DOCSLIB.ORG

Kaibel on the Antigone of Sophocles De Sophoclis Antigona, Scripsit Georgius Kaibel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kaibel on the Antigone of Sophocles De Sophoclis Antigona, Scripsit Georgius Kaibel The Classical Review http://journals.cambridge.org/CAR Additional services for The Classical Review: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Kaibel on the Antigone of Sophocles De Sophoclis Antigona, scripsit Georgius Kaibel. Göttingen. 1897. Pp. 2–27. Lewis Campbell The Classical Review / Volume 11 / Issue 09 / December 1897, pp 456 - 456 DOI: 10.1017/S0009840X00052008, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00052008 How to cite this article: Lewis Campbell (1897). The Classical Review, 11, pp 456-456 doi:10.1017/ S0009840X00052008 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 130.132.123.28 on 29 Jun 2015 456 THE CLASSICAL REVIEW 894 iam iam non domus accipiet te laeta, as p. 72 when Bockemiiller alone is said to neque wxor | optima nee dulcis occwrrent defend suavis although Lotze and Grasburger oscula nati insists that wxor goes with had also retained it. On page 129 Heinze accipiet rather than with occurret (occwrrent), says verse 527 et membratim vitalem is the because domus is distributed into wxor and only verse in Lucretius where a word ends nati may well refrain from aesthetic critic- after two spondees which begin the line; ism. But no book of Lucretius has ever but 4, 1078 nee constat quid satisfies the been edited with the thoroughness which condition, which should have been expressed Heinze has shown, and for the understand- in different terms. ing of the poet little remains to be done. The editions which are to follow in this Naturally in a commentary of such extent series will be eagerly expected. It is there are many statements of opinion with fortunate for classical scholarship that there which readers will join issue, and all will is at least one country in the world where not always agree with Heinze in his inter- elaborate commentaries can find a publisher. pretations. There are remarkably few mis- prints, as for instance ne for ve p. 55; and W. A. MERRILL. errors in statements of fact are infrequent, University of California. KAIBEL ON THE ANTIGONE OF SOPHOCLES. Be Sophoclis Antigona, scripsit GEORGIUS pretation sometimes travels too far beyond KAIBEL. Gottingen. 1897. Pp. 2-27. the limits of the -action: but his main contention seems to me sufficiently made PROFESSOR KAIBEL has succeeded TJlrich out. He shows the difficulties, some of von Wilamowitz-Moellendorf in the Chair which were felt by Professor Jebb, of of Greek at Gottingen; and he inherits accepting various proposed excisions; he much of the originality, and perhaps some- defends the condensation of the language— thing also of the wilfulhess, of that eminent more like the poet than the interpolator; philologer. In this little monograph, and he indicates the ground of the error written in Latin, he disputes the opinion, which he combats, viz. a wrong conception which has been current since it was sug- of Sophoclean method and of the theme of gested by an obiter dictum of Goethe's, that the Antigone. The tragedy does not turn the last rhesis of Antigone (Soph. Ant. 891— upon an opposition of abstract principles, 928) has been interpolated by some inferior ideas or rights, as Hegel thought, but on poet. As I have always maintained the the conflict of two stubborn personalities. genuineness of the passage, I may be allowed Antigone is not a prophetess declaring the to welcome this able expression of a similar unwritten laws to which she makes her view, and to quote what I wrote on the appeal against her judge: but a princess, subject thirty-six years ago: ' Antigone, proudly maintaining the honours of her when brought face to face with death, in line against one of an alien house who is utter isolation from human sympathy, comes infringing them. I could wish that the down from the lofty tone she had assumed writer had not said that she would have in her first answer to Creon, and recognizes resisted any other action of the hated the simple fact that it was the strength of Creon. I do not think he dwells enough her affection which impelled her to defy the on the famous words, ovroi guvex/Deiv dXXa law. Her love for Polynices was wonderful, aviufuXeiv t<t>w. And he fails to appreciate passing the love that could be felt for a the justice of Aristotle's remark on the husband or a child.' There are several finesse of Haemon. But his pages, few as" points of detail in Professor Kaibel's paper they are, are full of suggestiveness, and with which I cannot agree. I see no need while in some particulars his views will of supposing a lacuna after v. 904 bear revision, his main drift deserves (tTt/iijo-a seem=i to me to bear the strain respectful consideration. upon it—'It was indeed an honour I paid you if considered rightly'), and his inter- LEWIS CAMPBELL..
