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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Nicholas Mcgegan Principal Guest Conductor
Nicholas McGegan Principal Guest Conductor As he embarks on his fourth decade on the podium, Nicholas McGegan — long hailed as “one of the finest baroque conductors of his generation” (London Independent) and “an expert in 18th- century style” (The New Yorker) — is recognized for his probing and revelatory explorations of music of all periods. In 2015, Philharmonia Baroque Orchestra celebrates his 30th year as music director and he is also Principal Guest Conductor of the Pasadena Symphony. McGegan has established the San Francisco-based Philharmonia Baroque Orchestra and Philharmonia Chorale as one of the world’s leading period-performance ensembles, with notable appearances at Carnegie Hall, Lincoln Center, the London Proms, the Amsterdam Concertgebouw, and the International Handel Festival, Göttingen. PBO’s 2015/16 season sees the orchestra returning to Carnegie Hall for a performance of Scarlatti’s La Gloria di primavera, in addition to tours of the piece in California’s Bay Area and Quebec. As a guest conductor, McGegan’s 15/16 season features appearances with the Los Angeles Philharmonic (with which he has appeared annually for nearly 20 years), St. Louis, Baltimore, BBC Scottish, RTÉ National, and New Zealand Symphonies; the Cleveland Orchestra/Blossom Music Festival; and the Orchestra of St. Luke’s at Caramoor and Carnegie Hall. Throughout his career, McGegan has defined an approach to period style that sets the current standard: intelligent, infused with joy, and never dogmatic. Under his leadership Philharmonia Baroque continues to expand its repertoire into the Romantic Era and beyond. Calling the group’s recent recording of the Brahms Serenades “a truly treasurable disc,” James R. -
Finishing Off Joseph Van Aken
In-Focus Finishing Off Joseph van Aken Britain’s Leading Drapery Painter Joseph van Aken Going it Alone IMAGES NOT AVAILABLE In The London Tradesman (1747), a On van Aken’s death in 1749 his handbook of professions, the drapery brother Alexander, a lesser artist, tried painter is listed as a ‘mere mechanic to continue this family business, but hand’ who is ‘employed in dressing the the smooth running of several portrait figures, after the painter has finished painters’ studios was disrupted for the face, given the figure its proper months. No single drapery painter attitude, and drawn the out-lines of the Van Aken’s drapery may be one reason ever again achieved van Aken’s hold dress or drapery.’ This may have been why many portraits from the 1740s, over the market, and the practice of true for many anonymous hacks, but look so similar. Surviving drawings outsourcing drapery slowly dwindled. the Flemish-born artist Joseph van Aken suggest that Ramsay provided detailed By the 1760s and’70s, artists such (c.1699–1749) earned great wealth instructions about howvan Aken should as Thomas Gainsborough or Joseph as Britain’s leading drapery painter. pose and dress his figures. Others Wright of Derby were painting all parts He worked for Thomas Hudson, Allan merely supplied the face – sometimes of their canvases themselves. Ramsay, Joseph Highmore and so cut out and tacked to a larger canvas. many other successful portrait painters Such was the consistent quality of van Thomas Day (1748–89) of the 1740s that one critic remarked, Aken’s ‘draperies, silks, satins, velvets’ by Joseph Wright of Derby, 1770 NPG 2490 acidly: ‘As in England almost that artists found it a ‘great addition to everybody’s picture is painted, so their works and .. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Darnley Portraits
