcommons.lsu.edu/gradschool_disstheses/4959 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some 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 corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. 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. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Order Number 9104178 Ernest Guiraud: A biography and catalogue of works Weilbaecher, Daniel 0., D.M.A. The Louisiana State University and Agricultural and Mechanical Col., 1990 Copyright ©1991 by Weilbaecher, Daniel O. All rights reserved. U-M-I 300 N. Zeeb Rd. Ann Arbor, MI 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ERNEST GUIRAUD: A BIOGRAPHY AND CATALOGUE OF WORKS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music b y Daniel Weilbaecher B.S., The University of Southwestern Louisiana, 1969 M.M., The University of Southwestern Louisiana, 1972 Recital Diploma, The Royal Academy of Music (London), 1974 May 1990 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PREFACE By the time of his death in 1892, Ernest Guiraud had established himself as a distinguished member of the French musical community. A native of New Orleans, where he was born in 1837, Guiraud traveled to Paris to complete his musical training. After he won the Prix de Rome in 1859, Guiraud's compositions earned him the reputation as one of the brightest hopes of the Ecole fran?aise. He was appointed to the faculty of the Paris Conservatoire in 1876, named Chevalier of the Legion d'honneur in 1878, and elected to the Acaddmie des Beaux-Arts of the Institut de France in 1891. Although Guiraud was widely recognized and highly regarded during his lifetime for his own works, his name is best remembered today for his contributions to Bizet's Carmen and Offenbach's Les contes d'Hoffmann. and as Claude Debussy's professor of composition at the Paris Conservatoire. No comprehensive study of Guiraud's life has been published in either French or English. The most significant treatment of this subject is found in the manuscript of Branks Orlic's unfinished monograph "Ernest Guiraud et son oeuvre musicale," located at the Institut de Musicologie of the University de Paris. Georges Favre devotes sixty pages to Guiraud in his 1983 publication Compositeurs francais mdconnus (Ernest Guiraud et ses amis: Emile Paladilhe et Theodore Dubois!. Brief articles about Guiraud appear in many of the English-language encycopedias and dictionaries of music. In the absence of a significant body of personal correspondence, our understanding of Guiraud's character is limited to the observations of those who knew and wrote about him. In this regard, Orlic's work is especially ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. important, as he was able to interview Henri Busser (one of Guiraud's students) and Ad&le Guiraud-Damart (Guiraud's daughter, who was only eight when Guiraud died). Fortunately, Guiraud's association with many of France's most celebrated musicians (Bizet, Debussy, Saint-Saens, Massenet) offers documentation of many details of his life. I am especially indebted to the grandchildren of Guiraud's step-sister, Jeanne Guiraud Pool, who currently reside in Louisiana and Mississippi—-Mrs. Shirley Farrell Egge of Gulfport and Mrs. Audrey Farrell McCrary, Mrs. Adrienne Farrell Kepper, and Mr. Thomas C. Farrell, Jr of New Orleans. Not only did they share information and recollections about their family pertinent to my investigation, but they also extended me a generous grant in memory of their mother, Mildred Pool Farrell, and grandmother. This grant facilitated research in Paris at the Biblioth&que Nationale, the Bibliot&que de l'Opera, and the Institut de Musicologie of the Universite de Paris. I would like to take this opportunity to express my gratitude to Dr. Jan Herlinger, whose generosity, patience, and encouragement provided inspiration, and whose impressive literary skills and professional guidance offered invaluable assistance in shaping and structuring this monograph. I am also grateful to Drs. Daniel Sher, Jack Guerry, Wallace McKenzie, Richard Kaplan, and Richard Cox for their time spent in examining this monograph and for their helpful suggestions for improving it. Many people have contributed to the completion of this project. I would like to express my appreciation to Jean-Pierre Marty for introducing me to the music of Ernest Guiraud; to Sr. Loyola Weilbaecher, O.S.U. for tutoring me in French and her assistance in