DOCSLIB.ORG

La Clemenza Di Tito a Reappraisal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
La Clemenza Di Tito a Reappraisal Mozart’s La clemenza di Tito A Reappraisal Magnus Tessing Schneider and Ruth Tatlow (eds.) Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © The Author(s) 2018 License CC-BY Supporting Agency (funding): Performing Premodernity, Stockholm University, The Swedish Foundation for Humanities and Social Sciences First published 2018 Cover Illustration: P. Travaglia, Sala ter[r]ena destinata per le pubbliche udienze, Pietro Travaglia’s Sketchbook, f. 11. Published with permission from the Collection of Theatre History at the Hungarian National Széchényi Library, Budapest. Access. Nr. 1955/9645 Cover Copyright: Collection of Theatre History at the Hungarian National Széchényi Library License: CC BY-NC-ND Cover designed by Karl Edqvist, SUP Stockholm Studies in Culture and Aesthetics ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-055-3 ISBN (PDF): 978-91-7635-052-2 ISBN (EPUB): 978-91-7635-053-9 ISBN (MOBI): 978-91-7635-054-6 DOI: https://doi.org/10.16993/ban This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This license allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated. Suggested citation: Tessing Schneider, M. and Tatlow, R. (eds.) 2018 Mozart’s La clemenza di Tito: A Reappraisal. Stockholm: Stockholm University Press. DOI: https://doi. org/10.16993/ban. License: CC-BY 4.0 To read the free, open access version of this book online, visit https://doi.org/10.16993/ban or scan this QR code with your mobile device. Stockholm Studies in Culture and Aesthetics Stockholm Studies in Culture and Aesthetics (SiCA) (ISSN 2002-3227) is a peer-reviewed series of monographs and edited volumes published by Stockholm University Press. SiCA strives to provide a broad forum for research on culture and aesthetics, including the disciplines of Art History, Heritage Studies, Curating Art, History of Ideas, Literary Studies, Musicology, and Performance and Dance Studies. In terms of subjects and methods, the orientation is wide: critical theory, cultural studies and historiography, modernism and modernity, materiality and mediality, performativity and visual culture, children’s literature and children’s theatre, queer and gender studies. It is the ambition of SiCA to place equally high demands on the academic quality of the manuscripts it accepts as those applied by refereed international journals and academic publishers of a similar orientation. SiCA accepts manuscripts in English, Swedish, Danish, and Norwegian. Editorial Board Jørgen Bruhn, Professor of Comparative Literature at the Centre for Intermedial and Multimodal Studies at Linnaeus University in Växjö Karin Dirke, Associate Professor of History of Ideas at the Department of Culture and Aesthetics at Stockholm University Elina Druker, Associate Professor of Literature at the Department of Culture and Aesthetics at Stockholm University Johanna Ethnersson Pontara, Associate Professor of Musicology at the Department of Culture and Aesthetics at Stockholm University Kristina Fjelkestam, Professor of Gender Studies at the Department of Ethnology, History of Religions and Gender Studies at Stockholm University Malin Hedlin Hayden, Professor of Art History at the Department of Culture and Aesthetics at Stockholm University Christer Johansson (coordination and communication), PhD Literature, Research Officer at the Department of Culture and Aesthetics at Stockholm University Jacob Lund, Associate Professor of Aesthetics and Culture at the School of Communication and Culture - Aesthetics and Culture, Aarhus University Catharina Nolin, Associate Professor of Art History at the Department of Culture and Aesthetics at Stockholm University Ulf Olsson (chairperson), Professor of Literature at the Department of Culture and Aesthetics at Stockholm University Meike Wagner, Professor of Theatre Studies at the Department of Culture and Aesthetics at Stockholm University Titles in the series 1. Rosenberg, T. 2016. Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance. Stockholm: Stockholm University Press. DOI: https://doi.org/10.16993/baf. License: CC-BY 4.0 2. Lennon, J. & Nilsson, M. (eds.) 2017. Working-Class Literature(s): Historical and International Perspectives. Stockholm: Stockholm University Press. DOI: https://doi.org/10.16993/bam. License: CC-BY 4.0 3. Tessing Schneider, M. & Tatlow, R. (eds.) 2018. Mozart’s La clem- enza di Tito: A Reappraisal. Stockholm: Stockholm University Press. DOI: https://doi.org/10.16993/ban. License: CC-BY 4.0 Peer Review page Guidelines for peer review Stockholm University Press ensures that all book publications are peer-reviewed in two stages. Each book proposal submitted to the Press has been sent to a dedicated Editorial Board of experts in the subject area as well as two independent experts. The full manuscript will be peer reviewed by chapter or as a whole by two independent experts. A full description of Stockholm University Press’ peer-review pol- icies can be found on the website: http://www.stockholmuniversity- press.se/site/peer-review-policies/ Recognition for reviewers The Editorial Board of Stockholm Studies in Culture and Aesthetics applies single-blind review during proposal and manuscript assess- ment. We would like to thank all reviewers involved in this process. Special thanks to the reviewers who have been doing the peer review of the manuscript of this book. Dedicated to the memory of our dear friend and colleague Jette Barnholdt Hansen *7 March 1966 †8 February 2017 Her vil ties, her vil bies, Her vil bies, o svage Sind! Vist skal du hente, kun ved at vente, Kun ved at vente, vor Sommer ind. Her vil ties, her vil bies, Her vil bies, o svage Sind! Contents Images xi Preface xiii La clemenza di Tito: Chronology and Documents 1 Ruth Tatlow and Magnus Tessing Schneider I Chronology 2 II Documents in Parallel Translation 6 Operatic Culture at the Court of Leopold II and Mozart’s La clemenza di Tito 33 John A. Rice From Metastasio to Mazzolà: Clemency and Pity in La clemenza di Tito 56 Magnus Tessing Schneider From Metastasio to Mozart 60 The Concept of Pity in Mazzolà’s Revision 66 La clemenza di Tito—A Democratic Opera? 79 Tito’s Burden 97 Felicity Baker The Operatic Action, Intertext and Context 97 The Monarch’s Need for Truth 102 Historical Depth in the Character of Tito 107 From Servilia to Vitellia 109 The Opera’s Burden 113 x Mozart’s La clemenza di Tito Mozart as Epideictic Rhetorician: The Representation of Vice and Virtue in La clemenza di Tito 120 Jette Barnholdt Hansen Theatrum mundi and fraternité 121 The Coronation Opera 124 Rhetoric and Aesthetics 125 Opera seria and the da capo aria 126 The Representation of Clemency 129 Stage Directions and Set Design in Mozart’s La clemenza di Tito 134 Sergio Durante The Stage Sets and their Importance in Prague 1791 134 Staging and the Aesthetic of La clemenza di Tito 150 Bibliography 159 Index 169 Editors of La clemenza di Tito 177 Images 5.1 ‘Vivat Leopoldus Secundus’, coronation of Emperor Leopold II. Engraving by I. C. Berndt, 1790. Reproduced with kind permis- sion from the copyright owner/holder, the Historisches Museum Frankfurt, N42672. On permanent loan from the Städel Museum Frankfurt. Photo: Horst Ziegenfusz. Licence: CC BY-NC-ND 4.0 International use. 122 6.1 P. Travaglia, Sala ter[r]ena destinata per le pubbliche udienze, Pietro Travaglia’s Sketchbook, f. 11. Published with permission from the copyright owner/holder, the Collection of Theatre History at the Hungarian National Széchényi Library, Budapest. Access. Nr. 1955/9645. Licence: CC BY-NC-ND 4.0 International use. 136 6.2 Symmetrical duplication of the design in Image 1 (with correct- ed shadows). Designed by Paolo Kirschner and Silvia Tinazzo. Reproduced with permission from the copyright owners/holders, Paolo Kirschner and Silvia Tinazzo. Licence: CC BY-NC-ND 4.0 International use. 138 6.3 