DARNLEY FINE ART DARNLEY FINE ART PresentingPresenting anan Exhibition of of Portraits for Sale Portraits for Sale EXHIBITING A SELECTION OF PORTRAITS FOR SALE DATING FROM THE MID 16TH TO EARLY 19TH CENTURY On view for sale at 18 Milner Street CHELSEA, London, SW3 2PU tel: +44 (0) 1932 976206 www.darnleyfineart.com 3 4 CONTENTS Artist Title English School, (Mid 16th C.) Captain John Hyfield English School (Late 16th C.) A Merchant English School, (Early 17th C.) A Melancholic Gentleman English School, (Early 17th C.) A Lady Wearing a Garland of Roses Continental School, (Early 17th C.) A Gentleman with a Crossbow Winder Flemish School, (Early 17th C.) A Boy in a Black Tunic Gilbert Jackson A Girl Cornelius Johnson A Gentleman in a Slashed Black Doublet English School, (Mid 17th C.) A Naval Officer Mary Beale A Gentleman Circle of Mary Beale, Late 17th C.) A Gentleman Continental School, (Early 19th C.) Self-Portrait Circle of Gerard van Honthorst, (Mid 17th C.) A Gentleman in Armour Circle of Pieter Harmensz Verelst, (Late 17th C.) A Young Man Hendrick van Somer St. Jerome Jacob Huysmans A Lady by a Fountain After Sir Peter Paul Rubens, (Late 17th C.) Thomas Howard, Earl of Arundel After Sir Peter Lely, (Late 17th C.) The Duke and Duchess of York After Hans Holbein the Younger, (Early 17th to Mid 18th C.) William Warham Follower of Sir Godfrey Kneller, (Early 18th C.) Head of a Gentleman English School, (Mid 18th C.) Self-Portrait Circle of Hycinthe Rigaud, (Early 18th C.) A Gentleman in a Fur Hat Arthur Pond A Gentleman in a Blue Coat -
Le Monde Galant
The Juilliard School presents Le Monde Galant Juilliard415 Nicholas McGegan, Director Recorded on May 1, 2021 | Peter Jay Sharp Theater FRANCE ANDRÉ CAMPRA Ouverture from L’Europe Galante (1660–1744) SOUTHERN EUROPE: ITALY AND SPAIN JEAN-MARIE LECLAIR Forlane from Scylla et Glaucus (1697–1764) Sicilienne from Scylla et Glaucus CHRISTOPH WILLIBALD GLUCK Menuet from Don Juan (1714–87) MICHEL RICHARD DE LALANDE Chaconne légère des Maures from Les Folies (1657–1726) de Cardenio CHARLES AVISON Con Furia from Concerto No. 6 in D Major, (1709-70) after Domenico Scarlatti CELTIC LANDS: SCOTLAND AND IRELAND GEORG PHILIPP TELEMANN L’Eccossoise from Overture in D Major, TWV55:D19 (1681–1767) NATHANIEL GOW Largo’s Fairy Dance: The Fairies Advancing and (1763–1831) Fairies Dance Cullen O’Neil, Solo Cello TELEMANN L’Irlandoise from Overture in D Minor, TVW55:d2 EASTERN EUROPE: POLAND, BOHEMIA, AND HUNGARY ARR. TELEMANN Danse de Polonie No. 4, TWV45 Polonaise from Concerto Polonois, TWV43:G7 Danse de Polonie No. 1, TWV45 La Hanaquoise, TWV55:D3 TRADITIONAL Three 18th-century Hanák folk tunes RUSSIA TELEMANN Les Moscovites from Overture in B-flat Major, TWV55:B5 Program continues 1 EUROPE DREAMS OF THE EAST: THE OTTOMAN EMPIRE TELEMANN Les Janissaries from Overture in D Major, TWV55:D17 Mezzetin en turc from Overture-Burlesque in B-flat Major, TWV55:B8 PERSIA AND CHINA JEAN-PHILIPPE RAMEAU Air pour Borée from Les Indes galantes (1683–1764) Premier Air pour Zéphire from Les Indes galantes Seconde Air pour Zéphire from Les Indes galantes Entrée des Chinois -
NEWSLETTER of the American Handel Society
NEWSLETTER of The American Handel Society Volume XVIII, Number 1 April 2003 A PILGRIMAGE TO IOWA As I sat in the United Airways terminal of O’Hare International Airport, waiting for the recently bankrupt carrier to locate and then install an electric starter for the no. 2 engine, my mind kept returning to David Lodge’s description of the modern academic conference. In Small World (required airport reading for any twenty-first century academic), Lodge writes: “The modern conference resembles the pilgrimage of medieval Christendom in that it allows the participants to indulge themselves in all the pleasures and diversions of travel while appearing to be austerely bent on self-improvement.” He continues by listing the “penitential exercises” which normally accompany the enterprise, though, oddly enough, he