Orchestra “Bazzini Consort” Diretta Da Aram Khacheh
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24Th International Piano Competition Since 1947
24th International since 1947 Piano Competition Rina Sala Gallo 25 Settembre — 01 Ottobre 2016 Teatro Manzoni / Monza Rina Sala Gallo 2016 1 / 52 La Storia La Our History Our Rina Sala Gallo (1898 — 1980) u allieva prediletta di Giovanni Anfossi, sotto la cui he was the pet pupil of Giovanni Anfossi, under Fguida si diplomò giovanissima, con lode speciale, Swhose tutelage she graduated, at a very young presso il Conservatorio «G. Verdi» di Milano. age, and with special commendation, from the Iniziò la carriera concertistica poco più che decenne, Conservatorio “G. Verdi” in Milan. She began her con vivo successo di critica e di pubblico. concert career at around the age of ten with great Tenne concerti in Italia ed in Europa, riscuotendo critical and public success, and went on to give sempre i massimi consensi. concerts in Italy and in Europe, always earning Dedicò la sua vita all’arte pianistica e fondò a maximum acclaim. Monza una rinomata scuola di pianoforte. Sala Gallo dedicated her life to the Art of Nel 1947 organizzò il primo concorso pianistico Piano, and founded a renowned piano school di Monza in collaborazione con Benedetti in Monza.In 1947, she organized the first Piano Michelangeli ed altri esponenti del mondo musicale Competition in Monza in collaboration with italiano, tra i quali Tagliapietra, Gorini, Benedetti Michelangeli and other exponents of Sanzogno, Vidusso, Mozzati e Margola. A questo ne the Italian musical world, such as Tagliapietra, seguirono altri nel 1949 e nel 1967. Gorini, Sanzogno, Vidusso, Mozzati and Margola. Dal 1970 il concorso, divenuto biennale, è a suo This was followed by two further editions in 1949 nome e dal 2009 è membro della Federazione and 1967. -
Marvelling at a Youth's Good Looks
Marvelling at a youth’s good looks The gaze and Classical pederastic culture in ancient Greece MA thesis in Ancient History By: Nicky Schreuder (s1342460) Supervisor: Dr. K. Beerden Date: 26/07/2019 Cover: Drinking cup (kylix) with youth running, attributed to the Triptolemos Painter (c. 500 BC). Museum of Fine Arts Boston, inv. 13.81. 1 Contents Introduction ........................................................................................................................3 Historiography and inquiry .............................................................................................4 Methodology and sources ...............................................................................................7 Chapter 1. Gaze theory ...................................................................................................... 10 1.1 The psychoanalytical approach ............................................................................... 10 1.2 The feminist take .................................................................................................... 12 1.3 Criticisms and reactions.......................................................................................... 14 1.4 Relativity and application to ancient Greece ........................................................... 15 Chapter 2. Catching the eye of Sokrates. Plato, Xenophon and the pederastic gaze ............ 19 2.1 Ancient theories of sight ......................................................................................... 20 2.2 Plato -
Novità Di Ottobre
