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Boston Symphony Orchestra Concert Programs, Season 40,1920-1921, Trip
THE LYRIC THEATRE . BALTIMORE Wednesday Evening, March 16, at 8.15 BOSTON 2W' „ SYAPHONY ORCHESTRA INCORPORATED FORTIETH SEASON J920-J92* mm : mTTTTTTT Every lover of Piano Music should Hear the AMPICO (Jiebroduciriq S^ianxy This wonderful instrument brings the playing of the world's greatest pianists right into your own home. Mr. Phillip Hale, in reviewing the public com- parison of the Ampico's reproduction with the actual playing of Richard Buhlig at the Copley-Plaza wrote "// is not easy to believe that there was a mechanical reproduction. The impres- sion is made on the hearer that thepian- ist is playing then and there. cc Hearing the Ampico which never sug- gested the purely mechanical, one wishes that this instrument had been known in the days of Liszt , Chopin, Hensei, Rubinstein and Tausig." It will give us great pleasure to show the Ampico in the Chickering to any one interested in this mar- velous invention. Itisthelastwordinthedevelopment of the art of producing music by scientific means. Established 1823^=> Chickering Warerooms: E. PAUL HAMILTON, Inc. l 422 NORTH HOWARD STREET THE LYRIC THEATRE BALTIMORE FORTIETH SEASON, 1920-1921 INCORPORATED PIERRE MONTEUX, Conductor WEDNESDAY EVENING, MARCH 16, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1921, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED 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 FREDERICK E. LOWELL FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. -
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Prints from the Collection of the Hon. Christopher Lennox-Boyd Arts 3801 [Little Fatima.] [Painted by Frederick, Lord Leighton.] Gerald 2566 Robinson Crusoe Reading the Bible to Robinson. London Published December 15th 1898 by his Man Friday. "During the long timer Arthur Lucas the Proprietor, 31 New Bond Street, W. Mezzotint, proof signed by the engraver, ltd to 275. that Friday had now been with me, and 310 x 490mm. £420 that he began to speak to me, and 'Little Fatima' has an added interest because of its understand me. I was not wanting to lay a Orientalism. Leighton first showed an Oriental subject, foundation of religious knowledge in his a `Reminiscence of Algiers' at the Society of British mind _ He listened with great attention." Artists in 1858. Ten years later, in 1868, he made a Painted by Alexr. Fraser. Engraved by Charles G. journey to Egypt and in the autumn of 1873 he worked Lewis. London, Published Octr. 15, 1836 by Henry in Damascus where he made many studies and where Graves & Co., Printsellers to the King, 6 Pall Mall. he probably gained the inspiration for the present work. vignette of a shipwreck in margin below image. Gerald Philip Robinson (printmaker; 1858 - Mixed-method, mezzotint with remarques showing the 1942)Mostly declared pirnts PSA. wreck of his ship. 640 x 515mm. Tears in bottom Printsellers:Vol.II: margins affecting the plate mark. -
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. -
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 · >?> -
Petite Messe Solennelle : Religiosità Domestica E Solennità Liturgica Guida All’Ascolto a Cura Di Marco Faelli
Petite Messe solennelle : religiosità domestica e solennità liturgica guida all’ascolto a cura di Marco Faelli Il 13 marzo del 1864, in un salone del palazzo della Contessa Louise Pillet Will, a Parigi, viene presentata, ad uno scelto pubblico di invitati, la Petite Messe solennelle . La composizione non è destinata ad un uso liturgico (il pianoforte non è adatto all’acustica di una chiesa), ma ad un ambiente più intimo, domestico. L’organico è quindi essenziale (da qui l’aggettivo Petite , mentre Solennelle indica che tutto il testo è musicato, compreso il Credo ). Scrive Rossini nella partitura autografa: « Douze chanteurs de trois sexes Hommes, Femme et Castres seront suffisants pour sono execution, savoir huit pour les choeurs, quatre pour les solos, total Douze Cherubins »; a questi si aggiungeva il sostegno strumentale di due pianoforti e di un harmonium . Nonostante il desiderio di Rossini (sappiamo quanto rimpiangesse la ormai inevitabile scomparsa dei castrati), il “terzo sesso” non prese parte