Load more

Recommended publications
  • Breathtaking Tragedy at Noche Flamenca by Kalila Kingsford Smith
    Photo: Chris Bennion Breathtaking Tragedy at Noche Flamenca by Kalila Kingsford Smith Antigona is full of breathtaking, powerful moments. A collaboration between Soledad Barrio & Noche Flamenca and theater director Lee Breuer, the production is based on Sophocles’ heroine Antigone, who is sentenced to be buried alive in a cave after fulfilling the sacred duty of burying her brother, who died a rebel. The story is told equally through the music, the song, and the dance, as is traditional in the flamenco form. In this interpretation of the Greek tragedy, the chorus wears masks, obscuring the performers’ identities and yet intensifying the expression of each emotion. As in an opera, translations are projected onto a scrim upstage to help convey the narrative to those who don’t understand Spanish. However, I hardly glance at them; my eyes never stray from the dancers, and I understand without reading the text the raw emotion within la canción. Our first vision of this Spanish/Greek universe is black silk pouring down towards the stage, silk held in place by a man standing on a tall platform obscured by the darkness. He ripples the fabric in time with the strumming of the guitar, catching the light like glimmers on a river. Slowly we see shapes pressing into the silk, the crouched bodies of the chorus emerging from the darkness one arm at a time. Then we see the masks—blindingly white against the black river—demons that crawl, reach, and writhe in a clump of faces. Typically, one wouldn’t see movement so close to the ground in a flamenco production, but I am enthralled by the eeriness of this image.
    [Show full text]
  • In the Realm of Politics, Nonsense, and the Absurd: the Myth of Antigone in West and South Slavic Drama in the Mid-Twentieth Century
    DOI: https://doi.org/10.4312/keria.20.3.95-108 Alenka Jensterle-Doležal In the Realm of Politics, Nonsense, and the Absurd: The Myth of Antigone in West and South Slavic Drama in the Mid-Twentieth Century Throughout history humans have always felt the need to create myths and legends to explain and interpret human existence. One of the classical mythi- cal figures is ancient Antigone in her torment over whether to obey human or divine law. This myth is one of the most influential myths in European literary history. In the creation of literature based on this myth there have always been different methods and styles of interpretation. Literary scholars always emphasised its philosophical and anthropological dimensions.1 The first variants of the myth of Antigone are of ancient origin: the playAntigone by Sophocles (written around 441 BC) was a model for others throughout cultural and literary history.2 There are various approaches to the play, but the well-established central theme deals with one question: the heroine Antigone is deeply convinced that she has the right to reject society’s infringement on her freedom and to act, to recognise her familial duty, and not to leave her brother’s body unburied on the battlefield. She has a personal obligation: she must bury her brother Polyneikes against the law of Creon, who represents the state. In Sophocles’ play it is Antigone’s stubbornness transmitted into action 1 Cf. also: Simone Fraisse, Le mythe d’Antigone (Paris: A. Colin, 1974); Cesare Molinari, Storia di Antigone da Sofocle al Living theatre: un mito nel teatro occidentale (Bari: De Donato, 1977); George Steiner, Antigones (Oxford: Clarendon Press, 1984); Elisabeth Frenzel, Stoffe der Weltlitera- tur: Ein Lexikon Dichtungsgeschichtlicher Längsschnitte, 5.
