DOCSLIB.ORG

News and Comment of Concert and Opera

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
News and Comment of Concert and Opera NEWS AND COMMENT OF CONCERT AND OPERA ~"~.." I.I. , Two American Novelties At the Metropolitan "Shanewis" and "The Dance in Place Congo" Interesting Steps in Oar Musical Development By Grenville Vernon Metropolitan Opera Company's presentation of Charles Wake- THKfield Cadman'a opera, "Shanewis," and Henry F. Gilbert's ballet- pantomime, "The Dance in Place Congo." opens a new and, it is to be hoped, brighter page in American music. Signor Gatti-Casazza can ill be accused of dislike for the works of American composers. île began with Frederick Converse's "The Pipe of Desire," a well made but utterly uninspired, unmelodic and undramatic score, badly fitted to a pre¬ posterous libretto. We gulped down the draft, gasped, made faces and wondered why we had been offered it. Then came Horatio Parker's "Mona." This was on tho whole more successful, for it possessed a cer¬ tain academic dignity. It was, however, utterly unsuited for the theatre and composed to a book of some verbal beauty, written in a supreme igno¬ rance of the A B C's of theatric construction. Then came Walter Dam rosch's "Cyrano de Bergerac," and this marked a further advance. The play of Rostand was eminently suited for lyric investiture, and William J. Henderson provided from it the best operatic book yet produced by an American. Mr. Damrosch's music was some of it excellent, all of it well manufactured, but the spark was missing. The opera fell flat. After this we had Victor Herbert's "Madeleine," a one-act trifle which Massenet or Wolf-Ferrari would have made charming. Mr. Herbert's muse, however, failed him, and he produced a work by no means the equal of his "Na- toma," given a season or two before by the Chicago company. Reginald de Koven's "Canterbury Pilgrims" was the latest venture previous to "Shanewis." Musically it was far from the equal of the same composer's "Robin Hood," and Mr. MacKay's libretto, while possessing some poetic and a good deal of felicity of expression, smelt too strongly of Toshi Komori. feeling The Blue Flame, Koscak Yamada, played the lamp. by Mr. Spier. Michio Itow and Tulle Lindahl. Kappare (Suite Japonaise), Koscak Yamada. playe'i by Mr. Spier. History of Operatic Failure Michio Itow, Tulle lindahl, and Toshi \Stransky Tells Komori. This is our recent local operatic his¬ Charles-Martin Loefflcr L'Etang. MONDAY Where He be frank, it is a history of La Cornemuse. Stanit tory.to the The Tribune has failure. Then canio "Shanewis," and G. Longy, L. Bailly and Mlle. Longy Concert by Letz Quartette, received the follow. Aeolian Hall, 8:15 p. m.: letter from for the first time a Metropolitan au¬ Song recital bv Mme. Stabcrg-Hall, ing Joseph Stransky: Princess !i ni.: Quartet, B major.Brahms dience listened without boredom to a Theatre, p. Quartet .P'Ambro-.io Dear Sir: In this morning's Trib¬ Svarmeri (Rêverie).Arlber« Quartet, Op. IS, No. G major. .Beethoven une a letter native opera. "Shanewis" is far from Prinsessen the Princess.A. Soderman 2, appeared which a Mr. What makes its Den livide, rode Kose (The White and TUESDAY