DOCSLIB.ORG

Lauro Ayestarán Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Lauro Ayestarán Collection Lauro Ayestarán Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2005 Revised 2010 March Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu003003 LC Online Catalog record: http://lccn.loc.gov/2003561032 Processed by the Music Division of the Library of Congress Collection Summary Title: Lauro Ayestarán Collection Span Dates: 1830-1966 Bulk Dates: (bulk 1850-1950) Call No.: ML31.A9 Collector: Ayestarán, Lauro Extent: circa 6,000 items ; 112 boxes ; 30 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: The collection consists primarily of art and popular music scores and holographs written by Uruguayan composers, with a comprehensive sample of the best composers in each group. In addition, there is a representative number of works written by European composers who settled in Montevideo during the 19th century, mainly from Spain and Italy. Included are photographs of the holographic items, as well as portraits of musicians. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Ayestarán, Lauro. Subjects Composers--Uruguay--Autographs. Music--Uruguay. Administrative Information Provenance Purchase; Flor de María Rodríguez. Accruals No further accruals are expected. Processing History The Lauro Ayestarán Collection was processed in 1996 by Susana Salgado with assistance from Mary Edsall, Rodney T. Todd and Michael A. Ferrando. This Finding Aid was prepared with Corel WordPerfect 8. In 2003, Michael A. Ferrando coded and edited the finding aid for EAD format with assitance from Deta Davis and Susan Salgado. Related Material 4,000 wire-recordings held in Musicological Section of the Museum of National History in Montevideo. Copyright Status The status of copyright on the materials of the Lauro Ayestarán Collection is governed by the Copyright Law of the United States (Title 17, U.S.C.). Access and Restrictions The Lauro Ayestarán Collection is open to research. Researchers are advised to contact the Performing Arts Reading Room prior to visiting. Many collections are stored off-site and advance notice is needed to retrieve these items for research use. Certain restrictions to use or copying of materials may apply. Lauro Ayestarán Collection 2 Preferred Citation Researchers wishing to cite this collection should include the following information: container number, Lauro Ayestarán Collection, Music Division, Library of Congress, Washington, D.C. Biographical Sketch Date Event 1913 July 9 Lauro Sebastián Ayestarán is born in Montevideo, to Nicolás Ayestarán and his wife Ana María Fernández. 1919-1931 Receives his elementary and high school education at the Colegio del Sagrado Corazón (Jesuits), in Montevideo. 1921 Begins his musical education at the Conservatory Larrimbe, Montevideo. 1931 "El Bien Público" music critic. 1932-1935 Enrolls in the School of Law, University of Montevideo; after three years he abandons his legal studies and dedicates full time to musicological and archival research, teaching, and music criticism. 1933 "El País" music critic. 1937-1957 Professor of History of Music and Director of Choral Activities in Montevideo High Schools. 1940 August 5 Marries Flor de María Rodríguez-Romero, a dancer and dance-researcher and author on dance/ choreography, and his collaborator. They have six children: Flor, Ana María, Liliana, Alejandro, Sol and Angel. 1940 "El Plata," "El Día" and "Semanario Marcha" music critic. 1941 Publishes his first book "Domenico Zipoli, el gran compositor y organista romano del 1700 en el Río de la Plata." 1943 Begins the systematic recollection of the Uruguayan folklore in situ; a total of his 4.000 recordings are hold in the Musicological Section of the Museum of National History, Montevideo; Publishes "Crónica de una temporada musical en el Montevideo de 1830." 1945 Awarded with the "National Prize Pablo Blanco Acevedo" for his book "La Música en el Uruguay." Professor of History of Music at the "Instituto de Profesores Artigas." Contributor to "Músicos argentinos durante la dominación hispánica," Buenos Aires. 