    [Show full text]
  • Antigona Van Tommaso Traetta Wo 2, Do 3 April 2003 Om Dramaturgische Redenen Zijn in De Partituur Enige Coupures Aangebracht
    Muziektheater Transparant Antigona van Tommaso Traetta wo 2, do 3 april 2003 Om dramaturgische redenen zijn in de partituur enige coupures aangebracht. redactie programmaboekje deSingel en Janine Brogt druk Tegendruk duur van de voorstelling: deel 1 1 uur pauze 25 minuten deel 2 1 uur spreektaal Italiaans . boventiteling Nederlands bediening boventiteling Bart Boone gelieve uw GSM uit te schakelen! Muziektheater Transparant Antigona van Tommaso Traetta dirigent Paul Dombrecht assistent-dirigent Ewald Demeyere regie Gerardjan Rijnders regieassistent en voorstellingsleider Remi Beelprez muzikale uitvoering orkest Il Fondamento repetente Noémi Biro koor La Sfera del Canto verantwoordelijke dramaturgie Janine Brogt licht- en standenplan Tom Verheijen decor Paul Gallis verantwoordelijke belichting Luc De Vreese kostuums Rien Bekkers productieleiding Veerle Francke licht Reinier Tweebeeke technische leiding Roel Ghesquière beweging Bambi Uden lichttechnici Koen Ghesquière, Dag Jennes podiumtechnici Anton Devilder, Koen Ghesquière, rolverdeling Maarten Streefland Antigona, prinses van Thebe Raffaella Milanesi rigging Jan Hooyberghs Ismene, haar zuster Giorgia Milanesi coördinatie orkest en koor Philippe Severyns Creonte, haar oom Markus Brutscher vertaling libretto Janine Brogt Emone, Creonte’s zoon Maartje de Lint assistentie dramaturgie Bart Boone Adrasto, een Thebaans edelman David-Erich Fankhauser kleedsters Viviane Coubergs, Reintje Daens orkest kap en grime Sylvia Hiel, Leen Samyn viool Dirk Van Daele, Marianne Herssens, Maia Silberstein,
    [Show full text]
  • ATINER's Conference Paper Series MDT2016-1961
    ATINER CONFERENCE PAPER SERIES No: LNG2014-1176 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series MDT2016-1961 Examples of Greek Mythology and History in Croatian Drama of the Second Half of the 20th Century: T. S. Marović and M. Gavran Helena Peričić Professor University of Zadar Croatia 1 ATINER CONFERENCE PAPER SERIES No: MDT2016-1961 An Introduction to ATINER's Conference Paper Series ATINER started to publish this conference papers series in 2012. It includes only the papers submitted for publication after they were presented at one of the conferences organized by our Institute every year. This paper has been peer reviewed by at least two academic members of ATINER. Dr. Gregory T. Papanikos President Athens Institute for Education and Research This paper should be cited as follows: Peričić, H. (2016). "Examples of Greek Mythology and History in Croatian Drama of the Second Half of the 20th Century: T. S. Marović and M. Gavran", Athens: ATINER'S Conference Paper Series, No: MDT2016-1961. Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. All rights reserved. Reproduction is allowed for non-commercial purposes if the source is fully acknowledged. ISSN: 2241-2891 06/09/2016 2 ATINER CONFERENCE PAPER SERIES No: MDT2016-1961 Examples of Greek Mythology and History in Croatian Drama of the Second Half of the 20th Century: T.
    [Show full text]
  • FALL 1975 19 Marechafs Antígona: More Greek Than French
    FALL 1975 19 MarechaFs Antígona: More Greek than French ALYCE DE KUEHNE The influence of classical Greek tragedy has been incalculable on universal literature. French dramatists have been especially receptive to the ancient tragedians and some writers, such as Gide, Cocteau, Giraudoux, Sartre and Anouilh, have in turn been a source of classical inspiration to dramatists of other nations. A comparative analysis of the Antigone theme in two contemporary versions—the well known play of Anouilh and the lesser known tragedy of the Argentine Leopoldo Marechal—will suffice to show why the Sophoclean myth has survived, and how it has been brought up to date in order to confront the perennial controversy over politics, religion and the dictates of man's conscience. Ravaged by two World Wars, the twentieth century has thus far offered a propitious medium for tragedy, similar to fifth century Periclean Athens, like­ wise plagued by warfare and injustice. The disorientation caused by accelerated social change with its new set of values, as well as anguish in the face of possible nuclear destruction, engender tragedy, the dramatic vehicle which in true Greek tradition performs a social and moral function. This ethical purpose is what distinguishes the present-day approach to tragedy from the attitude of the nineteenth century, for example, when despair of the present and future pro­ duced hundreds of French tragedies, designed merely to entertain the spirit with classical reminiscences of antiquity.1 Sophocles' Antigone treats a problem of universal magnitude: divine law vs. human law.2 Anouilh, in his pessimistic political satire, emphasizes fatalism by deliberately retelling the archetypal myth with its action already predetermined.
