Roads to Solace
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Einem Gottfried
EINEM VON GOTTFRIED Compositore austriaco (Berna 24 I 1918 - Waldviertel 12 VII 1966) Dapprima autodidatta, Gottfried von Einem studiò con Boris Blacher e sviluppò in seguito un equilibrato linguaggio musicale. Nel 1938 iniziò la sua carriera come istruttore di canto all'Opera di Berlino e come assistente al Festival di Bayreuth. Durante il nazionalsocialismo venne più volte arrestato. Dopo la guerra Einem rivestì varie funzioni sia al Festival di Salisburgo, sia alle Festwochen di Vienna. Dal 1963 al 1972 insegnò alla Musikhochschule di Vienna, dal 1964 fu membro della Akademie der Kunste di Berlino e dal 1965 al 1970 presidente dell'Akademie fur Musik austriaca. 1 DANTONS TOD Di Gottfried von Einem (1918-1996) libretto proprio e di Boris Blacher, dal dramma di Georg Büchner (La morte di Danton) Opera in due atti e sei quadri Prima: Salisburgo, Felsenreitschule, 6 agosto 1947 Personaggi: Georges Danton (Bar); Julie, sua moglie (Ms); Camille Desmoulins e Jean Hérault de Séchelles, deputati (T); Lucille, moglie di Camille (S); Maximilien Robespierre (T); Saint-Just (B); Simon, suggeritore (B); due becchini (T); una dama (S); una popolana (A); uomini e donne del popolo In Dantons Tod non si saluta solo un esordio teatrale particolarmente felice, tanto da decretare all’autore fama subitanea, ma anche l’inizio della consuetudine salisburghese (mai più abbandonata) di inserire ogni anno nel Festival un’opera contemporanea in ‘prima’ assoluta. Il soggetto di Büchner venne scelto sull’onda emotiva suscitata dal fallito attentato a Hitler nel 1944; ad approntare la versione ridotta fu Boris Blacher, maestro di Einem e futuro dedicatario dell’opera. -
Avra Xepapadakou
Avra Xepapadakou University of Crete Maria Antonietta: Pavlos Carrer’s last Italian opera and second European attempt1 In the summer of 1873, Pavlos Carrer agrees with his friend, poet Conte Giorgio D. Roma,2 to work together on the libretto of a new opera based on the “episode of the French Revolution concerning Marie Antoinette”.3 The choice of the subject raises questions, since it forms the only exception among the five Greek national operas that Pavlos Carrer composes from 1868 until the end of his life.4 The composer does not state, his sources, therefore we do not know whether he and Roma studied the history of the French Revolution and, consequently, drew the inspiration for their libretto from it or worked on a literary text. Further below, we will examine that both may be the case. The composer describes vividly the carefree, summer days when both of them, living in Zante, worked together for the creation of the opera’s libretto, while talking and laughing until midnight. Roma, as Carrer explains, was so enthusiastic with the new opera that his “pen was running too fast”. Many times the composer was obliged to make cuts at the “extremely and beyond any rule lengthy lyrics”, driving the librettist to express his strong opposition: 1 An earlier version of this paper was presented at the Conference The Ionian Opera and Musical Theatre until 1953, University of Athens-Dept. of Theatre Studies, Athens State Orchestra & Athens Concert Hall, 23-24 April 2010 and was published in its Proceedings, pages 134-144. 2 More about Carrer’s librettist in De Viasis, Spyridon. -
'Goblinlike, Fantastic: Little People and Deep Time at the Fin De Siècle
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output ’Goblinlike, fantastic: little people and deep time at the fin de siècle https://eprints.bbk.ac.uk/id/eprint/40443/ Version: Full Version Citation: Fergus, Emily (2019) ’Goblinlike, fantastic: little people and deep time at the fin de siècle. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email ‘Goblinlike, Fantastic’: Little People and Deep Time at the Fin De Siècle Emily Fergus Submitted for MPhil Degree 2019 Birkbeck, University of London 2 I, Emily Fergus, confirm that all the work contained within this thesis is entirely my own. ___________________________________________________ 3 Abstract This thesis offers a new reading of how little people were presented in both fiction and non-fiction in the latter half of the nineteenth century. After the ‘discovery’ of African pygmies in the 1860s, little people became a powerful way of imaginatively connecting to an inconceivably distant past, and the place of humans within it. Little people in fin de siècle narratives have been commonly interpreted as atavistic, stunted warnings of biological reversion. I suggest that there are other readings available: by deploying two nineteenth-century anthropological theories – E. B. Tylor’s doctrine of ‘survivals’, and euhemerism, a model proposing that the mythology surrounding fairies was based on the existence of real ‘little people’ – they can also be read as positive symbols of the tenacity of the human spirit, and as offering access to a sacred, spiritual, or magic, world. -