Novità Ducale dal 18-09-2012 al 22-10-2012 ARVO PÄRT 1935 Adam's Lament Beatus Petronius, Salve Regina, Statuit ei Dominus, Alleluia-Tropus, L'abbé Agathon, Estonian Lullaby, Christmas Lullaby TÕNU KALJUSTE Dir Nato a Tallinn nel 1953, Tonu Kaljuste si è dapprima dedicato al repertorio tradizionale, per poi concentrare la propria attenzione sullla produzione di autori estoni come Part, Tuur e Tormis, di cui ha realizzato incisioni di altissimo profilo. 1 CD ECM 2225 Durata: 68:00 Alto Prezzo ¶|xACIJEHy648253z Confezione: Jewel Box + O-card Genere: Musica Sacra distribuzione Italiana:09/10/2012 Registrato nella Chiesa di San Nicola, Tallinn "Adam's Lament" è basato sugli scritti di Saint Silouan (Silvanus, nella pronuncia latina), nei quali il monaco ortodosso sul monte Athos ha descritto il dolore di Adamo per la caduta dal Paradiso. Non è la prima volta che Arvo Pärt viene ispirato a comporre su testi di Saint Silouan, nel 1991 ha infatti pubblicato i "Silouans Songs" per orchestra, registrati da ECM con il Te Deum, il Magnificat e la Berliner Mass. Il compositore ha interiorizzato profondamente le parole,che, nella lingua slava ecclesiastica, determinano la sostanza e la struttura del brano. Il nome di Adamo è pensato come un termine collettivo, che comprende l'intero genere umano, ma anche ciascuna persona individualmente, la previsione di una tragedia umana come una colpa personale. La prima esecuzione di questo lavoro ebbe luogo nel giugno 2010 a Istanbul proprio sotto la direzione di Tõnu Kaljuste e con l'Estonian Chamber Choir, cioè gli interpreti ideali di cui si avvale questo CD, che comprende anche altri importanti lavori della produzione sacra di Pärt. -
Nomos, Kosmos & Dike in Plutarch Ferreira, José Ribeiro, Coord.; Leão, Delfim F., Coord.; Jesus, Carlos A
Nomos, Kosmos & Dike in Plutarch Ferreira, José Ribeiro, coord.; Leão, Delfim F., coord.; Jesus, Carlos A. Author(s: Martins de, coord. Published by: Imprensa da Universidade de Coimbra Persistent URL: URI:http://hdl.handle.net/10316.2/32868 DOI: DOI:http://dx.doi.org/10.14195/978-989-721-012-9 Accessed : 5-Oct-2021 14:22:56 The browsing of UC Digitalis, UC Pombalina and UC Impactum and the consultation and download of titles contained in them presumes full and unreserved acceptance of the Terms and Conditions of Use, available at https://digitalis.uc.pt/en/terms_and_conditions. As laid out in the Terms and Conditions of Use, the download of restricted-access titles requires a valid licence, and the document(s) should be accessed from the IP address of the licence-holding institution. Downloads are for personal use only. The use of downloaded titles for any another purpose, such as commercial, requires authorization from the author or publisher of the work. As all the works of UC Digitalis are protected by Copyright and Related Rights, and other applicable legislation, any copying, total or partial, of this document, where this is legally permitted, must contain or be accompanied by a notice to this effect. pombalina.uc.pt digitalis.uc.pt 16 OBRA PUBLICADA COM A COORDENAÇÃO CIENTÍFICA Nomos, Kosmos & Dike • in Plutarch in Plutarch Nomos, Kosmos & Dike & Dike Kosmos Nomos, José Ribeiro Ferreira, Delfim F. Leão & Carlos A. Martins de Jesus (eds.) & Carlos A. Martins de Jesus (eds.) Jesus de Martins A. Carlos & José Ribeiro Ferreira, Delfim F. Leão F. -
General Index
Cambridge University Press 978-1-107-03398-6 - Man and Animal in Severan Rome: The Literary Imagination of Claudius Aelianus Steven D. Smith Index More information General index Achilles Tatius 5, 6, 31, 47, 49, 56, 95, 213, Atalante 10, 253, 254, 261, 262, 263, 265, 266, 265 267, 268 Aeneas 69, 92, 94, 95, 97 Atargatis 135 Aeschylus 91, 227 Athena 107, 125, 155 Aesop 6, 260 Athenaeus 47, 49, 58, 150, 207, 212, 254 aitnaios 108, 109, 181 Athenians 8, 16, 29, 30, 31, 33, 34, 35, 41, 45, 58, akolasia 41, 43, 183, 279 77, 79, 109, 176, 199, 200, 202, 205, 206, 207, Alciphron 30, 33, 41, 45, 213 210, 227, 251, 252, 253 Alexander of Mundos 129 Athens 55, 60, 79 Alexander Severus 22, 72, 160, 216, 250, 251 Augustus 18, 75, 76, 77, 86, 98, 126, 139, 156, 161, Alexander the Great 58, 79, 109, 162, 165, 168, 170, 215, 216, 234, 238 170, 171, 177, 215, 217, 221, 241, 249 Aulus Gellius 47, 59, 203, 224, 229 Alexandria 23, 47, 48, 49, 149, 160, 162, 163, 164, Aurelian 127 168, 203 Anacreon 20 baboons 151 Androkles 81, 229, 230, 231, 232, 235, 236, 237, Bakhtin, Mikhail 136 247 Barthes, Roland 6 anthias 163, 164 bears 128, 191, 220, 234, 252, 261 ants 96, 250 bees 10, 33, 34, 36, 38, 45, 109, 113, 181, 186, 217, apes 181 218, 219, 220, 221, 222, 223, 224, 225, 242, 246 apheleia 20 beetles 14, 44 Aphrodite 34, 55, 122, 123, 125, 141, 150, 180, 207, Bhabha, Homi 85 210, 255, 256, 259, 260, 263, 267 boars 2, 40, 46, 250, 263 Apion 22, 118, 130, 149, 229, 231, 232 Brisson, Luc 194, 196 Apollo 38, 122, 123, 124, 125, 131, 140, 144, 155, 157, 175, 242, 272 -
