Benjamin Liupaogo
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Exploring Canzone Napoletana and Southern Italian Migration Through Three Lenses
Exploring Canzone Napoletana and Southern Italian Migration Through Three Lenses John L. Vitale Preamble and Purpose As a first-generation Italian-Canadian, the southern Italian immigrant experience has figured centrally in my upbringing. I have vivid memories of the rich and vibrant conversations that transpired at the dinner table every day. There were countless tales of my parents’ childhood, which included living in impoverished conditions and surviving the devastation of the Second World War. Other common topics of conversation included crossing the Atlantic, being separated from family, and the daily struggles of immigrating to an English-speaking country. At the very core of these conversations, however, was music, particularly the form of popular song that emanated out of Naples in the 19th and 20th centuries, otherwise known as the canzone napoletana. These songs of love, laughter, sorrow, and pain—famous the world over— have always been a genuine and sincere portal into the heart, mind, and soul of the southern Italian immigrant experience in Canada. The purpose of this article is threefold. First, through a biographical lens, this article investigates my own personal experiences as a first-generation Italian-Canadian and explores how post-World War II southern Italian immigrants in Toronto, Canada used the canzone napoletana as a coping mechanism for the daily hardships and struggles of immigrant life. Second, through the lens of the Italian Diaspora, this article investigates how Neapolitan song became the metaphorical voice for the vast majority of southern Italian immigrants around the world. Lastly, through the lens of non-Italians, this article examines how the canzone napoletana influenced non-Italian perceptions about Italy on a global scale. -
A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs Mark Aaron Kano University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.192 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Kano, Mark Aaron, "A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs" (2016). Theses and Dissertations--Music. 59. https://uknowledge.uky.edu/music_etds/59 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
THE Song of a LIFE · Volume 2
TOSTI the song of a life · volume 2 Malinconia · Due melodie · Altre pagine d’album · Quattro melodie FRANCESCO PAOLO TOSTI 1846-1916 The Song of a Life Complete performance of songs for voice and piano by Francesco Paolo Tosti on the occasion of the first centenary of the composer’s death. 1. Apri!..., serenata popolare (1886 – versi di Lorenzo Stecchetti, CS81) 5’40 11. Love Ties (1887 – versi di Henry Brougham Farnie, CS91) 4’24 2. At the Convent Gate, song (1886 – versi di Frederic E. Weatherly, CS82) 4’59 12. Malìa, melodia (1887 – versi di Rocco Emanuele Pagliara, CS92) 2’48 3. In mare, melodia (1886 – versi di Lorenzo Stecchetti, CS83) 4’38 13. Segreto, melodia (1887 – versi di Lorenzo Stecchetti, CS93) 4’56 4. Prière (1886 – versi di Théophile Gautier, CS84) 5’04 14. Vieni…, piccola barcarola (1887 – versi di Carmelo Errico, CS94) 2’28 5. Sogno, melodia (1886 – versi di Lorenzo Stecchetti, CS85) 3’05 15. We Have Loved, song (1887 – versi di John Muir, CS95) 4’15 6. Marechiare, canto napolitano (1886 – versi di Salvatore di Giacomo, CS86) 3’31 7. Pepìta, vecchia canzone spagnuola (1887 – versi di Enrico “Malinconia” (melodie) (1887 – versi di Gabriele d’Annunzio, CS96) Panzacchi, CS87) 4’12 16. I. Dorme la selva 2’12 8. Lutto, melodia (1886 – versi di Lorenzo Stecchetti, CS88) 4’49 17. II. Quand’io ti guardo 1’24 9. L’ultimo bacio, romanzetta (1887 – versi di Emilio Praga, CS89) 2’19 18. III. L’ora è tarda 1’49 10. Chanson de Fortunio (1887 – versi di Alfred de Musset, CS90) 4’31 19. -
