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Dante Életműve Az Egyetemes Emberi Kultúra Lényeges Része
Dante életműve az egyetemes emberi kultúra lényeges része. Babits sza- vaival: „Dante élete, amint nem végződik halálával, úgy nem kezdődik születésével: hanem szétolvad a világtörténetbe”. Szellemi örökségének ápolása, ahogy országokat átfogó, úgy hazánkban is igen jelentős. Bizo- nyítja ezt a magyar dantisztika kétszáz éves hagyománya, Péterfy Jenő, Szász Károly, Kaposi József, Fülep Lajos, Babits Mihály, Koltay-Kastner Jenő, Bán Imre, Kardos Tibor, Szauder József munkássága. E hagyomány folytonosságát a 2004-ben alakult Magyar Dantisztikai Társaság kon- cepciózus működése biztosítja. Valamint az elmúlt két évtizedben meg- jelent számos, nemzetközi szinten is jelentős hazai Dante-monográfia, tanulmánykötet, mely könyvek alkotói – Kelemen János, Pál József és Szabó Tibor – egyben a jelen kötet első részének szerzői. Mellettük Máté Zsuzsanna irodalmár, művészetfilozófus és Dombiné Kemény Erzsébet tanár és zongoraművész írása olvasható. A kötet második része a „Dante – 750” szakkollégiumi pályázat díjazott hallgatói tanulmányait; a harma- dik rész az „Égi Paradicsom – „Földi Paradicsom” c. kiállítás nyertes hall- gatói pályamunkáit és az alkotók illetve műveik rövid ismertetését fog- lalja magába; az utolsó rész pedig, a legújabb Dante-könyvekről, Bárdos Judit esztéta és Szabó Tibor filozófus könyvismertetésével zárja a kötetet. 2015. szeptember 30-án, a 750 éve született Dantéra emlékeztünk, a Szegedi Tudományegyetem JGYPK Művészeti, Művészetpedagógiai és Művészetközvetítő Szakkollégiuma által rendezett „Dante – 750” Kiállí- táson és -
A Chronology of All Artists' Appearances with the Chamber
75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 Season, 1938 – 1939 Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 Season, 1939 – 1940 The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 Season, 1940 – 1941 Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian PianoString Quartet The Coolidge Quartet th 4 Season, 1941 – 1942 The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 Season, 1942 – 1943 The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 Season, 1943 – 1944 The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 Season, 1944 – 1945 The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 Season, 1945 – 1946 The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 Season, 1946 – 1947 The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 Season, 1947 – 1948 Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 Season, 1948 – 1949 The Alma Trio -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Eine Symphonie Zu Dantes Divina Commedia Deux Légendes
Liszt SYMPHONIC POEMS VOL. 5 Eine Symphonie zu Dantes Divina Commedia Deux Légendes BBC Philharmonic GIANANDREA NOSEDA CHAN 10524 Franz Liszt (1811–1886) Symphonic Poems, Volume 5 AKG Images, London Images, AKG Eine Symphonie zu Dantes Divina Commedia, S 109* 42:06 for large orchestra and women’s chorus Richard Wagner gewidmet I Inferno 20:03 1 Lento – Un poco più accelerando – Allegro frenetico. Quasi doppio movimento (Alla breve) – Più mosso – Presto molto – Lento – 6:31 2 Quasi andante, ma sempre un poco mosso – 5:18 3 Andante amoroso. Tempo rubato – Più ritenuto – 3:42 4 Tempo I. Allegro (Alla breve) – Più mosso – Più mosso – Più moderato (Alla breve) – Adagio 4:32 II Purgatorio 21:57 5 Andante con moto quasi allegretto. Tranquillo assai – Più lento – Un poco meno mosso – 6:22 6 Lamentoso – 5:11 Franz Liszt, steel plate engraving, 1858, by August Weger (1823 –1892) after a photograph 3 Liszt: Symphonic Poems, Volume 5 7 [L’istesso tempo] – Poco a poco più di moto – 3:42 8 Magnificat. L’istesso tempo – Poco a poco accelerando e Deux Légendes published by Editio Musica in Budapest in crescendo sin al Più mosso – Più mosso ma non troppo – TheDeux Légendes, ‘St François d’Assise: la 1984. ‘St François d’Assise’ is scored for strings, Un poco più lento – L’istesso tempo, ma quieto assai 6:40 prédication aux oiseaux’ (St Francis of Assisi: woodwind and harp only, while ‘St François de the Sermon to the Birds) and ‘St François de Paule’ adds four horns, four trombones and a Deux Légendes, S 354 19:10 Paule marchant sur les flots’ (St Francis of bass trombone. -
Ideazione E Coordinamento Della Programmazione a Cura Di Massimo Di Pinto Con La Collaborazione Di Leonardo Gragnoli