The Spell of Achilles Tatius: Magic and Metafiction in Leucippe and Clitophon
The Spell of Achilles Tatius: Magic and Metafiction in Leucippe and Clitophon ASHLI J.E. BAKER Bucknell University Eros is “…δεινὸς γόης καὶ φαρμακεὺς καὶ σοφιστής…” (Plato, Symposium 203d) Introduction In the beginning of Book Two of Achilles Tatius’ Leucippe and Clitophon, the clever but thus far failed lover Clitophon witnesses a remarkable – and useful – scene. He passes by just as Clio, Leucippe’s slave, is stung on the hand by a bee. He sees Leucippe soothe Clio’s pain by singing incantations (ἐπᾴδω) she says she learned from an Egyptian woman.1 When Clitophon, determined to woo Leu- cippe, finds himself alone with her on the following day, he pretends that he too has been stung by a bee. Leucippe approaches, asking where he has been stung. In reply, Clitophon says, ————— 1 παύσειν γὰρ αὐτὴν τῆς ἀλγηδόνος δύο ἐπᾴσασαν ῥήματα· διδαχθῆναι γὰρ αὐτὴν ὑπό τινος Αἰγυπτίας εἰς πληγὰς σφηκῶν καὶ μελιττῶν. Καὶ ἅμα ἐπῇδε· καὶ ἔλεγεν ἡ Κλειὼ μετὰ μικρὸν ῥᾴων γεγονέναι. (2.7 - “…she would, she said, stop her pain by chanting two spells; she had been taught by an Egyptian woman how to deal with wasp- and bee-stings. As she had chanted, Clio had said that the pain was gradually relieved.”). All Greek text of Leu- cippe and Clitophon is that of Garnaud 1991. All translations are cited, with occasional alterations, from Whitmarsh 2001. I want to give special thanks to Catherine Connors for her insightful comments throughout the drafting of this paper. Thanks too to Alex Hollmann and Stephen Trzaskoma for feedback on earlier versions of this project. -
Elenco 14 Aprile
Maria Bonmassar Nicola Panetta Maurizio Ciambella Alessia Ratzenberger Roberto Laera Flavia Fonderico Lina Di Salvo Francesco Cordio Alessandra Pinna Daniela Vacarciuc Azzurra Immediato Daria Lepore Luana Lolli Massimo Zanta Priscilla Butini Lorenza Fruci Maria Beatrice Rusticoni Cristina Fogliato Luisa Vinci Serafino Paternoster Mimmo Morabito Carlo Infante Alessandro Di Lorenzo Teresa D'ambrosio Doriana Tarantino Alessandro Schiattone Barbara Malhame Alessia Nitti Alice Giacomini Loretta Zega Lorenzo Spartà Nicolò Di Paolo Daniela Materazzi Anna Celi Cinzia Perugini Elisabetta Pasqualin Emanuela Petrucci Giuseppina Pomarici Francesca Muzzi Iolanda Marcone Fabio Dodesini Valeria Finamore Paola Elisabetta Simeoni Celeste Bertolini Andrea Pugliese Ramon Bonassi Loredana Paolicelli Giancarlo Sciascia Aldo Macchiaverna Alessia Iacoangeli Alberto Parini Matteo Cane Erika Montosi Francesca Selleri Constantin Livio Verena Marenco Luigia Cannizzo Antonio Mostacci Cecilia Iaccarino Francesca Rech Gaia Pagliaro Vera Vachtova Paolo Ruscito Chiara Alduini Anna Dora Lisanti Rosario Bonofiglio Giacoma Filippone Francesca Longo Luigi Rossetti Giovanni Cuzzi Domenico Pietrodangelo Tiziana Plebani Guido Cabib Daniele De Donno Roberto Lepore Silvia Cendron Sofia Colliard Manuela D'innocenzo Alfredo Giacchetto Lorenzo Cabib Grazia Ciceri Luciano Setten Leandro Ventura Patrizia Von Eles Guido Cancellieri Laura Santoro Paola Favelli Mario Luigi Labianca Marco Bussolino Angelo Bellobono Stefano Cerio Carla Camozzi Lorenzo Peraro Mariateresa Marino Ciro Scannapieco -
© 2012 Scott A. Trudell ALL RIGHTS RESERVED
