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La Generazione Dell'ottanta and the Italian Sound
LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND A DISSERTATION IN Trumpet Performance Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS by ALBERTO RACANATI M.M., Western Illinois University, 2016 B.A., Conservatorio Piccinni, 2010 Kansas City, Missouri 2021 LA GENERAZIONE DELL’OTTANTA AND THE ITALIAN SOUND Alberto Racanati, Candidate for the Doctor of Musical Arts Degree University of Missouri-Kansas City, 2021 ABSTRACT . La Generazione dell’Ottanta (The Generation of the Eighties) is a generation of Italian composers born in the 1880s, all of whom reached their artistic maturity between the two World Wars and who made it a point to part ways musically from the preceding generations that were rooted in operatic music, especially in the Verismo tradition. The names commonly associated with the Generazione are Alfredo Casella (1883-1947), Gian Francesco Malipiero (1882-1973), Ildebrando Pizzetti (1880-1968), and Ottorino Respighi (1879- 1936). In their efforts to create a new music that sounded unmistakingly Italian and fueled by the musical nationalism rampant throughout Europe at the time, the four composers took inspiration from the pre-Romantic music of their country. Individually and collectively, they embarked on a journey to bring back what they considered the golden age of Italian music, with each one yielding a different result. iii Through the creation of artistic associations facilitated by the fascist government, the musicians from the Generazione established themselves on the international scene and were involved with performances of their works around the world. -
Gianni Schicchi De Giacomo Puccini: Los Semiomotivos
2015 32 Iciar Nadal García Gianni Schicchi de Giacomo Puccini: los semiomotivos Departamento Lingüística General e Hispánica Director/es Pueo Domínguez, Juan Carlos Blesa Lalinde, José Ángel Tesis Doctoral Autor Director/es UNIVERSIDAD DE ZARAGOZA Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Departamento Director/es Tesis Doctoral GIANNI SCHICCHI DE GIACOMO PUCCINI: LOS SEMIOMOTIVOS Autor Iciar Nadal García Director/es Pueo Domínguez, Juan Carlos Blesa Lalinde, José Ángel UNIVERSIDAD DE ZARAGOZA Lingüística General e Hispánica 2009 Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Departamento Director/es Tesis Doctoral Autor Director/es UNIVERSIDAD DE ZARAGOZA Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es GIANNI SCHICCHI DE GIACOMO PUCCINI: LOS SEMIOMOTIVOS Tesis Doctoral Presentada por Icíar Nadal García para optar al título de doctora Codirectores de la Tesis: Dr. D. José Ángel Blesa Lalinde, Universidad de Zaragoza Dr. D. Juan Carlos Pueo Domínguez, Universidad de Zaragoza Área de Teoría de la literatura y literatura comparada Departamento de Lingüística General e Hispánica Universidad de Zaragoza GIANNI SCHICCHI DE GIACOMO PUCCINI: LOS SEMIOMOTIVOS Icíar Nadal García Vº Bº Los codirectores de la tesis Fdo. Dr. Jose Ángel Blesa Lalinde Fdo. Dr. Juan Carlos Pueo Domínguez AGRADECIMIENTOS Al terminar de redactar la investigación desarrollada hasta hoy, me siento afortunada por haber encontrado tantas personas generosas y de tan gran calidad. Quiero agradecer la ayuda de los codirectores de la tesis, José Ángel Blesa y Juan Carlos Pueo, mis maestros en estos últimos años. Su asesoramiento científico, su exigencia y su entusiasmo durante este proceso, han sido decisivos. -
Composers Mascagni and Leoncavallo Biography
Cavalleria Rusticana Composer Biography: Pietro Mascagni Mascagni was an Italian composer born in Livorno on December 7, 1863. His father was a baker and dreamed of a career as a lawyer for his son, but following the good reception obtained by Mascagni’s first compositions was persuaded to allow him to study music at the Milan Conservatoire, where his teachers included Amilcare Ponchielli and Michele Saladino, and where he shared a furnished room with his fellow-student Giacomo Puccini. His first compositions won him financial support to study at the Milan Conservatory. He was of a rebellious nature and intolerant of discipline, and in 1885 he left the Conservatoire to join a modest operetta company as conductor. He became part of the Compagnia Maresca and, together with his future wife, Lina Carbognani, settled in Cerignola (Apulia) in 1886, where he formed a symphony orchestra. Here Mascagni composed at a single stroke, in only two months, the one-act opera Cavalleria rusticana, based on the short story by Verga, which was to win him the first prize in the Second Sonzogno Competition for new operas. The innovative strength of the opera and the resounding worldwide success which followed its first performance (1890, Teatro Costanzi, Rome) marked the beginning of an artistic life rich in achievements and satisfactions, both as composer and as conductor. He became increasingly prominent as a conductor and in 1892 conducted his opera I Rantzau around Europe. Further successes included Amica (1905) and Isabeau (1911), alongside such failures as Le maschere (1901). In 1915 he experimented with writing for cinema in Rapsodia satanicawith Nino Oxilia. -
