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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 . -
Revue Musicale
REVUE MUSICALE OPÉRA : La Damnation de Faust, en ballet. Hector Berlioz avait tout juste trente ans quand lui vint l'idée d'écrire plusieurs morceaux d'après la légende dramatique de Faust de Goethe. Au cours de ses nombreux voyages à l'étranger, il les réunit sous le titre de La Damnation de Faust, qui est devenu le chef-d'œuvre de la musique romantique. L'ouvrage fut donné pour la première fois, en opéra de concert, comme un oratorio, dans la salle de l'Opéra-Comique, sous la direction de l'auteur qui avait choisi d'excellents interprètes : Mme Duflot-Maillard (Marguerite) et deux chanteurs réputés à cette époque, le ténor Roger (Faust) et le baryton Hermann-Léon (Méphisto). Puis il présenta son œuvre en Russie, à Saint-Pétersbourg et Riga, en Allemagne à Berlin et enfin à Londres, toujours avec un succès considérable d'auteur, de compositeur et de chef d'orchestre... Les musiciens de ma génération se souviennent des magnifiques exécutions que donna Edouard Colonne de la partition de Berlioz, à ses concerts dominicaux du Châtelet, pendant un quart de siècle ; il avait formé un groupe de chanteurs réputés : Mlle Marcella Prégy en Marguerite, le ténor Emile Cazeneuve dans le rôle de Faust et le baryton Lauwers, vaillant interprète de Méphisto. Chose curieuse, c'est un Kapellmeister d'outre-Rhin, Félix Weingartner, qui en donna pour un gala la première audition, tou• jours de concert, dans la salle de l'Opéra : il avait choisi des interprètes jeunes et ardents : Lucienne Bréval, la plus belle des Marguerite, le ténor Plamoudon, les basses Delmas et Nivette. -
La Correspondencia De César Cui Dirigida a Felip Pedrell (1893-1912)*
Recerca Musicològica XX-XXI, 2013-2014 221-267 La correspondencia de César Cui dirigida a Felip Pedrell (1893-1912)* Cristina Álvarez Losada Universitat Autònoma de Barcelona [email protected] Resumen La correspondencia de César Cui (1835-1918) dirigida a Felip Pedrell (1841-1922) es un conjunto de 52 documentos epistolares (43 cartas y 9 tarjetas postales) conservados en la Biblioteca de Catalunya con la signatura M 964; escritas en francés, su cronología abarca desde el 8 de marzo de 1893 al 12 de febrero de 1912. En dos de las cartas César Cui omi- tió la fecha de escritura, pero su contenido las sitúa dentro de este intervalo cronológico. El estudio de esta correspondencia muestra diversos aspectos de la relación de amistad entre ambos compositores: su mutua admiración y los intercambios de ideas, opiniones, composiciones, escritos y artículos; supone también un importante retrato de la realidad social de la vida musical de finales del siglo XIX, a través de sus comentarios sobre aspectos personales, familiares y cotidianos, sobre las dificultades que ambos tenían para la represen- tación de sus obras, así como sobre otros personajes e instituciones musicales de la época. Palabras clave: César Cui; Felip Pedrell; epistolario; nacionalismo musical. Resum. La correspondència de Cèsar Cui dirigida a Felip Pedrell (1893-1912) La correspondència de Cèsar Cui (1832-1918) dirigida a Felip Pedrell (1841-1922) és un conjunt de 52 documents epistolars (43 cartes i 9 targetes postals) conservats a la Biblioteca de Catalunya amb la signatura M 964; escrites en francès, la seva cronologia abasta des del 8 de març de 1893 fins al 12 de febrer de 1912. -
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works Occupying a vast land mass that has long been a melting pot of home-spun traditions and external influences, Russia’s history is deeply encrypted in the orchestral music to be found in this catalogue. Journeying from the Russian Empire through the Soviet era to the contemporary scene, the music of the Russian masters covers a huge canvas of richly coloured and immediately accessible works. Influences of folklore, orthodox liturgy, political brutality and human passion are all to be found in the listings. These range from 19th-century masterpieces penned by ‘The Mighty Five’ (Balakirev, Rimsky-Korsakov, Mussorgsky, Borodin, and Cui) to the edgy works of Prokofiev and Shostakovich that rubbed against the watchful eye of the Soviet authorities, culminating in the symphonic output of one of today’s most noted Russian composers, Alla Pavlova. Tchaikovsky wrote his orchestral