translating; to Cecile Dalin- iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Hagar and Dr. Harry Redman whose knowledge of the French language also proved helpful; to Pascale St. Andrd and Philippe Bianconi for their research assistance in Paris; to Alfred Lemmon of the Historic New Orleans Collection; to Dr. William Loring of Scarecrow Press; to Catherine Masip of the Biblioth&que Nationale; to Dr. Robert Curtis of Tulane's Maxwell Music Library; to Robert Bledsoe of Tulane's Howard Tilton Library; to Drs. Peter Hansen and John Baron of the Tulane Music Department; and to Dr. David Beveridge of the University of New Orleans. For their general encouragement and assistance I would like to extend special thanks to Joan Landry, John Belsom, George Van Hoose, Raymond Gitz, Julianne Nice, Brian Eschette, Maurice Stouse, and Anne Simpson. iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS PREFACE.........................................................................................................................ii ABSTRACT..................................................................................................................vi CHAPTER 1 EARLY YEARS IN NEW ORLEANS...................................................................... 1 CHAPTER 2 STUDENT YEARS IN PARIS...................................................................................1 8 CHAPTER 3 PRIXDEROM E..........................................................................................................2 8 CHAPTER 4 EARLY SUCCESSES..................................................................................... ...............4 4 CHAPTER 5 REPUTATION ESTABLISHED...............................................................................5 8 CHAPTER 6 PROFESSOR OF HARMONY....................................................................................8 5 CHAPTER7 PROFESSOR OF COMPOSITION............................................................................101 CATALOGUE OF WORKS........................................................................................129 BIBLIOGRAPHY........................................................................................................145 VITA.............................................................................................................................
Load more

Recommended publications
  • Dustin M. Schroeder
    Dustin M. Schroeder Assistant Professor of Geophysics Department of Geophysics, School of Earth, Energy, and Environmental Sciences 397 Panama Mall, Mitchell Building 361, Stanford University, Stanford, CA 94305 [email protected], 440.567.8343 EDUCATION 2014 Jackson School of Geosciences, University of Texas, Austin, TX Doctor of Philosophy (Ph.D.) in Geophysics 2007 Bucknell University, Lewisburg, PA Bachelor of Science in Electrical Engineering (B.S.E.E.), departmental honors, magna cum laude Bachelor of Arts (B.A.) in Physics, magna cum laude, minors in Mathematics and Philosophy PROFESSIONAL EXPERIENCE 2016 – present Assistant Professor of Geophysics, Stanford University 2017 – present Assistant Professor (by courtesy) of Electrical Engineering, Stanford University 2020 – present Center Fellow (by courtesy), Stanford Woods Institute for the Environment 2020 – present Faculty Affiliate, Stanford Institute for Human-Centered Artificial Intelligence 2021 – present Senior Member, Kavli Institute for Particle Astrophysics and Cosmology 2016 – 2020 Faculty Affiliate, Stanford Woods Institute for the Environment 2014 – 2016 Radar Systems Engineer, Jet Propulsion Laboratory, California Institute of Technology 2012 Graduate Researcher, Applied Physics Laboratory, Johns Hopkins University 2008 – 2014 Graduate Researcher, University of Texas Institute for Geophysics 2007 – 2008 Platform Hardware Engineer, Freescale Semiconductor SELECTED AWARDS 2021 Symposium Prize Paper Award, IEEE Geoscience and Remote Sensing Society 2020 Excellence in Teaching Award, Stanford School of Earth, Energy, and Environmental Sciences 2019 Senior Member, Institute of Electrical and Electronics Engineers 2018 CAREER Award, National Science Foundation 2018 LInC Fellow, Woods Institute, Stanford University 2016 Frederick E. Terman Fellow, Stanford University 2015 JPL Team Award, Europa Mission Instrument Proposal 2014 Best Graduate Student Paper, Jackson School of Geosciences 2014 National Science Olympiad Heart of Gold Award for Service to Science Education 2013 Best Ph.D.