1946-1966 Professor of Musical Research, and Uruguayan Folklore at the School of Humanities, Department of Musicology, University of Montevideo; Professor of History of Music at the National Conservatory. 1947 Publishes "Fuentes para el estudio de la música colonial uruguaya." Contributor to "Música y Músicos de Latino América" ed. by Otto Mayer Serra, Mexico. 1948 Contributor to "Folklore de las Américas," Buenos Aires. Lauro Ayestarán Collection 3 1949 Publishes "Un antecedente de la poesía tradicional uruguaya" and "La música indígena en el Uruguay." 1950 Publishes "La primitiva poesía gauchesca en el Uruguay," Vol. I, and "El minué montonero." Contributor to "Diccionario de la Música," ed. A. Della Corte and G. M. Gatti, Buenos Aires; and "El cancionero popular americano," Washington, D.C. 1951 Represents Uruguay at the First International Conference of Musical Libraries and Archives sponsored by UNESCO, Paris. 1952 Publishes "La misa para día de difuntos de Fray Manuel Ubeda, 1802; comentario y reconstrucción." 1953 Publishes "La Música en el Uruguay," Vol. I (First Prize National Award on History), and "Virgilio Scarabelli." 1954 Represents Uruguay at the International Conference of Folklore, São Paulo, Brazil. Contributor to "Diccionario de la Música Labor," ed. Higinio Anglés and Joaquín Pena, Barcelona. 1955-1966 Professor of Ethnology at the Facultad de Artes y Ciencias Musicales (Catholic University), Buenos Aires. 1956 Publishes "Luis Sambucetti, vida y obra," and "El centenario del Teatro Solís." 1957 Prologue to "Vocabulario rioplatense razonado" by Daniel Granada, Montevideo. 1959 Publishes "La primera edición uruguaya del Fausto de Estanislao del Campo," and "Domenico Zipoli, vida y obra." 1960 Travels to the United States to visit the Musicology Departments of 14 American universities; lectured at the University of California, Los Angeles. Musical Advisor to the Department of Culture and Education, Uruguay. 1961 Prologue and editor to "La vida rural en el Uruguay" by Roberto J. Bouton, Montevideo. 1963 Represents Uruguay at the First International Conference of Ethnomusicology, Cartagena de Indias, Colombia. Travels to Washington, D.C. and represents Uruguay at the First Inter- American Conference of Ethnomusicology. Lectures at Tulane University about his essay "Transcripción y hallazgo del barroco musical hispanoamericano." 1965 Attends the Second Inter-American Conference of Ethnomusicology at Indiana University, Bloomington, and reads his essay "El tamboril afro-montevideano." Publishes "El minué montonero" with his wife Flor de María Rodríguez (author of the dance choreography). Writes "El Tamboril, la Llamada y la Comparsa," choreography by Flor de María Rodríguez (published posthumously). Prologue to "Versos criollos" by Elías Regules, Montevideo. 1966 January Represents Uruguay, as president of the Latin-American Music Committee, at the Conference of Latin American Culture, in Arica, Chile. 1966 March Co-author with Susana Salgado of the Music Section of "Cronología Comparada de la Historia del Uruguay," Universidad de la República, Montevideo. Lauro Ayestarán Collection 4 1966 July 22 Dies suddenly of a heart attack, at his home in Montevideo. 1966 August 5 The Municipality of Montevideo decrees to name a street of the city in memory of Lauro Ayestarán. 1967 Nov. 16 The Department of Musicology, School of Humanities, dedicates the Lauro Ayestarán Room in his honor. 1974 The Department of Musicology, School of Humanities, organizes a one-month-cycle homage with lectures and concerts in musical and cultural institutions in fifty-two Uruguayan cities. 