Die Analyse Der Werke Über Wilhelm Tell Olomouc 2009
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
André-Ernest-Modeste Grétry
pour la cour qu’il créée Zemire et Azor en 1771, où Marmontel parodie La Belle et la Bête. Cette nouvelle œuvre dédiée à Madame Du Barry lui vaut l’admiration de la famille royale, des courtisans puis du public, l’aspect fantastique de l’œuvre attisant la curiosité de l’auditoire, confondu par la mystérieuse scène du tableau magique… Triomphe absolu, et là encore Grétry donne le sentiment de proposer un nouveau type de spectacle. 1773 voit le succès du Magnifique écrit avec Sedaine, suivi de La Rosière de Salency, et surtout du premier “Grand Opéra” de Grétry, représenté à l’Opéra Royal de Versailles pour le Mariage du Comte d’Artois : Céphale et Procris. La nouvelle Reine, Marie-Antoinette, s’est tellement entichée de Grétry qu’elle devient la marraine de sa troisième fille en 1774, justement prénommée Antoinette. En six ans à peine, le jeune liégeois arrivé inconnu à Paris en est devenu le principal compositeur, stipendié par la cour… André-Ernest-Modeste Grétry Mais la représentation d’Iphigénie en Aulide de Gluck, au printemps 1774, est une 1741-1813 déflagration de modernité, et lorsque juste après, Céphale et Procris est présenté à l’Académie Royale de Musique, le public est déçu de son manque d’audace. Grétry est éclipsé par le Chevalier Gluck… La fausse magie en 1775, tièdement accueillie, Né à Liège dans une famille de musiciens, il intègre la maîtrise de la Collégiale Saint- est suivie du rebond des Mariages Samnites en 1776, au moment où les œuvres Denis où son père était premier violon. -
Xerox University Microfilms 300 North Zaab Road Ann Arbor, Michigan 46106 I I
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. Thefollowing explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page ($)''. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. Whan an image on the film is obliterated with a large round black mark, it is an indication that die photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You w ill find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections w ith a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Friedrich Schiller - Poems
Classic Poetry Series Friedrich Schiller - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Friedrich Schiller(10 November 1759 – 9 May 1805) Johann Christoph Friedrich von Schiller was a German poet, philosopher, historian, and playwright. During the last seventeen years of his life, Schiller struck up a productive, if complicated, friendship with already famous and influential <a href="http://www.poemhunter.com/johann-wolfgang-von- goethe/">Johann Wolfgang Von Goethe</a>. They frequently discussed issues concerning aesthetics, and Schiller encouraged Goethe to finish works he left as sketches. This relationship and these discussions led to a period now referred to as Weimar Classicism. They also worked together on Xenien, a collection of short satirical poems in which both Schiller and Goethe challenge opponents to their philosophical vision. <b>Life</b> Friedrich Schiller was born on 10 November 1759, in Marbach, Württemberg as the only son of military doctor Johann Kaspar Schiller (1733–96), and Elisabeth Dorothea Kodweiß (1732–1802). They also had five daughters. His father was away in the Seven Years' War when Friedrich was born. He was named after king Frederick the Great, but he was called Fritz by nearly everyone. Kaspar Schiller was rarely home during the war, but he did manage to visit the family once in a while. His wife and children also visited him occasionally wherever he happened to be stationed. When the war ended in 1763, Schiller's father became a recruiting officer and was stationed in Schwäbisch Gmünd. The family moved with him. Due to the high cost of living—especially the rent—the family moved to nearby Lorch. -
Activity #1, Overture to William Tell