Fletcher had sent to a member of the being a masterpiece. the Red Kose).A. Sodcrman charm, aside from a few Indian Kolibri-visa (Colibri).Hallstrom 'Cello recital by Maurice Dambois, Philharmonic board with the inten- is the melodic genius of Italian Trostepolska ( Polska).Dann.strom Aeoiian Hall, 3 p. m.: tion of ousting me from my present strains, Folksongs : Sonata opera. Mr. Cadman has listened at a Om dagen vid m¡u arliete (My Dream of .Gominiani position as conductor of the Philbat- You Variations Symphonhiue. .L. Boellmañn monic good operatic school. He has heard .- Melodie .Gla.ounow Orchestra, on the grounds that Tjoi'ton or (At Seventeen >. Serenado Espagnole .Glazounow I am many beautiful strains; he has rear¬ Lilaebjorn (1797-1875) Orientale.Ce3ar Cui pro-German. ranged them, modified them, applied Djupt i Uafvet (The Watersprite).... A !a Fontaine.Davidoff j While I readily admit that durinj the Afgelius (1785-1871) Plaintive Air .Rubin Goldmark the first of the war them. He knows how to write for Det Star ett ljus i Osterland (There l.s Aria.«7- «. Bach part my sympa- no desire to make the a Light in Easterland).- .Schumann thies were with the German voice and shows En Sommaraíton (Summer Eve). Evening Song people, voice but another instrument, of the or¬ Lindblad US01-*78) TaranteHe .Popper I was not in favor of the policies of wants his contralto and Saeterjentcns sonda.T (The Chalet (¡iris' Concert by the Schola Cantorum, the German government. Since chestra. He Sunday).Ole Bull 8:15 p. th.: cars: Carnegio Hall, America's entrance his tenor to fill the audience's Whita Rosor (White Roses).Kjorling Russian Follt Music (for mixed chorus). I into the war I de- with broad, me¬ Titania.Peterson Berper Settings by Kurt Schindler cided to take a definite stand with good, mouth-filling Rida Ranka (Rock-a-By).Ekenbcrpr Down St. Peter's Ko;h!. lodic phrases. He knows that that's VusKe-vise (Cradle Son«).Bergson The Puttie of the my adopted country, and the follow¬ Det, ar sa Yoljia. Calendar what brings applause, whether from underliga stallen (Among the Kaiinka. ofInterest for the Week ing lines will prove, I think, that I Mountains) .Hebbe The Interrupted Slumber. Happenings have or He gave the pub- Mot Kvcld (Eventide).Backer-Grondahl The full-heartedly taken that step: orchestra gallery. Summer Ballad of the Kremlin. 3 it wanted in "From the Land Fugl (Summer Bird). Dunya (A Bcssarabian Song of the SUNDAY.Carnegie Hall, p. m., violin recital by Maud Powell; First.As a natural of lie what Backer-Grondahl Dan-| Ritz-Carlton 3 chamber expression of and he gives Det Forste jnode. (The First .Grieg Hotel, p. m., music recital by the Flonzaley Quar¬ my feeling I opened the Philharmonie the Sky-Blue Water," Meeting) Slavonic Soaps (for women's chorus). In the tet, the Friends of Solvieg'a SonK Concert auspices Music; Princess 3 .Grieg World p. m., recital it what it wants again in "Shanewis." Sovnen Joseph Suk Theatre, song I season with the playing of "The Star- (Slumber).K.ieruif The Magic Water (Slavonic). by Mme. Staberg-Hall; City College, «1 p. m., organ recital Samuel His employment of Indian themes is Ingrid's Vise.Kjerulf Wish to Wed (Vendisl-i). by Spangled Banner" without suggestion moderate and successful. It gives the Norwegian Echo Sont,'.Thrane The Lover's Tomh (Slavonic). Charles Baldwin; Hippodrome, 8:15 p- m., concert by Rosa Raisa, Sascha Jacobsen or instruction from any side, and I .