DOCSLIB.ORG

Modern Song-Writers. III. Anton Rubinstein Author(S): Fr. Niecks Source: the Musical Times and Singing Class Circular, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modern Song-Writers. III. Anton Rubinstein Author(S): Fr. Niecks Source: the Musical Times and Singing Class Circular, Vol Modern Song-Writers. III. Anton Rubinstein Author(s): Fr. Niecks Source: The Musical Times and Singing Class Circular, Vol. 26, No. 504 (Feb. 1, 1885), pp. 67-69 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3356965 Accessed: 18-12-2015 17:45 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 202.28.191.34 on Fri, 18 Dec 2015 17:45:26 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-FEBRUARY I, 1885. 67 taken, and both Anton and Nicholas studied for two THE MUSICAL TIMES years harmony and counterpoint most assiduously AND SINGING-CLASS CIRCULAR. under this learned theorist. F6tis relates that Anton Rubinstein told him one day that no sign of talent FEBRUARY I, 1885. showed itself in him. " I had the will to write great things, and indeed undertook pianoforte concertos, MODERN SONG-WRITERS operas, cantatas, and symphonies; but all this was III.-ANTON RUBINSTEIN. only smirched paper." This is a startling revelation, not because Nicholas never distinguished him- FR. NIECKS. only By self as a composer, but even more because one of THE subject of the present article differsno less the most strikingqualities of Anton as a composer is from those of the preceding ones than these differ his easy and copious productivity. A severe illness from each other. Sweet pensiveness we found to be of her husband, soon followed by death (1846), re- the most prominentfeature in Robert Franz's artistic called Madame Rubinstein to Moscow, whither her character, and quick reflectiveness in Franz Liszt's; younger son accompanied her. Anton Rubinstein in Rubinstein's we shall find it to be freshimpulsive- went to Vienna, and there made a livelihood by ness. teaching. In the following year he undertook, with Anton Gregory Rubinstein was born on Novem- the flautist Heindl, a concert tour in Hungary. He ber 30, 1829, at the Moldavian village of Wech- then intended to go to America, but was persuaded wotynez, in the neighbourhood of Jassy, near the to stay in Berlin, and there he remained, chiefly frontierof the Russian province Bessarabia. Soon occupied with composition, till the outbreak of the after his birth the family settled at Moscow, where revolution in 1848 induced him to betake himself to his father established a pencil manufactory. The Russia. He chose St. Petersburg for his residence, boy's love for music began to show itself at an early and there for some years gave lessons and an annual age, for whenever his mother, who was a good concert. Of course, he was not idle as a com- pianist, played, the little fellow took up a position poser. One of the works he then wrote, the Opera near the instrument and watched and listened un- " Dmitri of the Don," composed in 1849 and per- weariedly. From his sixth year he received musical formed in 1852, drew upon him the attention of instruction from his mother, and in two years had the Grand Duchess Helen, who invited him to take made such progress that he was placed under Alex- up his abode in her palace of Kamenoi Ostrov. In ander Villoing, a pupil of Field's, and the best piano- 1854 he went once more abroad, and remained absent forte teacher of the town.* Already in 1838-that from Russia for four years. The Counts Wielhorski is, in his ninth year-he made in Moscow his first advised him, and their and the Grand Duchess's public appearance as a pianist. A year later he went liberality enabled him to do this, their wish being with his master to Paris. At a concert which he that he should make himself known and perfect him- gave there in 1840, the boy of ten played composi- self. Till the middle of 1855 he stayed in Germany, tions by Bach, Beethoven, Hummel, Chopin, and and then proceeded to Paris. England saw and heard Liszt, and won the applause not only of the general him again in 1857. Rubinstein had ceased to be public, but also of the many distinguished pianists merely a promising youth, he now presented himself that had come to hear him. Among these latter was as a mature artist. On his reappearance in Western Liszt, who congratulated the young prodigy, and en- Europe he was at once, and unanimously, acknow- couraged him to study diligently,advising his master ledged a virtuosoof the firstrank. " His prodigious