The Profane Choral Compositions of Lorenzo Perosi
THE PROFANE CHORAL COMPOSITIONS OF LORENZO PEROSI By KEVIN TODD PADWORSKI B.A., Eastern University, 2008 M.M., University of Denver, 2013 A TMUS Project submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment Of the requirement for the degree of Doctor of Musical Arts College of Music 2019 1 THE PROFANE CHORAL COMPOSITIONS OF LORENZO PEROSI By KEVIN TODD PADWORSKI Approved APRIL 8, 2019 ___________________________________________ Dr. Elizabeth Swanson Associate Director of Choral Studies and Assistant Professor of Music __________________________________________ Dr. Yonatan Malin Associate Professor of Music Theory __________________________________________ Dr. Steven Bruns Associate Dean for Graduate Studies; Associate Professor of Music Theory 2 Table of Contents Title Page Committee Approvals 1 Table of Contents 2 Abstract 3 Introduction 4 Biography 6 Profane Choral Compositions 23 Conclusion 32 Appendices 33 Appendix I: Complete List of the Profane Compositions Appendix II: Poetic Texts of Selected Profane Compositions Bibliography 36 3 Abstract The vocal music created in Italy during the late 1800s and early 1900s is often considered to be the height of European vocal art forms, and the era when the operatic and choral genres broke their way into mainstream appreciation. One specific composer’s career was paramount to the rise of this movement: Monsignor Don Lorenzo Perosi. At the turn of the twentieth century, his early premieres of choral oratorios and symphonic poems of massive scale thoroughly impressed notable musical colleagues worldwide and quickly received mass adoration and accolades. In addition to these large works, Perosi produced a prolific number of liturgical choral compositions that shaped the sound and style of choral music of the Roman Catholic Church for over half a century. -
Milan and Seregno
MILAN AND SEREGNO LIDA EMILIANA MELETAKI VICTORIA MILIARAKI NIKOLETA XENAKI C’3 MILAN Milan is the capital of Lombardy and the second most populous city in Italy after Rome. It is located in the north- western section of the Po Valley, approximately halfway between the river Po to the south and the foothills of the Alps with the great lakes (Lake Como, Lake Maggiore, Lake Lugano) to the north, the Ticino river to the west and the Adda to the east. MUSEUMS Some of the most popular museums are: • Pinacoteca di Brera • The Last Supper • Fondazione Prada • Museo del Novecento • Mudec • Museo Civico di Storia Naturale di Milano • Museo Poldi Pezzoli • Villa Necchi Campiglio PINACOTECA DI BRERA FONDAZIONE PRADA MONUMENTS/LANDMARKS Santa Maria delle Grazie This church was built between 1466 and 1490 by Giuniforte Solari and later partly modified by Bramante who re- designed the apse, the Tribuna, the Cloister and the Old Sacristy. In the Refectory there is one of the most famous paintings of Leonardo da Vinci: the “Last Supper”. The works of the fresco started in 1495 and finished in 1498. Monumental Cemetery Carlo Maciachini built the Monumental Cemetery between 1863 and 1866 at Porta Volta. Villa Reale (Royal Villa) One of the most important Milanese neo- classical buildings, the Royal Villa, was built in 1790 by Leopoldo Pollak. It has been the residence of Napolen and Josephine and also of Eugene Beauharnais and the General Radetzky. Pilasters and columns decorate all the building that is surrounded by an English- style garden. The insides are finely decorated with candelabras, sculptures, frescoes and other decorations typical of Lombard neo- classicism. -
Mala Vita Melodramma in Tre Atti