-mit Dillingham has arranged for; As the overture to this week's pro- and Giacomo national flavor it Organ recital by Samuel Baldwin, Shepherd Shepherdess (Silesian). Rimini; Greenwich Village Theatre, 3 p. m., recital by Marcia I have conducted it ever since wter- opera the only pos¬ City 4 p. m.: .Sonus of Finland (for men's chorus). an Kaster Sunday at the Hippodrome,' gramme at the Rivoli the orchestra College, The of Kullervo Van Drosser and Sascha Jacobsen; Greenwich 8:15 p. m., ever the sesses, though by no stretch of the Sonata No. a, in C minor.Guilmant Song (new)Toivo Kuula and one which all music lovers will will give "The American Festival Village Theatre, Philharmonic Orchestrs hu Landais From the National Epic, "Kálevala" dance recital by Michio Itow, Tulle Lindahl and Toshi Metro¬ imagination can Indian mean American, Paysage .Bormal Finnish Lullaby .Sclim In the afternoon Rosa Raisa, March," composed Komori; appeared. Fantasie and fujrue in G minor.Bach I'm Palmgren enjoy. by Hugo Riesenfeld, politan Opera 8:15 p. m. choral as we understand that word. The li- Love's Dream Coming Homo.Scum success musical House, concert, Verdi's "Requiem." Second I came from of .Liszt The Poor Little Girl.Oscar MerikantoPalmgren] whose personal with the Chi- director of the Rialto and Bohemia, "Shanewis" is absurd, and Fountain Reverie .Fletche MONDAY.Aeolian Hall. 8:15 p. m., concert the Letz Czecho-Slav and it il a bretto of Characteristic March .Goodwin The Song of Exile (newj.lean Sibelius cago Grand "pera Company is com- Rivoli orchestras, anil assisted by the. by Quartet; parents, when Mr. Cadman again writes an Sprint; Song .Mendelssohn American Foil; Music «I'm- mixed chorus). parable only v/ith the triumph of Galli- Rialto Male Quartet and the Rivoli Metropolitan Opera House. Italian opera, "Madame Sans-Gêne." known fart that in this present world he will Overture, "Oberon" .Weber The Sun Worshippers.Harvey W. Loomi. opera it is to be hoped that t'/.uni Indian melody.) Curci, will make her first concert ap- chorus. Mr. Riesenfeld will conduct. TUESDAY.Aeolian Hall, 3 p. m., 'cello recital by Maurice Dambois; struggle Bohemia is lighting for her Concert by Sascha Jacobsen and Brother Green, or, The turn to another collaborator. Dying Soldier;1 pearanco since the Lexington season The quartet will also be heard in an¬ Carnegie Hall, 8:15 p. m., choral concert by Schola Cantorum. indeper.Jer.ee and that .--he favors tat "The Dance in Marcia Van Dresser, Greenwich Village Sourwood Mountain. .Kentucky Mountair Allies. Mr. Gilbert's Place; Theatre, 3 m.: tunes set by Howard Brockway. closed. With lier will appear Giacomo other selection. WEDNESDAY.Aeolian 3 p. recital to p. Kofi's Ago'ri 1er Move Alk Hall, m., song by Alma Real; City Congo" is a genuine contribution Sonata, D major. ¡.Handel De Trouble- Rimini and Nahan Franko's orchestra, -I m., recital Samuel Third.My sympathies ever sinet | Away .