to take him to Germany, the most favourable ground execution," wrote a Parisian critic in 1857, " com- for the development of musical talent. On leaving bines the force and impetuosity of Liszt and the France, Anton Rubinstein visited firstEngland, and delicacy of touch which characterised the playing then travelled very slowly homeward, stopping and of Chopin. No difficultyarrests Rubinstein. He playing here and there, by way of Holland, Germany, masters his instrument as a Cossack of the Don Denmark, and Sweden. Moscheles, who then lived masters his full-maned, long-tailed horse, whose in London, and heard him, mentions the "Russian savage ardour he bridles at will." But, as the same boy whose fingersare as light as feathers and yet as critic remarked, he was not content with this, he " strong as a man's in his diary (1842), and does not aimed also at the reputation of a composer, and his " hesitate to call him a rival ofThalberg." Schumann, ambition was of the highest. Rubinstein's activity reviewing, in 1843, in the Neue Zeitschriftfiir Musik, as a composer was then, as it is now, trulyprodigious. AntonRubinstein's(Op.i) "Undine,"j a studyfor piano- According to Fetis, he wrote between the years forte,speaks of the young composer as "the talented 1848-1857 fifty.works, most of them of large boy who has already acquired a high reputation as a dimensions, including four operas, the oratorio, player." Let us see what the elder composer has to " Paradise Lost," four symphonies (among which is say about the youngest of his confreres. "Whether the Ocean Symphony, one of his chefs-d'ceuvre),six he has productive talent can neither be affirmednor quartets, one octet, five fantasias, three trios, and denied from the present achievement. That in the three sonatas. On his return to Russia, in 1858, little piece the melodic element --without being Rubinstein was appointed Court pianist, and soon exactly a beautiful melody--predominates, gives after concert conductor. The Russian Musical hope that he has begun to understand the true Society, founded in 1859, chose him for director, nature of music, and will develop in this sense more and the St. Petersburg Conservatorio opened in 1862 and more felicitously." Rubinstein returned to with him as principal. In 1867, however, he gave up Russia in 1843, and played during the year's stay these posts, and made a concert tour,which resembled he made there at several concerts. After this he a triumphal procession; Berlin, Vienna, Paris, and went with his mother and younger brother,Nicholas, London vieing with each other in their admiration to Berlin, as Moscow did not offerthe advantages of the great artist. This is not the time and place needful for the proper and full development of their to describe Rubinstein's repeated concert tours in talents. Meyerbeer advised Madame Rubinstein to Europe, or that in America (1872-73), where he is place her sons under Professor Dehn. The advice was said to have played in eight months at 215 concerts, * " and earned 351,00ooo dollars. Nor shall I attempt to Heugel, of Paris, published a ' de Piano by Villoing. t This is one of the ten compositionsMsthode subsequently cancelled by give a detailed account of his subsequent public Rubinstein, who then began to count anew with Op. I. achievements in Russia. His private life too-he This content downloaded from 202.28.191.34 on Fri, 18 Dec 2015 17:45:26 UTC All use subject to JSTOR Terms and Conditions 68 THE MUSICAL TIMES.-FEBRUARY I, 1885. married in 1865, and has his home at Peterhof, near as it were, the unquestionably superior ones. In St. Petersburg-shall not be made a subject of dis- short, Rubinstein's case may be summed up in the cussion. But, besides his occasional appearances paradox: Less would be more. Ambros thought that as conductor, more especially of his own works, the futurehistorians would findit more embarrassing outside of his own country, I must not omit to to draw Rubinstein's portrait than their predecessors mention his brilliant generalship of the concerts of found it to draw the portraits of Handel, Bach, the Vienna Gesellschafts-Concerte during the season Haydn, Mozart, and Beethoven. For not only does 1871-72. The Parisian critic quoted by me said the totality of the work of any one of these masters that Rubinstein mastered the piano as the Cossack enable us to form in our minds a firmlyoutlined masters his horse, in the same way Rubinstein picture of his character, but even each single com- masters the orchestra.
