DOCSLIB.ORG

Henry Purcell (1659 – 1695)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Henry Purcell (1659 – 1695) Henry Purcell (1659 – 1695) Klavierwerke I & II Sämtliche Werke für Pianoforte / Cembalo Originalfassungen Inhalt Band 1 Airs & Tunes Seite Air in C a 7 AU 7 a a a e e Aire in C 8 Z.No.deest (P4/2) Ayre in C 8 Z.No.deest (P2/1) [Air] in C 9 AU 3 & [Air] in C 9 AU 5 Air in d 10 Z.T675 & & e & e e Aire in d a a 10 Z.T696/1 $ & & & & e e Aire in d 12 Z.T696/2 $ & e Air in d 13 Z.T676 $ & Air in F 14 Z.T630/1 $ e e Air in F 15 Z.T630/1 variant $ e Air en Bourrée 16 AU 11 $ $ Air en Bourrée 17 AU 11 variant $ $ Q Ayre in g 18 Z.T693/2 $ $ A new Irish Tune a 19 Z.646 & a e A new Scotch 19 Tune Z.655 & a a a e Mr.H.Purcells new Sibell 20 Z.678 Band 1 Seite Sebell 22 Z.678 variant Sefauchi's Farewell 24 Z.656 $ & e Song Tune 24 Z.T694 e A Song Tune 25 Z.T695 The Queen's 25 Dolour & Z.670 & e e Trumpet Tune a 26 Z.T697 e e Trumpet Tune 26 Z.T698 e e e Dance movements & Marches Almond in D 28 Z.D219/1 & & Canary in B 29 Z.T677 $ $ e e e e e e e Slow Canary in A a a 30 Z.T677 variant & & & e e e e e Hornpipe in e a 31 Z.T685 & e e Hornpipe in e 32 Z.T685 autograph & a e e Hornpipe in g 33 AU 8 $ % & & % $ Hornpipe in B a 34 Z.T683 $ $ Hornpipe in A 35 AU 9 & & & & Hornpipe in A 36 J.Eccles (?) & & & Band 1 Seite Jig in g 37 Z.T686 $ a a a a $ Gigue in g 37 Z.T686 variant $ a a a a $ Jigg in g & & 38 Z.D223 $$ % % [Minuet] in C 39 AU 2 Minuet in D 39 AU 10 & & Minuet in d 40 AU 12 $ & Minuet in d 41 Z.T688 $ & New Minuet in d 42 Z.T689 $ & & & Minuet in G 42 Z.651 & a e [Minuet] in a 43 Z.649 & & e e A Minuet in a 44 Z.650 & & & Riggadoon in C 44 Z.653 Riggadoon in d 45 Z.D227 $ & & Round O & & 46 Z.T684 $ & [Saraband with Divisions] in a 48 & & Z.654 e [Saraband] in D Z.D219/2 49 & & e March in C 50 Z.648 March in C a 51 Z.T687 e e [March] in C 52 Z.647 Band 1 Preludes & Grounds Seite Prelude in C 54 AU 1 ` ` 5 5 5 3 3 5 4 2 Prelude for 5 2 3 1 1 1 54 the fingering Z.No.deest (P4/1) Prelude en Maniere de Chacone $ 55 Z.T681 variant $ $ $ Ground in c 58 Z.T681 $$ $ % % Ground in c 61 Z.D221 $ b b b $ $ b % Ground in d 65 Z.D222 $ e Ground in e & 67 Z.T682 variant & e & A new Ground in e & 69 Z.T682 & & e A Ground in a 71 Gamut Z.645 & % e Chaconne in g 73 Z.T680 $ $ % H.Purcells Verzierungen 77 Kommentare 78 Inhalt Band 2 Seite Suite in G - Z.660 Prelude 6 & a a a e e Almand a 6 & & Corant & a a a 7 e Sarabande 8 & e e Suite in G - Z.660 / II & III variant Allemande a 8 & & Corant 9 & a a e Suite in G - Z.660 variant e 10 Prelude & a a a e e Almand 10 & & e Z.644 Corant & 12 e Z.641 Air 13 & Suite in g - Z.661 14 Prelude $ $ $ % & & Almaine a b 16 $$ b & % a a a Corant a 18 $$ e & Saraband 19 $$ e Suite in g - Z.661 / I variant e Prelude 20 & % $ $ & % $ $ Suite in G - Z.662 Band 2 Seite Prelude 21 & Almand b 23 & e e Courante b 24 & e Suite in G - Z.662 / II & III variant Allmand b 25 & Corant b 26 & e Suite in a - Z.663 Prelude 28 b Almand b 28 e e Corante b a 30 & & Saraband 31 e Suite in a - Z.663 variant 1 Prelude 32 b & Almand 33 b a e e & Corant a a 34 b b a & & & Jigg & 35 a & e e Suite in a - Z.663 variant 2 Band 2 Seite Prelude 37 & Almand a 38 a % Corant a a a 39 & & Saraband 40 e Suite in a - Z.663 / II & III variant 3 Almand 41 a e e Corant a b 43 & & Suite of Lessons in C - Z.665 a a Prelude a a 44 e e e e Almond a 44 e Corant a $ 46 e a Saraband a a 46 e e Jigg 47 Suite in C - Z.666 Prelude 48 Almand a 51 Corant b $ 52 e a Saraband a a 53 e e Suite in C - Z.666 variant Band 2 Seite 2315 5234 4 Prelude a a b b 54 Almand a 55 56 Corant b a $ .
