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Catalogs Files 3508 Arengario 2017 Opera Web.Pdf
Bruno e Paolo Tonini. Fotografia di Tano D’Amico L’ARENGARIO Via Pratolungo 192 STUDIO BIBLIOGRAFICO 25064 Gussago (BS) Dott. Paolo Tonini e Bruno Tonini ITALIA Web www.arengario.it E-mail [email protected] Tel. (+39) 030 252 2472 Fax (+39) 030 252 2458 L’ARENGARIO STUDIO BIBLIOGRAFICO OPERA Ottocento e Novecento Libretti per musica e bozzetti scenografici originali dalla collezione di Alberto De Angelis EDIZIONI DELL’ARENGARIO 1 Il teatro lirico è basato su un fatto straordinario, di natura totalmente inverosimile ed arbitraria: esso si poggia su personaggi che vivono cantando, per cui il teatro musicale non ha rapporti con la realtà e può spaziare nell’infinito della fantasia musicale. Alfredo Casella Finito di stampare un giorno di settembre del 2017 Tiratura di 60 esemplari 2 3 Melodramma bibliografico “Vado raccogliendo libretti per musica da oltre 50 anni ed avendone ormai una collezione di più di 32.000 mi lusingo di poterne dire qualcosa. Nei primi anni della mia Raccolta, mi vedevo guardato con un sorrisetto di compatimento non scevro d’ironia... in attesa che la fede e la tenacia mi dessero ragione perché io invece venivo sempre più convincendomi che il libretto aveva pur la sua importanza, anche prescindendo dai difetti letterari e poetici. E continuavo a raccogliere, fiducioso... Ebbi così la soddisfazione di convincermi che non avevo lavorato invano e che la mia tenacia, la mia pazienza, la mia fede avevano avuto ragione della noncuranza, dell’incredulità, dell’ironia di tanti! Sono già più di 250 gli studiosi che per una ragione o per l’altra hanno trovato nella mia Collezione aiuto di notizie e fonte di studio” (Ulderico Rolandi, Il libretto per musica attraverso i tempi, Roma, Edizioni dell’Ateneo, 1951; pp. -
Catalogo Nr.32 Primavera 2009
LIBRERIA MUSICALE GALLINI VIA GORANI 8 - 20123 MILANO (ITALY) - TEL. e FAX. 0272.000.398 CATALOGO NR.32 PRIMAVERA 2009 INDICE: Biografie ......................................pag. 2 (da nr. 1 a 150) Libri di argomento musicale ..........pag. 10 (da nr. 151 a 238) Libri su strumenti musicali .............pag. 15 (da nr. 239 a 291) Spartiti d’opera per canto e pf ......pag. 19 (da nr. 292 a 435) Lettere autografe di musicisti ........pag. 29 (da nr. 436 a 454) Lettere autografe di letterati ..........pag. 31 (da nr. 455 a 504) Condizioni di vendita ................................. pag. 38 / 39 - 2 - BIOGRAFIE DI MUSICISTI: 1) AA.VV. (a cura di G.Taborelli e V.Crespi): “Ritratti di compositori”. Milano, Banco Lariano e Amici della Scala 1990. 4° leg. ed. con sovracoperta pp.160 con moltissimi ritratti di compositori a colori e in b.n. Ricca bibliografia. Un semiologo dell’immagine (A.Veca), due storici dell’arte (V. Crespi e G.Fonio), uno storico della musica (F. Pulcini) e uno storico della cultura (G. Taborelli) prendono in esame una serie di ritratti di compositori dipinti dal rinascimento ai nostri giorni. A volte la loro effigie, a volte quella che posteri reverenti hanno loro attribuito. Molto bello e interessante. € 75,00 2) Félix CLEMENT: “Les musiciens célèbres depuis le seizième siècle jusqu’a nos jours Paris, Hachette 1873 (II edizione). 8° leg. edit., tit. oro al dorso, pp. XI + 660. Bibliografia. F.t. 40 ritratti di musicisti (acqueforti di Masson, Delblois e Massard). Ritratti di Gluck, Mondoville e della famiglia Mozart, riproduzioni eliografiche di incisioni settecentesche di A Durand. -
Donizetti Operas and Revisions
GAETANO DONIZETTI LIST OF OPERAS AND REVISIONS • Il Pigmalione (1816), libretto adapted from A. S. Sografi First performed: Believed not to have been performed until October 13, 1960 at Teatro Donizetti, Bergamo. • L'ira d'Achille (1817), scenes from a libretto, possibly by Romani, originally done for an opera by Nicolini. First performed: Possibly at Bologna where he was studying. First modern performance in Bergamo, 1998. • Enrico di Borgogna (1818), libretto by Bartolomeo Merelli First performed: November 14, 1818 at Teatro San Luca, Venice. • Una follia (1818), libretto by Bartolomeo Merelli First performed: December 15, 1818 at Teatro San Luca,Venice. • Le nozze in villa (1819), libretto by