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Musical and Dramatic Structure in the Opera Buffa Finale
Trinity College Trinity College Digital Repository Faculty Scholarship Spring 1989 Musical and Dramatic Structure in the Opera Buffa Finale John Platoff Trinity College, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/facpub Part of the Musicology Commons Musical and Dramatic Structure in the Opera Buffa Finale* JOHN PLATOFF he study of the opera buffa of the late eighteenth century has for many years been virtually synonymous with the study of Mozart's mature operas. Scholars have recently shown an increased interest in the operas of Haydn, but operatic works by the leading contemporaries of these two great figures remain almost completely unknown.l It is thus not surprising that what is believed to 191 be true about the finale in opera buffa applies quite well to Mozart's finales, but far less well to those of Paisiello, Salieri, Martin y Soler, and Volume 7 ? Number 2 * Spring 1989 TheJournal of Musicology ? 1989 by the Regents of the University of California * A shorter version of this paper was presented at the annual meeting of the American Musicological Society, Louisville, Kentucky, in October 1983. I am grateful to Leonard B. Meyer, Ruth Montgomery, Gary Tomlinson, and Piero Weiss for many useful suggestions. Studies of Mozart's Viennese operatic contemporaries have been very limited in number. Those that deal in some detail with musical matters (as opposed to biographical or bibliographical issues) include Hermann Abert, W. A. Mozart: neubearbeitete und er- weiterteAusgabe von OttoJahns Mozart, 8th ed., 2 vols. (Leipzig, 1973-75), in particular the chapter on "Opera Buffa," I, 332-82; idem, "Paisiellos Buffokunst und ihre Be- ziehungen zu Mozart," Archivfiir Musikwissenschaft I (1918-19), 402-21, repr. -
Scientific Comparison of Mozart and Salieri
Scientific comparison of Mozart and Salieri Mikhail Simkin "Do you feel quite sure of that, Dorian?" Our respondents failed the test. But could this be because they are a bunch of vulgar in taste "Quite sure." philistines? Fortunately, the quizzing software [2] records IP address, from which one can infer the "Ah! then it must be an illusion. The things one feels location of taker’s computer. Thus, I was able to absolutely certain about are never true. That is the fatality of faith, and the lesson of romance. How grave select the test scores received by people who you are! Don't be so serious. What have you or I to do downloaded the quiz from elite locations. For the with the superstitions of our age? … Play me something. analysis I chose Ivy League schools and Oxbridge Play me a nocturne, Dorian ..." (if not for any other reason, than because I did time in those places). The average elite score is 6.25 out -- Oscar Wilde, The Picture of Dorian Gray of 10 or 62.5% correct. Do you feel quite sure that Mozart was a genius and Salieri an envious mediocrity, and that their music 3000 cannot be even compared? To check whether this is an illusion I wrote the 2500 "Mozart or Salieri?" quiz [1]. It consists of ten one-minute audio clips. Some of them are from Mozart, other – from Salieri. The takers are to 2000 determine the composer. Though I selected some of the most acclaimed Mozart’s music for the quiz, people had great difficulties doing it. -
Une Histoire De La Réception De La Donna Del Lago Au Théâtre Royal Italien De 1824 À 1848