Load more

Recommended publications
  • Music for a While’ (For Component 3: Appraising)
    H Purcell: ‘Music for a While’ (For component 3: Appraising) Background information and performance circumstances Henry Purcell (1659–95) was an English Baroque composer and is widely regarded as being one of the most influential English composers throughout the history of music. A pupil of John Blow, Purcell succeeded his teacher as organist at Westminster Abbey from 1679, becoming organist at the Chapel Royal in 1682 and holding both posts simultaneously. He started composing at a young age and in his short life, dying at the early age of 36, he wrote a vast amount of music both sacred and secular. His compositional output includes anthems, hymns, services, incidental music, operas and instrumental music such as trio sonatas. He is probably best known for writing the opera Dido and Aeneas (1689). Other well-known compositions include the semi-operas King Arthur (1691), The Fairy Queen (1692) (an adaptation of Shakespeare’s A Midsummer Night’s Dream) and The Tempest (1695). ‘Music for a While’ is the second of four movements written as incidental music for John Dryden’s play based on the story of Sophocles’ Oedipus. Dryden was also the author of the libretto for King Arthur and The Indian Queen and he and Purcell made a strong musical/dramatic pairing. In 1692 Purcell set parts of this play to music and ‘Music for a While’ is one of his most renowned pieces. The Oedipus legend comes from Greek mythology and is a tragic story about the title character killing his father to marry his mother before committing suicide in a gruesome manner.
    [Show full text]
  • PROGRAM NOTES Henry Purcell
    PROGRAM NOTES by Phillip Huscher Henry Purcell - Suite from King Arthur Born sometime in 1659, place unknown. Died November 21, 1695, London, England. Suite from King Arthur Purcell composed his semi-opera King Arthur, with texts by John Dryden, in 1691. The first performance was given at the Dorset Garden Theatre in London in May of that year. The orchestra for this suite of instrumental excerpts consists of two oboes and english horn, two trumpets, timpani, and strings, with continuo provided by bassoon and harpsichord. Performance time is approximately twenty minutes. The Chicago Symphony Orchestra has performed music from Purcell's King Arthur (Trumpet Tune, "Ye blust'ring brethren of the skies," with Charles W. Clark as soloist, and Grand Dance: Chaconne) only once previously, on subscription concerts at the Auditorium Theatre on December 13 and 14, 1901, with Theodore Thomas conducting. Henry Purcell is the one composer who lived and worked before J. S. Bach who has found a place in the symphonic repertory. The Chicago Symphony played Purcell's music as early as 1901, when it programmed three selections from King Arthur on the first of its new "historical" programs designed to "illustrate the development of the orchestra and its literature, from the earliest times down to the present day." Purcell still stands at the very beginning of the modern orchestra's repertory, although he is best known to today's audiences for the cameo appearance his music makes in Benjamin Britten's twentieth- century classic, the Young Person's Guide to the Orchestra. Purcell is regularly described as the finest English composer before Edward Elgar, if not as the greatest English composer of all.