Bartolomeo Merelli First performed: During Carnival 1820-21 at Teatro Vecchio, Mantua. • Il falegname di Livonia (also known as Pietro, il grande, tsar delle Russie) (1819), libretto by Gherardo Bevilacqua-Aldobrandini First performed: December 26, 1819 at the Teatro San Samuele, Venice. • Zoraida di Granata (1822), libretto by Bartolomeo Merelli First performed: January 28, 1822 at the Teatro Argentina, Rome. • La zingara (1822), libretto by Andrea Tottola First performed: May 12, 1822 at the Teatro Nuovo, Naples. • La lettera anonima (1822), libretto by Giulio Genoino First performed: June 29, 1822 at the Teatro del Fondo, Naples. • Chiara e Serafina (also known as I pirati) (1822), libretto by Felice Romani First performed: October 26, 1822 at La Scala, Milan. • Alfredo il grande (1823), libretto by Andrea Tottola First performed: July 2, 1823 at the Teatro San Carlo, Naples. • Il fortunate inganno (1823), libretto by Andrea Tottola First performed: September 3, 1823 at the Teatro Nuovo, Naples. -
Pacini, Parody and Il Pirata Alexander Weatherson
“Nell’orror di mie sciagure” Pacini, parody and Il pirata Alexander Weatherson Rivalry takes many often-disconcerting forms. In the closed and highly competitive world of the cartellone it could be bitter, occasionally desperate. Only in the hands of an inveterate tease could it be amusing. Or tragi-comic, which might in fact be a better description. That there was a huge gulf socially between Vincenzo Bellini and Giovanni Pacini is not in any doubt, the latter - in the wake of his highly publicised liaison with Pauline Bonaparte, sister of Napoleon - enjoyed the kind of notoriety that nowadays would earn him the constant attention of the media, he was a high-profile figure and positively reveled in this status. Musically too there was a gulf. On the stage since his sixteenth year he was also an exceptionally experienced composer who had enjoyed collaboration with, and the confidence of, Rossini. No further professional accolade would have been necessary during the early decades of the nineteenth century On 20 November 1826 - his account in his memoirs Le mie memorie artistiche1 is typically convoluted - Giovanni Pacini was escorted around the Conservatorio di S. Pietro a Majella of Naples by Niccolò Zingarelli the day after the resounding success of his Niobe, itself on the anniversary of the prima of his even more triumphant L’ultimo giorno di Pompei, both at the Real Teatro S.Carlo. In the Refettorio degli alunni he encountered Bellini for what seems to have been the first time2 among a crowd of other students who threw bottles and plates in the air in his honour.3 That the meeting between the concittadini did not go well, this enthusiasm notwithstanding, can be taken for granted. -
Messa Per Rossini
Messa per Rossini L'oeuvre oubliée... 13 novembre 2018 30 ans Un événement exceptionnel pour fêter les 30 ans du chœur ! 1792 – 1868 Pour le 150è anniversaire de la disparition du maître, le chœur Arianna présente pour la première fois dans notre région une œuvre du Répertoire Romantique majeure et pourtant oubliée : Messa per Rossini composée en 1868-69 par Antonio Antonio Carlo Antonio Federico Alessandro BUZZOLA BAZZINI PEDROTTI CAGNONI RICCI NINI Requiem – Kyrie Dies irae Tuba mirum Quid sum miser Recordare Jesu Ingemisco Raimondo Carlo Gaetano Pietro Lauro Teodulo Giuseppe BOUCHERON COCCIA GASPARI PLATANIA ROSSI MABELLINI VERDI Confutatis – Oro supplex Lacrymosa Domine Jesu Sanctus Agnus Dei Lux æterna Libera me 13 novembre 1868, l'Europe musicale est sous le choc : Rossini est mort ! Les hommages pleuvent de toutes parts : compositeurs, musiciens, politiciens ou simples mélomanes, aucun ne trouve assez de mots pour exprimer son désarroi face à cette perte immense. Il est vrai que, de son vivant même, Gioacchino Rossini est devenu une légende, lui qui, après avoir composé des chefs-d'œuvres immortels, dont plus de trente opéras, a décidé, dès 1830, de se retirer en n'écrivant plus que pour ses amis. Cette longue « retraite » voit naître tout de même des œuvres extrêmement célèbres telles que le Stabat Mater (1841) ou la Petite Messe Solennelle (1864). L'Italie est en deuil Verdi souhaite un hommage au maître digne de son talent, de son génie. Non pas un simple concert hommage ou des discours... Il faut une œuvre monumentale qui rappelle au monde, aux générations futures, à quel point Rossini était immense. -