Desert Island Times 18
D E S E RT I S L A N D T I M E S S h a r i n g f e l l o w s h i p i n NEWPORT SE WALES U3A No.18 17th July 2020 Commercial Street, c1965 A miscellany of Contributions from OUR members 1 U3A Bake Off by Mike Brown Having more time on my hands recently I thought, as well as baking bread, I would add cake-making to my C.V. Here is a Bara Brith type recipe that is so simple to make and it's so much my type of cake that I don't think I'll bother buying one again. (And the quantities to use are in 'old money'!!) "CUP OF TEA CAKE" Ingredients 8oz mixed fruit Half a pint of cooled strong tea Handful of dried mixed peel 8oz self-raising flour # 4oz granulated sugar 1 small egg # Tesco only had wholemeal SR flour (not to be confused � with self-isolating flour - spell checker problem there! which of course means "No Flour At All!”) but the wholemeal only enhanced the taste and made it quite rustic. In a large bowl mix together the mixed fruit, mixed peel and sugar. Pour over the tea, cover and leave overnight to soak in the fridge. Next day preheat oven to 160°C/145°C fan/Gas Mark 4. Stir the mixture thoroughly before adding the flour a bit at a time, then mix in the beaten egg and stir well. Grease a 2lb/7" loaf tin and pour in the mixture. -
'I Should Want Nothing More': Edward Thomas and Simplicity
Journal of the British Academy, 7, 89–121. DOI https://doi.org/10.5871/jba/007.089 Posted 4 November 2019. © The British Academy 2019 ‘I should want nothing more’: Edward Thomas and simplicity Chatterton Lecture on Poetry read 1 November 2018 GUY CUTHBERTSON Abstract: In the years before the First World War, the ‘Simple Life’ became somewhat fashionable, and Edward Thomas (1878–1917) was one of those Edwardians who were attracted to simplicity, both as a way of life and as a way of writing. As a book reviewer and biographer, he greatly admired simplicity in literature (as seen in, among others, William Cobbett, W. H. Davies, J. M. Synge and Robert Frost). His prose moved towards plainness, and his poetry is beautifully simple. This simplicity has been problematic, however. His poetry is unsuited to the decoding and exegesis (which might be suited to Modernism) that universities seek to conduct. Academics studying his poetry have allowed themselves to believe that they have found complexity, hidden beneath superficial simplicity, whereas in fact Thomas is a poet of genuine bareness, clear-as-glass honesty, magical brevity and childlike simplicity. His simplicity has been popular, and seems to suit some 21st-century fashions. Keywords: the Simple Life, simplicity, complexity, Edwardians, universities, First World War, Modernism, Robert Frost, William Cobbett, J. M. Synge In the decade or so before the First World War, simplicity became somewhat fashionable—indeed it was a religion for some. This craze is captured rather wonderfully in the Edwardian hit musical The Arcadians (1909), where the central character is given the name ‘Simplicitas’, idyllic Arcady is recreated in London at a successful new health food restaurant and men are ‘keen as a knife / On the simple life’.1 Although some might want it otherwise, Edward Thomas was part of this atmos- phere. -
©Copyright 2013 Jan Hengge
©Copyright 2013 Jan Hengge Pure Violence on the Stage of Exception: Representations of Revolutions in Georg Büchner, Hugo von Hofmannsthal, Heiner Müller, and Elfriede Jelinek Jan Hengge A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Richard Block, Chair Eric Ames Brigitte Prutti Program Authorized to Offer Degree: Germanics University of Washington Abstract Pure Violence on the Stage of Exception: Representations of Revolutions in Georg Büchner, Hugo von Hofmannsthal, Heiner Müller, and Elfriede Jelinek Jan Hengge Chair of the Supervisory Committee: Associate Professor Richard Block Department of Germanics This dissertation examines pertinent issues of today’s terrorism debate in frequently overlooked earlier representations of revolutionary and state violence. At the center of this debate is the state of exception through which the sovereign legitimizes the juridical order by suspending preexisting civil laws. As recent theorists have argued, this has become the paradigm for modern nation states. Walter Benjamin contends, however, that a permanent state of exception has existed since the Baroque and has subjected its victims to an empty eschaton, an end without messianic redemption and devoid of all meaning. As long as the order of the sovereign is based on the dialectical relationship between law- making and law-preserving violence, this state will persevere and the messianic promise will not come to fruition. Thus Benjamin conceives of another category of violence he calls “pure violence,” which lies outside of the juridical order altogether. This type of violence also has the ability to reinstate history insofar as the inevitability of the state of exception has ceased any historical continuity. -