Ideazione e coordinamento della programmazione a cura di Massimo Di Pinto con la collaborazione di Leonardo Gragnoli gli orari indicati possono variare nell'ambito di 4 minuti per eccesso o difetto Martedì 7 febbraio 2017 00:00 - 02:00 euroclassic notturno schubert, franz (1797-1828) sei danze tedesche (D 820) orchestraz di anton webern dall'orig. per pf. in la bem mag - in la bem mag - in la bem mag - in si bem mag - in si bem mag - in si bem mag. luxembourg philharmonic orch dir. justin brown (reg. lussemburgo, 20/12/1996) durata: 8.56 RSL radio televisione lussemburghese larsson, lars-erik (1908-1986) croquiser, sei schizzi per pf op. 38 capriccioso - grazioso - semplice - scherzando - espressivo - ritmico. marten landström, pf durata: 11.59 SR radio svedese bruch, max (1838-1920) kol nidrei, per vcl e orch op. 47 adam krzeszowiec, vcl; polish radio symphony orch dir. lukasz borowicz (reg. varsavia, 21/04/2013) durata: 12.26 PR radio polacca poulenc, francis (1899-1963) sept chansons per coro la blanche neige - à peine défigurée - par une nuit nouvelle - tous les droits - belle et ressemblante - marie - luire. jutland chamber choir dir. mogens dahl durata: 12.59 DR radiotelevisione di stato danese händel, georg friedrich (1685-1759) concerto in si bem mag per arpa e orch op. 4 n. 6 (HWV 294) andante, allegro - larghetto - allegro moderato. sofija ristic, arpa; slovenian radio television symphony orch dir. pavle despalj durata: 13.06 RTVS radiotelevisione slovena elgar, edward (1857-1934) sea pictures op. 37 sea slumber song - in haven - sabbath morning at sea - where corals lie - the swimmer. -
Francisco António D´Almeida and the Serenata Genre in Early and Mid Eigtheenth-Century Portugal
Francisco António d´Almeida and the Serenata Genre in Early and Mid Eigtheenth-Century Portugal. The music manuscript CIC 12 from the National Library of Portugal contains thirteen arias by Francisco António d´Almeida (1702-1755?), one of the most important Portuguese composers of the first half of the 18th century. Five of them have been identified as being part of the serenata Gl´Incanti d´Alcina of 1730. There are also eight arias from another serenata, Il vaticinio di Pallade e di Mercurio, staged a year later, in 1731. To study the libretti which were the sources of the identification of these arias and then the music present in the CIC 12 manuscript is of fundamental importance in understanding the serenata genre during the reign of King D. João V of Portugal. Consequently, this paper intends to enlarge our knowledge of the formal and stylistic structure of d´Almeida´s serenate and also to give an overview of the performing practices and the courtly and aristocratic significance associated with this genre. Particularly in the field of the study of Portuguese dramatic music of this period, the understanding of the serenata is of primary importance, since it was the principal musical event performed on courtly occasions. Its study gives us today a rich picture of the characteristics of musical life in the court of D. João V, and helps us simultaneously to understand the differences, in this period, between the genre of the serenata and major genres such as opera and cantata. The term serenata, as applied to 17th and 18th century Italy, means a cantata-like work performed in courtly or aristocratic surroundings to celebrate dynastic occasions or political events, or, as in Portugal, anniversaries and name-days of the Royal Family. -
Music in Dante's Poetry Anett Julianna Kádár Faculty of Arts and Letters University of Debrecen 2016
SUMMARY OF DOCTORAL DISSERTATION Musica dantesca – Music in Dante’s poetry Anett Julianna Kádár Supervisor: Dr. habil Imre Madarász Faculty of Arts and Letters University of Debrecen 2016 I. SETTING THE AIMS, PRESENTING THE TOPIC The main aim of my dissertation was to create a thematic, comprehensive writing of the connections between Dante Alighieri and music. Regarding the interdisciplinary aspect of the subject my research included music literature, music theory, literature theory, comparative literature, and medieval studies. I analyzed in details the components connected to music in the Divine Comedy. The analysis was published in three subsection corresponding to the structure of Dante’s writing. The results of above mentioned analysis, the correspondences and emphasized elements were communicated in separate subsections. I examined the relationships of musical components in the Divine Comedy and described the music theory background of Dante and his poem. Like the music is presented in Dante’s writings, Dante’s words were presented in the next era’s music literature as an inspiration for musical works. Dante’s musical reception is such an expansive topic that it could be the target of many doctoral thesis. In my work I gave a synthetic description of the musical reception of the medieval poet starting from his contemporary to nowadays and I demonstrated the musical-literal connection points through Franz Liszt’s exemplar. The bibliography already talked about the songs quoted in the Divine Comedy, so I did not describe this topic elaborately. I described the systematic arrangement of these musical quotations and observed the musical elements which are not sounding in the dramaturgy of Dante, but they still have a significant role in the analysis. -