LE MIE MEMORIE ARTISTICHE Giovanni Pacini
LE MIE MEMORIE ARTISTICHE Giovanni Pacini Vertaling: Adriaan van der Tang 1 2 VOORWOORD De meeste operaliefhebbers nemen als vanzelfsprekend aan dat drie componisten in de eerste helft van de negentiende eeuw het muziekleven in Italië domineerden: Rossini, Donizetti, Bellini. Deze veronderstelling is enerzijds gebaseerd op het feit dat een flink aantal werken van hun hand tot op de huidige dag overal ter wereld wordt uitgevoerd, anderzijds op een ruime belangstelling van onder- zoekers, die geleid heeft tot talrijke wetenschappelijke publicaties die mede hun weg vonden naar een ruimer publiek. Ook de fonografische industrie heeft zich de laatste vijftig, zestig jaar voornamelijk geconcentreerd op de populaire opera’s van dit drietal, naast werken die in artistiek of muziek- historisch opzicht van belang werden geacht. Sinds een aantal jaren worden, vooral in kleinere Italiaanse theaters en zomerfestivals, in toenemende mate opera’s uitgevoerd van vergeten meesters, die bij nadere beschouwing in genoemd tijdperk wel degelijk een rol van betekenis hebben vervuld. Registraties van deze opvoeringen worden door de ware melomaan begroet als een welkome ont- dekking, evenals de studio-opnamen die wij te danken hebben aan de prijzenswaardige initiatieven van Opera Rara, waardoor men kennis kan nemen van de muziek van componisten als Mayr, Mercadante, Meyerbeer, Pacini, Paër en anderen. Een van deze vergeten componisten, Giovanni Pacini, speelt met betrekking tot onze algemene kennis van de negentiende-eeuwse operahistorie een bijzondere rol. Zijn autobiografie Le mie memorie artistiche uit 1865 is een belangrijke bron van informatie voor muziekwetenschappers - en andere geïnteresseerden - die zich toeleggen op het bestuderen van de ontwikkeling van de opera in de belcantoperiode. -
The Art of Music :A Comprehensive Ilbrar
1wmm H?mi BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT or Hetirg W, Sage 1891 A36:66^a, ' ?>/m7^7 9306 Cornell University Library ML 100.M39 V.9 The art of music :a comprehensive ilbrar 3 1924 022 385 342 Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022385342 THE ART OF MUSIC The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians Editor-in-Chief DANIEL GREGORY MASON Columbia UniveTsity Associate Editors EDWARD B. HILL LELAND HALL Harvard University Past Professor, Univ. of Wisconsin Managing Editor CESAR SAERCHINGER Modem Music Society of New Yoric In Fourteen Volumes Profusely Illustrated NEW YORK THE NATIONAL SOCIETY OF MUSIC Lillian Nordica as Briinnhilde After a pholo from life THE ART OF MUSIC: VOLUME NINE The Opera Department Editor: CESAR SAERCHINGER Secretary Modern Music Society of New York Author, 'The Opera Since Wagner,' etc. Introduction by ALFRED HERTZ Conductor San Francisco Symphony Orchestra Formerly Conductor Metropolitan Opera House, New York NEW YORK THE NASTIONAL SOCIETY OF MUSIC i\.3(ft(fliji Copyright, 1918. by THE NATIONAL SOCIETY OF MUSIC, Inc. [All Bights Reserved] THE OPERA INTRODUCTION The opera is a problem—a problem to the composer • and to the audience. The composer's problem has been in the course of solution for over three centuries and the problem of the audience is fresh with every per- formance. -
Orchestral Conducting in the Nineteenth Century," Edited by Roberto Illiano and Michela Niccolai Clive Brown University of Leeds
Performance Practice Review Volume 21 | Number 1 Article 2 "Orchestral Conducting in the Nineteenth Century," edited by Roberto Illiano and Michela Niccolai Clive Brown University of Leeds Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Performance Commons, and the Other Music Commons Brown, Clive (2016) ""Orchestral Conducting in the Nineteenth Century," edited by Roberto Illiano and Michela Niccolai," Performance Practice Review: Vol. 21: No. 1, Article 2. DOI: 10.5642/perfpr.201621.01.02 Available at: http://scholarship.claremont.edu/ppr/vol21/iss1/2 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized editor of Scholarship @ Claremont. For more information, please