STUDENT ACTIVITIES Student Activities – Activity #1, Overture to William Tell William Tell is an opera written by the composer Gioachino Rossini. This famous piece is based upon the legend of William Tell and has been used in cartoons, movies, and even commercials! Listen to the Overture to William Tell and see if you recognize it! https://www.youtube.com/watch?v=YIbYCOiETx0 Read the Legend of William Tell. This was Rossini’s inspiration for writing the opera! THE LEGEND OF WILLIAM TELL William Tell is a Swiss folk hero. As the legend goes, William Tell was known as a mighty man who was an expert with the crossbow. After refusing to pay homage to the Austrian emperor, Tell was arrested and the emperor deemed that William and his son Walter be executed. However, the emperor would let them go free if William was able to shoot an apple off the head of his son! Walter nervously stood against a tree and an apple was placed upon his head. William successfully shot the apple from 50 steps away in front of a crowd of onlookers! William Tell and his never ending fight for liberty helped start the rebellion against the emperor and other tyrants as well. FWPHIL.ORG 1 STUDENT ACTIVITIES Activity #1, Overture to William Tell Listen to the musical excerpt again and answer the 5. Although there are no horses in the following questions. Rossini opera, this music was used as the theme song for “The Lone Ranger” 1. Do you recognize the overture to William Tell? as he rode his galloping horse! It has however, been used in commercials and even cartoons! Where else have you heard this piece? Explain. -
2011 Tanglewood Season Listing All Programs and Artists Are Subject to Change
2011 Tanglewood Season Listing All programs and artists are subject to change. Saturday, June 25, at 7 p.m. Koussevitzky Music Shed Earth, Wind, and Fire Tuesday, June 28, 11 a.m. and 3 p.m. Theatre Wednesday, June 29, 11 a.m. and 3 p.m. Theatre String Quartet Marathon Two 2‐hour concerts each day Tuesday, June 28, 8 p.m. Ozawa Hall Wednesday, June 29, 8 p.m. Ozawa Hall Mark Morris Dance Group Tanglewood Music Center Fellows Mark Morris, choreographer Yo‐Yo Ma, cello Isaac Mizrahi, costume designer Phil Sandstrom and Michael Chybowski, lighting designers Frisson Stravinsky ‐ Symphonies of Wind Instruments New work (world premiere; BSO commission) Stravinsky ‐ Renard Falling Down Stairs J.S. Bach ‐ Suite No. 3 in C for solo cello, BWV 1009 Thursday, June 30, 8 p.m. Ozawa Hall James Taylor in Ozawa Hall James Taylor and guests In the more intimate setting of Tanglewood's Ozawa Hall, James Taylor offers the music that has made him one of the most beloved artists of our day. Friday, July 1, 8:30 p.m. Shed James Taylor and the Boston Pops Boston Pops James Taylor, soloist John Williams, conductor Tanglewood’s favorite singer joins “America's Orchestra,” the Boston Pops and John Williams for a remarkable collaboration. Saturday, July 2, 5:45 p.m. Shed A Prairie Home Companion at Tanglewood with Garrison Keillor Live broadcast Sunday, July 3, 7 p.m. Shed Monday, July 4, 7 p.m. Shed The Essential James Taylor James Taylor returns to Tanglewood with his extraordinary band of musicians for two spectacular performances. -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
The Great William Tell, a Girl Who Is Magic at Maths and a TIGER with NO MANNERS!
ORIES! FANTASTIC NEW ST TM Storytime OPERATION UNICORN A mythical being in disguise! BALOO'S BATH DAY Mowgli bathes a big bear! TheTHE Great William GRIFFIN Tell, a Girl Who is Magic at Maths and a TIGER WITH NO MANNERS! ver cle ! ll of ricks ies fu o0l t stor and c characters Check out the fantastic adventures of a smart smith, a girl genius, a wise monk and a clever farmboy! This issue belongs to: SPOT IT! “Don’t worry, you silly bear – I will get you clean!” Storytime™ magazine is published every month by ILLUSTRATORS: Storytime, 90 London Rd, London, SE1 6LN. Luján Fernández Operation Unicorn Baloo’s Bath Day © Storytime Magazine Ltd, 2020. All rights reserved. Giorgia Broseghini No part of this magazine may be used or reproduced Caio Bucaretchi William Tell without prior written permission of the publisher. Flavia Sorrentino The Enchantress of Number Printed by Warners Group. Ekaterina Savic The Griffin Wiliam Luong The Unmannerly Tiger Creative Director: Lulu Skantze L Schlissel The Magic Mouthful Editor: Sven Wilson Nicolas Maia The Blacksmith Commercial Director: Leslie Coathup and the Iron Man Storytime and its paper suppliers have been independently certified in accordance with the rules of the FSC® (Forest Stewardship Council)®. With stories from Portugal, Switzerland, Korea and Uganda! This magazine is magical! Read happily ever after... Tales from Today Famous Fables Operation Unicorn The Unmannerly Tiger When Matilda spots a mythical Can you trust a hungry tiger? being in her garden, she comes A Korean monk finds out when up with a plan to help it get home! 6 he lets one out of a trap! 32 Short Stories, Big Dreams Storyteller’s Corner Baloo’s Bath Day The Magic Mouthful When Baloo has a honey-related Maria learns how to stop accident, Mowgli gives his big arguments – with just a bear friend a bath! 12 mouthful of water! 36 Myths and Legends Around the World Tales William Tell The blacksmith A Swiss bowman shows off and the Iron Man his skill and puts a wicked A king asks a blacksmith governor in his place! 14 to do the impossible.. -