works in a largely cosmopolitan style, leaving it to the band of brothers in The Mighty Five to fully shake off the Germanic influence that had long dominated their homeland’s musical scene. As part of this process, they imparted a thoroughly ethnic identity to their compositions. The titles of the works alone are enough to get the imaginative juices running, witness Borodin’s In the Steppes of Central Asia, Rimsky-Korsakov’s The Legend of the Invisible City of Kitezh, and Mussorgsky’s St John’s Night on the Bare Mountain. Supplementing the purely symphonic works, instrumental music from operas and ballets is also to be found in, for example, Prokofiev’sThe Love for Three Oranges Suite, Shostakovich’s four Ballet Suites, and Stravinsky’s Firebird Suite. -
Boston Symphony Orchestra Concert Programs, Season 126, 2006-2007, Subscription, Volume 02
v^. \i.> 2006-2007 SEASON BOSTON SYM PHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK CONDUCTOR EMERITUS SEIJI OZAWA MUSIC DIRECTOR LAUREATE Lead a richer life. * r _ }*,p00* i *v!' * MB _ {* ' John Hancock is proud t Boston Symphony Orchestra. A DS Manulife Financial Company the future is yours A World-Class Alcohol and Drug Treatment Program 11 Hi;: View from The McLean Center, Princeton, MA -v. E McLEAN CENTER AT FERNSIDE A comprehensive residential treatment program. Expertise in treating co-occurring psychiatric disorders. Highly discreet and individualized care for adults. Exceptional accommodations in a peaceful, rural setting. McLean Hospital: A Legacy of Compassionate Care and Superb Clinical Treatment www.mclean.harvard.edu • 1-800-906-9531 McLean Hospital is a psychiatric teachingfacility Partners. ofHarvard Medical School, an affiliate of Healthcare Massachusetts General Hospital and a member of Partners HealthCare. REASON #75 transplan exper s It takes more than just a steady hand to perform a successful organ transplant. The highly complicated nature of these procedures demands the utmost in experience and expertise. At Beth Israel Deaconess Medical Center, we offer one of the most comprehensive liver, kidney and pancreas transplant programs available today. Our doctors' exceptional knowledge and skill translate to enhanced safety and care in transplant surgery - and everything that goes into it. For more information on the Transplant Center, visit www.bidmc.harvard.edu or call 1-800-667-5356. Israel A teaching hospital of Beth Deaconess Harvard Medical School Medical Center Affiliated with Joslin Clinic | A Research Partner of the Boston Red Sox Dana-Farber/Harvard Cancer Center | Official Hospital of r James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 Trustees of the Boston Symphony Orchestra, Inc. -
Pressive Scenario
Designing Dreams A Celebration of Leon Bakst NMNM - Villa Sauber 23.10.2016 - 15.01.2017 Curators : Celia Bernasconi and John Ellis Bowlt Exhibition design: Nick Mauss To mark the 150th anniversary of the birth of the famous stage-designer for the Ballets Russes, the Nouveau Musée National de Monaco presents Designing Dreams, A Celebration of Leon Bakst, an exhibition running from 23 October 2016 to 15 January 2017 at the Villa Sauber. Contents I - Designing Dreams A Celebration of Leon Bakst Introduction to the exhibition 2 Leon Bakst 4 Nick Mauss 6 Exhibition design and itinerary 7 Public Programme 23 Partners and lenders of the exhibition 25 Exhibition Calatogue Biographies of the exhibition curators Leon Bakst, chronology 27 II - Le Nouveau Musée National de Monaco Presentation of the museum and exhibitions programme 32 Organisation Chart 38 Partners 40 Practical Information 42 I - Designing Dreams A Celebration of Leon Bakst Introduction to the exhibition Conceived in collaboration with Professor John E. Bowlt of the University of Southern California and in cooperation with numerous international researchers and lenders, “Designing Dreams, A Celebration of Leon Bakst”, is an exhibition organised around the collections of the Nouveau Musée National de Monaco and the permanent deposits of the Société des Bains de Mer. Leon Bakst (b. 1866 in Grodno, present day Belarus - d. 1924 in Paris) is primarily celebrated for the sets and costumes he designed for the Ballets Russes company in Paris, London and Monte Carlo in the 1910s and early 1920s. His dazzling creations contributed to the global triumph of iconic shows such as Shéhérazade, Le Spectre de la rose, Narcisse, L’Après-midi d’un faune, Daphnis et Chloé, Le Dieu bleu, and La Belle au bois dormant. -