© 2012 Scott A. Trudell ALL RIGHTS RESERVED LITERARY SONG: POETRY, DRAMA AND ACOUSTIC PERFORMANCE IN EARLY MODERN ENGLAND by SCOTT A. TRUDELL A Dissertation submitted to the Graduate School-New Brunswick Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Literatures in English written under the direction of Henry S. Turner and approved by ______________________________________ ______________________________________ ______________________________________ ______________________________________ New Brunswick, New Jersey May, 2012 ABSTRACT OF THE DISSERTATION Literary Song: Poetry, Drama and Acoustic Performance in Early Modern England by SCOTT A. TRUDELL Dissertation Director: Henry S. Turner This dissertation traces the development of verse with a musical dimension from Sidney and Shakespeare to Jonson and Milton, in genres ranging from prose romance and printed songbooks to outdoor pageantry and professional theater. Song was an essential part of the early modern literary canon, and it circulated ubiquitously in written format. Yet it was also highly performative, inseparable from the rhythmic, vocal and instrumental conditions of its recital. As such, song brings out the extensive interaction between writing and sound in sixteenth- and seventeenth-century literary culture. Drawing on media theory, I argue that song reveals a continual struggle to define literature, from Sidney’s emphasis on the musical properties of writing in The Defence of Poesie to Milton’s conception of the printed book as a profoundly performative medium in Areopagitica. I use song to rethink Shakespeare’s Ophelia, whom I see as a disruptive, non-scriptive versifier whose mad songs amount to an extreme type of poetry. -
Poetry Night on Paper
POETRY NIGHT ON PAPER By Apheleia’s wonderful international team Preface From 29 March to 8 April 2017, the Apheleia seminar brought students and professors from different countries and backgrounds to the little village of Mação in Portugal. During ten days of presentations, workshops and field visits, members contributed ideas from their own specialised fields of knowledge towards finding solutions for the sustainable and integrated management of cultural landscapes. The experience proved fulfilling not only academically through the sharing of knowledge but also socially through the personal interactions that occurred during the event. These exchanges were not limited to the participants of the conference: through cultural activities such as Music Night and Poetry Night integrated into the seminar’s programme, the interactions extended to the local inhabitants of Mação. This e-publication containing the collection of poems read during Poetry Night is a testament to the cultural exchange that took place. It was a night where each one shared a glimpse into his or her own cultural landscape through the choice of poet or poem and the performance of reading, acting or singing it aloud in its original language. To all those who have contributed, a big thank you. We wish you an enjoyable read. Kimberly Leong & Mathilde Craker “ Words. Ever since chisel was taken to slate, it has been accepted that words can and do change the world.” - Anonymous Summary Intro Verses – Marta Arzarello (Italy) 1. Simon Wyrwol (Germany) 2. Eleonora Gargani (Italy) 3. Callum Fisher (United Kingdom) 4. Liao Zhi Xiao (China) 5. Reda Stangyté (Lithuania) 6. Jean Gibert (France) 7. -
Shakespeare and the Poet's Life
University of Kentucky UKnowledge Literature in English, British Isles English Language and Literature 1990 Shakespeare and the Poet's Life Gary Schmidgall Hunter College Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Schmidgall, Gary, "Shakespeare and the Poet's Life" (1990). Literature in English, British Isles. 67. https://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/67 Shakespeare and the Poet's Life Shakespeare and the Poet's Life GARY SCHMIDGALL THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1990 by the University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College of Kentucky, Kastcrn Kentucky University, The Filson Club, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Ixmisvillc, and Western Kentucky University. Editorial and Sales Offices: Ixxington, Kentucky 40506-0336 Library of Congress Cataloging-in-Publication Schmidgall, Clary, 1945- Shakespcare and the poet's life / Clarv Schmidgall. p. cm. Includes bibliographical references. ISBN O-8I3I-17O6-2 : 1. Shakespeare, William, 1564-1616—Authorship 2. Shakespeare, William, 1564-1616—Contemporaries. 3. Poets in literature. 4. Courts and courtiers in literature. 5. Great Britain—Court and courtiers. 6. Poets, Knglish—Karly modern, 1500-1700—Political and social views. -