    [Show full text]
  • BOSTON UNIVERSITY COLLEGE of FINE ARTS Dissertation MERRI FRANQUIN and HIS CONTRIBUTION to the ART of TRUMPET PLAYING by GEOFFRE
    BOSTON UNIVERSITY COLLEGE OF FINE ARTS Dissertation MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING by GEOFFREY SHAMU A.B. cum laude, Harvard College, 1994 M.M., Boston University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2009 © Copyright by GEOFFREY SHAMU 2009 Approved by First Reader Thomas Peattie, Ph.D. Assistant Professor of Music Second Reader David Kopp, Ph.D. Associate Professor of Music Third Reader Terry Everson, M.M. Associate Professor of Music To the memory of Pierre Thibaud and Roger Voisin iv ACKNOWLEDGEMENTS Completion of this work would not have been possible without the support of my family and friends—particularly Laura; my parents; Margaret and Caroline; Howard and Ann; Jonathan and Françoise; Aaron, Catherine, and Caroline; Renaud; les Davids; Carine, Leeanna, John, Tyler, and Sara. I would also like to thank my Readers—Professor Peattie for his invaluable direction, patience, and close reading of the manuscript; Professor Kopp, especially for his advice to consider the method book and its organization carefully; and Professor Everson for his teaching, support and advocacy over the years, and encouraging me to write this dissertation. Finally, I would like to acknowledge the generosity of the Voisin family, who granted interviews, access to the documents of René Voisin, and the use of Roger Voisin’s antique Franquin-system C/D trumpet; Veronique Lavedan and Enoch & Compagnie; and Mme. Courtois, who opened her archive of Franquin family documents to me. v MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING (Order No.
    [Show full text]
  • HEADLINE NEWS • 6/23/09 • PAGE 2 of 8
    EADLINE H Battle for Ky NEWS Slots For information about TDN, See page 2 call 732-747-8060. www.thoroughbreddailynews.com TUESDAY, JUNE 23, 2009 RACHEL WORKS HALF FOR MOTHER GOOSE GOLDEN IN THE DAPHNIS Stonestreet Stables and Harold McCormick=s Rachel Golden Century (El Prado {Ire}) made the most of soft Alexandra (Medaglia d=Oro) worked a half in :49 4/5 at early fractions and proved best late to hold off Allybar Churchill Downs yesterday in advance of Saturday=s GI (Ire) (King=s Best) by a length in yesterday=s G3 Prix Mother Goose Daphnis at Longchamp. AHe is a nice horse and won S. at Belmont well,@ said winning jockey Maxime Guyon. AI don=t Park. The filly know what [trainer, Andre] Mr. Fabre is going to do ships to New with him, but he won=t stay much further than that.@ York this Golden Century followed a debut win over this trip at morning. Un- Fontainebleau Apr. 10 with a third when upped to a der exercise mile and a half in a conditions event at Saint-Cloud rider Dominic May 1. Back to a mile at this track last time May 30, Terry, Rachel the homebred returned to winning ways and extended was caught his sequence under an enterprising ride. Allowed to through frac- saunter along behind reluctant rivals shortly after the tions of :13, start, the bay ran freely until settled into his soft lead, :25 and and after kicking at the top of the stretch, was mainly hand ridden to comfortably beat the Wertheimer=s Reed Palmer photo :37.40; she galloped out homebred Allybar.
    [Show full text]
  • Discovering the Lost Race Story: Writing Science Fiction, Writing Temporality
    Discovering the Lost Race Story: Writing Science Fiction, Writing Temporality This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia 2008 Karen Peta Hall Bachelor of Arts (Honours) Discipline of English and Cultural Studies School of Social and Cultural Studies ii Abstract Genres are constituted, implicitly and explicitly, through their construction of the past. Genres continually reconstitute themselves, as authors, producers and, most importantly, readers situate texts in relation to one another; each text implies a reader who will locate the text on a spectrum of previously developed generic characteristics. Though science fiction appears to be a genre concerned with the future, I argue that the persistent presence of lost race stories – where the contemporary world and groups of people thought to exist only in the past intersect – in science fiction demonstrates that the past is crucial in the operation of the genre. By tracing the origins and evolution of the lost race story from late nineteenth-century novels through the early twentieth-century American pulp science fiction magazines to novel-length narratives, and narrative series, at the end of the twentieth century, this thesis shows how the consistent presence, and varied uses, of lost race stories in science fiction complicates previous critical narratives of the history and definitions of science fiction. In examining the implicit and explicit aspects of temporality and genre, this thesis works through close readings of exemplar texts as well as historicist, structural and theoretically informed readings. It focuses particularly on women writers, thus extending previous accounts of women’s participation in science fiction and demonstrating that gender inflects constructions of authority, genre and temporality.