Album Booklet
Fauré, Chausson & Satie Piano Trios Ernest Chausson (1855–1899) Piano Trio in G minor, Op. 3 1. Pas trop lent [10:03] 2. Vite [4:00] Fidelio Trio 3. Assez lent [7:15] 4. Animé [8:42] Darragh Morgan violin Adi Tal cello Gabriel Fauré (1845–1924) Mary Dullea piano Piano Trio in D minor, Op. 120 5. Allegro, ma non troppo [6:08] 6. Andanno [8:45] 7. Allegro vivo [4:46] Erik Sae (1866–1925) arr. John White 8. Prière pour le salut de mon âme from Messe des Pauvres [3:29] Le Piège de Méduse 9. Quadrille [0:44] 10. Valse [0:46] 11. Pas vite [0:38] About the Fidelio Trio: 12. Mazurka [0:26] 13. Un peu vif [0:16] ‘[...] their interpretative touch is secure, their rapport instinctive. Together 14. Polka [0:27] with their eloquence and passion, this all adds up to something special’ 15. Quadrille [0:25] Gramophone ‘[...] the Fidelio Trio plays it with such delicacy of touch and suavity of tone Total playing me [57:01] that its Frenchness and its closeness to the Ravel coupling are never in doubt’ The Strad Fauré, Chausson & Sae: Piano Trios Chausson’s file that ‘aer failing to gain admission to the Prix de Rome compeon, Ernest Chausson (1855–1899) came from he wanted to have nothing more to do with an affluent family and following the wishes the Conservatoire. Very intelligent and of his parents, he inially studied law and independent.’ Disappointed by the result qualified as a barrister in 1877. But this was but even more resolved to create his first not the career he wanted: Chausson’s major work, Chausson le Paris to spend inclinaons were arsc rather than legal the summer in Switzerland. -
CÉSAR FRANCK 1822–1890 Transcr
CÉSAR FRANCK 1822–1890 transcr. Jules Delsart for cello & piano Cello Sonata in A FWV 8 1 I. Allegro ben moderato 6.43 2 II. Allegro 8.13 3 III. Recitativo – Fantasia: Ben moderato 7.25 4 IV. Allegretto poco mosso 6.41 FRÉDÉRIC CHOPIN 1810–1849 5 Introduction and Polonaise brillante in C Op.3 9.04 Cello Sonata in G minor Op.65 6 I. Allegro moderato 5.27 7 II. Scherzo 4.48 8 III. Largo 3.37 9 IV. Finale: Allegro 6.23 ASTOR PIAZZOLLA 1921–1992 10 Le Grand Tango 10.43 79.09 GAUTIER CAPUÇON cello YUJA WANG piano 2 Chopin’s music often creates the impression of having been conceived in free inspirational flow, yet according to pianist–critic Karl Filtsch, when it came to notating his ideas on paper, he often endured days of nervous strain and terrible despair. He was also one of the most celebrated pianists of his age. Even as late as 1848, shortly after completing the Cello Sonata, the Daily News reported that Chopin “accomplished enormous difficulties, but so smoothly and with such constant deliccy and refinement that the listener is quite unaware of their real magnitude.” Yet he made barely 30 public appearances – his outwardly calm appearance concealed the blind terror he experienced when playing in front of a large audience. It was in 1836 that Chopin first met the novelist George Sand (nom de plume of Aurore Dudevant), and so began one of the most famous of composer love affairs. Within two years he – like many men before him – had fallen completely under her spell. -
Thresholds in the Prose Fiction of Walter De La Mare
THRESHOLDS IN THE PROSE FICTION OF WALTER DE LA MARE by JOANNA MARY WESTON B.A., University of British Columbia, 1967 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA June, 1969 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of British Columbia Vancouver 8, Canada ABSTRACT Walter de la Mare has always been known as a writer of fantasy and supernatural fiction. It is proposed here that he is, in fact, concerned with exploration of the conscious and unconscious selves. His exploration is more philosophical than psychological in that he makes no use of Freudian formulas. He follows rather the intuitive approach of Jung but uses the media of fiction and, thereby, imagery, to show the possibilities of man's infinite mind. He uses images of doors, windows, water and mirrors to show how the conscious and unconscious selves, the real and astral selves, are divided by lack of understanding, by refusal to accept the other, and by total denial of one another. -
TOCC0362DIGIBKLT.Pdf