Coro Do Teatro Nacional De São Carlos
D A Luísa Taveira Patrick Dickie (Companhia Nacional de Bailado) (Teatro Nacional de São Carlos) Companhia Nacional de Bailado — Coro do Teatro Nacional de São Carlos — Escola Superior de Teatro e Cinema Orquestra Gulbenkian — Orquestra Metropolitana de Lisboa — Orquestra Sinfónica Juvenil Orquestra Sinfónica Portuguesa — Orquestra de Sopros e Percussão do Conservatório Regional de Artes do Montijo André Baleiro — Airam Hernández — Christopher Bochmann — Cristiana Oliveira — Cristina Carvalhal Dinis Sousa — Domenico Longo — Joana Carneiro — Laryssa Savchenko — Lorenzo Decaro — Luís Rodrigues Maria Luísa de Freitas — Mário Laginha — Mary Elizabeth Williams — Nuno Silva — Pedro Amaral Pedro Meireles — Pedro Neves — Sara Braga Simões | 2 FESTIVAL AO LARGO MILLENNIUM BCP Fernando Pessoa escreveu que todos vivemos tal como sonhamos – sozinhos. À afirmação imaterial e poética im- põe-se a pergunta terrena e material: e enquanto vivemos e sonhamos, não choramos, não cantamos, não amamos e não acreditamos em comunidade? Uma das mais poderosas formas de bem-estar e de reconciliação é a partilha comunitária da Música, de uma simples melodia, não sozinhos, mas cercados por milhares de vozes. Claro que existe essa barreira, quase indecifrável, que divide as emoções de massa da verdadeira consciência estética, mas a prova está nos resultados, esses bem decifrá- veis: perdemo-nos na multidão ou, no meio dela, nos descobrimos como indivíduos unidos, mesmo comungando das nossas diferenças? Porque acreditamos que a etimologia não engana e que comunhão e comunidade são da mesma família, porque acreditamos que certas formas públicas de abraçarmos as diversas fatias da cultura são vitais para que essa mesma cultura possa sobreviver, o Festival ao Largo regressa na sua já 8ª edição. -
NFA Gift Oakes Collection.Xlsx
Title Creator bib. number Call Number Twenty‐four exercises :for the flute (in all major and minor keys), op. 33 Joachim Andersen. MT345 .A544 op. 33 F57 Georg Philipp Telemann herausgegeben im Auftrag der Gesellschaft für Musikalische Werke Musikforschung. M3 .T268 Jeux :sonatine pour flute et piano Jacques Ibert. M242 .I12j Trois pieces en courte‐pointe,pour flute et piano Jacques Chailley. .b27393860 M242 .C434 T 65 Aria for flute and piano,op. 48, no. 1. .b27394268 M242 .DF656 op. 48, no. 1 Quartett, D‐dur, für Flöte (Oboe), Violine, Viola (Horn) und Violoncello, op. VIII/1. Hrsg. von Walter Upmeyer. .b27982981 M462 .S783 op.8 no. 1 Sonatine Es‐durfür Cembalo (Klavier), 2 Flöten, 2 Violinen, Bratsche und Bass hrsg. von Fritz Oberdorffer. .b27996517 M722 .B116s E b maj. Concerto for flute and chamber orchestra, or flute and piano,MCMXXXXII op. 35 [by] Robert Casadesus. .b28016798 M1021 .C334 op.35 Sinfonien für Kammerorchester:E‐moll. Hrsg. von Raymond Meylan. Symphonies for chamber orchestra. .b28020832 M1105 .S286 S5 no.4 Concertino pour flute et orchestre a cordes, ou piano Antonio Szalowski. .b28037613 M1106 .S996 C74 Joh. Seb. Bach auf Grund der Ausgabe der Bachgesellschaft bearbeitet von Ausgewahlte Arien für Alt :mit obligaten Instrumenten und Klavier oder Orgel Eusebius Mandyczewski. .b28068075 M2103.3 .B118 A6 alto Sonate pour piano et flute :op. 52 Ch. Koechlin. .b30264923 M242 .K777 op.52 Melody for flute and piano : op. 35, no. 1 Reinhold Gliere [edited with special annotations by John Wummer] .b4067082x M242 .G545 op. 35 no. 1 1946 6 canonic sonatas :for two flutes Telemann [edited by] C. -
European Music Manuscripts Before 1820
EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740 - 1770 Unit Six: Manuscripts, Catalogue No.s 1242 - 2212 Primary Source Media EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740-1770 Unit Six: Manuscripts, Catalogue No.s 1242 - 2212 First published in 2000 by Primary Source Media Primary Source Media is an imprint of the Gale Cengage Learning. Filmed in Portugal from the holdings of The Biblioteca da Ajuda, Lisbon by The Photographic Department of IPPAR. All rights reserved. No part of this publication may be reproduced without prior permission. CENGAGE LEARNING LIBRARY PRIMARY SOURCE MEDIA REFERENCE EMEA GALE CENGAGE LEARNING Cheriton House 12 Lunar Drive North Way Woodbridge Andover SP10 5BE Connecticut 06525 United Kingdom USA http://gale.cengage.co.uk/ www.gale.cengage.com CONTENTS Introduction 5 Publisher’s Note 9 Contents of Reels 11 Listing of Manuscripts 15 3 INTRODUCTION The Ajuda Library was established after the Lisbon earthquake of 1755 near the royal palace of the same name to replace the court library which had been destroyed in the earthquake, and from its creation it incorporated many different collections, which were either acquired, donated or in certain cases confiscated, belonging to private owners, members of the royal family or religious institutions. Part of the library holdings followed the royal family to Brazil after 1807 and several of these remained there after the court returned to Portugal in 1822. The printed part of those holdings constituted the basis of the National Library of Rio de Janeiro. -
Rezensionen Für
Rezensionen für Franz Liszt: Künstlerfestzug - Tasso - Dante Symphony aud 97.760 4022143977601 allmusic.com 01.04.2020 ( - 2020.04.01) source: https://www.allmusic.com/album/franz-lis... Karabits's performance of this large work is several minutes longer than average, without dragging in the least: he gets the moody quality that is lost in splashier readings. A very strong Liszt release, with fine sound from the Congress Centrum Neue Weimarhalle. Full review text restrained for copyright reasons. American Record Guide August 2020 ( - 2020.08.01) In 1847 while touring as a pianist in Kiev, Liszt met Polish Princess Carolyne of Sayn–Wittgenstein, who became his companion for the rest of his life. In 1848 he accepted a conducting job in Weimar, where he and the Princess lived until 1861. Carolyne persuaded him to trade performing for composing, and those years, among his most prolific, produced the three works on this program. As a young man, Liszt was already an admirer of Dante Alighieri's Divine Comedy. In the 1840s he considered writing a chorus and orchestra work drawn from it, accompanied by a slideshow of scenes from the poem by German artist Bonaventura Genelli, but nothing came of it. In 1849, he composed Apres une Lecture du Dante: Fantasia quasi Sonata (the Dante Sonata) for piano. In 1855 he began the Dante Symphony based on the 'Inferno' and 'Purgatorio' sections of Dante's poem. He completed it in 1857. The work begins with Virgil and Dante descending into the Inferno. Liszt supplied no text save for the Magnificat, but he included a few lines from the poem under score staves to guide the conductor's interpretation, most notably the opening brass motifs to the rhythms of the text over the Gates of Hell. -
GOLDBERG VARIATIONS - English Suite No
BHP 901 - BACH: GOLDBERG VARIATIONS - English Suite No. 5 in e - Millicent Silver, Harpsichord _____________________________________________________________________________________________________________________ This disc, the first in our Heritage Performances Series, celebrates the career and the artistry of Millicent Silver, who for some forty years was well-known as a regular performer in London and on BBC Radio both as soloist and as harpsichordist with the London Harpsichord Ensemble which she founded with her husband John Francis. Though she made very few recordings, we are delighted to preserve this recording of the Goldberg Variations for its musical integrity, its warmth, and particularly the use of tonal dynamics (adding or subtracting of 4’ and 16’ stops to the basic 8’) which enhances the dramatic architecture. Millicent Irene Silver was born in South London on 17 November 1905. Her father, Alfred Silver, had been a boy chorister at St. George’s Chapel, Windsor where his singing attracted the attention of Queen Victoria, who had him give special performances for her. He earned his living playing the violin and oboe. His wife Amelia was an accomplished and busy piano teacher. Millicent was the second of their four children, and her musical talent became evident in time-honoured fashion when she was discovered at the age of three picking out on the family’s piano the tunes she had heard her elder brother practising. Eventually Millicent Silver won a scholarship to the Royal College of Music in London where, as was more common in those days, she studied equally both piano and violin. She was awarded the Chappell Silver Medal for piano playing and, in 1928, the College’s Tagore Gold Medal for the best student of her year.