MALA VITA MELODRAMMA IN TRE ATTI versi di Nicola Daspuro musica di Umberto Giordano testi a cura di Agostino Pio Ruscillo COMUNE di FOGGIA Teatro comunale «U. Giordano» 2002 AVVERTENZA INDICE Ripubblichiamo qui senza varianti, se non di ordine tipografico, il libretto stampato in occasione della prima rappresentazione dell’opera; di seguito la descrizione del frontespizio: MALA VITA / MELODRAMMA IN TRE ATTI / versi di / N. DASPURO / musica di / UMBERTO GIORDANO / R. Teatro Argentina / Sta- INTRODUZIONE gione Carnevale-Quaresima 1892 / IMPRESA DEL MARCHESE Mala vita di Daspuro-Giordano: melodramma GINO MONALDI / [fregio] / MILANO / EDOARDO SONZOGNO, EDI- TORE / 14 - Via Pasquirolo - 14 / 1892. tardoromantico nel contenitore del teatro musicale verista 5 Durante la fase di collazione tra il libretto (LI) e lo spartito (SP) della Indicazioni bibliografiche 19 riduzione per canto e pianoforte (a cura di Alessandro Longo, Mila- no, Sonzogno, 1892) sono state registrate varianti significative e se- Note al testo 21 gnalate opportunamente nelle Note al libretto. LIBRETTO Elenco dei personaggi 31 Atto primo 33 Atto secondo 53 Atto terzo 71 Note al libretto 81 Grafica di copertina: Free point Impaginazione: RAgo Interpreti della rappresetnzione in epoca moderna © 1892, EDOARDO SONZOGNO (Foggia, Teatro «U. Giordano», 12 e 14 dicembre 2002) 95 © 2002, CASA MUSICALE SONZOGNO di Piero Ostali Via Bigli, 11 – 20121 Milano INTRODUZIONE Mala vita di Daspuro-Giordano: melodramma tardoromantico nel contenitore del teatro musicale verista. «Cominciato Napoli 8 Dicembre 1890».1 Con questa frase il ventitreenne Umberto Giordano, neodiplomato in compo- sizione presso il Conservatorio di S. Pietro a Majella di Napo- li, nella classe del maestro Paolo Serrao,2 segna indelebilmente il manoscritto degli abbozzi di Mala vita. -
Revisiting Zero Hour 1945
REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs. -
Hitler's Germania: Propaganda Writ in Stone
Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Hitler's Germania: Propaganda Writ in Stone Aaron Mumford Boehlert Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Architectural History and Criticism Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Boehlert, Aaron Mumford, "Hitler's Germania: Propaganda Writ in Stone" (2017). Senior Projects Spring 2017. 136. https://digitalcommons.bard.edu/senproj_s2017/136 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Hitler’s Germania: Propaganda Writ in Stone Senior Project submitted to the Division of Arts of Bard College By Aaron Boehlert Annandale-on-Hudson, NY 2017 A. Boehlert 2 Acknowledgments This project would not have been possible without the infinite patience, support, and guidance of my advisor, Olga Touloumi, truly a force to be reckoned with in the best possible way. We’ve had laughs, fights, and some of the most incredible moments of collaboration, and I can’t imagine having spent this year working with anyone else. -
Cavalleria Rusticana I Pagliacci Usporedno Sa Sve Brojnijim Izvedbama Prvi Su Put Zajedno Izvedeni 22
P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. Foto: Metropolitan opera P. Mascagni CAVALLERIA RUSTICANA R. Leoncavallo: I PAGLIAccI Nedjelja, 3. svibnja 2015., 18:30 sati. THE MET: LIVE IN HD SERIES IS MADE POSSIBLE BY A GENEROUS GRANT FROM ITS FOUNDING SPONZOR Neubauer Family Foundation GLOBAL CORPORATE SPONSORSHIP OF THE MET LIVE IN HD IS PROVIDED BY THE HD BRODCASTS ARE SUPPORTED BY Pietro Mascagni CAVALLERIA RUSTICANA Opera u jednom činu Libreto: Giovanni Targioni-Tozzetti i Guido Menasci prema istoimenoj noveli Giovannija Verge NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Costanzi, Rim, 17. svibnja 1890. Prva hrvatska izvedba: Druga operna stagiona, Zagreb, 29. svibnja 1893. Prva izvedba ansambla Metropolitana 4. prosinca 1891. u Chicagu Premijera ove izvedbe u Metropolitanu: 14. travnja 2015. ZBOR I ORKESTAR METROPOLITANA SANTUZZA Eva-Maria Westbroek ZBORovođa Donald Palumbo TURIDDU Marcelo Álvarez DIRIGENT Fabio Luisi ALFIO George Gagnidze REDATELJ David McVicar LUCIA Jane Bunnell SCENOGRAF Rae Smith LOLA Ginger Costa-Jackson Tekst: talijanski Stanka poslije Cavallerije rusticane. Titlovi: engleski Svršetak oko 22 sata. Ruggero Leoncavallo I PAGLIACCI Foto:Metropolitan opera Opera u dva čina s prologom Libreto: skladatelj NEDJELJA, 3. SVIBNJA 2015. POčETAK U 18 SATI I 30 MINUTA. Praizvedba: Teatro Dal Verme, Milano, 21. kolovoza 1892. Prva hrvatska izvedba: Treća operna stagiona, Zagreb, 22. travnja 1894. Prva izvedba u Metropolitanu: 11. prosinca 1893. Premijera ove izvedbe u Metropolitanu: 25. travnja 2015. KOSTIMOGRAF Moritz Junge CANIO/PAGLIACCIO Marcelo Álvarez OBLIKOVATELJICA RASVJETE Paule Constable NEDDA/COLOMBINA Patricia Racette KOREOGRAF Andrew George TONIO/TADDEO George Gagnidze KONZULTANT ZA VODVILJ Emil Wolk BEPPE/ARLECCHINO Andrew Stenson SILVIO Lucas Meachem Tekst: talijanski Titlovi: engleski CAVALLERIA RUSTICANA Radnja se događa na Uskrs u sicilijanskom selu. -
THE INCIDENTAL MUSIC of BEETHOVEN THESIS Presented To