THÉODORE DUBOIS: CHAMBER MUSIC by William Melton (Clément-François) Théodore Dubois was born in Rosnay (Marne) on 24 August 1837 into an unmusical family. His father was in fact a basket-maker, but saw to it that a second-hand harmonium was purchased so that his son could receive his first music-lessons from the village cooper, M. Dissiry, an amateur organist. The pupil showed indications of strong musical talent and at the age of thirteen he was taken on by the maître de chapelle at Rheims Cathedral, Louis Fanart, a pupil of the noted composers Jean-François Lesueur and Alexandre-Étienne Choron (the boy made the ten-mile journey from home to Rheims and back each week on foot). When the Paris Conservatoire accepted Théodore as a student in 1853, it was the mayor of Rosnay, the Viscount de Breuil, who supplied the necessary funds (prompted by Théodore’s grandfather, a teacher who also served as secretary in the mayor’s office). While holding organ posts at Les Invalides and Sainte Clotilde, Dubois embraced studies with Antoine François Marmontel (piano), François Benoist (organ), François Bazin (harmony) and Ambroise Thomas (composition). Dubois graduated from the Conservatoire in 1861, having taken first prize in each of his classes. He also earned the Grand Prix de Rome with his cantata Atala, of which the Revue et Gazette musicale wrote: The cantata of M. Dubois is certainly one of the best we have heard. The poetic text of Roussy lacked strong dramatic situations but still furnished sufficient means for M. Dubois to display his real talent to advantage. -
Vorwort Beiträge in Den Großen Instrumental Französisch)
Vorwort Beiträge in den großen Instrumental Französisch). Der Geiger hielt Wort, und gattungen, ja forderten diese regelrecht bereits am 16. Dezember 1886 fand ein. in Brüssel in einem Konzert des Cercle Franck schrieb die Violinsonate, artistique et littéraire im Beisein des der vermutlich umfangreiche, nicht Komponisten und umrahmt von weite Ein Großteil der heute fest im Konzert erhaltene Skizzen und Entwürfe ren FranckWerken die Uraufführung repertoire verankerten Werke César vorausgingen, im Sommer 1886 in der Violinsonate statt. Der Abend Francks (1822 – 90) – etwa das Kla Quincy bei Paris nieder (heute Quincy wurde zu einem der größten Erfolge vierquintett, das Streichquartett, die sousSénart). Den Datierungen am Francks, und namentlich die neue Variations symphoniques für Klavier Ende der vier Sätze zufolge – 24. Au Sonate – wiederum vom Duo Ysaÿe/ und Orchester oder die Symphonie gust, 1., 8. und 15. September 1886 BordesPène vorgetragen – fand begeis dmoll – entstand erst in den letzten – ging die Komposition sehr rasch von terte Zustimmung. Lebensjahren des Komponisten. Dazu statten. Allerdings trägt die Hand Zu diesem Zeitpunkt hatte Franck zählt auch seine 1886 geschriebene schrift deutlich den Charakter eines die Stichvorlage, eine heute verscholle Violinsonate Adur, die sich jedoch noch nicht ganz vollständig ausgear ne, vermutlich eigenhändige Abschrift im Gegensatz zu anderen Spätwerken beiteten Arbeitsmanuskripts. In der der Partitur, bereits dem Pariser Ver noch zu seinen Lebzeiten im Kon rasch folgenden zweiten Niederschrift leger Julien Hamelle übergeben; der zertsaal durchsetzen konnte. Für die vervollständigte Franck das Manu am 14. November begonnene Stich (vgl. „bande à Franck“, wie Francks engerer skript zur endgültigen Partitur und Fauquet, Franck, S. -
Download Booklet
Charming Cello BEST LOVED GABRIEL SCHWABE © HNH International Ltd 8.578173 classical cello music Charming Cello the 20th century. His Sérénade espagnole decisive influence on Stravinsky, starting a Best loved classical cello music uses a harp and plucked strings in its substantial neo-Classical period in his writing. A timeless collection of cello music by some of the world’s greatest composers – orchestration, evoking Spain in what might including Beethoven, Haydn, Schubert, Vivaldi and others. have been a recollection of Glazunov’s visit 16 Goodall: And the Bridge is Love (excerpt) to that country in 1884. ‘And the Bridge is Love’ is a quotation from Thornton Wilder’s novel The Bridge of 1 6 Johann Sebastian BACH (1685–1750) Franz Joseph HAYDN (1732–1809) 14 Ravel: Pièce en forme de habanera San Luis Rey which won the Pulitzer Prize Bach: Cello Suite No. 1 in G major, 2:29 Cello Concerto in C major, 9:03 (arr. P. Bazelaire) in 1928. It tells the story of the collapse BWV 1007 – I. Prelude Hob.VIIb:1 – I. Moderato Swiss by paternal ancestry and Basque in 1714 of ‘the finest bridge in all Peru’, Csaba Onczay (8.550677) Maria Kliegel • Cologne Chamber Orchestra through his mother, Maurice Ravel combined killing five people, and is a parable of the Helmut Müller-Brühl (8.555041) 2 Camille SAINT-SAËNS (1835–1921) his two lineages in a synthesis that became struggle to find meaning in chance and in Le Carnaval des animaux – 3:07 7 Robert SCHUMANN (1810–1856) quintessentially French. His Habanera, inexplicable tragedy.