Armand Silvestre (1837-1901)
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SAN DIEGO SYMPHONY ORCHESTRA a JACOBS MASTERWORKS CONCERT Cristian Măcelaru, Conductor
SAN DIEGO SYMPHONY ORCHESTRA A JACOBS MASTERWORKS CONCERT Cristian Măcelaru, conductor October 27 and 29, 2017 GEORGES BIZET Suite No. 1 from Carmen (Arr. Fritz Hoffmann) Prelude and Aragonaise Intermezzo Seguedille Les Dragons d’Alcala Les Toréadors WYNTON MARSALIS Violin Concerto in D Major Rhapsody Rondo Burlesque Blues Hootenanny Nicola Benedetti, violin INTERMISSION NIKOLAI RIMSKY-KORSAKOV Scheherazade, Op. 35 The Sea and Sindbad’s Ship The Tale of Prince Kalendar The Young Prince and the Princess The Festival at Bagdad; The Sea; The Ship Goes to Pieces on a Rock Suite No. 1 from Carmen GEORGES BIZET Born October 25, 1838, Paris Died June 3, 1875, Bougival Carmen – Bizet’s opera of passion, jealousy and murder – was a failure at its first performance in Paris in March 1875. The audience seemed outraged at the idea of a loose woman and murder onstage at the Opéra-Comique. Bizet died three months later at age 37, never knowing that he had written what would become one of the most popular operas ever composed. After Bizet’s death, his publisher Choudens felt that the music of the opera was too good to lose, so he commissioned the French composer Ernest Guiraud to arrange excerpts from Carmen into two orchestral suites of six movements each. The music from Carmen has everything going for it – excitement, color and (best of all) instantly recognizable tunes. From today’s vantage point, it seems impossible that this opera could have been anything but a smash success from the first instant. The Suite No. 1 from Carmen contains some of the most famous music from the opera, and it also offers some wonderful writing for solo woodwinds. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
The-Piano-Teaching-Legacy-Of-Solomon-Mikowsky.Pdf
! " #$ % $%& $ '()*) & + & ! ! ' ,'* - .& " ' + ! / 0 # 1 2 3 0 ! 1 2 45 3 678 9 , :$, /; !! < <4 $ ! !! 6=>= < # * - / $ ? ?; ! " # $ !% ! & $ ' ' ($ ' # % %) %* % ' $ ' + " % & ' !# $, ( $ - . ! "- ( % . % % % % $ $ $ - - - - // $$$ 0 1"1"#23." 4& )*5/ +) * !6 !& 7!8%779:9& % ) - 2 ; ! * & < "-$=/-%# & # % %:>9? /- @:>9A4& )*5/ +) "3 " & :>9A 1 The Piano Teaching Legacy of Solomon Mikowsky by Kookhee Hong New York City, NY 2013 2 TABLE OF CONTENTS Preface by Koohe Hong .......................................................3 Endorsements .......................................................................3 Comments ............................................................................5 Part I: Biography ................................................................12 Part II: Pedagogy................................................................71 Part III: Appendices .........................................................148 1. Student Tributes ....................................................149 2. Student Statements ................................................176 -
Women Pioneers of American Music Program
Mimi Stillman, Artistic Director Women Pioneers of American Music The Americas Project Top l to r: Marion Bauer, Amy Beach, Ruth Crawford Seeger / Bottom l to r: Jennifer Higdon, Andrea Clearfield Sunday, January 24, 2016 at 3:00pm Field Concert Hall Curtis Institute of Music 1726 Locust Street, Philadelphia Charles Abramovic Mimi Stillman Nathan Vickery Sarah Shafer We are grateful to the William Penn Foundation and the Musical Fund Society of Philadelphia for their support of The Americas Project. ProgramProgram:: WoWoWomenWo men Pioneers of American Music Dolce Suono Ensemble: Sarah Shafer, soprano – Mimi Stillman, flute Nathan Vickery, cello – Charles Abramovic, piano Prelude and Fugue, Op. 43, for Flute and Piano Marion Bauer (1882-1955) Stillman, Abramovic Prelude for Piano in B Minor, Op. 15, No. 5 Marion Bauer Abramovic Two Pieces for Flute, Cello, and Piano, Op. 90 Amy Beach (1867-1944) Pastorale Caprice Stillman, Vickery, Abramovic Songs Jennifer Higdon (1962) Morning opens Breaking Threaded To Home Falling Deeper Shafer, Abramovic Spirit Island: Variations on a Dream for Flute, Cello, and Piano Andrea Clearfield (1960) I – II Stillman, Vickery, Abramovic INTERMISSION Prelude for Piano #6 Ruth Crawford Seeger (1901-1953) Study in Mixed Accents Abramovic Animal Folk Songs for Children Ruth Crawford Seeger Little Bird – Frog He Went A-Courtin' – My Horses Ain't Hungry – I Bought Me a Cat Shafer, Abramovic Romance for Violin and Piano, Op. 23 (arr. Stillman) Amy Beach June, from Four Songs, Op. 53, No. 3, for Voice, Violin, and -