Holover-Opera-Part-1.Pdf
J & J LUBRANO MUSIC ANTIQUARIANS Item 69 Catalogue 82 OPERA SCORES from the Collection of Jerome Holover (1943-2013) Part 1: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. v Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Fine Items & Collections Purchased v Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c. -
Emotions and the Magic Lantern
Projecting Pathos: Emotions and the Magic Lantern International online conference-workshop: December 4, 2020, 10:00 - 17:00 Please register here or at www.b-magic.eu by 02.12 to receive an invitation to participate in this online B-magic event. Projecting Pathos will focus on the role of emotions in magic lantern performances. This international and interdisciplinary workshop is organized by the Centre de recherche en Cinéma et Arts du Spectacle (CiASp) of the Université libre de Bruxelles, within the framework of the EOS- funded project B-Magic: The Magic Lantern and its Cultural Impact as Visual Mass Medium in Belgium (1830-1940), and will explore the emotional strategies used during lantern performances, as well as their impact on the spectators. It will bring together prominent scholars working in different fields related to the magic lantern and emotions: media archaeology and the history of emotions. The magic lantern was used by performers, by teachers and by various social groups to entertain and propagate knowledge, emotional norms and values. In doing so, magic lantern performances did not only represent emotions visually and through voice and text, they also produced them, having effects on the emotional state of the spectator. The medium's potential to provide emotional experiences for diverse audiences lies at the core of its power and appeal. Recognizing the role of emotions is essential in order to explore the cultural impact of the magic lantern. So far, Belgian slide collections have yielded a wealth of material for this area of research. Yet, the emotional scope of the magic lantern performance and the strategies to stimulate and steer emotions have seldom been tackled in media studies. -
LITTLE RED RIDING HOOD by Cesar
Opera Boulder Company Presents LITTLE RED RIDING HOOD By Cesar Lui The story of Little Red Riding Hood The story of Little Red Riding Hood is one about the never-ending fight between good and evil, a story about greed and hope, and a story about responsibility and second chances. Little Red is sent to her sick grandmother's house by her mother to deliver fresh bread, cookies, and other treats. Little Red's mother warns her not to stray from the path and not to talk to strangers. On the way to her grandmother's house, Little Red encounters a dangerous wolf, and she must make the choice to either listen to her mother or be tempted to stray from the path. Write the story of Little Red Riding Hood using your own words and include an introduction, development, and conclusion. You get to decide what happens at the end of the story! www.boulderoperacompany.com The composer What is a composer? A composer is someone who writes the music for operas, musicals, movies, and even TV and radio programs. We are going to be learning about an opera composer, specifically, the composer of Little Red Riding Hood: César Cui. César Cui was a Russian composer and music critic who lived from 1835 to 1918. Cui was a well-respected military academic, in addition to a composer and music critic. Most of Cui’s operatic compositions were written in Russian, with the exception of one opera written in French, Le flibustier, which premiered at the Opera-comique in Paris in 1894. -
Decentralising Via Russia: Glinka's a Life for the Tsar in Nice, 1890