Memories from “CHITARRE ACUSTICHE D’ITALIA”
Art Phillips Music Design PO Box 219 Balmain NSW 2041 Tel: +61 2 9810-6611 Fax: +61 2 9810-6511 Cell: +61 (0) 407 225 811 ART PHILLIPS – memories from “CHITARRE ACUSTICHE D’ITALIA” Each of the songs included in “ Chitarre Acustiche d’Italia ” have been an important element for the music career of the two-time Emmy and APRA awarded artist composer Art Phillips (Arturo Di FIlippo). The Italian heritage of his father and grandfather and their love for music, drove Art into the music scene and inspired him to create, after more than 30 years of global success, a tribute album like this. This album is the story of Italian family memories and traditions. Below, Art Phillips explains the feelings and memories related to each track contained on the album. 1. Tra Veglia e Sonno (Between Wakefulness and Sleep) A piece I learnt from my father and grandfather in my very early years. They would play this every time they got together in my grandfathers kitchen with their guitar and mandolin, where live music would be an important part in our family life. Grandpa lived just around the corner from my home where our backyards connected, in fact he was also a carpenter and brick mason and built our home as well as all the other homes located around our block. Most of his children lived next door or just around the corner with connecting back yards. We would visit my grandpa and grandma each and every day, and there would not be many days in passing that my guitar wouldn’t join into the family’s musical moments. -
Tosti the Song of a Life, Vol. 2
95429 TOSTI the song of a life · volume 2 Malinconia · Due melodie · Altre pagine d’album · Quattro melodie Sung texts available on www.brilliantclassics.com FRANCESCO PAOLO TOSTI 1846-1916 “Malinconia” (melodie) (1887 – versi di Gabriele d’Annunzio, CS96) The Song of a Life 6. I. Dorme la selva 2’12 Complete performance of songs for voice and piano by Francesco Paolo Tosti 7. II. Quand’io ti guardo 1’24 on the occasion of the first centenary of the composer’s death. 8. III. L’ora è tarda 1’49 9. IV. Or dunque addio! 3’45 10. V. Chi sei tu che mi parli? 2’45 CD1 42’55 1. Apri!..., serenata popolare (1886 – versi di Lorenzo Stecchetti, CS81) 5’40 11. La viuletta. Si na scingiate te putesse dà 2. At the Convent Gate, song (1886 – versi di Frederic E. Weatherly, CS82) 4’59 (1888 – versi di Tommaso Bruni, CS97) 2’06 3. In mare, melodia (1886 – versi di Lorenzo Stecchetti, CS83) 4’38 12. Luce d’amore!, melodia (1888 – versi di Rocco Emanuele Pagliara, CS98) 3’54 4. Prière (1886 – versi di Théophile Gautier, CS84) 5’04 5. Sogno, melodia (1886 – versi di Lorenzo Stecchetti, CS85) 3’05 “Due melodie” (CS 100) 6. Marechiare, canto napolitano (1886 – versi di Salvatore di Giacomo, CS86) 3’31 13. I. Deh, ti desta, serenata (1875) 3’20 7. Pepìta, vecchia canzone spagnuola (1887 – versi di Enrico 14. II. Au cimetière, mélodie (1875 – versi di Armand Renaud) 3’01 Panzacchi, CS87) 4’12 8. Lutto, melodia (1886 – versi di Lorenzo Stecchetti, CS88) 4’49 15. -
5Aafa7a07966e145c68bb297.Pdf
САНКТ-ПЕТЕРБУРГСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ Филологический факультет Кафедра романской филологии Ефимова Ксения Николаевна КЛАССИЧЕСКАЯ НЕАПОЛИТАНСКАЯ ПЕСНЯ В ПЕРЕВОДЕ НА РУССКИЙ И АНГЛИЙСКИЙ ЯЗЫКИ Выпускная квалификационная работа на соискание степени магистра лингвистики Научный руководитель: к.ф.н., доцент Кокошкина С.А. Рецензент: к.ф.н. Золотайкина Е.А. Санкт-Петербург 2016 UNIVERSITÀ STATALE DI SAN PIETROBURGO Facoltà di lettere Dipartimento di filologia romanza Ksenia Efimova LA CANZONE CLASSICA NAPOLETANA NELLE TRADUZIONI IN RUSSO E IN INGLESE Tesi di laurea magistrale Relatore: prof. S. Kokoshkina Correlatore: prof. E. Zolotaykina San Pietroburgo 2016 Indice Indice ................................................................................................................................................. 