1986 July Academic homage sponsored by the "Sociedad de Autores del Uruguay" in commemoration of the 20th anniversary of his death. Scope and Content Note The Lauro Ayestarán Collection reveals the life-time dedication of a distinguished musicologist and avid researcher who collected the core of the Uruguayan music plus music of foreign origin performed in Uruguay, in both holograph and scores through a systematic, tireless and continuous search throughout Uruguay, including the Montevideo's flea market and dusty-old-used-book stores. He also must be remembered as a dedicated teacher with a profound understanding of pedagogy and a vast knowledge of the western hemisphere history of music, and the mind of a scholar interested in any topic related to culture. In addition of publishing a considerable number of books he collaborated as contributor to many dictionaries, encyclopedias and musical and folkloric books. A third aspect of his personality encompasses the systematic recollection of the Uruguayan folklore in situ, with a total of 4.000 wire-recordings, hold actually in the Musicological Section of the Museum of National History in Montevideo. His collection consists primarily of scores and holographs written by Uruguayan composers where both, the art and the popular music are represented, with a comprehensive sample of the best composers in each group. In addition, there are a representative number of works written by European composers
Load more

Recommended publications
  • Rhythmic Foundation and Accompaniment
    Introduction To Flamenco: Rhythmic Foundation and Accompaniment by "Flamenco Chuck" Keyser P.O. Box 1292 Santa Barbara, CA 93102 [email protected] http://users.aol.com/BuleriaChk/private/flamenco.html © Charles H. Keyser, Jr. 1993 (Painting by Rowan Hughes) Flamenco Philosophy IA My own view of Flamenco is that it is an artistic expression of an intense awareness of the existential human condition. It is an effort to come to terms with the concept that we are all "strangers and afraid, in a world we never made"; that there is probably no higher being, and that even if there is he/she (or it) is irrelevant to the human condition in the final analysis. The truth in Flamenco is that life must be lived and death must be faced on an individual basis; that it is the fundamental responsibility of each man and woman to come to terms with their own alienation with courage, dignity and humor, and to support others in their efforts. It is an excruciatingly honest art form. For flamencos it is this ever-present consciousness of death that gives life itself its meaning; not only as in the tragedy of a child's death from hunger in a far-off land or a senseless drive-by shooting in a big city, but even more fundamentally in death as a consequence of life itself, and the value that must be placed on life at each moment and on each human being at each point in their journey through it. And it is the intensity of this awareness that gave the Gypsy artists their power of expression.
    [Show full text]
  • Juanito Valderrama
    singsFlamenco MJ~ lf !NITO V!IDERR!M! , HIGH FIDELITY · · FM 119 ® MONl'ILIA Juf\i'lrro MONTIUA FM-119 FM-119 HIGH FIDELITY HIGH FIDELITY ORQUESTA MONTILLA-DIRECTOR: MANUEL GORDILLO GUITAR ACCOMPANIMENT: JOSE MARIA PARDO SIDE ONE SIDE TWO EL EMIGRANTE - Bolero Flamenco COMO UNA HERMANA - Zambra RUEDO DE ORO-Pasodoble DIEGO PI~ERO - Pasodoble con Fandangos MI MARIA JESUS - Bulerias RECUERDO A MANOLETE - Seguiriyas y Martinete EL CRISTO DE LOS FAROLES-Por Tientos y Alegdas EN LA CRUZ DE DOS CAMINOS - Soleares, Bulerias y Fandangos MADRE HERMOSA -Pasodoble DE POLIZON - Habanera SOY EL INCLUSERO - Bolero Flamenco SU PRIMERA COMUNION -Habanera JUANITO V ALDERRAMA-Nacio en Torredelcampo, de la provincia andaluza de JU AJ ITO VALDERRAMA was born in Torredelcampo, Province of Jaen, Andalucia. Jaen. Como cas i todos los grandes y verdaderos artistas, Valderrama s~nt io la llamada Like all g1P1t and true artists, Valderrama showed as a child his gift for singing but de la vocacion desde muy nifio, pero tuvo que lud1ar firmemente hasta co nvencer a could not ccnvince hi s fan1i ly of the authenticity of his vocation. Before he was nine sus familiares de lo autentico de esa vocacion. No tenia aun nueve afios cuando por years old, he had rnn away from home twice, in an effort to try his luck as a singer. dos veces habia ya escapado de su casa, decidido a abrirse paso cantando. En ambas Both times he w:!.s brought home by the Civil Guard, panish equivalent of the ocasiones foe devuelto a los suyos por la Guardia Civil, pero despues de la segunda police.