    [Show full text]
  • PURCELL: Ode for St Cecilia 1692 – BMC 40
    PURCELL: Ode for St Cecilia 1692 – BMC 40 In 1683 a group of gentlemen amateurs and professional musicians started a "Musical Society" in London to celebrate the "Festival of St. Cecilia, a great Patroness of Music" on November 22nd. They asked Henry Purcell, then only 24, to be the first to write an Ode for their festivals; this Ode, Welcome to All the Pleasures, can be heard on our previous disc, BMC 39. Contrast this with the present Ode for St Cecilia , composed in 1692. Here we have a Purcell greatly matured and confident, already foreshadowing Handel. TRACK 1 Thou didst the scattered atoms bind Symphony (Overture) Which by the laws of true proportion joined, This splendid five-section Symphony opens with strings Made up of various parts, one perfect harmony. and trumpets answering each other. The second part is a Fugue on two subjects, followed by an Adagio in which TRACK 3 the oboes echo the violins. A brilliant Allegro for the Soprano & Chorus :Thou Tun'st This World trumpets follows, and after a harmonic Adagio, the Thou tun'st this world below, the spheres above, / Allegro is reprised. Who in the heavenly round to their own music move. TRACK 2 Trio: With That Sublime Celestial Lay Soli and Chorus: "Hail! Bright Cecilia" With that sublime celestial lay can any earthly sounds compare? Hail! bright Cecilia, fill ev'ry heart If any earthly music dare, the noble organ may. With love of thee and thy celestial art, From heav'n its wondrous notes were giv'n, That thine, and Music's sacred love Cecilia oft conversed with heav'n.
    [Show full text]
  • EJV Holland Purcell and the Seventeenth-Century Voice, An
    The University of Sheffield E. J. V. Holland Purcell and the Seventeenth-Century Voice, An Investigation of Singers and Voice Types in Henry Purcell's Vocal Music PhD (Performance Studies) 2002 Purcell and the Seventeenth-Century Voice,0 An Investigation of Singers and Voice Types in Henry Purcell's Vocal Music Elizabeth Jane Violet Holland PhD (Performance Studies) Department of Music University of Sheffield June 2002 Acknowledgments I wish to express my gratitude to the following individuals for their help and advice during the researching and writing of this thesis. Firstly, my thanks to my academic supervisor, Mr. Tony Bennett (University of Sheffield) for his support and advice. I would also like to thank Professor Eric Clarke (University of Sheffield) for suggestingstandard deviation as the most suitable method for the statistical calculation of tessitura, and Dr. John Powell (University of Nottingham) and Mr. Luke Jobling BSc for confirming the scientific validity of the final statistical formula. i Elizabeth J. V. Holland Purcell and the Srventeen th-Century Voic c An Inv estigation of Singers and Voice Ty pes in H!cnry Purc ell's Voca l Music0 Abstract This thesis uses the study of Henry Purcell"s vocal music to establish the vocal characteristics of the singers and voice types for whom the composer wrote in London in the seventeenthcentury. This process is begun in the first chapter by discussing 'The Counter-Tenor Debate' in order to establish the method(s) of vocal production used by Purcell's counter-tenors. This in turn addressesthe issue of whether the counter-tenor was a completely different voice type from the tenor, or if they were simply high and low subdivisions of the same voice type.
    [Show full text]
  • PURCELL COLLECTION Opera, Albion and Albanius, Which Was Set to Music EXTENSIVE LINER NOTES by the Spanish Composer Luis Grabu and Performed in 1685
    PURCELL COLLECTION opera, Albion and Albanius, which was set to music EXTENSIVE LINER NOTES by the Spanish composer Luis Grabu and performed in 1685. Six years later, after the Glorious Revolution had stripped Dryden of the CD1+2 Laureateship, and poverty had forced him once ‘King Arthur’: Purcell’s Music and Dryden’s Play again to write for the public stage, he dusted off John Dryden called King Arthur ‘A dramatick the old play, altered its original political message, opera’, a proud and idiosyncratic subtitle which and sent it to Purcell, whose music he had come to has caused much confusion. It has been said admire, especially the brilliantly successful semi‐ unfairly that this work is neither dramatic nor an opera Dioclesian (1690). opera. To be sure it is not like a real opera, nor could it be easily turned into one. King Arthur is How much revision the play required is unknown, very much a play, a tragi‐comedy which happens to since the original version does not survive, but include some exceptionally fine music. During the Dryden implies major surgery: ‘… not to offend the Restoration, the term ‘opera’ was used to describe present Times, nor a Government which has any stage work with elaborate scenic effects, and hitherto protected me, I have been oblig’d…to did not necessarily mean an all‐sung music drama. alter the first Design, and take away so many The original 1691 production of King Arthur, Beauties from the Writing’. Besides trimming for though it included flying chariots and trap‐door political reasons, he also had to satisfy his new effects, was modest compared to other similar collaborator: ‘the Numbers of Poetry and Vocal works.