contact [email protected]. Book review: Illiano, R., M. Niccolai, eds. Orchestral Conducting in the Nineteenth Century. Turnhout: Brepols, 2014. ISBN: 9782503552477. Clive Brown Although the title of this book may suggest a comprehensive study of nineteenth- century conducting, it in fact contains a collection of eighteen essays by different au- thors, offering a series of highlights rather than a broad and connected picture. The collection arises from an international conference in La Spezia, Italy in 2011, one of a series of enterprising and stimulating annual conferences focusing on aspects of nineteenth-century music that has been supported by the Centro Studi Opera Omnia Luigi Boccherini (Lucca), in this case in collaboration with the Società di Concerti della Spezia and the Palazzetto Bru Zane Centre de musique romantique française (Venice). -
Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'. -
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini. -
AS TRILHAS AMAZÔNICAS DE ETTORE BOSIO: Trajetória, Música E Presença No Meio Artístico-Musical Em Belém (1892- 1936)
UNIVERSIDADE FEDERAL DO PARÁ INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA SOCIAL DA AMAZÔNIA AMANDA BRITO PARACAMPO AS TRILHAS AMAZÔNICAS DE ETTORE BOSIO: trajetória, música e presença no meio artístico-musical em Belém (1892- 1936) Belém 2018 AMANDA BRITO PARACAMPO AS TRILHAS AMAZÔNICAS DE ETTORE BOSIO: trajetória, música e presença no meio artístico-musical em Belém (1892- 1936) Dissertação apresentada ao Programa de Pós-Graduação em História Social da Amazônia da Universidade Federal do Pará, como requisito parcial para obtenção do título de Mestre em História. Orientador: Prof. Dr. Antônio Maurício Dias da Costa. Belém 2018 Dados Internacionais de Catalogação na Publicação (CIP) Sistema de Bibliotecas da Universidade Federal do Pará Gerada automaticamente pelo módulo Ficat, mediante os dados fornecidos pelo(a) autor(a) P221t Paracampo, Amanda Brito AS TRILHAS AMAZÔNICAS DE ETTORE BOSIO: trajetória, música e presença no meio artístico-musical de Belém (1892-1936) / Amanda Brito Paracampo. – 2018 217 f. : il. Dissertação (Mestrado) – Programa de Pós-graduação em História (PPGH), Instituto de Filosofia e Ciências Humanas, Universidade Federal do Pará, Belém, 2018. Orientação: Prof. Dr. Antônio Maurício Dias Costa 1. Ettore Bosio. 2. Música em Belém. 3. Século XIX-XX. 4. Trajetória musical. 5. Imigração italiana. I. Costa, Antônio Maurício Dias, orient. II. Título ________________________________________________________________________________ CDD 981.05 AMANDA BRITO PARACAMPO AS TRILHAS AMAZÔNICAS DE ETTORE BOSIO: trajetória, música e presença no meio artístico-musical em Belém (1892- 1936) Dissertação apresentada ao Programa de Pós-Graduação em História Social da Amazônia da Universidade Federal do Pará, como requisito parcial para obtenção do título de Mestre em História. -
Days of Bliss Are in Store: Antonino Pasculli's "Gran Trio Concertante
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Days of Bliss Are in Store: Antonino Pasculli's Gran Trio Concertante per Violino, Oboe, e Pianoforte su Motivi del Guglielmo Tell di Rossini Anna Pennington Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC DAYS OF BLISS ARE IN STORE: ANTONINO PASCULLI’S GRAN TRIO CONCERTANTE PER VIOLINO, OBOE, E PIANOFORTE SU MOTIVI DEL GUGLIELMO TELL DI ROSSINI By ANNA PENNINGTON A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. Degree Awarded: Summer Semester, 2007 Copyright © 2007 Anna Pennington All Rights Reserved The members of the Committee approve the treatise of Anna Pennington defended on May 7, 2007. ______________________________ Eric Ohlsson Professor Directing Treatise ______________________________ Richard Clary Outside Committee Member ______________________________ Frank Kowalsky Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS For the generous encouragement of Eric Ohlsson in completing this project, I am greatly indebted. I also wish to thank Sandro Caldini and Olga Visentini, for their unselfish help in obtaining the trio. iii TABLE OF CONTENTS ABSTRACT ................................................................................................................... v