    [Show full text]
  • Historical Background
    Historical Background Lesson 3 The Historical Influences… How They Arrived in Argentina and Where the Dances’ Popularity is Concentrated Today The Chacarera History: WHAT INFLUENCES MADE THE CHACARERA WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Chacarera was influenced by the pantomime dances (the Gallarda, the Canario, and the Zarabanda) that were performed in the theaters of Europe (Spain and France) in the 1500s and 1600s. Later, through the Spanish colonization of the Americas, the Chacarera spread from Peru into Argentina during the 1800s (19th century). As a result, the Chacarera was also influenced by the local Indian culture (indigenous people) of the area. Today, it is enjoyed by all social classes, in both rural and urban areas. It has spread throughout the entire country except in the region of Patagonia. Popularity is concentrated in which provinces? It is especially popular in Santiago del Estero, Tucuman, Salta, Jujuy, Catamarca, La Rioja and Cordoba. These provinces are located in the Northwest, Cuyo, and Pampas regions of Argentina. There are many variations of the dance that are influenced by each of the provinces (examples: The Santiaguena, The Tucumana, The Cordobesa) *variations do not change the essence of the dance The Gato History: WHAT INFLUENCES MADE THE GATO WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Gato was danced in many Central and South American countries including Mexico, Peru, Chile, Uruguay, and Paraguay, however, it gained tremendous popularity in Argentina. The Gato has a very similar historical background as the other playfully mischievous dances (very similar to the Chacarera).
    [Show full text]
  • Mujer, Tradición Y Conciencia Histórica En Gertrudis Gómez De Avellaneda
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2017 MUJER, TRADICIÓN Y CONCIENCIA HISTÓRICA EN GERTRUDIS GÓMEZ DE AVELLANEDA Ana Lydia Barrios University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Latin American Literature Commons, and the Spanish Literature Commons Recommended Citation Barrios, Ana Lydia, "MUJER, TRADICIÓN Y CONCIENCIA HISTÓRICA EN GERTRUDIS GÓMEZ DE AVELLANEDA. " PhD diss., University of Tennessee, 2017. https://trace.tennessee.edu/utk_graddiss/4441 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Ana Lydia Barrios entitled "MUJER, TRADICIÓN Y CONCIENCIA HISTÓRICA EN GERTRUDIS GÓMEZ DE AVELLANEDA." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Modern Foreign Languages. Óscar Rivera-Rodas, Major Professor We have read this dissertation and recommend its acceptance: Michael Handelsman, Nuria Cruz-Cámara, Jacqueline Avila Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) MUJER, TRADICIÓN Y CONCIENCIA HISTÓRICA EN GERTRUDIS GÓMEZ DE AVELLANEDA A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Ana Lydia Barrios May 2017 ii Copyright © 2017 by Ana Lydia Barrios All rights reserved.
    [Show full text]
  • Latin Artist La India Sola Album Download Torrent Latin Artist La India Sola Album Download Torrent
    latin artist la india sola album download torrent Latin artist la india sola album download torrent. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 66ca8e0e4e9c0d3e • Your IP : 188.246.226.140 • Performance & security by Cloudflare. India. There at least two artist by the name of India, one from the United States and one from the United Kingdom. 1) A highly-emotive approach to Latin music has led to Puerto Rico-born and Bronx, New York-raised La India (born: Linda Viera Caballero) being dubbed, "The Princess of Salsa." Her 1994 album, Dicen Que Soy, spent months on the Latin charts. While known for her Salsa recordings, India started out recording Freestyle w/ her debut album Breaking Night in 1990 as well as lending her vocals to many house classics. 1) A highly-emotive approach to Latin music has led to Puerto Rico-born and Bronx, New York-raised La India (born: Linda Viera Caballero) being dubbed, "The Princess of Salsa." Her 1994 album, Dicen Que Soy, spent months on the Latin charts.