Load more

Recommended publications
  • The Inextricable Link Between Literature and Music in 19Th
    COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57
    [Show full text]
  • Isabel Leonard, Mezzo-Soprano, and Jared Bybee, Baritone
    Contact: Jennifer Wada Communications 718-855-7101 [email protected] www.wadacommunications.com ISABEL LEONARD, MEZZO-SOPRANO, AND JARED BYBEE, BARITONE, LAUNCH THE 2016-17 SEASON OF THE GEORGE LONDON FOUNDATION FOR SINGERS WITH A RECITAL ON SUNDAY, OCTOBER 9, 2016, AT 4:00 PM, AT THE MORGAN LIBRARY AND MUSEUM Isabel Leonard Returns to NYC for the Event in the Midst of Performances of Norma with the Canadian Opera Company – Her Role Debut as Adalgisa Isabel Leonard, photo by Becca Fay (Download) Jared Bybee, photo by Doria Bybee (Download) Last April, the George London Foundation for Singers concluded the 20th year of its celebrated George London Foundation Recital Series with a gala featuring some of opera’s most prominent American and Canadian stars. The foundation has been honoring, supporting, and presenting the finest young opera singers in the U.S. and Canada since 1971, and the annual series presents pairs of outstanding opera singers, many of whom were winners of a George London Award, the prize of the foundation’s annual vocal competition. The 2016-17 season of the George London Foundation Recital Series launches on Sunday, October 9, presenting New York City native Isabel Leonard, one of the world’s most acclaimed young mezzo-sopranos, and Jared Bybee (of Modesto, California), a young baritone who has been receiving critical raves in productions of Philadelphia’s Academy of Vocal Arts, where he is in his fourth year as a resident artist. Mr. Bybee is a 2016 winner of a George London Encouragement Award. They are joined by Djordje Nesic, piano.
    [Show full text]
  • 2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
    2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House,
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • Boris Godunov
    Modest Mussorgsky Boris Godunov CONDUCTOR Opera in a prologue and four acts Valery Gergiev Libretto by the composer, based on the play by PRODUCTION Alexander Pushkin (1875 version, with additions Stephen Wadsworth from the 1869 version) SET DESIGNER Ferdinand Wögerbauer Saturday, October 23, 2010, 12:00–4:15 pm COSTUME DESIGNER Moidele Bickel New Production LIGHTING DESIGNER Duane Schuler CHOREOGRAPHER Apostolia Tsolaki This production of Boris Godunov was made possible by generous gifts from Karen and Kevin Kennedy, Mr. and Mrs. Howard Solomon, and Mr. and Mrs. Wilmer J. Thomas, Jr. GENERAL MANAGER Peter Gelb MUSIC DIRECTOR James Levine 2010–11 Season The 268th Metropolitan Opera performance of Modest Mussorgsky’s Boris Godunov Conductor Valery Gergiev in o r d e r o f v o c a l a p p e a r a n c e Nikitich, a police officer Xenia, daughter of Boris Valerian Ruminski Jennifer Zetlan Mitiukha, a peasant Feodor, son of Boris Mikhail Svetlov Jonathan A. Makepeace Shchelkalov, a boyar Nurse, nanny to Boris’s Alexey Markov children Larisa Shevchenko Prince Shuisky, a boyar Oleg Balashov Boyar in Attendance Brian Frutiger Boris Godunov René Pape Marina Ekaterina Semenchuk Pimen, a monk Mikhail Petrenko Rangoni, a Jesuit priest Evgeny Nikitin Grigory, a monk, later pretender to the Russian throne Holy Fool Aleksandrs Antonenko Andrey Popov Hostess of the Inn Chernikovsky, a Jesuit Olga Savova Mark Schowalter Missail Lavitsky, a Jesuit Nikolai Gassiev Andrew Oakden Varlaam Khrushchov, a boyar Vladimir Ognovenko Dennis Petersen Police Officer Gennady Bezzubenkov Saturday, October 23, 2010, 12:00–4:15 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