Ernest Guiraud: a Biography and Catalogue of Works
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Ernest Guiraud: A Biography and Catalogue of Works. Daniel O. Weilbaecher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Weilbaecher, Daniel O., "Ernest Guiraud: A Biography and Catalogue of Works." (1990). LSU Historical Dissertations and Theses. 4959. https://digitalcommons.lsu.edu/gradschool_disstheses/4959 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
MASSENET and HIS OPERAS Producing at the Average Rate of One Every Two Years
M A S S E N E T AN D HIS O PE RAS l /O BY HENRY FIN T. CK AU THO R O F ” ” Gr ie and His Al y sia W a ner and H W g , g is or ks , ” S uccess in Music and it W How is on , E ta , E tc. NEW YO RK : JO HN LANE CO MPANY MCMX LO NDO N : O HN L NE THE BO DLEY HE D J A , A K N .Y . O MP NY N E W Y O R , , P U B L I S HE R S P R I NTI N G C A , AR LEE IB R H O LD 8 . L RA Y BRIGHAM YO UNG UNlVERS lTW AH PRO VO . UT TO MY W I FE CO NTENTS I MASSENET IN AMER . ICA. H . B O GRAP KET H II I IC S C . P arents and Chi dhoo . At the Conservatoire l d . Ha D a n R m M rri ppy ys 1 o e . a age and Return to r H P a is . C oncert a Successes . In ar Time ll W . A n D - Se sational Sacred rama. M ore Semi religious m W or s . P ro e or and Me r of n i u k f ss be I st t te . P E R NAL R D III SO T AITS AN O P INIO NS . A P en P ic ure er en ne t by Servi es . S sitive ss to Griti m h cis . -
MAURICE EMMANUEL (1862-1938) Compositeur, Helléniste, Théoricien, Pédagogue
MAURICE EMMANUEL (1862-1938) Compositeur, helléniste, théoricien, pédagogue EXPOSITION RÉALISÉE PAR LES ÉLÈVES DE LA CLASSE DE CULTURE MUSICALE 14 MAI - 13 JUIN 2013 CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANSE DE PAR I S MAURICE EMMANUEL Conservatoire de Paris, 14 MAI - 13 JUIN 2013 Compositeur, helléniste, théoricien, pédagogue, Maurice Emmanuel fut tout cela, et plus encore : sa passion pour la modalité l’amena à s’intéresser aussi bien aux chansons populaires – bourguignonnes, mais également bretonnes – qu’à la musique religieuse et au chant grégorien. L’année 2012 fut l’occasion de célébrer Debussy, sans oublier son contemporain Maurice Emmanuel. Ainsi le Conservatoire national supérieur de musique et de danse de Paris, où Maurice Emmanuel enseigna l’Histoire de la musique de 1909 à 1936, a-t-il accueilli en décembre dernier un colloque consacré à « Maurice Emmanuel pédagogue ». Cette exposition s’en veut le prolongement. Elle été réalisée par les élèves de la classe de Culture musicale de Lucie Kayas dans le cadre des activités appliquées proposées par cette classe. Grâce à la générosité d’Anne Eichner-Emmanuel, petit-fille du compositeur, de nombreux documents originaux ont pu être présentés, tout comme les panneaux réalisés par l’Association des amis de Maurice Emmanuel. Souhaitons que cette exposition permette de mieux faire connaître l’œuvre et la pensée de ce grand musicien humaniste. et élève : Théodore Dubois (1837- 1924), Louis-Albert Bourgault- Ducoudray (1840-1910)… Après avoir quitté la classe de composition de Delibes, écarté du prix de Rome pour cause d’utilisation de modes peu conventionnels, 1. ENFANCE ET Maurice Emmanuel prend des cours FORMATION particuliers avec Ernest Guiraud (1837-1892), professeur de Debussy (1862-1918), qui lui permet de Né le 2 mai 1862 à Bar-sur-Aube, rencontrer le compositeur de Pelléas Maurice Emmanuel passe une partie et Mélisande, sans pour autant que de son enfance et son adolescence ce dernier ne lui accorde une à Beaune, en Bourgogne. -
Paul Dukas: Villanelle for Horn and Orchestra (1906)