    [Show full text]
  • Antigona at Schloss Rheinsberg Il
    19 Antigona at Schloss Rheinsberg 22 andz3 JulY. 2006 'Le ni which Until Magdalena Kozen6' s 2001 CD album bel le immagi ( to the ;.a'iiJ tfl,.E of Us oDeratic arias, drew Josef Myslivecek l-87-81)" ;ffiffi ;f ;;i;;-p-r[,tii rt",,^ .omposer knbwn mainly to enthrsiasts il;;;;;,I, *;ilri Cr"ih .u.i" "und tl'iose with some inteiest in Mozart's brought to wittr an'almost equally shon life span, -an -untrmely earifveats. was .ii'r,i, uut iniudicious delight iD lh; female sex' M-yslivecek me pifted'with"*-r,iru"i*, a melodic inientiveness thought by many tro-,qave Deen was Enual of Mozart's. He was a friend of lroPold Mozafl - wougan8 iri.n* u"urt ttit iunior - but appears to have inJluenced the boy composer il;il;'"iHi,h?ffi *..*ii *oo"lia tome compositions.on those or man. tt is no accident, therefore. that several oi s the older Yy$lveceKwere comoosi(ions were IonP regarded as works by Mozafi' and. several as the can[ata erroneouslv iocludedln Kiichel's catalogue' such . rn composmg "veriAhramo e lsaccb (orieinally as K 24Ia) Although proliltc oPera composer - -usic of atl eeor.i. hi wai e"pecially prominent as an dptt" to'nposer before smetarn -. and :'HiJ; il"..-.ii;;;;il{r""rt penoo or^ prod'uced at least tweoly six autbenticated oDere sene wluuD a he exist His seventeen vears. nol to mentlon ,"ra*ioth",t ibout which doubts was il;i';;; f,ielili;;led uy bi eumev. ana auring this brief span he amongst the beit-known half-dozen opera composers ln trurope' Arsuments continue abour which was his first opera - aMelea,-oJ.a1 i.t i*tro Regib at Parma in 1764 there is ^i1r," no record: or a "i:,?;';;;;";'il;;.i*tt acc"ordi'ne to the New Crove Dictionary of OPera) \"miramide tlo a lext bv Melastasio) first given.
    [Show full text]
  • Contemporary Antigones, Medeas and Trojan Women
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository CONTEMPORARY ANTIGONES, MEDEAS AND TROJAN WOMEN PERFORM ON STAGES AROUND THE WORLD by OLGA KEKIS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Drama and Theatre Arts School of English, Drama, and American and Canadian Studies College of Arts and Law The University of Birmingham February 2013 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines postmodern theatrical adaptations of Antigone, Medea and The Trojan Women to show how they re-define the central female figures of the source texts by creating a new work, or ‘hyperplay’, that gives the silenced and often silent female figures a voice, and assigns them a political presence in their own right. Using a collection of diverse plays and their performances which occurred in a variety of geographical locations in the late 20th and early 21st centuries, this thesis analyzes adaptive, ‘hypertheatrical’, strategies employed by the theatre, through which play texts from the past are ‘re-made’ in the here and now of theatrical performances.