    [Show full text]
  • Henry Purcell's
    Henry Purcell’s Dido and Aeneas VANCOUVER EARLY MUSIC FESTIVAL 2015 the ensemble programme notes | purcell's "dido and aeneas" Alexander Weimann The God-like Man, music director & harpsichord Alas, too soon retir’d, Monica Whicher As He too late began. soprano We beg not Hell, our Orpheus to restore, Pascale Beaudin Had He been there, soprano Their Sovereign’s fear Jacqueline Woodley Had sent Him back before. soprano The pow’r of Harmony too well they know, Catherine Webster He long e’er this had Tun’d their jarring Spheres, soprano And left no Hell below. Danielle Reuter-Harrah From the “Ode on the Death of Henry Purcell" mezzo-soprano – John Dryden” Josée Lalonde alto Henry Purcell, the “English Orpheus”, was born in London in 1659 into a family of musicians. Reginald L. Mobley Both his father and uncle were members of the Chapel Royal and sang for the coronation alto ceremonies of Charles II. Precocious young Henry, too, sang in the choir until his voice broke, at Charles Daniels which point he was appointed assistant keeper of the King’s keyboards and wind instruments. tenor Over a very short time, his superior abilities as an organist, violinist and composer earned Bernard Cayouette tenor him the profound respect of peers and teachers alike. This led him to secure one of the most illustrious musical posts in England – organist of Westminster Abbey. Purcell’s teacher, Dr. Jean-Sébastien Allaire tenor John Blow went so far as to give up this position, when it became clear that the student had Sumner Thompson surpassed his master.
    [Show full text]
  • Mardi 29 Mars Henry Purcell | the Indian Queen H Enry P Urcell
    Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Mardi 29 mars Henry Purcell | The Indian Queen Dans le cadre du cycle Les Indes baroques Mardi mars 29 Vendredi 25 et mardi 29 mars | The Indian Queen Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.citedelamusique.fr Henry Purcell | Henry Purcell Cycle Les Indes baroques Depuis la confusion fameuse de Christophe Colomb, convaincu de la circularité de la terre et croyant avoir découvert une nouvelle voie maritime vers l’Orient en partant plein ouest, les Européens ont communément appelé « Indes » les terres lointaines, tant occidentales qu’orientales. Dès leurs découvertes, ils ont éprouvé une véritable fascination pour leurs peuplades aux mœurs, aux vêtements et aux rites étranges, jusqu’à développer une mode dont l’engouement ne s’est pas tari jusqu’à nos jours. Ainsi, de nouveaux produits exotiques ont envahi les marchés entre la Renaissance et le XVIIIe siècle : des tissus imprimés aux motifs inédits furent dénommés « indiennes » (même le Bourgeois Gentilhomme s’en revêt), le chocolat, le café, les épices, des légumes et des fruits jusqu’alors inconnus irent leur apparition sur les tables des gourmets fortunés. De même, d’innombrables littérateurs, à la suite de Montesquieu, Voltaire ou Rousseau, trouvèrent parmi les « Indiens » de nouveaux archétypes de personnages, allant de l’innocent sauvage au monstre sanguinaire, ordonnateur des pires supplices et adepte des turpitudes les plus suaves. Les musiciens ont très vite suivi leurs pas. Des titres exotiques, délicieusement évocateurs, leurissent dès le XVIIe siècle parmi les compositions les plus diverses, de la sonate en quatuor La Sultane de François Couperin, à la spirituelle Gazzetta turco-musicale de Daniel Georg Speer, sans oublier les fameux Sauvages pour clavecin de Rameau.