Paul Dukas: Villanelle for Horn and Orchestra (1906) Paul Dukas (1865-1935) was a French composer, critic, scholar and teacher. A studious man, of retiring personality, he was intensely self-critical, and as a perfectionist he abandoned and destroyed many of his compositions. His best known work is the orchestral piece The Sorcerer's Apprentice (L'apprenti sorcier), the fame of which became a matter of irritation to Dukas. In 2011, the Grove Dictionary of Music and Musicians observed, "The popularity of L'apprenti sorcier and the exhilarating film version of it in Disney's Fantasia possibly hindered a fuller understanding of Dukas, as that single work is far better known than its composer." Among his other surviving works are the opera Ariane et Barbe-bleue (Ariadne and Bluebeard, 1897, later championed by Toscanini and Beecham), a symphony (1896), two substantial works for solo piano (Sonata, 1901, and Variations, 1902) and a sumptuous oriental ballet La Péri (1912). Described by the composer as a "poème dansé" it depicts a young Persian prince who travels to the ends of the Earth in a quest to find the lotus flower of immortality, coming across its guardian, the Péri (fairy). Because of the very quiet opening pages of the ballet score, the composer added a brief "Fanfare pour précéder La Peri" which gave the typically noisy audiences of the day time to settle in their seats before the work proper began. Today the prelude is a favorite among orchestral brass sections. At a time when French musicians were divided into conservative and progressive factions, Dukas adhered to neither but retained the admiration of both. -
00028947864172.Pdf
L’AMOUR Timing Page 1 Ah! quel plaisir d’être soldat 4.45 8 La Dame blanche Adrien Boieldieu; Eugène Scribe 2 Elle est là … À la voix d’un amant fidèle 5.45 9 La Jolie Fille de Perth Georges Bizet, adap. Chris Hazell; Jules-Henri Vernoy de Saint-Georges, Jules Adenis 3 Parle, mon fils. — Un ange, une femme inconnue, à genoux, 9.33 10 priait près de moi La Favorite Gaetano Donizetti; Alphonse Royer, Gustave Vaëz, with additions by Eugène Scribe with Sergey Artamonov bass (Balthazar) 4 Ô blonde Cérès 4.30 12 Les Troyens Hector Berlioz 5 Mes amis, écoutez l’histoire d’un jeune et galant postillon* 3.57 13 Le Postillon de Lonjumeau Adolphe Adam; Adolphe de Leuven, Brunswick [Léon Lhérie] 6 Prendre le dessin d’un bijou … Fantaisie aux divins mensonges 5.32 14 Lakmé Léo Delibes; Edmond Gondinet, Philippe Gille 7 Alors, c’est bien ici la maison du Bailli? … Ô Nature, pleine de grâce 4.52 15 Werther Jules Massenet; Édouard Blau, Paul Milliet, Georges Hartmann 8 Toute mon âme est là … Pourquoi me réveiller 3.05 16 Werther Jules Massenet; Édouard Blau, Paul Milliet, Georges Hartmann 9 Oui, je veux par le monde promener librement 4.45 16 mon humeur vagabonde! Mignon Ambroise Thomas; Jules Barbier, Michel Carré 0 Maintenant, observons … Viens, gentille dame 8.36 17 L’Amour — French Tenor Arias La Dame blanche Adrien Boieldieu; Eugène Scribe Nineteenth-century French opera brims with Like La Dame blanche, Georges Bizet’s ! Au mont Ida, trois déesses (Le Jugement de Pâris) 3.51 18 delightful tenor showpieces, championed in La Jolie Fille de Perth (1867) is based on a La Belle Hélène Jacques Offenbach; Henri Meilhac, Ludovic Halévy the recent past by international artists such story by Sir Walter Scott. -
The Project Gutenberg Ebook of Mes Souvenirs, Par Jules Massenet
The Project Gutenberg EBook of Mes souvenirs, by Jules Massenet This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Mes souvenirs Author: Jules Massenet Release Date: July 14, 2011 [EBook #36729] Language: French Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK MES SOUVENIRS *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by the Bibliothèque nationale de France (BnF/Gallica) at http://gallica.bnf.fr) MES SOUVENIRS IL A ÉTÉ TIRÉ DE CET OUVRAGE 30 exemplaires sur papier de Hollande Van Gelder numérotés de un à trente. JULES MASSENET MES SOUVENIRS (1848-1912) A mes Petits-Enfants PIERRE LAFITTE & Cie 90, AVENUE DES CHAMPS-ÉLYSÉES PARIS Copyright 1912 by Pierre Lafitte et Cie. TABLE PRÉFACE ———— Il y a une