    [Show full text]
  • Picturing France
    Picturing France Classroom Guide VISUAL ARTS PHOTOGRAPHY ORIENTATION ART APPRECIATION STUDIO Traveling around France SOCIAL STUDIES Seeing Time and Pl ace Introduction to Color CULTURE / HISTORY PARIS GEOGRAPHY PaintingStyles GOVERNMENT / CIVICS Paris by Night Private Inve stigation LITERATURELANGUAGE / CRITICISM ARTS Casual and Formal Composition Modernizing Paris SPEAKING / WRITING Department Stores FRENCH LANGUAGE Haute Couture FONTAINEBLEAU Focus and Mo vement Painters, Politics, an d Parks MUSIC / DANCENATURAL / DRAMA SCIENCE I y Fontainebleau MATH Into the Forest ATreebyAnyOther Nam e Photograph or Painting, M. Pa scal? ÎLE-DE-FRANCE A Fore st Outing Think L ike a Salon Juror Form Your Own Ava nt-Garde The Flo ating Studio AUVERGNE/ On the River FRANCHE-COMTÉ Stream of Con sciousness Cheese! Mountains of Fra nce Volcanoes in France? NORMANDY “I Cannot Pain tan Angel” Writing en Plein Air Culture Clash Do-It-Yourself Pointillist Painting BRITTANY Comparing Two Studie s Wish You W ere Here Synthétisme Creating a Moo d Celtic Culture PROVENCE Dressing the Part Regional Still Life Color and Emo tion Expressive Marks Color Collectio n Japanese Prin ts Legend o f the Château Noir The Mistral REVIEW Winds Worldwide Poster Puzzle Travelby Clue Picturing France Classroom Guide NATIONAL GALLERY OF ART, WASHINGTON page ii This Classroom Guide is a component of the Picturing France teaching packet. © 2008 Board of Trustees of the National Gallery of Art, Washington Prepared by the Division of Education, with contributions by Robyn Asleson, Elsa Bénard, Carla Brenner, Sarah Diallo, Rachel Goldberg, Leo Kasun, Amy Lewis, Donna Mann, Marjorie McMahon, Lisa Meyerowitz, Barbara Moore, Rachel Richards, Jennifer Riddell, and Paige Simpson.
    [Show full text]
  • The Pianissimo, "The Feast of Eight Hands"
    Kennesaw State University College of the Arts School of Music presents Guest Artists The Pianissimo The Musical Arts Association's Piano Ensemble Concert The Feast of Eight Hands Wednesday, February 26, 2014 8:00 p.m Audrey B. and Jack E. Morgan, Sr. Concert Hall Dr. Bobbie Bailey & Family Performance Center Seventy-sixth Concert of the 2013-14 Concert Season Program The Feast of Eight Hands LUDWIG VAN BEETHOVEN (1770-1827) arr. F. X. Chwatal Egmont Overture, Op. 84 for 2 pianos 8 hands KYUNG MEE CHOI (b. 1971) The Mind That Moves for 2 pianos 8 hands (2011)* ALBERT LAVIGNAC (1846-1916) Galop March for 1 piano 8 hands Intermission CHARLES CAMILLE SAINT-SAËNS (1835-1921) arr. E.Guiraud Danse Macabre, Op.40 for 2 pianos 8 hands SOONMEE KANG (b. 1948) Poongryu II for 2 pianos 8 hands (2014 revised) MIKHAIL IVANOVICH GLINKA (1804-1857) arr. J. Spindler Overture of Ruslan und Ludmila for 2 pianos 8 hands * It was commissioned and premiered in 2011 by The Pianissimo- The Musical Arts Association. * Pianissimo’s residency at Kennesaw State University is made possible in part by the Global Engagement Grants from the College of the Arts in KSU. * Special thanks to the support by the Asian Studies Program of the Interdisciplinary Studies department in Kennesaw State University. Program Notes Egmont Overture, Op.84 for 2 pianos 8 hands LUDWIG VAN BEETHOVEN / F. X. CHWATAL Egmont, Op. 84 is a set of incidental music pieces for the play of the same name by Johann Wolfgang von Goethe. Beethoven wrote it between October 1809 and June 1810, and it was premiered on June 15, 1810.