Load more

Recommended publications
  • Choral Union Concert Series HILL AUDITORIUM ANN ARBOR, MICHIGAN BENIAMINO GIGLI, Tenor ASSISTED by Edith Browning, Dramatic Soprano Vito Carnevali, Accompanist
    UNIVERSITY SCHOOL OF MUSIC CHARLES A. SINK. PRESIDENT EARL V. MOORE, MUSICAL DIRECTOR First Concert 1927-1928 Complete Series 1616 FORTY-NINTH ANNUAL Choral Union Concert Series HILL AUDITORIUM ANN ARBOR, MICHIGAN BENIAMINO GIGLI, Tenor ASSISTED BY Edith Browning, Dramatic Soprano Vito Carnevali, Accompanist Friday Evening, October 7, 1927, at 8:00 PROGRAMME ARIA ((0 PARADISO" from "L'AFRICAINE" Meyerbeer BENIAMINO GIGU O BEI NIDI D'AMOR Donaudy TRE GIORNI SON CHE NINA Pergolesi O DEL MIO DOLCE ARDOR— Ghtck BtfNIAMINO GlGU ARIA "PLEUREX, PLEUREX MES YEUX" from "LE CID" Massenet CHANSON TRISTE Duparc CHERE NUIT Bachclct EDYTHS BROWNING ARIA "M'APPARI" from "MARTHA" Flotow BKNIAMINO GIGLI INTBRMISSION COME LOVE WITH ME (English) Carhevali LIFE (English) Curran TES YEUX (French) Rabey UN REVE (French) Grieg BfiNIAMINO GlGLI A FEAST OF LANTERNS Granville Bantock MY LOVE 0"ER THE WATER BENDS DREAMING Vito Moscato ARIA, "PEACE, PEACE" from "LA FORZA DEL DESTINO" Verdi EDYTHE BROWNING ARIA "VESTI LA GIUBBA" from "I PAGLIACCI" Leoncavallo BENIAMINO GIGLI Mr. Gigli uses the Hardman Piano Exclusively. Furnished by courtesy of the University Music House. Management, R. B. Johnston, New York City. (Over) J ARS LONGA VITA BREVIS L NINTH ANNUAL EXTRA CONCERT SERIES HILL AUDITORIUM 5-All Star Concerts-5 OCT. 28, ROSA RAISA and GIACOMO RIMINI Leading Dramatic Soprano and Baritone of The Chicago Civic Opera Nov. 21, FLONZALEY STRING QUARTET Adolfo Betti, First Violin Alfred Pochon, Second Violin Nicholas Moldovan, Viola Iwan D'Archambeau, Violoncello Dec. 12, DETROIT SYMPHONY ORCHESTRA Ossip Gabrilowitsch, Conductor Jan. 26, ST. OLAF LUTHERAN CHOIR F. Melius Christiansen' Conductor Feb.
    [Show full text]
  • ALAN HOVHANESS: Meditation on Orpheus the Japan Philharmonic Symphony Orchestra William Strickland, Conducting
    ALAN HOVHANESS: Meditation on Orpheus The Japan Philharmonic Symphony Orchestra William Strickland, conducting ALAN HOVHANESS is one of those composers whose music seems to prove the inexhaustability of the ancient modes and of the seven tones of the diatonic scale. He has made for himself one of the most individual styles to be found in the work of any American composer, recognizable immediately for its exotic flavor, its masterly simplicity, and its constant air of discovering unexpected treasures at each turn of the road. Meditation on Orpheus, scored for full symphony orchestra, is typical of Hovhaness’ work in the delicate construction of its sonorities. A single, pianissimo tam-tam note, a tone from a solo horn, an evanescent pizzicato murmur from the violins (senza misura)—these ethereal elements tinge the sound of the middle and lower strings at the work’s beginning and evoke an ambience of mysterious dignity and sensuousness which continues and grows throughout the Meditation. At intervals, a strange rushing sound grows to a crescendo and subsides, interrupting the flow of smooth melody for a moment, and then allowing it to resume, generally with a subtle change of scene. The senza misura pizzicato which is heard at the opening would seem to be the germ from which this unusual passage has grown, for the “rushing” sound—dynamically intensified at each appearance—is produced by the combination of fast, metrically unmeasured figurations, usually played by the strings. The composer indicates not that these passages are to be played in 2/4, 3/4, etc. but that they are to last “about 20 seconds, ad lib.” The notes are to be “rapid but not together.” They produce a fascinating effect, and somehow give the impression that other worldly significances are hidden in the juxtaposition of flow and mystical interruption.