all’esecuzione: i ruoli femminili vennero infatti sostenuti dalle sorelle Barbara e Carlotta Marchisio, mentre il tenore era Italo Gardoni (primo interprete, tra l’altro, dei Masnadieri di Verdi), e il basso Louis Agniez. Il coro era costituito da studenti del Conservatorio di Parigi, scelti personalmente da Auber, e diretti (alle spalle dei solisti e con tanto di bacchetta) dal maestro Choen. Per la cronaca, al primo pianoforte sedeva un allievo di Chopin, Georges Mathias. La primitiva versione della Petite Messe venne eseguita solo tre volte durante la vita dell’autore: dopo la sua morte entrò in circolazione una versione orchestrale (in cui le parti solistiche e quelle corali rimangono identiche), strumentata dall’autore stesso, anche se malvolentieri. -
The Woman Singer and Her Song in French and German Prose Fiction (Circa 1790-1848)
The Woman Singer and her Song in French and German Prose Fiction (circa 1790-1848) Julia Irmgard Effertz A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Oxford Brookes University November 2008 8863 8 11,1001111Ill 111111111IN103 IIIlill To my mother, Irmgard Effertz (nee Pelz), and to her mother, Gertrud Pelz (nee Salewski), two exceptionally strong women. Contents Acknowledgments v Conventions vi Abbreviations usedforjoumals throughoutthe thesis vi Abstract ix 1 Introduction Methodology 9 The Questionof Otherness 10 Performance,Subversion and the Possibility of FemaleAgency 14 2 Writing in Context: 18'h- and 19th- Century Musical Culture 19 The Reality of Literature: Court Culture and BourgeoisPastimes 20 The Rift Within the Myth: Femaleand Feminine Music 25 Idle Pursuits:Educating the Muses 29 Negotiating Ideal and Performance:Real-Life Singers 35 3. Conceptualising Female Song: 18'h-and 19'h- Century Musical-Literary Aesthetics 43 Finding the Original Language:Musical Aesthetics and the RousseauesqueTradition 45 Literary Conceptsof the Singer 53 Writing Otherness 55 Sublime Eroticism: Writing the Singing Body 57 Questionsof Life and Death 61 Genius 63 4 Goethe's Mignon and Madame de StaEl's Corinne: Creating a Literary Archetype (1795-1807) 68 (1) The Poeticsof Performance:Mignon 68 Existing Scholarship 70 Born from Song:Mignon in the Context of Goethe'sLied Aesthetics 74 A Poetic Cipher?Mignon's Existencethrough Song 80 Genderand Performance 91 (2) A French Soul Mate? Madamede Stadland -
The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)
The mezzo-soprano onstage and offstage: a cultural history of the voice-type, singers and roles in the French Third Republic (1870–1918) Emma Higgins Dissertation submitted to Maynooth University in fulfilment for the Degree of Doctor of Philosophy Maynooth University Music Department October 2015 Head of Department: Professor Christopher Morris Supervisor: Dr Laura Watson 1 TABLE OF CONTENTS Page number SUMMARY 3 ACKNOWLEDGEMENTS 4 LIST OF FIGURES 5 LIST OF TABLES 5 INTRODUCTION 6 CHAPTER ONE: THE MEZZO-SOPRANO AS A THIRD- 19 REPUBLIC PROFESSIONAL MUSICIAN 1.1: Techniques and training 19 1.2: Professional life in the Opéra and the Opéra-Comique 59 CHAPTER TWO: THE MEZZO-SOPRANO ROLE AND ITS 99 RELATIONSHIP WITH THIRD-REPUBLIC SOCIETY 2.1: Bizet’s Carmen and Third-Republic mores 102 2.2: Saint-Saëns’ Samson et Dalila, exoticism, Catholicism and patriotism 132 2.3: Massenet’s Werther, infidelity and maternity 160 CHAPTER THREE: THE MEZZO-SOPRANO AS MUSE 188 3.1: Introduction: the muse/musician concept 188 3.2: Célestine Galli-Marié and Georges Bizet 194 3.3: Marie Delna and Benjamin Godard 221 3.3.1: La Vivandière’s conception and premieres: 1893–95 221 3.3.2: La Vivandière in peace and war: 1895–2013 240 3.4: Lucy Arbell and Jules Massenet 252 3.4.1: Arbell the self-constructed Muse 252 3.4.2: Le procès de Mlle Lucy Arbell – the fight for Cléopâtre and Amadis 268 CONCLUSION 280 BIBLIOGRAPHY 287 APPENDICES 305 2 SUMMARY This dissertation discusses the mezzo-soprano singer and her repertoire in the Parisian Opéra and Opéra-Comique companies between 1870 and 1918. -
Volume VI 1988 NINETEENTH-CENTUKY ITALIAN