    [Show full text]
  • 10-06-2018 Aida Mat.Indd
    Synopsis Act I Egypt, during the reign of the pharaohs. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command the Egyptian army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter, and he believes that victory in the war would enable him to free and marry her. But Amneris also loves Radamès and is jealous of Aida, whom she suspects of being her rival for Radamès’s affection. A messenger brings news that the Ethiopians are advancing. The king names Radamès to lead the army, and all prepare for war. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king. In the temple of Vulcan, the priests consecrate Radamès to the service of the god Ptah. Ramfis orders Radamès to protect the homeland. Act II Ethiopia has been defeated, and in her chambers, Amneris waits for the triumphant return of Radamès. Alone with Aida, she pretends that Radamès has fallen in battle, then says that he is still alive. Aida’s reactions leave no doubt that she loves Radamès. Amneris is certain that she will defeat her rival. At the city gates, the king and Amneris observe the victory celebrations and praise Radamès’s triumph. Soldiers lead in the captured Ethiopians, among them Amonasro, who signals his daughter not to reveal his identity as king. Amonasro’s eloquent plea for mercy impresses Radamès, and the warrior asks that the order for the prisoners to be executed be overruled and that they be freed instead.
    [Show full text]
  • Benjamin Godard Sonates Pour Piano Et Violon Benjamin Godard (1849-1895)
    Nicolas Dautricourt Dana Ciocarlie Benjamin Godard Sonates pour piano et violon Benjamin Godard (1849-1895) CD1 CD2 Sonate pour piano et violon no 3 Sonate pour piano et violon no 4 en sol mineur, op. 9 en la bémol majeur, op. 12 Piano & Violin Sonata No. 3 in G minor Piano & Violin Sonata No. 4 in A-flat major 1. Allegro moderato 8’41 1. Vivace ma non troppo 7’53 Enregistré à la Salle Byzantine du Palais de Béhague (Paris) du 2 au 4 septembre 2015. 2. Scherzo (non troppo vivace) 3’58 2. Allegro vivace ma non presto 4’10 Remerciements : Palazzetto Bru Zane, l’équipe de l’Ambassade de Roumanie en République Française 3. Andante 4’50 3. Andante 7’02 et Pierre Malbos. 4. Intermezzo 4. Allegro molto 6’47 Production exécutive et son : Little Tribeca (un poco moderato) 2’57 Direction artistique et ingénieur du son : Clément Rousset 5. Allegro 5’26 Piano CFX YAMAHA no 6315200 Sonate pour piano et violon no 2 Préparation et accord : Pierre Malbos Sonate pour piano et violon no 1 en la mineur, op. 2 Photos artistes © Bernard Martinez en do mineur, op. 1 Piano & Violin Sonata No. 2 in A minor Piano & Violin Sonata No. 1 in C minor 5. Andante - Allegro Couverture © Bnf English translation © Sue Rose 6. Andante-Allegro 5’32 vivace e appassionato 7’16 7. Scherzo (molto moderato) 3’00 6. Intermezzo (vivace) 2’02 Aparté · Little Tribeca 8. Andante 4’59 7. Andante quasi adagio 4’16 1, rue Paul Bert 93500 Pantin, France AP124 © ℗ Little Tribeca - Palazzetto Bru Zane 2015 9.