The Legend of William Tell the Choice
Lexia® PowerUp Literacy® Title Comprehension Passages The Legend of William Tell The Choice LEVEL 8, ACTIVITY 4 The Legend of William Tell [1] Long ago, the people of Switzerland did not rule themselves. Instead, they were forced to obey officials from the powerful Austrian empire. One official was a man named Gessler, and he was especially proud and cruel. Gessler put up a pole in the town square and set his hat on its top. He told his soldiers, “Guard this pole! Make sure that everyone who comes near bows to my hat. These people must show respect to my power. If they refuse, arrest them!” [2] The people were too frightened of Gessler and his brutal soldiers to even think of disobeying. All of them bowed to the hat—all but one. William Tell, known as the best hunter in the region, glanced up at the hat, gave a disgusted snort, and walked right by. The soldiers arrested him and brought him to Gessler. [3] Gessler narrowed his eyes as he looked at Tell, who stood tall with a green cap on his head. “I have heard of you,” Gessler said. “You have a reputation for being good with a crossbow.” “I have some skill,” replied Tell, a slight smile on his face. “Then I will put you to the test,” Gessler said, chuckling. “Your son will stand in the town square with an apple on his head. You must stand at 20 strides and shoot an arrow into the apple. If you succeed, you will go free.” [4] “And if I refuse?” asked Tell. -
Switzerland – a ‘Peasant State’?
Chapter 9 Switzerland – A ‘Peasant State’? Stefan Sonderegger It is hardly possible to better describe the ground on which Swiss historical tradition is built than with this history painting from the nineteenth century. One hugely determined and fearless man – Uli Rotach – fights alone against vastly superior numbers of well-armoured warriors. He is wearing peasant dress from the nineteenth century,1 symbolizing the confederate peasants who, according to the national historiography of the nineteenth century, were supposed to have liberated themselves in glorious battles during the Middle Ages from the yoke of aristocratic oppression. Peasant heroes like William Tell and the depicted Uli Rotach contribute to medieval Switzerland often being seen as an exemplar of a ‘peasant state’. For instance, under the heading ‘peasant states’ in the Lexikon des Mittelalters (Encyclopaedia of the Middle Ages), you can read that the lack of a centralized ducal power in particular in the southwest of the Empire in the thirteenth cen- tury had led to the unfolding of the confederate peasant movement. The alliance of the Swiss cantons of the valleys in 1291 had been a direct result, be- hind which the free peasants, encouraged by the local aristocracy, were the prime moving force.2 Both from a Swiss perspective and in the perception from across the borders, there is a noticeable tendency to glorify the history of the Confederacy, combining it sweepingly with concepts of peasants and free- dom and seeing Switzerland as representing ‘a lucky case’ in Europe.3 The Old Swiss Confederacy is equated with ‘peasant associations’ and a ‘peasant state’, as well as a ‘peasant populace’ or ‘mountain people’, and the inhabitants of the Swiss Länderorte (Uri, Schwyz, Ob- and Nidwalden, Glarus, and Appenzell) are called ‘self-governing rural producers’.4 The national historiography in 1 Heinrich Thommen, ‘Uli Rotach im Kampf gegen zwölf Feinde. -
Maurizio Basili Ultimissimo