    [Show full text]
  • La Salsa (Musical)
    ¿En qué piensan cuando leen la palabra - Salsa? ¿Piensan en lo que comemos con patatas fritas o tortillas? ¿O piensan en la mùsica y el baile? ¿Qué es la Salsa? Salsa es un estilo de música latinoamericana que surgió en Nueva York como resultado del choque de la música afrocaribeña traída por puertoriqueños, cubanos, colombianos, venezolanos, panameños y dominicanos, con el Jazz y el Rock de los norteamericanos. Desde ese entonces, vive deambulando de isla en isla, de país a país, incrementando de tal manera, su riqueza de elementos. Es asi que la Salsa no es una moda pasajera, sinó una corriente musical establecida, de alto valor artístico y gran significado sociocultural: en ella no existen barreras de clase ni de edad. ¿Quienes son los artistas de la Salsa? Celia Cruz La que se va a volver la Reina de la Salsa nació en 1924. Desde niña, al nacer su talento se atreve a cantar en unas fiestas escolares o de barrio, luego en unos concursos radiofónicos. Notaron su talento y entonces empezó una carrera bajo los consejos aclarados de uno de sus profesores. Asi fue que en el 1950, pudo imponerse como cantante en uno de los grupos más famosos de La Havana : la Sonora Matancera. Con este grupo de leyenda fue con quien recorrió toda América Latina durante quinze años, dejando mientras tanto en Cuba su experienca revolucionaria hasta que se instale en 1960 en los Estados Unidos. Hasta ahora, va a guardar una nostalgia de su país, que a menudo se podrá sentir en sus textos y intrevistas.
    [Show full text]
  • Lista De Inscripciones Lista De Inscrições Entry List
    LISTA DE INSCRIPCIONES La siguiente información, incluyendo los nombres específicos de las categorías, números de categorías y los números de votación, son confidenciales y propiedad de la Academia Latina de la Grabación. Esta información no podrá ser utilizada, divulgada, publicada o distribuída para ningún propósito. LISTA DE INSCRIÇÕES As sequintes informações, incluindo nomes específicos das categorias, o número de categorias e os números da votação, são confidenciais e direitos autorais pela Academia Latina de Gravação. Estas informações não podem ser utlizadas, divulgadas, publicadas ou distribuídas para qualquer finalidade. ENTRY LIST The following information, including specific category names, category numbers and balloting numbers, is confidential and proprietary information belonging to The Latin Recording Academy. Such information may not be used, disclosed, published or otherwise distributed for any purpose. REGLAS SOBRE LA SOLICITACION DE VOTOS Miembros de La Academia Latina de la Grabación, otros profesionales de la industria, y compañías disqueras no tienen prohibido promocionar sus lanzamientos durante la temporada de voto de los Latin GRAMMY®. Pero, a fin de proteger la integridad del proceso de votación y cuidar la información para ponerse en contacto con los Miembros, es crucial que las siguientes reglas sean entendidas y observadas. • La Academia Latina de la Grabación no divulga la información de contacto de sus Miembros. • Mientras comunicados de prensa y avisos del tipo “para su consideración” no están prohibidos,
    [Show full text]
  • The Global Reach of the Fandango in Music, Song and Dance
    The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011.