3 Introduzione ...................................................................................................................................... 4 Capitolo I. Le particolarità della traduzione letteraria e la storia della canzone napoletana ... 9 1.1 Traduzione letteraria ............................................................................................................. 9 1.1.1 Equivalenza e adeguatezza ....................................................................................... 13 1.1.2 Traduzione di poesia ....................................................................................................... 22 1.1.3. Traduzione delle canzoni .............................................................................................. -
111036-37 Bk Fledermaus
8.111340 bk DiStefano_EU 2/19/09 1:46 PM Page 5 Ernesto TAGLIAFERRI (1889-1937) / Orchestra • Dino Olivieri Nicola VALENTE (1853-1939) Recorded in Milan, Italy Text: Libero BOVIO April 1953 (Tracks 2, 3, 4, 6 and 7) ( Passione 4:44 June 1953 (Tracks 1, 5 and 11) NEAPOLITAN SONGS April 1956 (Tracks 8-10, 12, 15, 18-20) Also available Ernesto DE CURTIS May 1956 (Tracks 14 and 21) ’O sole mio • Marechiare • Core ’ngrato • Passione Text: Antonio BARBIERI (1859- 1931) November 1956 (Track 16) ) Senza nisciuno 3:00 May 1957 (Tracks 13 and 17) Torna a Surriento • Voce ’e notte • Santa Lucia Ernesto TAGLIAFERRI First issued on HMV BLP 1052 DI S Text: Ernesto MUROLO (1876-1939) and Angel 35469 and 35470 PPE TE E FA ¡ Piscatore ’e pusilleco 3:41 S N IU O G Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn Special thanks to Maynard F. Bertolet for providing source material 8.111240-41 8.111278-79 1 s 953 ing -1957 Record Giuseppe Di Stefano Producer’s Note Orchestra The original master tapes for these recordings contain overload distortion (particularly severe in the 1953 8.111280-81 8.111290-91 Dino Olivieri sessions), dropouts and a few noticeable splices which were not a function of the mint LP sources used for the present transfers. Mark Obert-Thorn 8.111340 5 8.111340 6 8.111340 bk DiStefano_EU 2/19/09 1:46 PM Page 2 Great Singers • Giuseppe Di Stefano on Italian state radio enjoyed some success in the 1950s considerable acclaim, not least such great artists as Great Singers • Giuseppe Di Stefano but was eventually brought to a close as well. -
C C (Composition from Deux Poemes De Louis Aragon [Dö Paw-Emm Duh Lôô-Ee Ah-Rah-Gaw6] — Two Poems by Louis Aragon — Set T
C C (composition from Deux poemes de Louis Aragon [dö paw-emm duh lôô-ee ah-rah-gaw6] — Two Poems by Louis Aragon — set to music by Francis Poulenc [frah6-seess pôô-lah6k]) C dur C C Dur C TSAY DOOR C (key of C major, German designation) C moll C c Moll C TSAY MAWL C (key of c minor, German designation) Ca the yowes C Ca’ the Yowes C KAH (the) YOHZ C (poem by Robert Burns [RAH-burt BURNZ] set to music by Ralph Vaughan Williams [RALF VAWN WILL-lihummz]) C (In Britain, Ralph may be pronounced RAYF) Caamano C Roberto Caamaño C ro-VEHR-toh kah-MAH-n’yo Caba C Eduardo Caba C ay-dooAR-doh KAH-vah Cabaletta C {kah-bah-LETT-tah} kah-bah-LAYT-tah Caballe C Montserrat Caballé C mawnt-sehr-RAHT kah-vah-l’YAY Caballero C Manuel Fernández Caballero C mah-nooELL fehr-NAHN-dehth kah-vah-l’YAY- ro Cabanilles C Juan Bautista José Cabanilles C hooAHN bahoo-TEESS-tah ho-SAY kah-vah- NEE-l’yayss Cabecon C Antonio de Cabeçon C ahn-TOH-neeo day kah-vay-SAWN C known also as Antonio de Cabezon [kah-vay-THAWN]) Cabello mas sutil C Del cabello más sutil C dell kah-VELL-l’yo MAHSS soo-TEEL C (Of That Softest Hair) C (song by Fernando J. Obradors [fehr-NAHN-doh (J.) o-VRAH-thawrss]) Cabezon C Antonio de Cabezón C ahn-TOH-neeo day kah-vay-THAWN C (known also as Antonio de Cabeçon [ahn-TOH-neeo day kah-vay-SAWN]) Cabrito C Un cabrito C oon kah-VREE-toh C (a medieval song of the Passover sung by the Jews who were expelled from Spain in 1492 and who settled in Morocco) Caccia C La caccia C lah KAH-chah C (The Hunt) C (allegro [ahl-LAY-gro] number in L’autunno [lahoo-TOON-no] -