    [Show full text]
  • Insights Into the Padrone, and Opera by George Whitefield Chadwick
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 American Verismo?: insights into The aP drone, and opera by George Whitefield hC adwick (13 November 1854 - 4 April 1931) Jon Steffen Truitt Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Truitt, Jon Steffen, "American Verismo?: insights into The aP drone, and opera by George Whitefield Chadwick (13 November 1854 - 4 April 1931)" (2004). LSU Doctoral Dissertations. 304. https://digitalcommons.lsu.edu/gradschool_dissertations/304 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. AMERICAN VERISMO? INSIGHTS INTO THE PADRONE, AN OPERA BY GEORGE WHITEFIELD CHADWICK (13 NOVEMBER 1854 – 4 APRIL 1931) A Written Document 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 by Jon Steffen Truitt B.M., Baylor University, 1996 M.M., Baylor University, 1999 May 2004 AKNOWLEDGEMENTS I wish to thank the members of my committee: Dr. Lori Bade, Professor Robert Grayson, and Dr. Robert Peck for their support. I especially thank my major professor and the chair of my committee, Dr. Kyle Marrero, for his support and encouragement throughout my degree program. Thanks are also due to Dr.
    [Show full text]
  • Gianni Schicchi Puccini Il Trittico 2000-2001
    3 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI Teatro di Tradizione in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA PUCCINI IL TRITTICO 2000-2001 GIANNI SCHICCHI PUCCINI IL TRITTICO 2000-2001 direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Progetto Puccini nel Novecento 1999-2002 Progetto Puccini nel Novecento 1999-2002 COMUNE DI LUCCA TEATRO DEL GIGLIO CENTRO STUDI G. PUCCINI in coproduzione con FONDAZIONE ORCHESTRA REGIONALE TOSCANA Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA IL TRITTICO 2000-2001 Teatro Verdi, Firenze - giovedì 3 maggio 2001 - ore 21.00 TEATRO DEL GIGLIO, LUCCA - venerdì 4 maggio 2001 - ore 21.00 GIANNI SCHICCHI in forma di concerto opera in un atto di Giovacchino Forzano musica di GIACOMO PUCCINI Edizioni Casa Ricordi, Milano personaggi e interpreti Gianni Schicchi Bruno De Simone Lauretta Anna Carnovali Zita Adele Cossi Rinuccio Roberto Iuliano Gherardo Carlo Bosi Nella Daniela Schillaci Gherardino Matteo Ciccone Betto di Signa Giovanni Mele Simone Marco Spotti Marco Arturo Cauli La Ciesca Dionisia Di Vico Maestro Spinelloccio Armando Gabba Ser Amantio di Nicolao Fabio Bonavita Pinellino Marco Pauluzzo Guccio Daniele Tonini Direttore DONATO RENZETTI ORT - ORCHESTRA DELLA TOSCANA Mise en space di GILBERTO TOFANO in collaborazione con ROSANNA MONTI - luci UGO BENEDETTI Fin dalla mia elezione a Sindaco della città di Lucca, ho manifestato il mio impegno personale e quello dell’Amministrazione a porre al centro del programma culturale la figura e l’opera di Giacomo Puccini.
    [Show full text]
  • Alan Hovhaness: Exile Symphony Armenian Rhapsodies No
    ALAN HOVHANESS: EXILE SYMPHONY ARMENIAN RHAPSODIES NO. 1-3 | SONG OF THE SEA | CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS [1] ARMENIAN RHAPSODY NO. 1, Op. 45 (1944) 5:35 SONG OF THE SEA (1933) ALAN HOVHANESS (1911–2000) John McDonald, piano ARMENIAN RHAPSODIES NO. 1-3 [2] I. Moderato espressivo 3:39 [3] II. Adagio espressivo 2:47 SONG OF THE SEA [4] ARMENIAN RHAPSODY NO. 2, Op. 51 (1944) 8:56 CONCERTO FOR SOPRANO SaXOPHONE CONCERTO FOR SOPRANO SaXOPHONE AND STRINGS, Op. 344 (1980) AND STRINGS Kenneth Radnofsky, soprano saxophone [5] I. Andante; Fuga 5:55 SYMPHONY NO. 1, EXILE [6] II. Adagio espressivo; Allegro 4:55 [7] III. Let the Living and the Celestial Sing 6:23 JOHN McDONALD piano [8] ARMENIAN RHAPSODY NO. 3, Op. 189 (1944) 6:40 KENNETH RADNOFSKY soprano saxophone SYMPHONY NO. 1, EXILE, Op. 17, No. 2 (1936) [9] I. Andante espressivo; Allegro 9:08 BOSTON MODERN ORCHESTRA PROJECT [10] II. Grazioso 3:31 GIL ROSE, CONDUCTOR [11] III. Finale: Andante; Presto 10:06 TOTAL 67:39 RETROSPECTIVE them. But I’ll print some music of my own as I get a little money and help out because I really don’t care; I’m very happy when a thing is performed and performed well. And I don’t know, I live very simply. I have certain very strong feelings which I think many people have Alan Hovhaness wrote music that was both unusual and communicative. In his work, the about what we’re doing and what we’re doing wrong. archaic and the avant-garde are merged, always with melody as the primary focus.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 42,1922