Volume VI 1988 NINETEENTH-CENTUKY ITALIAN OPERA IN THE CONTEMPORARY PRESS (PART I) Papers from Bologna: the Fourteenth Congress of the International Musicological Society (1987) Introduction H. Robert Cohen (College Park) Marcello Conati (Parma) Italian Opera and the English Press, 1836-1856 Leanne Langley (London) Zur Beurteilung der italienischen Oper in Christoph-Hellmut Mahling 11 der deutschsprachigen Presse zwischen (Mainz) 1815 und 1825 Italian Opera Premieres and Revivals Zoltán Roman 16 in the Hungarian Press, 1864-1894 (Calgary) Nineteenth-Century Italian Opera as Gerald Seaman 21 seen in the Contemporary Russian Press (Auckland) PERIODICA MUSICA Published jointly by: EDITORS Center for Studies in Nineteenth- H. Robert Cohen Century Music, University of Donald Gislason Maryland at College Park, U.S.A. Peter Loeffler Zoltán Roman Centre international de recherche sur la presse musicale, Conservatorio EDITORIAL BOARD di musica "Arrigo Boito," Parma- Comune di Colorno, Italy H. Robert Cohen Marcello Conati MPM operates under the auspices Zoltán Roman of the International Musícological Society and the International B USINES S MANAGER Association of Music Libraries, Archives and Documentation Centres Gaétan Martel ISSN 0822-7594 ©Copyright 1990, The University of Maryland at College Park INTRODUCTION The Fourteenth Congress of the International Musicological Society was held in Bologna, Italy (with additional sessions in Parma and Ferrara) from 27 August to 1 September 1987. Two congress sessions were organized under the auspices of the Repertoire International de la Presse Musicale by H. Robert Cohen and Marcello Conati. The second, which took place in Parma, in the Sala Verdi of the Conservatorio "Arrigo Boito " on Sunday, 30 August from 1 lh30 to 13h, offered an extensive demonstra tion of the computer programs and laser printing techniques developed for the production of RIPM volumes at the Center for Studies in Nineteenth-Century Music of the University of Maryland at College Park. -
Famous Composers and Their Music
iiii! J^ / Digitized by the Internet Archive in 2011 with funding from Brigham Young University http://www.archive.org/details/famouscomposerst05thom HAROLD BLEBLffiR^^ PROVO. UTAH DANIEL FRANCOIS ESPRIT AUBER From an engraving by C. Deblois, 7867. 41 .'^4/ rii'iiMia-"- '^'', Itamous COMPOSERS AND THEIR MUSIC EXTRA ILLUSTPATED EDITION o/' 1901 Edited by Theodore Thomas John Knowlej Paine (^ Karl Klauser ^^ n .em^fssfi BOSTON M'^ J B MILLET COMPANY m V'f l'o w i-s -< & Copyright, 1891 — 1894— 1901, By J. B. Millet Company. DANIEL FRANCOIS ESPRIT AUBER LIFE aiore peaceful, happy and making for himself a reputation in the fashionable regular, nay, even monotonous, or world. He was looked upon as an agreeable pianist one more devoid of incident than and a graceful composer, with sparkling and original Auber's, has never fallen to the ideas. He pleased the ladies by his irreproachable lot of any musician. Uniformly gallantry and the sterner sex by his wit and vivacity. harmonious, with but an occasional musical dis- During this early period of his life Auber produced sonance, the symphony of his life led up to its a number of lietier, serenade duets, and pieces of dramatic climax when the dying composer lay sur- drawing-room music, including a trio for the piano, rounded by the turmoil and carnage of the Paris violin and violoncello, which was considered charm- Commune. Such is the picture we draw of the ing by the indulgent and easy-going audience who existence of this French composer, in whose garden heard it. Encouraged by this success, he wrote a of life there grew only roses without thorns ; whose more imp^i/rtant work, a concerto for violins with long and glorious career as a composer ended only orchestra, which was executed by the celebrated with his life ; who felt that he had not lived long Mazas at one of the Conservatoire concerts. -
Une Histoire De La Réception De La Donna Del Lago Au Théâtre Royal Italien De 1824 À 1848
