View of the Third's Arguably More Arcane Extension and Intensification of All the Salient Features of the Second." Peter Franklin in Grove Music Online
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Teacher Packet Arapahoe Philharmonic – Children’S Discovery Concert November 13, 2019
Teacher Packet Arapahoe Philharmonic – Children’s Discovery Concert November 13, 2019 Links to Music Period Descriptions https://www.classicsforkids.com/music/musical_period.php?id=Baroque Description and musical examples of the Baroque period. https://www.classicsforkids.com/music/musical_period.php?id=Classical Description and musical examples of the Classical period. https://www.classicsforkids.com/music/musical_period.php?id=Romantic Description and musical examples of the Romantic period. https://www.classicsforkids.com/music/musical_period.php?id=Modern Description and musical examples of the Modern period. Link to Music Games https://www.classicsforkids.com/games.html Games to explore where composers were from, find instruments in the orchestra, compose your own song and others. This is a very fun site! Link to Map Game to Find Composers Birth Country https://www.classicsforkids.com/composers/composers_map.php Link to Descriptions and Sounds of Each Instrument https://www.classicsforkids.com/music/instruments_orchestra.php Instruments of the orchestra descriptions and listening sound bites. Music Selections Performed in the Concert (in program order) Haydn, Symphony 104 https://www.youtube.com/watch?v=OitPLIowJ70 Tchaikovsky Symphony 6, mvt 1, https://www.youtube.com/watch?v=GCLcubGgSmk Tchaikovsky Symphony 4, mvt 4 Opening and last mvt., https://www.youtube.com/watch?v=PLHj-eekdNU Strauss, Also sprach Zarathustra, opening excerpt https://www.youtube.com/watch?v=ETveS23djXM Rossini, finale fr. William Tell Overture https://www.youtube.com/watch?v=j3T8-aeOrbg -
103 the Music Library of the Warsaw Theatre in The
A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska. -
1 Ludwig Van Beethoven Symphony #9 in D Minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion
1 Ludwig van Beethoven Symphony #9 in D minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion "Ebarme dich, mein Gott" 3 George Frideric Handel Messiah: Hallelujah Chorus 4 Wolfgang Amadeus Mozart Symphony 41 C, K.551 "Jupiter" 5 Samuel Barber Adagio for Strings Op.11 6 Wolfgang Amadeus Mozart Clarinet Concerto A, K.622 7 Ludwig van Beethoven Piano Concerto 5 E-Flat, Op.73 "Emperor" (3) 8 Antonin Dvorak Symphony No 9 (IV) 9 George Gershwin Rhapsody In Blue (1924) 10 Wolfgang Amadeus Mozart Requiem in D minor K 626 (aeternam/kyrie/lacrimosa) 11 George Frideric Handel Xerxes - Largo 12 Johann Sebastian Bach Toccata And Fugue In D Minor, BWV 565 (arr Stokowski) 13 Ludwig van Beethoven Symphony No 5 in C minor Op 67 (I) 14 Johann Sebastian Bach Orchestral Suite #3 BWV 1068: Air on the G String 15 Antonio Vivaldi Concerto Grosso in E Op. 8/1 RV 269 "Spring" 16 Tomaso Albinoni Adagio in G minor 17 Edvard Grieg Peer Gynt 1, Op.46 18 Sergei Rachmaninov Piano Concerto No 2 in C minor Op 18 (I) 19 Ralph Vaughan Williams Lark Ascending 20 Gustav Mahler Symphony 5 C-Sharp Min (4) 21 Peter Ilyich Tchaikovsky 1812 Overture 22 Jean Sibelius Finlandia, Op.26 23 Johann Pachelbel Canon in D 24 Carl Orff Carmina Burana: O Fortuna, In taberna, Tanz 25 Wolfgang Amadeus Mozart Serenade G, K.525 "Eine Kleine Nachtmusik" 26 Johann Sebastian Bach Brandenburg Concerto No 5 in D BWV 1050 (I) 27 Johann Strauss II Blue Danube Waltz, Op.314 28 Franz Joseph Haydn Piano Trio 39 G, Hob.15-25 29 George Frideric Handel Water Music Suite #2 in D 30 Wolfgang Amadeus Mozart Ave Verum Corpus, K.618 31 Johannes Brahms Symphony 1 C Min, Op.68 32 Felix Mendelssohn Violin Concerto in E minor, Op. -
My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
The German Romantic Movement