    [Show full text]
  • The Indian Queen
    The Indian Queen Opéra de Henry Purcell 5-12 octobre 2019 Direction musicale Emmanuelle Haïm Mise en scène Guy Cassiers Le Concert d’Astrée Sa 5 octobre à 18h Ma 8 octobre à 19h30 Me 9 octobre à 19h30 Ve 11 octobre à 19h30 Sa 12 octobre à 18h Contact p. 3 Préparer votre venue Service des relations avec les publics p. 4 Claire Cantuel / Marion Dugon Résumé Léa Siebenbour 03 62 72 19 13 p. 5 groupes@opera-lille.fr Qui est qui ? Schéma des personnages p. 6 OPÉRA DE LILLE Les personnages 2, rue des Bons-Enfants BP 133 p. 8 59001 Lille cedex Le plan du semi-opera Dossier réalisé avec la collaboration p. 11 Henry Purcell d’Emmanuelle Lempereur, enseignante missionnée à l’Opéra de Lille. p.12 Juillet 2019. La musique baroque Merci à Nicolas Flodrops, responsable de la p. 13 bibliothèque et des études musicales du Le semi-opéra, genre et contexte de création Concert d’Astrée. p. 14 Le guide d’écoute p. 24 The Indian Queen à l’Opéra de Lille p. 25 Note d’intention p. 26 Les décors p.27 Les costumes p. 29 Repères biographiques : chef d’orchestre et metteur en scène p. 30 En classe : autour de The Indian Queen p. 31 La voix à l’opéra p. 32 L’Opéra de Lille p. 35 L’Opéra : un lieu, un bâtiment et un vocabulaire 2 • • • Préparer votre venue Ce dossier vous aidera à préparer votre venue avec les élèves. L’équipe de l’Opéra de Lille est à votre disposition pour toute information complémentaire et pour vous aider dans votre approche pédagogique.
    [Show full text]
  • Sandra Tuppen Purcell in the Eighteenth Century: Music for The
    Sandra Tuppen Purcell in the eighteenth century: music for the ‘Quality, Gentry, and others’ This is a pre-copyedited, author-produced version of an article accepted for publication in Early Music following peer review. The version of record, Sandra Tuppen; Purcell in the 18th century: music for the ‘Quality, Gentry, and others’, Early Music, Volume 43, Issue 2, 1 May 2015, Pages 233–245, is available online at https://academic.oup.com/em/article/43/2/233/398873. DOI: https://doi.org/10.1093/em/cav012. Abstract Henry Purcell was the only composer of his generation to be honoured with performances of his music at both the Academy of Ancient Music and Concerts of Ancient Music in the 18th century. Both organisations also programmed 18th-century music for The Tempest believing it to be by Purcell. Excerpts from Purcell’s theatre works were performed at the Noblemen and Gentlemen’s Catch Club too, where the Earl of Sandwich and Sir Watkin Williams Wynn introduced much of the Purcell repertoire; Sandwich was also a key figure in the promotion of Purcell’s music at the Concerts of Ancient Music. Although the Academy of Ancient Music’s instrumental parts for King Arthur do not exhibit as many signs of modernisation as do their manuscripts of Dido and Aeneas, some amendments to the musical text are found there, as well as in the Catch Club’s manuscripts of Purcell’s music. Purcell’s works were generally well received by the press, and newspaper reviews provide evidence of concerts of his music taking inspiration – and sometimes performers – from the Concerts of Ancient Music.
    [Show full text]
  • Henry Purcell
    Composers Name ......................................... Bach - Handel - Purcell Sheet 7 Henry Purcell - 1659 - 1695 his early years When Henry Purcell was a little boy, he would have played in the cobble-stone lanes around his home in London with his little brother, Daniel, who was only one year younger than Henry. He grew up to be a composer as well. Some sad things happened during their childhood years. Henry was only about six years old when the Great Plague spread to London. This was a terrible disease that killed about a hundred thousand people in only one year. When Henry was seven years old he lived through the great fire of London as well. It lasted for five days and destroyed most of the city because most of the buildings were made of wood. After that, Henry saw the city being rebuilt, but this time the buildings were made out of brick and stone so they were much safer and better looking. Henry had a fine singing voice. This was not surprising because both his father and uncle Thomas were musicians and Gentlemen of the Royal Chapel, where musicians who played for the king were trained. When he was about nine years old, Henry became one of the Children in the Chapel Royal and was taught to sing properly by a man named Henry Cooke. Mr Cooke used to be a captain in the army and he disciplined the boys in his care and made sure that they practiced as much as they needed to and studied all the subjects that they had to learn.