    [Show full text]
  • Los Conquistadores De México 7 I.—Conquistadores Que Vinieron Con Cortés 34 Mujeres 56 II.—Conquistadores Que Vinieron Con Narváez 57 Mujeres 68 III.—Refuerzos
    MANUEL OROZCO Y BERRA LOS CONQUISTADORES DE MEXICO EDITORIAL PEDRO ROBREDO v\ V Calle de Justo Sierra No. 41 J: México, D. F. 19 3 8 1080017640 EX L I B RI S HEMETHERII VALVERDE TELLEZ Episcopi Leonensis > LOS CONQUISTADORES DE MEXICO MANUEL OROZCO Y BERRA LOS CONQUISTADORES DE MEXICO TN'V'n r i VMIN3D voaionaia EDITORIAL PEDRO ROBREDO Calle de Justo Sierra No. 41 México, D. F. 19 3 8 Capilla Alfonsina Biblioteca Universitari« B'BLIOTECA 33278 VA! V£Í?DE Y TFLLE7 ! i. Cuando Cristóbal Colón presentó en la Península Ibérica las producciones del recién descubierto Nuevo Mundo, y con su entusiasmada y poética imaginación describió los ricos y encantadores países encontrados al medio del Océano, las ima- ginaciones no menos vivas y pintorescas de los españoles se exaltaron, y el ardor nacional tomó el rumbo de las acciones arriesgadas y de las empresas de todo género. Multitud pro- digiosa de hombres dejó su patria, para ir allá muy lejos, en busca de nuevas comarcas, de reinos poderosos, de tesoros in- mensos, y allí enriquecer pronto, ganar fama, y destruyendo a los idólatras, hacer triunfar el culto de la Santa Cruz. Nobles y pecheros siguieron el impulso general, si bien aquellos fueron respectivamente en corto número. La turba de aventureros abandonaba su país confiada y satisfecha, con- tando sólo con su corazón y con su espada. Terminaban en España las porfiadas y sangrientas guerras contra los moros; estaban frescas aún las memorias de las hazañas prodigiosas re- matadas en la Vega de Granada por los cumplidos caballeros cristianos; se admiraban todavía las proezas de los zegries y de los abencerrajes; se enardecía el pueblo con la relación de los sitios y de los combates, abultados y revestidos de formas fantásticas en las tradiciones populares; y el orgullo de la victoria, largo tiempo disputada y por heroicos esfuerzos con- seguida, infundía seguridad en los ánimos y les daba suficien- ' cia.
    [Show full text]
  • Revue Catalane Pierre Talrich
    8' AMCC. H' 86 Février 1914. -es MïntBcrKS non ti»cTci ne sont oas rtnau.. REVUE Arttcio parus oan» u Revue n cn^igcni auc icurs auteur*. CATALANE PIERRE TALRICH Jean-Pierre-François Talrich naquit à Serralongue (Pyr.- Or.) le 16 janvier 1810. Fils de Pierre Talrich, docteur en chirurgie, et de Thérèse Durand, il fut baptisé le 22 janvier en l'église de Serralongue et eut comme marraine Marie- Rose Trescases. Le 20 mars 1813. l'enfant perdait sa mère alors qu'il était déjà orphelin de père. Le docteur Talrich, lors d'une épi• démie de typhus, descendit de Serralongue pour aider ses confrères de Céret, fut atteint par le fléau et mourut victime de son devoir. L'orphelin fut mis au collège de Perpignan, mais le petit montagnard, ignorant de ce qu'il pourrait trouver dans la grand'ville inconnue, prit soin, en partant, d'emporter son livre d'école sous son bras. Au lycée, un épisode de son enfance révèle déjà sa naturelle générosité d'âme et son enthousiasme pour les nobles causes. En 1824, âgé de quatorze ans, il s'évada avec quelques camarades ayant formé le projet très simple de partir au secours des Grecs. Malheureusement, l'un de ces jeunes émules de Lord Byron avait eu une préoccupation vraiment trop bourgeoise et qui devait lui être fatale : il avait laissé sous son oreiller son testament olographe par lequel il - 34 - déshéritait, en bonne et due forme, son neveu qui lui avait, quelques jours auparavant, administré une très irrespec• tueuse raclée. Ce document faisait connaître les intentions des futurs guerriers.