The German Romantic Movement Start date 27 March 2020 End date 29 March 2020 Venue Madingley Hall Madingley Cambridge CB23 8AQ Tutor Dr Robert Letellier Course code 1920NRX040 Director of ISP and LL Sarah Ormrod For further information on this Zara Kuckelhaus, Fleur Kerrecoe course, please contact the Lifelong [email protected] or 01223 764637 Learning team To book See: www.ice.cam.ac.uk or telephone 01223 746262 Tutor biography Robert Ignatius Letellier is a lecturer and author and has presented some 30 courses in music, literature and cultural history at ICE since 2002. Educated in Grahamstown, Salzburg, Rome and Jerusalem, he is a member of Trinity College (Cambridge), the Meyerbeer Institute Schloss Thurmau (University of Bayreuth), the Salzburg Centre for Research in the Early English Novel (University of Salzburg) and the Maryvale Institute (Birmingham) as well as a panel tutor at ICE. Robert's publications number over 100 items, including books and articles on the late seventeenth-, eighteenth- and early nineteenth-century novel (particularly the Gothic Novel and Sir Walter Scott), the Bible, and European culture. He has specialized in the Romantic opera, especially the work of Giacomo Meyerbeer (a four-volume English edition of his diaries, critical studies, and two analyses of the operas), the opera-comique and Daniel-François-Esprit Auber, Operetta, the Romantic Ballet and Ludwig Minkus. He has also worked with the BBC, the Royal Opera House, Naxos International and Marston Records, in the researching and preparation of productions. University of Cambridge Institute of Continuing Education, Madingley Hall, Cambridge, CB23 8AQ www.ice.cam.ac.uk Course programme Friday Please plan to arrive between 16:30 and 18:30. -
Der Vampyr De Heinrich Marschner
DESCUBRIMIENTOS Der Vampyr de Heinrich Marschner por Carlos Fuentes y Espinosa ay momentos extraordinarios Polidori creó ahí su obra más famosa y trascendente, pues introdujo en un breve cuento de en la historia de la Humanidad horror gótico, por vez primera, una concreción significativa de las creencias folclóricas sobre que, con todo gusto, el vampirismo, dibujando así el prototipo de la concepción que se ha tenido del monstruo uno querría contemplar, desde entonces, al que glorias de la narrativa fantástica como E.T.A. Hoffmann, Edgar Allan dada la importancia de la Poe, Joseph Sheridan Le Fanu, Jules Verne y el ineludible Abraham Stoker aprovecharían y Hproducción que en ellos se generara. ampliarían magistralmente. Sin duda, un momento especial para la literatura fantástica fue aquella reunión En su relato, Polidori presenta al vampiro, Lord Ruthven, como un antihéroe integrado, a de espléndidos escritores en Ginebra, su manera, a la sociedad, y no es difícil identificar la descripción de Lord Byron en él (sin Suiza, a mediados de junio de 1816 (el mencionar que con ese nombre ya una escritora amante de Byron, Caroline Lamb, nombraba “año sin verano”), cuando en la residencia como Lord Ruthven un personaje con las características del escritor). Precisamente por del célebre George Gordon, Lord Byron, eso, por la publicación anónima original, por la notoria emulación de las obras de Byron y a orillas del lago Lemán, departieron el su fama, las primeras ediciones del cuento se atribuyeron a él, aunque con el tiempo y una baronet Percy Bysshe Shelley, notable incómoda cantidad de disputas, terminara por dársele el crédito al verdadero escritor, que poeta y escritor, su futura esposa Mary fuera tío del poeta y pintor inglés Dante Gabriel Rossetti. -
Masarykova Univerzita Filozofická Fakulta Ústav Hudební Vědy Teorie A