    [Show full text]
  • Democratising Opera: Opera North and the Access Agenda in Action Part of the AHRC Project ‘Opera As Adaptation’
    Democratising Opera: Opera North and the access agenda in action Part of the AHRC project ‘Opera as Adaptation’ Jennifer Susan Daniel Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Performance and Cultural Industries School of Music March 2016 2 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2016 The University of Leeds and Jennifer Susan Daniel The right of Jennifer Susan Daniel to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. 3 Acknowledgements My thanks go out to all those at Opera North (past and present) who have been so welcoming and helpful in facilitating this study, particularly Jane Bonner, Dominic Gray, Rebecca Walsh, Timothy Burke, Jo Bedford, Stuart Leeks, Peter Restall, Jacqui Cameron, and the inspirational Martin Pickard. It was also a great privilege to have Richard Farnes as my supervisor at Opera North, who facilitated so much of this study and whose musical vision, humility and leadership I have greatly admired. I am grateful to the AHRC, to Opera North Futures and to the Fund for Women Graduates for generous funding, without which I would certainly not have been able to complete this thesis. My most profound thanks are offered to my excellent academic supervisors Kara McKechnie and Rachel Cowgill, for the opportunity to work on this project, and for the inspiration, encouragement and education.
    [Show full text]
  • Opera Studies 2018 February 15 Characters Symbolizing the Devil and Demons Have Peopled Fairytales and Fiction of All Types the Demon in Every Age
    A Date With the WAYNE KLEINSTIVER Vero Beach Opera’s Opera Studies Chair DevilFebruary 1 Mefistofele Opera Studies 2018 February 15 Characters symbolizing the devil and demons have peopled fairytales and fiction of all types The Demon in every age. They are subjects in several operas. For example, Gounod’s opera Faust (based on February 22 Goethe’s magnum opus Faust) was the most popular opera in the world for over 100 years Orpheus in after it premiered in 1859. Faust’s 753 Met Opera performances rank it the eighth most performed opera there. the Underworld Opera Studies mission is to provide opera March 1 education and present operas not often performed or exceptional performances of Robert le Diable repertoire standards. While Gounod’s opera Faust - and to a lessor extent Berlioz’s opera The Damnation of Faust - are the most frequently March 8 performed, the 2018 Opera Studies program brings signature performances of other great The Fiery Angel operas with devils and demons in leading roles that are less performed. English subtitles for all programs See reverse for opera descriptions The Opera Studies education series is a unique long-standing joint-venture of Vero Beach Opera with Vero Beach Museum of Art PRESENTED in the VBMA Leonhardt Auditorium from 12:30 PM to 4:30 PM on the dates shown TUITION FOR THE SERIES – VBMA & VBO members: $55.00 Non-members: $75.00 TO REGISTER: www.vboperastudies.com or (772) 231-0707 ext. 136 Learn more about the Vero Beach Opera at VeroBeachOpera.org and Vero Beach Museum of Art at www.VeroBeachMuseum.org February 1 - Mefistofele Arrigo Boito was the librettist for Ponchielli’s opera La Gioconda as well as Verdi’s Otello and Falstaff.