1 Decentralising via Russia: Glinka’s A Life for the Tsar in Nice, 1890 Published Cambridge Opera Journal, Vol.27, No.1 (March 2015), pp.35-62 Abstract On 30 January 1890, the audience at the Théâtre Municipal in Nice witnessed something extraordinary. Midway through the first public performance of a Russian opera in France, Glinka’s A Life for the Tsar, the chorus and orchestra broke into a rendition of the Russian national anthem, followed by the ‘Marseillaise’. Both anthems were then repeated, with the audience calling out ‘Vive la Russie!’, ‘Vive la France!’ With France and Russia on the verge of an historic alliance, the evening was proclaimed a political and an artistic triumph. The success of this unusual event, I suggest, can be explained further by considering the context of operatic decentralisation in France, in conjunction with the arrival of the new director at the Théâtre, Raoul Gunsbourg. As a result of local and personal imperatives, the performance came to resonate nationally, with A Life serving as an unlikely emblem of modernity, while also bringing one peripheral French region strongly into Paris’s purview. *** In 1891, Charme dangereux, the latest release from the prolific novelist André Theuriet, hit the shelves. It told the story of a staid Parisian, Jacques, who succumbs to the charms of a mysterious Russian princess, the unforgettably named Mania Liebling, while vacationing in Nice. She first catches his eye at the Théâtre Municipal during a performance of Don Giovanni: 2 After the conclusion of the trio des masques, the singers were recalled and an ovation was given to Ludkof. -
Memorial Library of Music Collection
http://oac.cdlib.org/findaid/ark:/13030/kt6r29p0pm No online items Partial Guide to the Memorial Library of Music Collection Special Collections staff Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc/ © 2006 The Board of Trustees of Stanford University. All rights reserved. Partial Guide to the Memorial MLM 1 Library of Music Collection Partial Guide to the Memorial Library of Music Collection Collection number: MLM Department of Special Collections and University Archives Stanford University Libraries Stanford, California Processed by: Special Collections staff Date Completed: 2003 Encoded by: Bill O'Hanlon © 2006 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Memorial Library of Music collection Collection number: MLM Collector: Keating, George T. Collection Size: ca. 27 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: This library is a collection of musical manuscripts and of printed and engraved scores inscribed by great composers, and constitutes a unique addition to Stanford's educational and cultural resources. Languages: Languages represented in the collection: English Access Collection is open for research; materials must be requested at least 24 hours in advance of intended use. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Preferred Citation Memorial Library of Music Collection, MLM. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif. -
Regatul Romaniei
RegatulRomaniei file:///C:/Programele%20Mele/IstorieRomania1/RegatulRomaniei/Regat... Regatul României Visul unirii tuturor românilor sub un singur steag a frământat mințile conducătorilor încă din cele mai vechi timpuri, dar alianțele militare și interesele de ordin comercial nu au fost în favoarea simplificării relațiilor dintre diferitele formațiuni statale. În vechime, țările românești au negociat protecția celor două mari imperii ale romanilor, apoi începând cu secolul al XIII-lea au întreținut legături de prietenie și ajutor mutual cu Polonia și Lituania. Din secolul al XV-lea, ca state vasale Imperiului Otoman dar sub protecția directă a Hanatului Crimeei, s-a pus problema formării unui eyalat turcesc comun. Proiectul a fost însă refuzat cu dârzenie, ca urmare a divergențelor de ordin religios. Ca o soluție de compromis, sultanii au permis independența religioasă a celor trei principate, în schimbul dependenței economice. Situația de criză a intervenit o dată cu revoluția și apoi războiul de independență purtat de greci și sârbi. Sub aripa ocrotitoare a Bisericii Ortodoxe Răsăritene, creștinii din toate țările Balcanice au ridicat la început glasul, apoi armele, cerând vehement ieșirea din situația de compromis religios. Ca rezultat, boierii și dragomanii greci au fost maziliți, iar mănăstirile filiale ale celor de la Muntele Athos au fost secularizate. În urma grecilor au rămas nenumăratele lor rude născute din alianțe cu casele boierești autohtone, practic aproape toată crema boierimii. Pentru a umple vidul administrativ rămas s-a hotărât instituirea unei locotenențe domnești, ajutată de o Adunare Constituantă a fruntașilor celor două țări. În ambele principate, toate sufragiile au fost întrunite în anul 1859 de Colonelul Alexandru Ioan Cuza, cu funcția de Ministru de Război, fost deputat de Galați și fost șef al Miliției de la Dunărea de Jos.