Le tesi Portaparole © Portaparole 00178 Roma Via Tropea, 35 Tel 06 90286666 www.portaparole.it [email protected] isbn 978-88-97539-32-2 1a edizione gennaio 2014 Stampa Ebod / Milano 2 Maurizio Basili La Letteratura Svizzera dal 1945 ai giorni nostri 3 Ringrazio la Professoressa Elisabetta Sibilio per aver sempre seguito e incoraggiato la mia ricerca, per i consigli e le osservazioni indispensabili alla stesura del presente lavoro. Ringrazio Anna Fattori per la gratificante stima accordatami e per il costante sostegno intellettuale e morale senza il quale non sarei mai riuscito a portare a termine questo mio lavoro. Ringrazio Rosella Tinaburri, Micaela Latini e gli altri studiosi per tutti i consigli su aspetti particolari della ricerca. Ringrazio infine tutti coloro che, pur non avendo a che fare direttamente con il libro, hanno attraversato la vita dell’autore infondendo coraggio. 4 INDICE CAPITOLO PRIMO SULL’ESISTENZA DI UNA LETTERATURA SVIZZERA 11 1.1 Contro una letteratura svizzera 13 1.2 Per una letteratura svizzera 23 1.3 Sull’esistenza di un “canone elvetico” 35 1.4 Quattro lingue, una nazione 45 1.4.1 Caratteristiche dello Schweizerdeutsch 46 1.4.2 Il francese parlato in Svizzera 50 1.4.3 L’italiano del Ticino e dei Grigioni 55 1.4.4 Il romancio: lingua o dialetto? 59 1.4.5 La traduzione all’interno della Svizzera 61 - La traduzione in Romandia 62 - La traduzione nella Svizzera tedesca 67 - Traduzione e Svizzera italiana 69 - Iniziative a favore della traduzione 71 CAPITOLO SECONDO IL RAPPORTO TRA PATRIA E INTELLETTUALI 77 2.1 Gli intellettuali e la madrepatria 79 2.2 La ristrettezza elvetica e le sue conseguenze 83 2.3 Personaggi in fuga: 2.3.1 L’interiorità 102 2.3.2 L’altrove 111 2.4 Scrittori all’estero: 2.4.1 Il viaggio a Roma 120 2.4.2 Parigi e gli intellettuali svizzeri 129 2.4.3 La Berlino degli elvetici 137 2.5 Letteratura di viaggio. -
Die Eidgenossen Als Lykier Bachofens Mutterrecht Und Schillers Wilhelm Tell
Dtsch Vierteljahrsschr Literaturwiss Geistesgesch (2020) 94:347–383 https://doi.org/10.1007/s41245-020-00111-5 BEITRAG Die Eidgenossen als Lykier Bachofens Mutterrecht und Schillers Wilhelm Tell Yahya Elsaghe Online publiziert: 19. August 2020 © Der/die Autor(en) 2020 Zusammenfassung Wie verhielt sich Johann Jakob Bachofen, der unablässig den Wahrheitsgehalt klassischer oder auch wildfremder Mythen zu rehabilitieren ver- suchte, zur Gründungssage seines eigenen Lands? Wie zu den immer lauter gewor- denen Zweifeln an ihrem Sachgehalt? Und sieht man seinem Hauptwerk an, dass es einer geschrieben hat, der zumal von ihrer Schiller’schen Aufbereitung geprägt sein musste? Oder in welcher Beziehung steht seine Theorie vom einstigen Mutterrecht des antiken Kulturraums zu den Vorstellungen, die Schiller sich und der Nachwelt von den alten Schweizern und Schweizerinnen machte? Die notgedrungen nur noch spekulative Antwort auf diese letzte Frage wirft immerhin ein Licht auf die Ge- schlechterverhältnisse in Schillers Wilhelm Tell und dessen wichtigster Quelle, die auch Bachofen nachweislich bekannt war. The Swiss as Lycians Bachofen’s Mother Right and Schiller’s William Tell Abstract How did Johann Jakob Bachofen, who constantly tried to rehabilitate the truth of classical or even entirely alien myths, react to the legend of his own coun- try’s founding and to the ever growing doubts about its substance? And does one see in his main work that it was written by someone who must have been influenced by Schiller’s treatment of this legend? Or how does his theory of the former mother right of the ancient cultural realm relate to the ideas that Schiller developed for himself and posterity about the old Switzerland’s brothers – and sisters? The necessarily only speculative answer to this last question nevertheless sheds light on the gender re- lations in Schiller’s William Tell and his most important source, which demonstra- bly was also known to Bachofen. -
Jonathan Huff MAR Thesis
Durham E-Theses La musique des lumières: The Enlightenment Origins of French Revolutionary Music, 1789-1799 HUFF, JONATHAN,EDWARD How to cite: HUFF, JONATHAN,EDWARD (2015) La musique des lumières: The Enlightenment Origins of French Revolutionary Music, 1789-1799 , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11021/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 1 2 For my parents, Martin and Julie Huff 3 4 ABSTRACT It is commonly believed that the music of the French Revolution (1789-1799) represented an unusual rupture in compositional praxis. Suddenly patriotic hymns, chansons , operas and instrumental works overthrew the supremacy of music merely for entertainment as the staple of musical life in France. It is the contention of this thesis that this ‘rupture’ had in fact been a long time developing, and that the germ of this process was sown in the philosophie of the previous decades.