Confronto Di Otto Canzoni Napoletane E Italiane Del Novecento Con Le Loro Versioni Finniche Analisi Linguistico-Culturale
Confronto di otto canzoni napoletane e italiane del Novecento con le loro versioni finniche Analisi linguistico-culturale Romaanisen filologian pro gradu -tutkielma Jyväskylän yliopisto Heinäkuu 2003 Eeva Muurman JYVÄSKYLÄN YLIOPISTO Tiedekunta Laitos HUMANISTINEN Kielten laitos Tekijä Eeva Muurman Työn nimi Confronto di otto canzoni napoletane e italiane con le loro traduzioni finniche. Analisi linguistico-culturale Oppiaine Työn laji Romaaninen filologia Pro gradu -tutkielma Aika Sivumäärä Heinäkuu 2003 56 + 13 (liitteet) Tiivistelmä – Abstract Tarkastelen työssäni napolilaisia ja italialaisia iskelmiä sekä niiden suomalaisia käännöksiä. Korpukseni koostuu kuudesta napolilaisesta ja kahdesta italialaisesta iskelmästä sekä niiden suomalaisista käännöksistä. Kaksi napolilaista iskelmää on peräisin 1900-luvun vaihteesta (O sole mio ja Torna a Surriento), neljä 1950-luvun lopulta (Maruzzella, Guaglione, Lazzarella ja Chella llà) ja kaksi italialaista iskelmää (Maledetta primavera ja L’italiano) 1980-luvun alkupuolelta. Vertailen napolilaisten ja italialaisten iskelmien sanoituksia ja niiden suomalaisia käännöksiä sekä sisällöllisesti että kieliopillisesti. Vertailusta ilmenee, että vanhimpien laulujen käännökset eli Aurinkoni (O sole mio) ja Palaja Sorrentoon (Torna a Surriento) ovat sisällöllisesti uskollisimpia alkuperäisteksteille. Eniten alkuperäisestä eroava on 1980-luvun iskelmä Aikuinen nainen (Maledetta primavera). Kieliopillisesti käännöksien ja alkuperäistekstien välillä ei ollut huomattavia eroavaisuuksia. Korpukseni tekstien -
The Recorded Legacy of Enrico Caruso and Its Influence on the Italian Vocal Tradition
THE RECORDED LEGACY OF ENRICO CARUSO AND ITS INFLUENCE ON THE ITALIAN VOCAL TRADITION John Dee Garst, B.S.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Dr. Jeffrey Snider, Major Professor Dr. Stephen F. Austin, Chair of the Division of Vocal Studies Dr. Carol Wilson, Committee Member Dr. Benjamin Brand, Director of Graduate Studies in the College of Music Dr. James Scott, Dean of the College of Music Dr. Costas Tsatsoulis, Dean of the Toulouse Graduate School Garst, John Dee. The Recorded Legacy of Enrico Caruso and Its Influence on the Italian Vocal Tradition. Doctor of Musical Arts (Performance). May 2016, 68 pp., 1 table, references, 145 titles. This dissertation presents evidence for the influence which tenor Enrico Caruso had on the Italian Vocal Tradition. This impact was clearly boosted by the revolution realized in the fledgling recording industry, and the recordable disc. In the years of 1902-1920, gramophones became commonplace, and collecting recordings became a growing interest for many. This new technology required specialized skills, and was especially suited to certain qualities of voice. Caruso enjoyed immense success in this medium, in recording over 250 records. Italian vocal style at the turn of the century was changing, and Caruso employed a new “modern” style in his singing. His interpretive decisions, vocal method, and repertoire which he championed had an impact on the vocal tradition of future generations. Comparison of his recordings with tenors Fernando De Lucia, Giuseppe Anselmi, and Alessandro Bonci shows a marked contrast in styles of “the old school” and Caruso’s “more straightforward” approach. -