cinquantaine d'années, les bateliers, qui de nuit descendaient la Seine, apercevaient, avant d'arriver à Croisset, un pavillon en bordure du fleuve, et dont les fenêtres étaient brillamment éclairées. «C'est la maison de M. Gustave», répondaient les gens du pays à leurs interrogations. En effet le grand Flaubert farouchement travaillait en fumant des pipettes, et n'interrompait son labeur que pour venir exposer à l'air frais de la nuit sa poitrine robuste de vieux Normand. Les rares passants qui se trouvaient, vers les quatre heures du matin, dans la rue de Vaugirard, étaient frappés de l'aspect insolite d'une fenêtre illuminée au milieu des façades noires. -
The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)
The mezzo-soprano onstage and offstage: a cultural history of the voice-type, singers and roles in the French Third Republic (1870–1918) Emma Higgins Dissertation submitted to Maynooth University in fulfilment for the Degree of Doctor of Philosophy Maynooth University Music Department October 2015 Head of Department: Professor Christopher Morris Supervisor: Dr Laura Watson 1 TABLE OF CONTENTS Page number SUMMARY 3 ACKNOWLEDGEMENTS 4 LIST OF FIGURES 5 LIST OF TABLES 5 INTRODUCTION 6 CHAPTER ONE: THE MEZZO-SOPRANO AS A THIRD- 19 REPUBLIC PROFESSIONAL MUSICIAN 1.1: Techniques and training 19 1.2: Professional life in the Opéra and the Opéra-Comique 59 CHAPTER TWO: THE MEZZO-SOPRANO ROLE AND ITS 99 RELATIONSHIP WITH THIRD-REPUBLIC SOCIETY 2.1: Bizet’s Carmen and Third-Republic mores 102 2.2: Saint-Saëns’ Samson et Dalila, exoticism, Catholicism and patriotism 132 2.3: Massenet’s Werther, infidelity and maternity 160 CHAPTER THREE: THE MEZZO-SOPRANO AS MUSE 188 3.1: Introduction: the muse/musician concept 188 3.2: Célestine Galli-Marié and Georges Bizet 194 3.3: Marie Delna and Benjamin Godard 221 3.3.1: La Vivandière’s conception and premieres: 1893–95 221 3.3.2: La Vivandière in peace and war: 1895–2013 240 3.4: Lucy Arbell and Jules Massenet 252 3.4.1: Arbell the self-constructed Muse 252 3.4.2: Le procès de Mlle Lucy Arbell – the fight for Cléopâtre and Amadis 268 CONCLUSION 280 BIBLIOGRAPHY 287 APPENDICES 305 2 SUMMARY This dissertation discusses the mezzo-soprano singer and her repertoire in the Parisian Opéra and Opéra-Comique companies between 1870 and 1918. -
Ernest Guiraud, Friends, and Students
DUKAS phonic poem.) Guiraud provided the musi- Fanfare, from La Péri cal settings for the spoken dialogue (recita- Paul Dukas (1865–1935) tives), which have been part of the tradition Fanfare, from La Péri* Paul Dukas (1865-1935) is best remem- of Carmen since 1875. Three years earlier, in bered, thanks to the 1940 Disney animat- 1872, Bizet composed incidental music for ed film Fantasia, for The Sorcerer’s Apprentice. Alfred Daudet’s play L’Arlésienne. There were Georges Bizet (1838–1875) Nonetheless, Dukas composed other worthy, 27 separate musical numbers for the play, Pastorale, First movement of L’Arlésienne suite no. 2 though less famous works. La Péri (1911- and Bizet created a suite of some of them 12) is a ballet based upon an ancient Persian for orchestra. After Bizet’s death, Guiraud Claude Debussy (1862–1918) legend. Alexander the Great (Iskender in the concocted a second suite from the remain- Petite suite: En bateau. Cortège. Ballet. original) finds a flower of immortality in ing sections of the incidental music. Like all the clenched hand of a sleeping péri – a fairy. of Bizet, the music is delightful and moving, Jacques Offenbach (1819–1880) The ballet opens with a somber and stately overpowering in its charm and energy, and Intermezzo and Barcarolle, from Les contes d’Hoffmann brass fanfare. This fanfare is the essence of always thrilling to hear. the score, and the ballet ends with a transfig- Ernest Guiraud (1837–1892) ured statement of the opening, played by the muted horns. DEBUSSY First movement, from Caprice pour violin Petite suite Joan Kwuon, violin Carnaval, from Suite d’orchestre BIZET Claude Debussy’s (1862-1918) Petite suite Pastorale, First movement of dates from 1907 and was originally com- Georges Bizet L’Arlésienne suite no.