    [Show full text]
  • 'Phoenissa', 'Thebais': the Title of Seneca's Phoenician Women
    ORBIS ROMANUS PHILOLOGIA CLASSICA VOL. 15. FASC. 1. 2020 UDC 821.124 ‘Phoenissae’, ‘Phoenissa’, ‘Thebais’: The Title of Seneca’s Phoenician Women Tomasz Sapota University of Silesia in Katowice, Faculty of Humanities, pl. Sejmu Śląskiego 1, 40-032 Katowice, Republic of Poland; [email protected] Iwona Słomak University of Silesia in Katowice, Faculty of Humanities pl. Sejmu Śląskiego 1, 40-032 Katowice, Republic of Poland; [email protected] For citation: Tomasz Sapota, Iwona Słomak. ‘Phoenissae’, ‘Phoenissa’, ‘Thebais’: The Title of Seneca’s Phoenician Women. Philologia Classica 2020, 15 (1), 88–95. https://doi.org/10.21638/spbu20.2020.107 This paper aims to revise the status quaestionis of the title of a play by Seneca preserved in two commonly recognised variants — Phoenissae and Thebais — and two less well-known vari- ants — Phoenissa and Antigona. It has been generally accepted that only the title Phoenissae is correct, and that this title was modelled on Euripides’ drama of the name. This view, however, can hardly be deemed plausible, considering the substantial differences between Seneca’s and Euripides’ Phoenissae. Moreover, it has been widely held that there is no analogy for the title Thebais in the dramatic tradition but that it has equivalents in epic texts, which has led to the conclusion that Thebais is an ill-chosen interpolation. The other variants of the title have not been discussed at all. In this article we scrutinise previously disregarded sources and argue that all the play’s titles may have originated in Classical Antiquity and may be regarded as synonyms.
    [Show full text]
  • Antigone 2015
    * THEATRE ET SPECTACLE VIVANT ANTIGONE 2015 Délégation Académique à l’Action Culturelle de Caen 1 * THEATRE ET SPECTACLE VIVANT ANTIGONE 2015 –SOMMAIRE– Première partie : avant la représentation I. Le Mythe d’Antigone p. 3 II. Un spectacle de marionnettes p. 8 III. Pourquoi mettre en scène Antigone aujourd’hui p. 10 IV. Activité bilan p. 13 Annexes 1. Distribution p. 15 2. Photographies du spectacle p. 16 « Pièces à vivre » : une série de dossiers pédagogiques conçus en partenariat par la Délégation Académique à l’Action Culturelle de l’Académie de Caen et les structures théâtrales de l’académie à l’occasion de spectacles accueillis ou créés en Région Basse-Normandie. Le théâtre est vivant, il est créé, produit, accueilli souvent bien près des établissements scolaires ; les dossiers « Pièces à vivre », construits par des enseignants en collaboration étroite avec l’équipe de création, visent à fournir aux professeurs des ressources pour exploiter au mieux en classe un spectacle vu. Divisés en deux parties, destinées l’une à préparer le spectacle en amont, l’autre à analyser la représentation, ils proposent un ensemble de pistes que les enseignants peuvent utiliser intégralement ou partiellement. Retrouvez ce dossier, ainsi que d’autres de la même collection et des ressources pour l’enseignement du théâtre sur le site de la Délégation Académique à l’action Culturelle de l’Académie de Caen : http://www.discip.ac-caen.fr/aca/ Délégation Académique à l’Action Culturelle de Caen 2 * THEATRE ET SPECTACLE VIVANT ANTIGONE 2015 I. LE MYTHE D’ANTIGONE 1. Se familiariser avec le mythe Le titre nous installe d’emblée dans l’univers du mythe : Antigone, c’est la fille d’Œdipe et de Jocaste, née de l’inceste, à la suite d’un parricide.
    [Show full text]
  • Antigone's Burial of Polynices
    What if Oedipus or Polynices had been a Slave? Antigone’s Burial of Polynices Tina Chanter DePaul University Examination of Sophocles’ Antigone reveals how the corpse remains a historically, culturally and politically inscribed subject. To leave Polynices’ corpse, by Creon’s decree, to the open air to be consumed by carrion is e!ectively to erase Polynice’s status as an Athenian citizen and transubstantiate the materiality of the corpse into one that is immaterial and non-human – that of a slave. Antigone’s refusal to leave the unburied remains of her brother - a refusal that has been traditionally romanticized as an act of rebellion against authoritarian control - circumscribes and rei”es class boundaries between the free, the civilized, and the unfree, uncivilized slave. In e!ect, Polynices’ unburied body unearths the ways in which a “western, hegemonic canon” has e!ectively buried a history of chattel slavery that has made much of this cultural output possible. An engagement with particularly notable ruminations on Antigone, such as Hegel’s and Derrida’s, serves to exemplify how the “gure of Antigone has been appropriated in ways that consolidate, rather than disrupt, a tradition of thought that evades its own implication in slavery and colonialism. If Antigone contains the pollution that the corpse of her unburied brother threatens to unleash on Thebes, she does so only at the expense of consolidating a way of thinking that structured classical Athens, and which, I argue here, also structures Sophocles’ Oedipal cycle. The exposure of the corpses of slaves—and Antigone’s unproblematic appeal to it as a given—is symptomatic of a practice that Sophocles’ brings into question in numerous ways.