Intermezzo Continents
About the Artists Beginning with her solo debut at Teatro Municipal de Bahía Blanca, in Buenos Aires, Argentina, the singing career of soprano Sarah Wilson MacMillan has encompassed three Intermezzo continents. In addition to return engagements in Argentina, a solo recital at La Cultura Inglesa in Sao Paulo, Brazil, was broadcast throughout the region. In the United States and the United Kingdom she has appeared in solo and chamber music recitals, as well as in opera performances, including as "Queen of the Night" (The Magic Flute), "Susanna" (The Marriage Sunday, February 12, 2012 @ 2:30 p.m. of Figaro), "The Blonde" (The Abduction from the Seraglio), "Ilia" (Idomeneo), and "Mrs. Heartmelt" (The Impressario). Her varied solo repertoire ranges from works by J.S. Bach to Sarah Wilson MacMillan soprano contemporary composers, such as Grammy winner Libby Larsen and Jacksonville's own Bob Moore. Before pursuing graduate studies at the Kansas City Conservatory of Music in Louis Poeltl tenor Missouri, Ms. MacMillan completed her undergraduate work at Occidental College in Los Bonita Sonsini Wyke piano Angeles, California, and now she is coached by Betti McDonald, the Director of the Institute for Musical Arts, in Orlando. Locally, Sarah performs in concert series throughout the First Coast, including recent engagements with the Mayo Clinic, Penney Farms Retirement TRADITIONAL / BROWN : He’s Got the Whole World in His Hand Community, and the Cathedral Basilica in St. Augustine. She teaches under her married GERSHWIN : Summertime (Porgy and Bess) name, Sarah Sasen, and is a member of the North Florida Chapter of the National FLOYD : The Trees on the Mountains (Susannah) Association of Teachers of Singing. -
My Memories. L'archivio Del Compositore Francesco Paolo Tosti
Pubblicazione realizzata in occasione dei 25 anni di attività dell’Istituto Na- zionale Tostiano di Ortona e grazie al sostegno della Fondazione Cassa di Risparmio della Provincia di Chieti. PUBBLICAZIONI DEGLI ARCHIVI DI STATO STRUMENTI CLXXXII ISTITUTO NAZIONALE TOSTIANO – ORTONA My Memories L’Archivio del compositore Francesco Paolo Tosti e della famiglia Inventario a cura di GIANFRANCO MISCIA MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI DIREZIONE GENERALE PER GLI ARCHIVI 2009 DIREZIONE GENERALE PER GLI ARCHIVI SERVIZIO VALORIZZAZIONE, PROMOZIONE, FORMAZIONE E RELAZIONI INTERNAZIONALI Direttore generale: Luciano Scala Direttore del Servizio: Patrizia Ferrara Cura redazionale: Mauro Tosti Croce Impaginazione e grafica: Carla Caraceni My Memories è un song composto da Tosti su testo di Clifton Bingham e pubblicato da Ricordi nel 1891. © 2009 Ministero per i beni e le attività culturali Direzione generale per gli archivi ISBN 978–88–7125–298–8 Vendita: Istituto Poligrafico e Zecca dello Stato – Libreria dello Stato Piazza G.Verdi 10, 00198 Roma e–mail:[email protected] Finito di stampare nel mese di ottobre 2009 da Publish srl San Giovanni Teatino, Ch Vivi e lascia vivere* Francesco Paolo Tosti * Motto del compositore inciso su un sigillo di cristallo SOMMARIO Prefazioni di TOMMASO CARACENI IX di MARIO DI NISIO XI Presentazione di PATRIZIA FERRARA XIII FRANCESCO SANVITALE, Francesco Paolo Tosti e l’Istituto Nazionale Tostiano di Ortona 1 FRANCESCO SANVITALE, Francesco Paolo Tosti, un breve profilo e la cronologia 7 GIANFRANCO MISCIA, Carte notate. Caratteristiche e organizzazione dell’Archivio Francesco Paolo Tosti 15 Ringraziamenti 25 Bibliografia 27 Abbreviazioni e sigle 33 Genealogia della famiglia Tosti 35 INVENTARIO 39 Struttura dell’archivio 41 Francesco Paolo Tosti 47 Berthe de Verrue in Tosti 133 Famiglia Tosti 145 Famiglia Schiani 167 Documentazione aggregata.