    [Show full text]
  • Mikhail Bugaev DMA Document
    PAUL HINDEMITH’S IDIOMATIC WRITING FOR VIOLA AND ITS INFLUENCE ON HIS THEORIES. SONATA FOR VIOLA SOLO OP. 11, NO. 5. By Mikhail Bugaev A DOCUMENT Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS Music 2013 Table of contents: INTRODUCTION____________________________________________________________________________3 I. HINDEMITH’S PERFORMANCE CAREER 1. Successful violinist, early stage of Hindemith as a violist__________________4 2. Amar-Hindemith Quartet, and a peak of a performance career___________6 3. Last stage of a Hindemith-performer, Der Schwanendreher_______________8 4. Conclusion___________________________________________________________________12 II. SONATA OP. 11 NO. 5 1. History of the genre and influences________________________________________14 2. Structural and thematic analysis of the movements______________________19 3. Idiomatic writing____________________________________________________________35 a. The link to the instrument b. Motive as a building block c. Chords and intervals 4. Conclusion___________________________________________________________________42 III. INSTRUMENTAL APPROACH TO THE THEORIES 1. Series 1 and 2________________________________________________________________44 2. Intervalic content____________________________________________________________47 3. Melody________________________________________________________________________48 CONCLUSION_____________________________________________________________________________49 BIBLIOGRAPHY__________________________________________________________________________51
    [Show full text]
  • The Negotiation of Nationalism in Nineteenth-Century Russian Opera
    Not Russian Enough The Negotiation of Nationalism in Nineteenth-Century Russian Opera R H ©?=>> Rutger Helmers Print production by F&N Boekservice Typeset using: LATEX ?" Typeface: Linux Libertine Music typesetting: LilyPond Not Russian Enough: The Negotiation of Nationalism in Nineteenth-Century Russian Opera Niet Russisch genoeg: nationalisme en de negentiende-eeuwse Russische operapraktijk (met een samenvatting in het Nederlands) P ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magniVcus, prof. dr. G. J. van der Zwaan, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op donderdag ? februari ?=>? des ochtends te >=.@= uur door Rutger Milo Helmers geboren op E november >FE= te Amersfoort Promotor: Prof. dr. E. G. J. Wennekes Co-promotor: Dr. M. V. Frolova-Walker Contents Preface · vii Acknowledgements · viii Preliminary Notes · x List of Abbreviations · xiii Introduction: The Part and the Whole · > Russia and the West · C The Russian Opera World · >= The Historiographical Legacy · >B Russianness RedeVned · ?> The Four Case Studies · ?A > A Life for the Tsar · ?F Glinka’s Changing Attitude to Italian Music · @@ The Italianisms of A Life for the Tsar · @F Liberties · BA Reminiscences · C> Conclusion · CB v vi CON TEN TS ? Judith · CD Serov the Cosmopolitan · D= Long-Buried Nationalities · E> Judith and Russianness · FE Conclusion · >=D @ The Maid of Orléans · >>> The Requirements of the Operatic Stage · >>C Schiller, The Maid, and Grand Opera Dramaturgy · >?>
    [Show full text]
  • Música Brasileira OS RUMOS DA CANÇÃO