6 « Fatale expérience » ou « fête pour le public des Italiens » ? Une histoire de la réception de La donna del lago au Théâtre royal Italien de 1824 à 1848 a donna del lago connaît cent treize représentations au Théâtre royal Italien entre 1824 et 1848. À cela s’ajoutent onze représentations séparées de l’acte II. C’est L donc bien, si l’on en croit les contemporains, « un opéra de répertoire »1. Cette expression ne désigne pas une réalité harmonieuse dont le secret tiendrait à la perfection de l’œuvre elle-même. Elle procède d’une construction dans le temps, au fil des attentes, des colères et des bonheurs du public vis-à-vis des artistes et de l’administration. C’est donc sous la plume même des contemporains que l’on peut faire émerger les grands enjeux d’une histoire de la réception de La donna del lago au Théâtre-Italien. Bien sûr, il serait difficile, impossible même, de retracer ici toute cette histoire. Notre premier choix consistera donc à nous interroger plus longuement sur la création, décisive pour saisir les éléments qui reviendront par la suite de façon récurrente. Notre second choix sera de privilégier, non pas la musique de l’opéra telle que la reçoivent les spectateurs parisiens, mais les questions de scénographie et d’interprétation. Les raisons justifiant cette approche constituent aussi les deux enjeux de notre propos. Le premier tient à la partition même de l’opéra, à son exigence première : la présence simultanée de trois premiers chanteurs, un soprano, un ténor, et un contralto. -
Antonio Salieri 18
ANTONIO SALIERI 18. 8. 1750 – 7. 5. 1825 „Promluvím za všechny pr ůměrné na sv ětě, já jsem jejich šampión, jejich svatý patron.“ Nezapomenutelná scéna na konci Formanova filmu Amadeus ! V ěta, kterou říká „génius pr ůměrnosti“, Antonio Salieri, protihrá č Wolfganga Amadea Mozarta, shrnuje um ělecké poselství filmu, konfrontaci geniality a pr ůměrnosti. Byl Salieri zamindrákovaný intrikán, který trp ěl božským nadáním svého vrstevníka a který byl k jeho zni čení schopen použít všechny dostupné prost ředky a neštítil se ani vraždy? Jaký byl ve skute čnosti jeho život a p ředevším jeho tvorba? Hudební skladatel, dirigent a pedagog Antonio Salieri se narodil 18. srpna 1750 v italském Legnanu u Verony jako osmé dít ě v rodin ě obchodníka. Základy hudebního vzd ělání získal u svého o t řináct let staršího bratra Francesca, který jej vyu čoval h ře na housle, cembalo i zp ěvu, pozd ěji bral lekce klavíru u dómského varhaníka. V 15 letech osi řel. Do opatrovnictví jej p řijala významná a bohatá rodina v Benátkách a poskytla mu velkou podporu v dalším hudebním vzd ělání. Studoval zp ěv a harmonii u G. Pescettiho. Při návšt ěvě Benátek v roce 1766 rozpoznal jeho slibný talent víde ňský skladatel Florian Leopold Gassmann a odvedl šestnáctiletého Salieriho do Vídn ě. Postaral se o jeho další vzd ělávání a uvedl jej do spole čnosti. Salieri poznal významného operního reformátora Ch. W. Glucka, který se stal jeho mecenášem a p řítelem. První Salieriho opera Le donne letterate (Vzd ělané dámy, 1770) se do čkala nadšeného p řijetí. Po smrti Gassmanna v roce 1774 získal Salieri ve 24 letech titul dvorního skladatele a zárove ň byl jmenován kapelníkem italské opery ve Vídni. -
Musical Memoirs; Comprising an Account of the General State Of