Z 2 THE INCIDENTAL MUSIC OF BEETHOVEN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Theodore J. Albrecht, B. M. E. Denton, Texas May, 1969 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS. .................. iv Chapter I. INTRODUCTION............... ............. II. EGMONT.................... ......... 0 0 05 Historical Background Egmont: Synopsis Egmont: the Music III. KONIG STEPHAN, DIE RUINEN VON ATHEN, DIE WEIHE DES HAUSES................. .......... 39 Historical Background K*niq Stephan: Synopsis K'nig Stephan: the Music Die Ruinen von Athen: Synopsis Die Ruinen von Athen: the Music Die Weihe des Hauses: the Play and the Music IV. THE LATER PLAYS......................-.-...121 Tarpe.ja: Historical Background Tarpeja: the Music Die gute Nachricht: Historical Background Die gute Nachricht: the Music Leonore Prohaska: Historical Background Leonore Prohaska: the Music Die Ehrenpforten: Historical Background Die Ehrenpforten: the Music Wilhelm Tell: Historical Background Wilhelm Tell: the Music V. CONCLUSION,...................... .......... 143 BIBLIOGRAPHY.....................................-..145 iii LIST OF ILLUSTRATIONS Figure Page 1. Egmont, Overture, bars 28-32 . , . 17 2. Egmont, Overture, bars 82-85 . , . 17 3. Overture, bars 295-298 , . , . 18 4. Number 1, bars 1-6 . 19 5. Elgmpnt, Number 1, bars 16-18 . 19 Eqm 20 6. EEqgmont, gmont, Number 1, bars 30-37 . Egmont, 7. Number 1, bars 87-91 . 20 Egmont,Eqm 8. Number 2, bars 1-4 . 21 Egmon t, 9. Number 2, bars 9-12. 22 Egmont,, 10. Number 2, bars 27-29 . 22 23 11. Eqmont, Number 2, bar 32 . Egmont, 12. Number 2, bars 71-75 . 23 Egmont,, 13. -
CHAN 3000 FRONT.Qxd
CHAN 3000 FRONT.qxd 22/8/07 1:07 pm Page 1 CHAN 3000(2) CHANDOS O PERA IN ENGLISH David Parry PETE MOOES FOUNDATION Puccini TOSCA CHAN 3000(2) BOOK.qxd 22/8/07 1:14 pm Page 2 Giacomo Puccini (1858–1924) Tosca AKG An opera in three acts Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou English version by Edmund Tracey Floria Tosca, celebrated opera singer ..............................................................Jane Eaglen soprano Mario Cavaradossi, painter ..........................................................................Dennis O’Neill tenor Baron Scarpia, Chief of Police................................................................Gregory Yurisich baritone Cesare Angelotti, resistance fighter ........................................................................Peter Rose bass Sacristan ....................................................................................................Andrew Shore baritone Spoletta, police agent ........................................................................................John Daszak tenor Sciarrone, Baron Scarpia’s orderly ..............................................Christopher Booth-Jones baritone Jailor ........................................................................................................Ashley Holland baritone A Shepherd Boy ............................................................................................Charbel Michael alto Geoffrey Mitchell Choir The Peter Kay Children’s Choir Giacomo Puccini, c. 1900 -
Josef Suk's Asrael Re-Envisioned Via Schoenberg
A STUDY IN CLARITY: JOSEF SUK’S ASRAEL RE-ENVISIONED VIA SCHOENBERG Volume I of II IVAN ARION KARST School of Arts and Media College of Arts and Social Sciences University of Salford, Salford, UK Submitted in Fulfilment of the Requirements of the Degree of Doctor of Philosophy, October 2020 i Contents Table of Figures ........................................................................................................................... 4 Acknowledgements..................................................................................................................... 7 Abstract: ‘A Study in Clarity: Suk Re-envisioned via Schoenberg’ ................................................. 8 Chapter 1: Introduction ............................................................................................................... 1 Thesis Methodology ................................................................................................................. 1 A Study in Clarity: Literature Review ......................................................................................... 4 Chapter 2: Historical Context .................................................................................................... 10 Schoenberg: Transcription and the Verein .............................................................................. 10 Chapter 3: Analysis.................................................................................................................... 12 Transcription Techniques of the Verein .................................................................................