    [Show full text]
  • Origins of Mikhail Vrubel's ​Demoniana​Series. Amina Fakhri
    Origins of Mikhail Vrubel’s Demoniana​ ​series. Amina Fakhri Master’s Thesis Art History Faculty of Arts University of Helsinki September 2020 HELSINGIN YLIOPISTO – HELSINGFORS UNIVERSITET – UNIVERSITY OF HELSINKI Tiedekunta - Fakultet - Faculty Laitos - Institution - Department Humanistinen tiedekunta Filosofian, historian, kulttuurin ja taiteiden tutkimuksen laitos Humanistiska fakulteten 2010-2017 Faculty of Arts Tekijä - Författare - Author Fakhri, Amina Työn nimi - Arbetets titel - Title Origins of Mikhail Vrubel's Demoniana series. Oppiaine - Läroämne - Subject Art History Vuosi - �r - Year 2020 Tiivistelmä - Abstrakt - Abstract The Demoniana series is the most researched of all of Mikhail Vrubel's work, yet the origins of the series' imagery remain neglected. Scholars have attributed Demoniana's imagery to a literary origin - the poem Demon by Mikhail Lermontov. Focusing on the relationship between the painted material of the series, Demon seated (1890), Demon in-flight (1899), Demon downcast (1902), and Six-Winged Seraph (Azrael) (1904) in addition to the illustrations to the poem in the Jubilee edition of Lermontov's poetry published in 1899-1891, my research challenges the assumptions of the continuity of the Demoniana series and shows that the basis for its imagery can be found in Vrubel's earlier works. In his Demoniana series, Vrubel is searching for a new kind of hero, one that he felt certain would make his name immortal. The character of the fallen angel, in Vrubel's view, a tortured soul, not necessarily evil, was an interesting choice considering the influence of the church in the society at that time. In many ways, the artist identified personally with this character. Demoniana was not only a quest for artistic immortality but also an attempt to determine a contemporary representation of a kind of spirituality, a search for the path to salvation.
    [Show full text]
  • PROGRAMME of the THIRTEENTH REHEARSAL and CONCERT
    7./ Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-THIRD SEASON, I903-I904. WILHELM GERICKE, CONDUCTOR. PROGRAMME OF THE THIRTEENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE ^ ^ ^ ^ FRIDAY AFTERNOON, JANUARY 29, AT 2.30 O'CLOCK. SATURDAY EVENING, JANUARY 30, AT 8.00 O'CLOCK. Published by C A. ELLIS, Manager. 729 Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated rnstruments are To-day better than ever Retail Warerooms^ 791 Tremont Street 730 1 TWENTY^THIRD SEASON, 1903-1904. Thirteenth Rehearsal and Concert* FRIDAY AFTERNOON, JANUARY 29, at 2.30 o'clock. SATURDAY EVENING, JANUARY 30, at 8.00 o'clock. PROGRAMME. Rubinstein .... Symphony No. 6, in A minor, Op. 1 1 I. Moderate con moto. II. Moderate assai. III. Allegro vivace. IV. Moderate assai. Presto. Liszt . Concerto No. i , in E-flat major, for Pianoforte and Orchestra " Hugo Kaun . Symphonic Poem, Minnehaha," Op. 43, No. i (First time.) " Smetana .... Overture to the Opera, " The Sold Bride SOLOIST: Mr. GEORGE PROCTOR. The Pianoforte is a Steinway. Tfiere will be an intermission of ten minatei after the Liszt concerto. The doors of the hall will he closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in the interval be- tween the numbers. City of Boston, Revised Regulation of August 5, 1898.— Chapter 3, relatlnfir to the coverlngr of the head In places of public amusement.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Witches
    UNIVERSITY OF CALIFORNIA Los Angeles Witches, Whores, and Virgin Martyrs: Female Roles in Seventeenth Century Opera A dissertation submitted in partial satisfaction of the Requirements for the Degree Doctor of Musical Arts in Music by Terri Lynn Richter 2017 Copyright by Terri Lynn Richter 2017 ABSTRACT OF THE DISSERTATION Witches, Whores, and Virgin Martyrs: Female Opera Roles in Seventeenth Century Opera by Terri Lynn Richter Doctor of Musical Arts in Music University of California, Los Angeles, 2017 Professor Juliana K. Gondek, Chair The fictional women presented to the public on the opera stages and in the noble houses of Italy during the seventeenth century did not resemble the societal feminine ideal of chastity, silence, obedience, and humility; on the