omits airport delays. To be sure, the companionship in the terminal (which included nearly a dozen conferees) was anything but penitential, still, I could not help wondering if the delay was prophecy or merely a glitch. The Maryland Handel Festival was a tough act to follow and I, and perhaps others, were apprehensive about whether Handel in Iowa would live up to the high standards set by its august predecessor. In one way the comparison is inappropriate. By the time I started attending the Maryland conference (in the early ‘90’s), it was a first-rate operation, a Cadillac among festivals. Comparing a one-year event with a two-decade institution is unfair, though I am sure in the minds of many it was inevitable. Fortunately, I feel that the experience in Iowa compared very favorably with what many of us had grown accustomed Frontispiece from William Coxe, Anecdotes fo George Frederick Handel and John Christopher Smith to in Maryland. -
Spanish Local Color in Bizet's Carmen.Pdf
!@14 QW Spanish Local Color in Bizet’s Carmen unexplored borrowings and transformations Ralph P. Locke Bizet’s greatest opera had a rough start in life. True, it was written and composed to meet many of the dramatic and musical expectations of opéra comique. It offered charming and colorful secondary characters that helped “place” the work in its cho- sen locale (such as the Spanish innkeeper Lillas Pastia and Carmen’s various Gypsy sidekicks, female and male), simple strophic forms in many musical numbers, and extensive spoken dialogue between the musical numbers.1 Despite all of this, the work I am grateful for many insightful suggestions from Philip Gossett and Roger Parker and from early readers of this paper—notably Steven Huebner, David Rosen, Lesley A. Wright, and Hervé Lacombe. I also benefi ted from the suggestions of three specialists in the music of Spain: Michael Christoforidis, Suzanne Rhodes Draayer (who kindly provided a photocopy of the sheet-music cover featuring Zélia Trebelli), and—for generously sharing his trove of Garciana, including photocopies of the autograph vocal and instrumental parts for “Cuerpo bueno” that survive in Madrid—James Radomski. The Bibliothèque nationale de France kindly provided microfi lms of their two manu- scripts of “Cuerpo bueno” (formerly in the library of the Paris Conservatoire). Certain points in the present paper were fi rst aired briefl y in one section of a wider-ranging essay, “Nineteenth-Century Music: Quantity, Quality, Qualities,” Nineteenth-Century Music Review 1 (2004): 3–41, at 30–37. In that essay I erroneously referred in passing to Bizet’s piano-vocal score as having been published by Heugel; the publisher was, of course, Choudens. -
Die Zauberflöte
Die Zauberflöte What’s in a Title? Harrison Powley cholars have argued over Die Zauberflöte for many years. Is it a fairy-tale Sopera, a metaphorical discussion of Masonic and Rosicrucian beliefs, or a contemporary political or philosophical commentary on the 1780s and ₁ the Enlightenment? It can be all these and more, but for many in the audi- ence during fall 1791 it was entertainment, pure and simple. The audience at the Theater auf der Weiden came from all levels of society. The nobility and educated attended as well as the working and servant classes. In a work so rich with literary, visual, and musical symbols, it is easy to ₂ gloss over the most obvious ones: the magical musical instruments. Musi- cal instruments of Mozart’s day were similar in some ways to instruments in common use today yet quite different in construction, sound, and per- formance techniques. As performers and conductors try to communicate music of past centuries, they have turned in recent years to performing music on the instruments for which the composers wrote the music, using either surviving instruments or modern reconstructions in an attempt to recreate the timbres or tone colors, tempi, ornamentation, tunings, and the like ₃ of the past. This essay focuses primarily on Mozart’s use of two instruments: the Zauberflöte (magic flute) and the Zauberglöckchen (magic bells). We know what a flute is and what bells are, but why and how are they “magic”? In fact, why do Schikaneder and Mozart use these instruments at specific times in the work, and what meanings did they convey to Mozart’s audi- ence? We will also discuss several surviving instruments that could have influenced Mozart’s music. -