    [Show full text]
  • Fréhel and Bessie Smith
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 9-18-2018 Fréhel and Bessie Smith: A Cross-Cultural Study of the French Realist Singer and the African American Classic Blues Singer Tiffany Renée Jackson University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Jackson, Tiffany Renée, "Fréhel and Bessie Smith: A Cross-Cultural Study of the French Realist Singer and the African American Classic Blues Singer" (2018). Doctoral Dissertations. 1946. https://opencommons.uconn.edu/dissertations/1946 Fréhel and Bessie Smith: A Cross-Cultural Study of the French Realist Singer and the African American Classic Blues Singer Tiffany Renée Jackson, DMA University of Connecticut, 2018 ABSTRACT In this dissertation I explore parallels between the lives and careers of the chan- son réaliste singer Fréhel (1891-1951), born Marguerite Boulc’h, and the classic blues singer Bessie Smith (1894-1937), and between the genres in which they worked. Both were tragic figures, whose struggles with love, abuse, and abandonment culminated in untimely ends that nevertheless did not overshadow their historical relevance. Drawing on literature in cultural studies and sociology that deals with feminism, race, and class, I compare the the two women’s formative environments and their subsequent biographi- cal histories, their career trajectories, the societal hierarchies from which they emerged, and, finally, their significance for developments in women’s autonomy in wider society. Chanson réaliste (realist song) was a French popular song category developed in the Parisian cabaret of the1880s and which attained its peak of wide dissemination and popularity from the 1920s through the 1940s.
    [Show full text]
  • Lynn Meyers Song Catalog
    Title I. Allá arriba en aquella montaña First line Allá arriba en aquella montaña yo corté una caña, Composer Guridi, J., 1886-1961 Comp. Nat. Sp. Collection Seis Canciones Castellanas Hist. Per. 20th C. Publisher Union Musical Espanola, Madrid, 1941. #17468 Comments Andante con moto in 6/8. Sustained, lightly ornamented. A tender Type art, trad. Mel. Source Castile, trad. Text Source Castile, trad. Instruments Piano Voice M Voc. Level Beg. Acc. Reqts. Diff. Range e1-f2 Tessitura f1-d2 Spec. Appl. exp. Call No. LNCEMS Translation Title II. Sereno! First line Sereno! Sereno! En micasa hay un hombre durmiendo... Composer Guridi, J., 1886-1961 Comp. Nat. Sp. Collection Seis Canciones Castellanas Hist. Per. 20th C. Publisher Union Musical Espanola, Madrid, 1941.#17468 Comments Molto moderato e lugubre, in 6/8.Slow, sustained, dramatic. An ironic Type art, trad. Mel. Source Castile, trad. Text Source Castile, trad. Instruments Piano Voice H Voc. Level Int. Acc. Reqts. Diff. Range e1-gsh2 Tessitura g1-e2 Spec. Appl. exp. Call No. LNCEMS Translation Title III. Llámale con el pañuelo First line Llámale con el pañuelo; llámale con garbo y modo. Composer Guridi, J., 1886-1961 Comp. Nat. Sp. Collection Seis Canciones Castellanas Hist. Per. 20th C. Publisher Union Musical Espanola, Madrid, 1941.#17468 Comments Allegretto grazioso in 6/8. Lively, graceful. Req. vocal flexibility, facile Type art, trad. Mel. Source Castile, trad. Text Source Castile, trad. Instruments Piano Voice H Voc. Level Int. Acc. Reqts. Diff. Range d1-g2 Tessitura e1-e2 Spec. Appl. exp. Call No. LNCEMS Translation Title IV. No quiero tus avellanas First line No quiero tus avellanas, tampoco tus alelies, Composer Guridi, J., 1886-1961 Comp.
    [Show full text]