PARKE (W. -T.). 40 Years principal Oboist, T.Roy. Cov. Gar., Musical Memoirs comprising an Accouut of the G-neral State of Music in England from the first commemoration of Handel in 1784 to 1830 interspersed with numerous Anec- dotes, Musical, Histrionic, etc., 2 vols, cr. 8vo'( 1830 typ.r 5~0 /W<# Ua • rJjb MUSICAL MEMOIRS. VOL. I. Digitized by the Internet Archive in 2011 with funding from National Library of Scotland http://www.archive.org/details/musicalmemoirsv100park X MUSICAL MEMOIRS; COMPRISING AN ACCOUNT OF THE GENERAL STATE OF MUSIC IN ENGLAND, FROM THE FIRST COMMEMORATION OF HANDEL, IN 1784, TO THE YEAR 1830. INTERSPERSED WITH NUMEROUS ANECDOTES, MUSICAL, HISTRIONIC, &c. BY W. T. PARKE, FORTY YEARS PRINCIPAL OBOIST TO THE THEATRE ROYAL COVENT GARDEN. IN TWO VOLUMES. VOL. I. LONDON: HENRY COLBURN AND RICHARD BENTLEY, NEW BURLINGTON STREET. 1830. PRINTED IiY A. J. VAIPY, KliD HON COURT, FLEET STREET. PREFACE. "When Music, heavenly maid! was young" the ancients celebrated her with all that fervour and felicity of expression for which they have been so universally and so justly famed; and the moderns, no less ambitious, though more feeble, have offered her all homage, notwithstanding the hoydenish tricks and caprices she has of late dis- played, to the deep regret of all her rational ad- mirers. For my own part, never having tasted of the Pierian spring, and therefore possessing only the cacoethes scribendi, (the zeal without the learning,) I must content myself with observing, in my own plain manner, that in writing an Ac- count of the General State of Music in England — VI PREFACE. -
GIUSEPPE NAVIGLIO Biograpy Born in Bari, He Studied Vocal Technique
GIUSEPPE NAVIGLIO Biograpy Born in Bari, he studied vocal technique with tenor Gino Lorusso Toma, Rina Filippini Del Monaco and Paride Venturi. He obtained a Master Degree in Letters with honors at the Bari University.After his operatic debut as Don Bartolo (Il Barbiere di Siviglia, 1992) and Tobia Mill (La cambiale di matrimonio), he was engaged as a soloist at the BonnOpera in Germany, where he sang in international productions such important operas as Gianni Schicchi, La Fanciulla del West, Tosca, Werther, Salome, Les Contes d’Hoffmann, Carmen, Il Barbiere di Siviglia, Léhar’s Fraschita, Sorozàbar’s Black, el Payaso, Blacher’s Habemeajaja. Since 1996 he regularly collaborates with the baroque music ensemble La Cappella della Pietà dei Turchini, directed by Antonio Florio in Naples, singing in the principal theatres, concert halls and festivals of the world (Vienna, Konzerthaus; Buenos Aires, Teatro Colon; Madrid, Zarzuela; Barcelona, Palau de la Musica; Paris, Théâtre des Champs Elysées, Rome, Teatro Olimpico and Accademia Filarmonica, Neaples, Teatro di San Carlo; Ferrara, Teatro Comunale; Genoa, Teatro Carlo Felice; Ravello Festival; Ravenna Festival etc.). He also made 17 recordings with international labels, obtaining such important musical press recognitions as Timbre de Platine, Diapason d’Or, etc. Among his principal operatic productions with La Cappella della Pietà dei Turchini: Provenzale’s La Stellidaura Vendicante and La Colomba Ferita, Latilla’s La Finta Cameriera, Vinci’s Li Zite‘n galera, Erighetta e Don Chilone and Partenope, Paisiello’s Pulcinella Vendicato nel ritorno a Marechiaro, , Boerio’s Il Disperato Innocente, Pergolesi’s La Serva Padrona, Jommelli’s Don Trastullo, Guglielmi’s La Pastorella Nobile., Cavalli’s Statira, Principessa di Persia, Purcell’s Dido and Eneas and The Fairy Queen. -
In Late Eighteenth- and Early Nineteenth-Century Vienna