6 « Fatale expérience » ou « fête pour le public des Italiens » ? Une histoire de la réception de La donna del lago au Théâtre royal Italien de 1824 à 1848 a donna del lago connaît cent treize représentations au Théâtre royal Italien entre 1824 et 1848. À cela s’ajoutent onze représentations séparées de l’acte II. C’est L donc bien, si l’on en croit les contemporains, « un opéra de répertoire »1. Cette expression ne désigne pas une réalité harmonieuse dont le secret tiendrait à la perfection de l’œuvre elle-même. Elle procède d’une construction dans le temps, au fil des attentes, des colères et des bonheurs du public vis-à-vis des artistes et de l’administration. C’est donc sous la plume même des contemporains que l’on peut faire émerger les grands enjeux d’une histoire de la réception de La donna del lago au Théâtre-Italien. Bien sûr, il serait difficile, impossible même, de retracer ici toute cette histoire. Notre premier choix consistera donc à nous interroger plus longuement sur la création, décisive pour saisir les éléments qui reviendront par la suite de façon récurrente. Notre second choix sera de privilégier, non pas la musique de l’opéra telle que la reçoivent les spectateurs parisiens, mais les questions de scénographie et d’interprétation. Les raisons justifiant cette approche constituent aussi les deux enjeux de notre propos. Le premier tient à la partition même de l’opéra, à son exigence première : la présence simultanée de trois premiers chanteurs, un soprano, un ténor, et un contralto. -
Boston Symphony Orchestra Concert Programs, Season 39,1919
INFANTRY HALL . PROVIDENCE Tuesday Evening, November 1$, at 8.15 A\WHHi%ft ^ y& 1J m ' L r - (si&b w mnW h r?-* Vxs BOSTON % W m SYAPHONY ORCHESTRA INCORPORATED THIRTY-NINTH SEASON W9-1920 Wi PR3GR7W\E W7% mm — — — — —— —— AND THE Sal&iuin The wonderful, rich tone of the Baldwin Piano is the very conception of beauty.—Levitzkt It has that refined quality, that warm and luscious tone which resembles the human voice in its individual appeal. A Ida. The Baldwin Piano has no peer in faithfully voicing an artist's spirit. Brown. I have an inspiring companion in my Baldwin Piano. La Forge. The beautiful tone of the Baldwin Piano merits its popularity. A mato. Using a Baldwin, we rest assured that we have an instrument which will meet every requirement. Fanning. The Baldwin Piano is a most wonderful help and support. Nielsen. I consider the Baldwin the Stradivarius of the few really great pianos of the world. De Pachmann. A tone that blends so well with my voice. Sembrich. CINCINNATI CHICAGO ST. LOUIS 142 W. Fourth Street 323 S. Wabash Ave. 1111 Olive Street NEW YORK DENVER SAN FRANCISCO 665 Fifth Avenue 1636 California Street 310 Sutter Street INDIANAPOLIS LOUISVILLE DALLAS 18 N. Penn'a Street 521 S. Fourth Avenue 1911 Elm Street Sole Representatives THE MEIKLEJOHN COMPANY, 297 Weybosset Street, Providence, R. I. INFANTRY HALL PROVIDENCE INCORPORATED Thirty-ninth Season, 1919-1920 PIERRE MONTEUX, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, NOVEMBER 18 AT 8.15 COPYRIGHT, 1919, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. -
Terreur Vénitienne, Héroïsme Français Et Amours Impossibles
fromental halévy : la reine de chypre Terreur vénitienne, héroïsme français et amours impossibles Diana R. Hallman Pendant le premiers tiers du xix e siècle, les récits historiques qui capti - vent les lecteurs et amateurs de théâtre prennent corps sur la scène de l’Opéra de Paris sous la forme de grands opéras relatant des tragédies intimes sur fond d’événements et de conflits tirés d’un passé lointain – de la révolte des paysans napolitains contre la domination espagnole en 1647 dans La Muette de Portici de Daniel-François-Esprit Auber (1828) au massacre de la Saint-Barthélemy (1572) dans Les Huguenots de Giacomo Meyerbeer (1836). Fromental Halévy (179 9- 1862), compositeur majeur de grand opéra, dépeint le personnage historique du cardinal de Brogni et le Concile de Constance de 141 4- 1418 dans La Juive (1835), ouvrage qui raconte l’histoire (inventée par Eugène Scribe) de l’opposition religieu - se et d’un amour condamné entre une Juive et un Chrétien. Il allait de nouveau aiguiser son intérêt pour l’histoire du xv e siècle dans son troi - sième grand opéra, La Reine de Chypre , œuvre en cinq actes composée en 1841 sur des paroles de Jules-Henri Vernoy de Saint-Georges (179 9- 1875). En mettant en musique la vie de la reine chypriote Catarina Cornaro, réinventée par Saint-Georges, Halévy a manifestement senti le potentiel scénique du mariage contrecarré de Catarina, de la rivalité ambivalente des chevaliers français exilés qui demandent sa main et des riches cou - leurs musicales et dramatiques promises par les scènes de fêtes exotiques à Venise et à Chypre.