Masarykova univerzita Filozofická fakulta Ústav hudební vědy Teorie a provozovací praxe staré hudby Ing. Blanka Šedivcová Karnetová Bakalářská diplomová práce Opera Il Demofoonte (1771) Jana Antonína Koželuha Vedoucí práce: doc. PhDr. Jana Perutková, Ph.D. Brno 2016 Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené prameny a literaturu. .................................................... 2 Na tomto místě bych ráda poděkovala doc. PhDr. Janě Perutkové, Ph.D., za odborné vedení práce, cenné rady a trpělivost. Poděkování patří rovněž mým nejbližším za podporu. 3 OBSAH: 1. Úvod 5 2. Stručný životopis autora 7 3. Okolnosti provedení opery Il Demofoonte J. A. Koželuha - stav bádání 10 3.1 Primární prameny 10 3.2 Opera Il Demofoonte J. A. Koželuha v lexikách a monografiích 11 3.3 Dizertační práce Johann Anton Koželuch (1738-1814) – Život a dílo. 12 3.4 Diplomová práce Opera „Il Demofoonte“ Jana Antonína Koželuha. 14 4. J. A. Koželuh: Opera Il Demofoonte v souvislostech 15 4.1 Opera Il Demofoonte v kontextu tzv. „neapolského“ operního stylu 15 4.2 Přehled zhudebnění libreta Il Demofoonte Pietra Metastasia 17 4.3 Stručný děj opery 23 4.4 Rozdělení rolí 24 4.5 Koželuhova práce s textem libreta 26 5. Hudební zpracování opery 28 6. Edice partitury 37 6.1. Ediční zpráva 37 6.2. Popis pramene 38 6.3. Soupis edičních zásahů 40 7. Závěr 47 8. Resumé 48 9. Seznam použitých pramenů a literatury 49 10. Příloha: Edice Sinfonie, Árie Timanta a Duetta Dircey a Timanta z opery Il Demofoonte Jana Antonína Koželuha 52 1. Úvod Existuje mnoho indicií, z nichž lze vyvodit, že žánr italské opery byl v kulturním prostředí Prahy 18. -
Howard Mayer Brown Microfilm Collection Guide
HOWARD MAYER BROWN MICROFILM COLLECTION GUIDE Page individual reels from general collections using the call number: Howard Mayer Brown microfilm # ___ Scope and Content Howard Mayer Brown (1930 1993), leading medieval and renaissance musicologist, most recently ofthe University ofChicago, directed considerable resources to the microfilming ofearly music sources. This collection ofmanuscripts and printed works in 1700 microfilms covers the thirteenth through nineteenth centuries, with the bulk treating the Medieval, Renaissance, and early Baroque period (before 1700). It includes medieval chants, renaissance lute tablature, Venetian madrigals, medieval French chansons, French Renaissance songs, sixteenth to seventeenth century Italian madrigals, eighteenth century opera libretti, copies ofopera manuscripts, fifteenth century missals, books ofhours, graduals, and selected theatrical works. I Organization The collection is organized according to the microfilm listing Brown compiled, and is not formally cataloged. Entries vary in detail; some include RISM numbers which can be used to find a complete description ofthe work, other works are identified only by the library and shelf mark, and still others will require going to the microfilm reel for proper identification. There are a few microfilm reel numbers which are not included in this listing. Brown's microfilm collection guide can be divided roughly into the following categories CONTENT MICROFILM # GUIDE Works by RISM number Reels 1- 281 pp. 1 - 38 Copies ofmanuscripts arranged Reels 282-455 pp. 39 - 49 alphabetically by institution I Copies of manuscript collections and Reels 456 - 1103 pp. 49 - 84 . miscellaneous compositions I Operas alphabetical by composer Reels 11 03 - 1126 pp. 85 - 154 I IAnonymous Operas i Reels 1126a - 1126b pp.155-158 I I ILibretti by institution Reels 1127 - 1259 pp. -
Brahms 17 US 9/10/06 5:15 Pm Page 4
555849bk Brahms 17 US 9/10/06 5:15 pm Page 4 held until 1868, when he moved to Berlin. His protagonist, better known perhaps as the False Dmitry, DDD employment in Hanover allowed him time for is more familiar from Russian operatic treatments of this composition, and among fifty works from this period of episode in their history. Brahms, who had already BRAHMS 8.555849 his life were two violin concertos and four concert transcribed Joachim’s Shakespearian Hamlet Overture overtures. The second of these last was his Demetrius for piano duet and his Henry IV for two pianos, arranged Overture, Op. 6, based on the 1854 tragedy by Hermann the Demetrius Overture, which Joachim had dedicated Grimm, son of Wilhelm Grimm, responsible, with his