    [Show full text]
  • Glocalizing Democracy Through a Reception of the Classics in Equatorial Guinean Theatre: the Case of Morgades’ Antígona Elisa G
    World Languages and Cultures Books World Languages and Cultures 9-1-2016 Glocalizing Democracy through a Reception of the Classics in Equatorial Guinean Theatre: the Case of Morgades’ Antígona Elisa G. Rizo Iowa State University, [email protected] Follow this and additional works at: http://lib.dr.iastate.edu/language_books Part of the African Languages and Societies Commons, Modern Languages Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Rizo, Elisa G., "Glocalizing Democracy through a Reception of the Classics in Equatorial Guinean Theatre: the Case of Morgades’ Antígona" (2016). World Languages and Cultures Books. Book 4. http://lib.dr.iastate.edu/language_books/4 This Book is brought to you for free and open access by the World Languages and Cultures at Iowa State University Digital Repository. It has been accepted for inclusion in World Languages and Cultures Books by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Srx Glocalizing Democracy through a Reception of the Classics in Equatorial Guinean Theatre The Case of Morgades's Antigona Elisa Rizo Born in 1931, Equatorial Guinean academic and intellectual Trinidad Morgades1 has seen the transition of her country from a Spanish colony to an independent nation. She has witnessed the emergence of postcolonial regimes and the transformation of her country's economy from one based on cacao and timber production under the Spanish colonial administra­ tion to one centered on a booming oil industry in postcolonial times.2 Her only published literary work, Antigona (1991), a drama referencing Sophocles's famous tragedy, is concerned with a crucial national process that she has observed: the failure of the democratic efforts in her nation.
    [Show full text]
  • Oedipe À Colone Antonio Sacchini (1730-1786) François Guillard (1752-1814)
    1/13 Data Livret de : Nicolas- Oedipe à Colone Antonio Sacchini (1730-1786) François Guillard (1752-1814) Langue : Français Genre ou forme de l’œuvre : Œuvres musicales Date : 1786 Note : Tragédie lyrique en 3 actes. - Livret de Nicolas-François Guillard d'après Sophocle. - 1re représentation : Versailles, 4 janvier 1786 Domaines : Musique Détails du contenu (1 ressources dans data.bnf.fr) Contient (1) Oedipe à Colonne. Acte 3, , Antonio Sacchini scène 4. Antigone me reste (1730-1786) Éditions de Oedipe à Colone (120 ressources dans data.bnf.fr) Partitions (115) Oedipe à Colone... Opéra , Antonio Sacchini Air d'Oedipe à Colone , Antonio Sacchini complet. Partition de piano (1730-1786), Paris : Mme (1730-1786), A Paris : chez et chant. Paroles V.ve Launer , [s.d.] Le Duc , [s.d.] françaises Air d'Oedipe à Colone ! , Antonio Sacchini Air d'Oedipe à Colone [à 1 , Antonio Sacchini Paroles de Guillard, (1730-1786), Paris : E. v.]. Avec accompagnement (1730-1786), A Paris : chez musique de Sacchini Gérard , [s.d.] de piano Mr Rouin , [s.d.] data.bnf.fr 2/13 Data Oedipe à Colonne, opéra en , Antonio Sacchini Air d'Oedipe à Colone. Trio , Antonio Sacchini 3 actes, musique de (1730-1786), Eugène (1730-1786), A Paris : chez Sacchini. [Paroles de Gigout (1844-1925), Paris : Imbault , [s.d.] Guillard. Paris, Académie Brandus , [s.d.] royale de musique, 1er février 1787] Partition piano et chant Oedipe à Colonne [sic] , Antonio Sacchini Oedipe à Colone. Opera... , Louis Jadin (1768-1853), opera... avec (1730-1786), Paris : édition paroles de Guillard. Antonio Sacchini accompagnement de forte Nicolo. L.
    [Show full text]