contrary, they were strong-willed, eloquent, powerful, and sexually sentient. This dissertation will examine a few of the principal female characters from a selected number of early seventeenth-century operas and explore what these women represented in context of the patriarchal, highly misogynistic societies in which they were constructed. Furthermore, I will consider the implications of this information for issues of modern performance practice, and for the representation of these female characters in modern reproductions of the operas. Finally, I will discuss the influences of this research on my final DMA recital, a program of seventeenth-century arias and songs which personified the female stereotypes presented in this dissertation. ii The dissertation of Terri Lynn Richter
    [Show full text]
  • Russian Musical Elements: an Analysis of Selected Piano Works by Mily Balakirev (1837-1910)
    Russian Musical Elements: An Analysis of Selected Piano Works by Mily Balakirev (1837-1910) Item Type text; Electronic Dissertation Authors Beriyeva, Yelizaveta Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 07:12:29 Link to Item http://hdl.handle.net/10150/636638 RUSSIAN MUSICAL ELEMENTS: AN ANALYSIS OF SELECTED PIANO WORKS BY MILY BALAKIREV (1837-1910) by Yelizaveta Nikolayevna Beriyeva __________________________ Copyright © Yelizaveta Nikolayevna Beriyeva 2019 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2019 2 3 ACKNOWLEDGEMENTS I would like to express my profound gratitude to my advisor and committee chair, Professor Tannis Gibson for her patience, encouragement, continuous guidance, generosity, as well as providing me with support and the necessary tools to make this project possible. I will be forever grateful to spending so much of my professional school life with Professor Gibson. She has always been supportive during the most challenging times. I would like to express deep appreciation to the other two members of my graduate committee, Dr. Rex Woods and Dr. Jay Rosenblatt for their supportive assistance and insightful comments. They have been so very kind and generous with their time and endless desire to help me through this exciting journey.
    [Show full text]
  • Anton Rubinstein's
    THE RICHARD B. FISHER CENTER FOR THE PERFORMING ARTS AT BARD COLLEGE Anton Rubinstein’s DEMON Sosnoff Theater July 27 – August 5, 2018 About The Richard B. Fisher Center for the Performing Arts at Bard College The Richard B. Fisher Center for the Performing Arts at Bard College The Fisher Center for the Performing Arts, an environment for world-class artistic presentation Chair Jeanne Donovan Fisher in the Hudson Valley, was designed by Frank Gehry and opened in 2003. Risk-taking perfor- President Leon Botstein mances and provocative programs take place in the 800-seat Sosnoff Theater, a proscenium- Executive Director Bob Bursey arch space, and in the 220-seat LUMA Theater, which features a flexible seating configuration. The Center is home to Bard College’s Theater & Performance and Dance Programs, and host to two annual summer festivals: SummerScape, which offers opera, dance, theater, film, and presents cabaret; and the Bard Music Festival, celebrating its 29th year. Last year’s festival was “Chopin and His World”; the 2018 festival is devoted to the life and work of Nikolai Rimsky-Korsakov. The Center bears the name of the late Richard B. Fisher, former chair of Bard College’s Board of Trustees. The outstanding arts events that take place here would not be possible without the contributions made by the Friends of the Fisher Center. We are grateful for their support and welcome all donations. By Anton Rubinstein DEMONLibretto by Pavel Viskovatov (based on a poem by Mikhail Lermontov) Director Thaddeus Strassberger American Symphony Orchestra Conductor Leon Botstein, Music Director Bard Festival Chorale Chorus Master James Bagwell Pesvebi Georgian Dancers Choreographer Shorena Barbakadze Set Design Paul Tate dePoo III Costume Design Kaye Voyce Lighting Design JAX Messenger The 2018 Bard SummerScape season is made possible in part through the generous support Video Design Greg Emetaz of Jeanne Donovan Fisher, the Martin and Toni Sosnoff Foundation, the Board of The Richard B.
    [Show full text]