    PARSONS THEATRE . ,. HARTFORD Monday Evening, November 27, at 8.15 .-# BOSTON SYMPHONY ORCHCSTRS INC. FORTY-SECOND SEASON J922-J923 wW PRSGRsnnc 1 vg LOCAL MANAGEMENT, SEDGWICK & CASEY Steinway & Sons STEINERT JEWETT WOODBURY «. PIANOS w Duo-Art REPRODUCING PIANOS AND PIANOLA PIANOS VICTROLAS VICTOR RECORDS M, STEINERT & SONS 183 CHURCH STREET NEW HAVEN PARSONS THEATRE HARTFORD FORTY-SECOND SEASON 1922-1923 INC. PIERRE MONTEUX, Conductor MONDAY EVENING, NOVEMBER 27, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1922, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager *UHE INSTRUMENT OF THE IMMORTALS QOMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt at his Steinway and convenience a Steinway can be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years.
    [Show full text]
  • El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
    Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini.
    [Show full text]
  • Problems of Tempo in Puccini's Operas
    Problems of Tempo in Puccini's Arias Author(s): Mei Zhong Source: College Music Symposium, Vol. 40 (2000), pp. 140-150 Published by: College Music Society Stable URL: https://www.jstor.org/stable/40374404 Accessed: 22-08-2018 17:38 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms College Music Society is collaborating with JSTOR to digitize, preserve and extend access to College Music Symposium This content downloaded from 129.105.215.146 on Wed, 22 Aug 2018 17:38:20 UTC All use subject to https://about.jstor.org/terms Problems of Tempo in Puccini's Arias Mei Zhong problems of tempo in Puccini's soprano arias are surprisingly vexing for per- formers, given that the composer provided many indications in his scores, including many metronome markings, and supervised the preparation of several singers who went on to make early phonograph recordings of his arias. The difficulties arise from the lack of markings in some cases, ambiguous or impractical markings in others (with some evidence that at times Puccini himself was not reliable in this matter), doubts about the authorship of some markings, and wide variations in tempo among recorded perfor- mances.
    [Show full text]
  • The Hyechra Club
    THE HYECHRA CLUB The narrator has had a lively interest in The Hyechka Club since its beginning and believes that its history merits recording and dmu- menting in The Chronicles of OkZuhoma, Members of the Club in the past have been interested and its members today are interested in building and supporting a city and a state as cultural centers in which to rear patriotic and Clod-fearing children worthy of the loftiest ideals. Instead of a brief history, this band of music lovers is entitled to a fdsized, two volume publication to report ad* quately all that they have given to the education of young people along cdtural lines and to the wealth of Tulsa and the State of Oklahoma as expressed in the leadership and influence of the known and unknown contributors. Looking over the names of world famous artists that have appeared on its early programs and in its annual Spring Festivals, the words of Warner Van Valkenburg are a fitting tribute and introduction even to this brief history of Tulsa's pioneer organization of music lovers :l "I AM MUSIC. "I am the hymns of the Christian Martyrs in the catacombs; I am the songs of thanksgiving of the kneeling Pilgrime; I am the fugues of Bach, and the oratorios of Handel and Haydn; I am the magic flute of Momrt; I am the immortal symphonies of Beethoven; I am the throbbing mee- sages of Schubert and Schumann; I am the nocturnes of Chopin and the folk melodies of Dvorak; I am the rhapsodies of Linzt and the music- dramas of Wagner; I am the voice of Peter Tchaikowski, crying in the wilderness; I am Brahms and Richard Straues, and Verdi, fulfilling the command of destiny; yea I have breathed upon the harps of MacDowell and Cadman, and have sung of a new world in the west.