to Franz Liszt, with whom he was to break definitively Four Hand Piano Music Vol. 17 brother Jakob, for the famous Kinder- und Hausmärchen in 1857, for two pianos, completing it during the first (Grimms’ Fairy Tales). The play itself, not a great years of his friendship with the composer. Piano Concerto No. 1 success at its first staging, treats the same subject as Schiller’s unfinished drama of the same name. The Keith Anderson (Version for two pianos) The Demetrius Overture was recorded using the manuscript with the signature “Nachlass Joseph Joachim, Musikalien, Nr. 22”, kept by the Staats and Hamburg University Library “Carl von Ossietzky”. Silke-Thora Matthies • Christian Köhn Silke-Thora Matthies and Christian Köhn The pianists Silke-Thora Matthies and Christian Köhn, with individual solo careers, came together in 1986 to form a piano duo and played their first concert in public the last day of October 1988. -
Bibliographische Mitteilungen Aus Der Theatersammlung Rainer Theobald Nr
Bibliographische Mitteilungen aus der Theatersammlung Rainer Theobald Nr. 5 Bibliographische Mitteilungen aus der Theatersammlung Rainer Theobald Nr. 5 Szene aus "Il Torneo a Piedi". Ferrara 1631; Kupferstich. Theatersammlung Rainer Theobald Vor 1800 in Italien gedruckte Libretti von Opern, Singspielen und Balletten, Nach Druckorten und chronologisch sortiert. Wo eine größere Anzahl von Stücken den gleichen Druckort und die gleiche Jahreszahl aufweist, kann es sich um Werkausgaben oder Anthologien handeln. Bologna 1673 Moda, La. Fauola morale. Rapresentata [!] in Musica nel Seminario di Luca [!]. Bologna 1673. 1673 Verità raminga, La. E’l disinganno. Drammi musicali ... aggiunti alla Moda. (Bologna 1673). 1721 Astarto. Drama per musica. Da rappresentarsi nel Teatro Malvezzi. Bologna (1721). 1742 Eumene. Dramma per musica. Da rappresentarsi nel Teatro Malvezzi. Bologna (1742). 1771 Orfeo, ed Euridice e Aristo, e Temira. Drammi per musica. Da rappresentarsi ... Bologna (1771). 1782 Albergatrice vivace, L’. Dramma giocoso per musica. Da rappresentarsi ... Bologna (1782). Casale 1739 Temistocle, Il. Dramma per musica. Da rappresentarsi nel Teatro ... 1739. Casale (1739). Cremona 1654 Avaritia depressa, L’. Fauoletta Morale. Rappresentata in Musica ... Cremona 1654. Stand: 19.11.2020 – Dr. Rainer Theobald – Kontakt: dr.rainer.theobald (at) web.de S. 1 Bibliographische Mitteilungen aus der Theatersammlung Rainer Theobald Nr. 5 Ferrara 1607 Filli di Sciro. Fauola Pastorale. (Ferrara 1607). 1631 Torneo a piedi, Il, e l’Inuenzione, ed Allegoria ... fatta rappresentare ... Ferrara 1631. Florenz 1620 Amorosa fede, L’. Tragicomedia pastorale. (Florenz 1620). 1646 Celio. Drama musicale. Rappresentato in Fiorenza ... Florenz (1646). 1688 Greco in Troia, Il. Festa teatrale rappresentata in Firenze ... Florenz 1688. 1729 Berenice, La. Dramma per musica. Da rappresentarsi in Livorno. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio -
Zombie Parsifal Kagen, Melissa the Opera Quarterly
Zombie Parsifal ANGOR UNIVERSITY Kagen, Melissa The Opera Quarterly DOI: 10.1093/oq/kbx022 PRIFYSGOL BANGOR / B Published: 30/12/2017 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Kagen, M. (2017). Zombie Parsifal: Undead Walkers and Post-Apocalyptic Stagings. The Opera Quarterly, 33(2), 122-139. https://doi.org/10.1093/oq/kbx022 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 28. Sep. 2021 Zombie Parsifal: Undead Walkers and Post-apocalyptic Stagings melissa kagen bangor university This essay locates zombies in Wagner’s Parsifal, interpreting them within the work’s original nineteenth-century context and reading recent productions in light of contemporary zombie studies. Immediately, a question arises: why zombies? Perhaps Kundry, the wandering Jewess, could be seen as an undead wanderer. Parsifal, too, is cursed to wander past endurance, and Amfortas clearly suffers from an inconvenient and painful immortality.