Works of Art in Ancient Greek Novels
_________________________________________________________________________Swansea University E-Theses Works of art in ancient Greek novels. D'Alconzo, Nicolo How to cite: _________________________________________________________________________ D'Alconzo, Nicolo (2015) Works of art in ancient Greek novels.. thesis, Swansea University. http://cronfa.swan.ac.uk/Record/cronfa42452 Use policy: _________________________________________________________________________ This item is brought to you by Swansea University. Any person downloading material is agreeing to abide by the terms of the repository licence: copies of full text items may be used or reproduced in any format or medium, without prior permission for personal research or study, educational or non-commercial purposes only. The copyright for any work remains with the original author unless otherwise specified. The full-text must not be sold in any format or medium without the formal permission of the copyright holder. Permission for multiple reproductions should be obtained from the original author. Authors are personally responsible for adhering to copyright and publisher restrictions when uploading content to the repository. Please link to the metadata record in the Swansea University repository, Cronfa (link given in the citation reference above.) http://www.swansea.ac.uk/library/researchsupport/ris-support/ Works of Art in Ancient Greek Novels by N icold D ’A lconzo Submitted to Swansea University in fulfilment of the requirements for the degree of Doctor of Philosophy. SWANSEA UNIVERSITY 2 0 1 5 ProQuest Number: 10798160 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. -
2 Ottobre 2016 Presentazione Del Festival Violoncellistico
FESTIVAL VIOLONCELLISTICO “ALFREDO PIATTI” XI EDIZIONE - 2016 2 ottobre 2016 Presentazione del Festival Violoncellistico “ALFREDO PIATTI” IX Edizione Caterina Isaia, violoncello Rosamaria Macaluso, pianoforte FRANZ JOSEPH HAYDN 1732-1809 Cello concerto n. 1 in Do maggiore Primo movimento: Moderato ALFREDO PIATTI 1822-1901 Notturno op. 20 in Fa maggiore LUDWING VAN BEETHOVEN 1770-1827 Sonata op. 5 n. 2 Adagio sostenuto ed espressivo Allegro molto, piuttosto presto Rondò, Allegro ELIODORO SOLLIMA 1926-2000 “Nenia e recitativo” 1976 MIKHAIL BUKINIK 1872-1947 Concert-Etude n. 4 in Fa minore Per cello solo ASTOR PIAZZOLLA 1921-1992 Le Grand Tango FESTIVAL VIOLONCELLISTICO “ALFREDO PIATTI” XI EDIZIONE - 2016 Il Concerto per violoncello e orchestra n.1 di Haydn, composto fra il 1762 e il 1765, oggi è ritenuto uno dei capolavori della musica per violoncello. La tradizione musicologica concorda però nel ritenere che la sua fortuna all’epica della composizione sia stata scarsa e spiega così il fatto che l’autografo sia andato disperso e le parti siano state ritrovate al museo nazionale di Praga solo nel 1961. Prima di tale data non ci sono tracce certe di esecuzioni di questo concerto. Eppure una notizia, seppure vaga, emerge dai giornali inglesi dell’800: il 25 maggio 1856, Piatti eseguì un concerto di Haydn per violoncello e orchestra alla Philharmonic Society. Il critico londinese dell’Illustrated London News che scrive la recensione del concerto non si cura di precisare di quale concerto di tratti, si limita ad annotare che il concerto di Haydn proposto da Piatti, con la sua “usual excellence” è apparso però un po’ “antiquated”.