John A. Rice, Rochester/Minnesota “LA FOLIA” IN LATE EIGHTEENTH- AND EARLY NINETEENTH-CENTURY VIENNA Several writers have commented on the fact that the minor-mode variation in the Andante con moto of Beethoven’s Fifth Symphony (mm. 167–74) sha- res its harmonic foundation with the first half of the melody known as Les fo- lies d’Espagne , or La folia (or follia ) d’Espagna .1 Whether Beethoven ex- pected listeners to recognize the passage as an allusion to La folia , and what such an allusion might signify, is the subject of debate. Certainly the passage stands out. Although the dotted rhythm and the rising 5–1–3 melodic contour allow us to recognize it as the beginning of a variation of the movement’s main theme, the new harmonic context (especially the replacement of the theme’s I–IV opening gesture with I–V) and the mechanical repetition of a single rhythmic motive convey a sense of this passage having been inserted into the movement from somewhere else–almost as it were a quotation. By interrupting the variation after only eight measures Beethoven seems to be saying that this was only a false start, a failed experiment, or perhaps even a joke. Many in Beethoven’s audience knew La folia . Viennese music lovers had plenty of opportunity to hear the tune and its distinctive harmonic framework in published and manuscript instrumental music and in opera. From the in- ventories and catalogues of the Viennese music dealer Johann Traeg we know that the celebrated Sonatas for Violin and Basso continuo of Archan- gelo Corelli’s Opus 5, presumably including the Variations on La folia (op. -
The Journal of John Waldie Theatre Commentaries, 1799-1830
UCLA The Journal of John Waldie Theatre Commentaries, 1799-1830 Title The Journal of John Waldie Theatre Commentaries, 1799-1830: Index Permalink https://escholarship.org/uc/item/0fm21652 Author Burwick, Frederick Publication Date 2008-06-23 eScholarship.org Powered by the California Digital Library University of California The Journal of John Waldie Index The Journal of John Waldie Index Abroad and at Home, or The King's Bench (C. G. 19 Nov. 1796), J. G. Holman (G VII, 304-5; IX, 152), W XLIX, 46 (1 June 1822). Actor of all Work (Hay 13 Aug. 1817), George Colman (G VIII, 624), W tLVII, 56 (12 Sept. 1829). Adelaide de Bergonia (Rome 27 Dec. 1817), Rossini (Gr VII, 247), W tXLV, 241 (28 Apr. 1820). Adelaide e Comingio (Milan 30 Dec. 1817), G. Facini (Gr VI, 480), W tLV, 439-40 (19 May 1828; tLV, 454 (25 May 1828); tLV, 457 (26 May 1828). Adelgitha, or The Fruits of a Single Error, (D. L. 30 April 1807), M. G. Lewis (G VIII, 39), W XXXI, 166 (2 Jan. 1815). Adelina (1810) Generali, (Gr III, 593), W tLIV. 157-9 (26 Oct. 1827); tLIV, 172-3 (29 Oct. 1827). Adolphe et Claire Delayrne W tXLII, 10 (23 Sept. 1818). Adolphe et Clara J. B. Marsollier W tXXXII, 148 (12 July 1815) Adopted Child (D. L. 1 May 1795), S. Birch (G VII, 190), W IV, 199 (2 Mar. 1800); IV, 201 (3 Mar. 1800). Gli Adoratori del Fuoco W tLV, 370-71 (10 May 1828); tLV, 411 (16 May 1828). Adrian and Orrila (C. -
John Larpent Plays
http://oac.cdlib.org/findaid/ark:/13030/tf1h4n985c No online items John Larpent Plays Processed by Dougald MacMillan in 1939; supplementary encoding and revision by Diann Benti in January 2018. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © 2000 The Huntington Library. All rights reserved. John Larpent Plays mssLA 1-2503 1 Overview of the Collection Title: John Larpent Plays Dates (inclusive): 1737-1824 Collection Number: mssLA 1-2503 Creator: Larpent, John, 1741-1824. Extent: 2,503 pieces. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection consists of official manuscript copies of plays submitted for licensing in Great Britain between 1737 and 1824 that were in the possession of John Larpent (1741-1824), the examiner of plays, at the time of his death in 1824. The collection includes 2,399 identified plays as well as an additional 104 unidentified pieces including addresses, prologues, epilogues, etc. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher. -
<I>Così Fan Tutte</I>: Brilliance Or Buffoonery?