    [Show full text]
  • The Indian Queen 20.00 Concertzaal 19.15 Inleiding Door Piet Jan Decorte & B’Rock De Volder ‘De Inspiratie Komt Als Het Nodig Is’ Uitvoerders En Programma
    donderdag 26.01.2012 The Indian Queen 20.00 concertzaal 19.15 Inleiding door Piet Jan Decorte & B’Rock De Volder ‘De inspiratie komt als het nodig is’ Uitvoerders en programma Voor The Indian Queen kiest Jan Decorte tussen theater en opera, de tekst van Sir Frank Agsteribbe: dirigent opnieuw voor muziek van de barokcomponist Robert Howard heeft voor mij geen belang. De Jan Decorte: enscenering Henry Purcell. Dat doet hij samen met muziek moet gevoeld worden. Boventitels in de Hanna Bayodi: sopraan het ensemble B’Rock, vier zangers en zijn voorstelling heb ik geweigerd. Wie kan lezen Risto Joost: contratenor levensgezel en actrice Sigrid Vinks. ‘De wat de spelers zingen en zeggen, verstaat nog Reinoud van Mechelen: tenor voorstelling moet vooral gevoeld worden.’ minder van wat er eigenlijk gebeurt. Het enige Håvard Stensvold: bariton dat je daartegenover kunt plaatsen, is een Sigrid Vinks: spel en dans Het theater van Jan Decorte zoekt steeds sterke beeldregie. de eenvoud op. In zijn carrière als acteur Jan Decorte, Sigrid Vinks, Sofie D’Hoore: en regisseur, die teruggaat tot de vroege Hoe komt u tot sterke beelden? kostuums jaren 1970, nam de schrijver, scenograaf en Ik zou het uit de grond van mijn hart niet Jan Decorte, Johan Daenen: decor theatermaker al meermaals Shakespeare, weten. De inspiratie komt als het nodig is. Jan Decorte, Luc Schaltin: lichtontwerp Goethe, Tsjechov, Büchner of Müller voor With a little help from my friends raak ik ook zijn rekening. Dé constante in die veelheid veel verder. Johan Daenen creëert het decor, coproductie: Concertgebouw Brugge, deSingel van werken is puurheid, ingetogenheid.
    [Show full text]
  • THE INDIAN QUEEN Sonntag, 11.09.2016 · 18.00 Uhr
    THE INDIAN QUEEN Sonntag, 11.09.2016 · 18.00 Uhr KONZERTHAUS DORTMUND RAY CHENEZ HUNAHPÚ JOHANNA WINKEL TECULIHUATZIN THOMAS COOLEY DON PEDRARIAS DÁVILA NADEZHDA PAVLOVA DOÑA ISABEL JARRETT OTT DON PEDRO DE ALVARADO CHRISTOPHE DUMAUX IXBALANQUÉ WILLARD WHITE SACERDOTE MAYA MARITXELL CARRERO LEONOR MUSICAETERNA CHOR UND ORCHESTER TEODOR CURRENTZIS DIRIGENT SETH REISER LICHTDESIGN ROBERT CASTRO SZENISCHE EINRICHTUNG Abos: Porträt Teodor Currentzis, Konzertante Oper In unserem Haus hören Sie auf allen Plätzen gleich gut – leider auch Husten, Niesen und Handy- klingeln. Ebenfalls aus Rücksicht auf die Künstler bitten wir Sie, von Bild- und Tonaufnahmen während der Vorstellung abzusehen. Wir danken für Ihr Verständnis! 2,50 E 4I5 HENRY PURCELL (1659 – 1695) »The Indian Queen« Semi-Opera in fünf Akten (1695) Neufassung von Peter Sellars (2013) (halbszenische Aufführung in englischer Sprache mit deutschen Übertiteln) – Dauer ca. 3 Stunden 45 Minuten inkl. Pause – Einführung mit Prof. Dr. Michael Stegemann um 17.15 Uhr im Komponistenfoyer 6I7 PROGRAMM 8I9 EINE OPER NEU ERZÄHLT geht deren Pläne, die Eroberer zu vernichten. Mehr und mehr fühlt sie sich als Gefangene Don HENRY PURCELL »THE INDIAN QUEEN« Alvarados, als sie bemerkt, dass sie schwanger ist. Doch es ist zu spät für eine Wendung zum Guten: In einem grausamen Gemetzel töten die Spanier 10.000 Indios, die der Maya-Herrscher Während Purcells unvollendete und mit Allegorien angereicherte »Indian Queen« in der Zeit vor Tecum in die Schlacht geführt hat. der spanischen Eroberung spielt und die Geschichte von der Auseinandersetzung der Azteken mit den Inka erzählt, wagt Peter Sellars mit seiner Version eine radikale Neudeutung und verlegt 3. Akt: Wir schreiben das Jahr 1521, die Welt der Maya liegt in Schutt und Asche.
    [Show full text]