Senior Recital Christ Chapel, Gustavus Adolphus College, Saint Peter, MN 21 April 2013 | 7:30 PM Michael Asmus, Organ and Conductor with LE GRANDE BANDE & CHORUS
Senior Recital Christ Chapel, Gustavus Adolphus College, Saint Peter, MN 21 April 2013 | 7:30 PM Michael Asmus, Organ and Conductor with LE GRANDE BANDE & CHORUS Programme Organ Sonata No. 2, Op. 151 (1917) CHARLES VILLIERS STANFORD (1852-1924) I. Rheims: Allegro moderato Rubrics (1988) DAN LOCKLAIR (b. 1945) IV. The peace may be exchanged Ye Choirs of New Jerusalem, Op. 123 (1910) C. V. STANFORD O Mensch, bewein' dein Sünde groß, BWV 622 (1713-5) JOHANN SEBASTIAN BACH (1685-1750) INTERVAL Organ Concerto Op. 4, No. 4, HWV 292 (1733) GEORGE FREDRIC HÄNDEL (1685-1759) I. Allegro Sinfonia in d minor, W I/3 (1768) JOHANN CHRISTOPH FRIEDRICH BACH (1732-1795) I. Allegro II. Andante amoroso III. Allegro assai The King Shall Rejoice, HWV 260 (1727) G. F. HÄNDEL I. The King shall rejoice II. Exceeding glad shall he be III. Glory and great worship IV. Thou hast prevented him V. Alleluia DEPARTMENT OF MUSIC | 1 Programme Notes or George Fredric Händel, the year 1727 Music suite for the King‟s trip on the River F began like many of the previous years: with Thames in July 1717. It is likely that Händel‟s Italian opera. Händel had almost singlehandedly connection with the Hanoverian court, and introduced the genre of Italian opera to England subsequently the English court, provided him with his first arrival in London during the winter with the opportunity to compose the four of 1710. (He began his permanent residency of Coronation Anthems for the 1727 Coronation of England by mid-October 1712.) Indeed, much of George II. -
Handel: Heaven and Harmony the Brandenburg Choir
THE BRANDENBURG HANDEL: HEAVEN CHOIR AND HARMONY GEORGE FRIDERIC HANDEL (1685–1759) When we think of Handel, most of us probably think first of the oratorios, especially Messiah, and then perhaps of instrumental pieces such as the Water Music, but instrumental compositions formed only a relatively small portion of Handel’s total output of some six hundred works. He saw himself primarily as a vocal composer, and to his contemporaries he was one of the finest opera composers of the age, writing forty two operas in all. His first opera was produced in Hamburg in 1705, when he was only twenty, but his career as both composer and impresario really took off when he moved to London in 1711, where he mounted a series of phenomenally successful Italian opera seasons which included masterpieces such as Giulio Cesare (Julius Caesar) and Alcina. In 1733 a rival opera company was set up, the Opera of the Nobility, which poached Handel’s best singers and drew the support of wealthy patrons away from Handel’s The Brandenburg Choir is renowned for its Noël! Noël! has proven to be so popular, the own company. Handel managed to keep his company afloat, seeing out the rival astonishing vocal blend and technical virtuosity. Brandenburg have released their second live company which collapsed in 1737, but he sustained heavy financial losses and the Established by Artistic Director Paul Dyer in 1999 recording of the concert at City Recital Hall Angel stress took its toll on his health. to perform in the first-ever Noël! Noël! Brandenburg Place.