Musical Offerings Volume 2 Number 2 Fall 2011 Article 1 9-1-2011 Così fan tutte: Brilliance or Buffoonery? Sarah Whitfield Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Musicology Commons, and the Music Performance Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Whitfield, Sarah (2011) "Così fan tutte: Brilliance or Buffoonery?," Musical Offerings: Vol. 2 : No. 2 , Article 1. DOI: 10.15385/jmo.2011.2.2.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol2/iss2/1 Così fan tutte: Brilliance or Buffoonery? Document Type Article Abstract Hardly any opera has endured more scrutiny and self-preserving apology than Mozart’s Così fan tutte. Flagrant opposition and a long string of “rescue” attempts shroud the receptive history of the work. Since its premiere, Così fan tutte has long been recognized as a problem opera. Many critics found it implausible that Mozart—the consummate composer and man that warranted their idolization—could have stooped so low as to agree to such an immoral plot. The great beauty in Mozart’s musical parody is that it at once mocks and transforms the supposed superficial experiment of Lorenzo Da Ponte’s libretto. -
Bibliografia Essenziale Su Antonio Salieri Ed Europa Riconosciuta
BIBLIOGRAFIA ESSENZIALE SU ANTONIO SALIERI ED EUROPA RICONOSCIUTA a cura di Francesco Degrada A. Monografie, studi sulla vita e sul teatro W. B o l l e r t , Antonio Salieri und die italieni - di A. Salieri sche Oper, in id., Aufsätze zur Musikgeschich - L . Da Po n t e, M e m o r i e, New Yo r k , 1 8 2 3 - 2 7 ; te, Bottrop, 1938, pp. 43-128. 1 8 2 9 - 3 02 [tra le numerose edd. m o d e r n e : L . M . J. E . B r o w n , S chubert and Salieri, i n Da Po n t e, M e m o r i e. Libretti mozartiani, M i- «Monthly Musical Record», L X X X V I I I lano, Garzanti, 1976]. (1958), pp. 211-219. F. Ro c h l i t z , Antonio Salieri, Ne k r o l o g , in «All- K.M. Pisarowitz, Salieriana: eine streiflichten - gemeine Theaterzeitung und Unterhalt u n g s- de Dokumentarstudie, in «Mitteilungen der blatt für Freunde der Ku n s t , Literatur und Internationalen Stiftung Mozarteum», IX/3-4 des geseligen Lebens», XVIII/99 (1825), (1960), pp. 11-14. pp. 405-407. A .B o n o c c o r s i , Antonio Salieri e il suo Fal s t a f f , M. Kelly, Reminiscences of the King’s Theatre, in A . Damerini (a cura di), Volti musicali di L o n d o n , 1826 [ed. m o d . a cura di R. -
1. Title Page
MUSIC IN PUBLIC LIFE: VIENNESE REPORTS FROM THE ALLGEMEINE MUSIKALISCHE ZEITUNG, 1798-1804 A dissertation submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Carol Padgham Albrecht May 2008 Dissertation by Carol Padgham Albrecht B.A., North Texas State University, 1974 M.M., North Texas State University, 1980 Ph.D., Kent State University, 2008 Approved by _______________________________ , Chair, Doctoral Dissertation Committee _______________________________ , Members, Doctoral Dissertation Committee _______________________________ , _______________________________ , _______________________________ , Accepted by _______________________________ , Director, Hugh A. Glauser School of Music _______________________________ , Dean, College of the Arts ii TABLE OF CONTENTS Page APPROVAL PAGE . ii TABLE OF CONTENTS . iii PREFACE . iv ACKNOWLEDGEMENTS . xiv CHAPTER I. VOLUME I: OCTOBER 3, 1798-SEPTEMBER 25, 1799 . 1 II. VOLUME II: OCTOBER 1, 1799-SEPTEMBER 24, 1800 . 28 III. VOLUME III: OCTOBER 1, 1800-SEPTEMBER 23, 1801 . 41 IV. VOLUME IV: OCTOBER 1, 1801–SEPTEMBER 22, 1802 . 103 V. VOLUME V: OCTOBER 1, 1802-SEPTEMBER 21, 1803 . 116 VI. VOLUME VI: OCTOBER 1, 1803-SEPTEMBER 26, 1804 . 170 APPENDIXES A. VIENNA HOFTHEATER SALARY LISTINGS, COMBINED CASTS . 231 B. GERMAN OPERAS GIVEN IN THE COURT THEATER, 1798-1800 . 233 C. ITALIAN OPERAS GIVEN IN THE COURT THEATER, 1798-1800 . 234 BIBLIOGRAPHY . 236 iii PREFACE The Allgemeine musikalische Zeitung (General