    música brasileira OS RUMOS DA CANÇÃO Minas de Som Luciana Monteiro de Castro Marcus Vinicius Medeiros (organizadores) UNIVERSIDADE FEDERAL DE MINAS GERAIS REITOR: Jaime Arturo Ramírez VICE-REITORA: Sandra Regina Goulart Almeida PRÓ-REITORA DE EXTENSÃO: Benigna Maria de Oliveira PRÓ-REITOR DE GRADUAÇÃO: Ricardo Hiroshi Caldeira Takahashi PRÓ-REITORA DE PESQUISA: Adelina Martha dos Reis PRÓ-REITOR DE PÓS-GRADUAÇÃO: Rodrigo Antônio de Paiva Duarte DIRETORIA DE AÇÃO CULTURAL: Leda Martins DIRETORA DA ESCOLA DE MÚSICA DA UFMG: Mônica Pedrosa de Pádua anais do DIRETORA DO CONSERVATÓRIO UFMG: Margarida Maria Borghoff iv seminário da canção brasileira COORDENADOR DO PROGRAMA DE PÓS-GRADUAÇÃO EM MÚSICA: Sérgio Freire Garcia da escola de música da ufmg COORDENADOR DO DEPARTAMENTO DE INSTRUMENTO E CANTO: Marcelo Penido os rumos da canção GRUPO DE PESQUISA RESGATE DA CANÇÃO BRASILEIRA COORDENADORA: Margarida Maria Borghoff Luciana Monteiro de Castro Marcus Vinicius Medeiros Pereira (organizadores) SELO MINAS DE SOM COORDENADORA: Luciana Monteiro de Castro Silva Dutra CONSELHO EDITORIAL: Carlos Aleixo dos Reis Fausto Borém de Oliveira Flávio Terrigno Barbeitas Escola de Música da UFMG Luciana Monteiro de Castro Silva Dutra Belo Horizonte Margarida Maria Borghoff 2014 Mauro Camilo de Chantal Santos Mônica Pedrosa de Paula IV SEMINÁRIO DA CANÇÃO BRASILEIRA DA ESCOLA DE MÚSICA DA UFMG sumário COMISSÃO ORGANIZADORA: Luciana Monteiro de Castro Silva Dutra (UFMG) Mônica Pedrosa de Pádua (UFMG) Margarida Maria Borghoff (UFMG) 01 Apresentação - Os Rumos da Canção Mauro Chantal (UFMG) 02 Solidão e distanciamento: um encontro entre Brecht e Villa-Lobos | Patrícia Cardoso Chaves (UFOP) Aline Soares Araújo; Adriano Lopes Sobrinho...................................................................... 13 03 Vocabulário Banto na Música de Câmara Brasileira: Francisco Mignone | COMISSÃO CIENTÍFICA: PRESIDENTE - Marcus Vinícius Medeiros Pereira (UFJF) Andrea Alburquerque Adour da Câmara...............................................................................
    [Show full text]
  • De Carmen À Mélisande FÉVRIER 2015 DRAMES À L’OPERA COMIQUE 18 Mars - 28 Juin 2015
    DOSSIER DE PRESSE De Carmen à Mélisande FÉVRIER 2015 DRAMES À L’OPERA COMIQUE 18 mars - 28 juin 2015 Du mardi au dimanche de 10h à 18h INFORMATIONS Nocturne le vendredi jusqu’à 21h petitpalais.paris.fr Lucien Doucet, Célestine Galli Marié, cantatrice dans le rôle de Carmen, huile sur toile, 1884 © BnF et Studio Reutlinger, Mlle Garden dans Pelléas et Mélisande, photographie, vers 1904 © BnF Exposition organisée par le Petit Palais et l’Opéra Comique, avec le concours exceptionnel de la Bibliothèque nationale de France, du musée d’Orsay et du musée Carnavalet-Histoire de Paris. SOMMAIRE Communiqué de presse p. 3 Parcours de l’exposition p. 4 Repères chronologiques p. 12 Scénographie p. 13 Le catalogue de l’exposition p. 14 Autour de l’exposition p. 15 Paris Musées, le réseau des musées de la Ville de Paris p.18 Le Petit Palais p. 19 Informations pratiques p. 20 Visite de presse Le mardi 17 mars 2015 de 9h30 à 13h Attachée de Presse Mathilde Beaujard [email protected] Tel : 01 53 43 40 14 Responsable Communication Anne Le Floch [email protected] Tel : 01 53 43 40 21 Petit Palais, Musée des Beaux-Arts de la Ville de Paris 2 De Carmen à Mélisande. Drames à l’Opéra Comique - du 18 mars au 28 juin 2015 COMMUNIQUÉ DE PRESSE À l’occasion de son tricentenaire, l’Opéra Comique s’associe au Petit Palais pour évoquer quelques-uns de ses plus grands chefs-d’œuvre créés au tournant des XIXe et XXe siècles, période la plus faste de l’institution.
    [Show full text]