    [Show full text]
  • [ News and Comment of Concert and Opera I To-Night
    NEWS AND ___-;-,1- . COMMENT OF AND I [ .=============^_-_-___^^^-:-1^5^----= =____-_ CONCERT OPERA cnt-day desolation and destruction in . -'.-" a uatanic fury. The artist will lccturo \Chicago Opera Co, on the exhibition of thrilling scenes, all of which wcro made in their natural Mme. to Sing colors a new Hempel by process. Tho former ' Last Week Minister of War, M. Millcrand, is the I Begins executive president of the Committee in 'Le Nozze di for tho Relief of the Wounded and Sick Figaro Presentation Will Include Soldiers. President Poincaró is chair¬ Two Operas man of tho honorary committee. Will- Caruso To Be Heard as Radames in New to New York Audiences: (iLeSau- Jam Saneloz was sent to this country aa a special commissioner in charge of and teriot," by Lazzari, and <(Isabeau,T the exhibition. "Aida," Lázaro, Spanish Tenor, Tho American executive committee is Will headed by Mrs. Robert Appear 'Again in "Rigoletto" fourth and la^t week of the Chi- Bacon and Mrs. The which Rosa LeRoy Edgar. Th« list of season at the Raisa, Giuseppi Gandcnzi, patronesses rneo Opera Company's Giacomo Rimini, Louise at tho French Theatre exhibition in¬ i Mme. Frieda lícmpcl will make lier will dance. Mr. Bodanzky will conduct. Theatre will include two op¬ Swartz Berat, Jcska Lexington and others of its former cast cludes over fifty prominent last appearance this season with the "Mrfrouf" will be the'Saturday mat¬ eras new to New York, which had their will society appear, with M. Charlier at women. Among them are Mrs.
    [Show full text]
  • Media – History
    Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder.
    [Show full text]
  • The a Lis Auth Szt P Hen Pian Ntic No T Cho Trad Opin Diti N an on Nd
    THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 1 2 THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION 3 4 THE AUTHENTIC CHOPIN AND LISZT PIANO TRADITION GERARD CARTER BEc LL B (Sydney) A Mus A (Piano Performing) WENSLEYDALE PRESS 5 Published in 2008 by Wensleydale Press ABN 30 628 090 446 165/137 Victoria Street, Ashfield NSW 2131 Tel +61 2 9799 4226 Email [email protected] Designed and printed in Australia by Wensleydale Press, Ashfield Copyright © Gerard Carter 2008 All rights reserved. This book is copyright. Except as permitted under the Copyright Act 1968 (for example, a fair dealing for the purposes of study, research, criticism or review) no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior permission. Enquiries should be made to the publisher. ISBN 978-0-9805441-2-1 This publication is sold and distributed on the understanding that the publisher and the author cannot guarantee that the contents of this publication are accurate, reliable, complete or up to date; they do not take responsibility for any loss or damage that happens as a result of using or relying on the contents of this publication and they are not giving advice in this publication. 6 7 8 CONTENTS Chapter 1: Introduction ... 11 Chapter 2: Chopin and Liszt as composers ...19 Chapter 3: Chopin and Liszt as pianists and teachers ... 29 Chapter 4: Chopin tradition through Mikuli ... 55 Chapter 5: Liszt tradition through Stavenhagen and Kellermann ..
    [Show full text]