Hypothetical realisation of the scenographic elements. Designed by Paolo Kirschner and Silvia Tinazzo. Reproduced with permis- sion from the copyright owners/holders, Paolo Kirschner and Silvia Tinazzo. Licence: CC BY-NC-ND 4.0 International use. 139 6.4 Detail of the set design, showing the rear of the stage. Designed by Paolo Kirschner and Silvia Tinazzo. Reproduced with permis- sion from the copyright owners/holders Paolo Kirschner and Silvia Tinazzo. Licence: CC BY-NC-ND 4.0 International use. 140 6.5 Hypothetical realisation of the long set. Designed by Paolo Kirschner and Silvia Tinazzo. Reproduced with permission from the copyright owners/holders, Paolo Kirschner and Silvia Tinazzo. Licence: CC BY-NC-ND 4.0 International use. 141 xii Mozart’s La clemenza di Tito 6.6 Section and plan of Count Nostitz’s National Theatre, Prague, 1793. Copper plate engraving by Johann Berka, after Philipp and Franz Heger. Reproduced with permission from the copyright owner/holder, AKG images / TT Nyhetsbyrån. Licence: CC BY- NC-ND 4.0 International use. 143 6.7 P. Travaglia, [parte del foro romano (…) Campidoglio]. Pietro Travaglia’s Sketchbook, f. 12. Published with permission from the copyright owners/holders the Collection of Theatre History at the Hungarian National Széchényi Library, Budapest. Access. Nr. 1955/9645. Licence: CC BY-NC-ND 4.0 International use. 144 6.8 P. Travaglia, [parte del foro romano (…)], symmetrically expanded. Designed by Paolo Kirschner and Silvia Tinazzo. Reproduced with permission from the copyright owners/holders Paolo Kirschner and Silvia Tinazzo. Licence: CC BY-NC-ND 4.0 International use. 146 6.9 Hypothetical realisation of the scenographic elements. Designed by Paolo Kirschner and Silvia Tinazzo. Reproduced with permis- sion from the copyright owners/holders Paolo Kirschner and Silvia Tinazzo. Licence: CC BY-NC-ND 4.0 International use.
Load more

Recommended publications
  • Lorenzo Da Ponte: Leben Und Werk
    LORENZO DA PONTE: LEBEN UND WERK. Zusammengestellt von Wiebke Krohn und Johannes Schweitzer In: Hanak, Werner/Jüdisches Museum Wien (Hrsg.): Lorenzo Da Ponte. Aufbruch in die Neue Welt. (anlässlich der gleichnamigen Ausstellung im Jüdischen Museum Wien vom 22. März bis 17. September 2006) Ostfildern, 2006, pp. 177-186. LORENZO DA PONTE: LEBEN UND WERK 1749 Lorenzo Da Ponte wird als Emanuele Conegliano am 10. März in Ceneda (heute Vittorio Veneto) als ältester Sohn des Lederhändlers Geremia Conegliano und Rachele Pincherle geboren. Die Familie ist jüdisch und wohnt im dortigen Ghetto. 1763 Geremia Conegliano lässt sich, Emanuele und die beiden jüngeren Söhne Baruch und Anania am 29. August durch den Bischof von Ceneda, Mons. Lorenzo Da Ponte, christlich taufen. Die Familie erhält den Nachnamen des Taufpaten, der Vater den Vornamen Gasparo und die drei Brüder die Namen Lorenzo, Girolamo und Luigi. Der Vater – seit 1754 Witwer, Rachele starb wahrscheinlich an der Entbindung des dritten Sohnes – heiratet am 10. September die erst 18-jährige Orsola Pasqua Paietta. Aus dieser Ehe gehen drei Söhne und sieben Töchter hervor. Am 1. November treten Lorenzo und Girolamo mit der Unterstützung des Bischofs und der Pia Casa dei Catecumeni di Venezia – einer Einrichtung zur Konversion und Erziehung Andersgläubiger – in das Priesterseminar von Ceneda ein. Hier werden sie in Latein geschult und kommen dank der Lehrverpflichtung von Abbé Cagliari aus Altivole (Universität Padova) mit den großen italienischen Autoren Dante, Petrarca, Ariosto und Tasso in Berührung. Die lebenslange Freundschaft Lorenzos mit dem um zwei Jahre älteren Michele Colombo hat hier ihren Anfang. 1765 Lorenzo Da Ponte erhält die niederen Weihen.
    [Show full text]
  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
    [Show full text]
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • Scuola Pianistica Milanese»
    Guido Salvetti Forse non ci fu una «scuola pianistica milanese» Una valutazione del ruolo del pianoforte nella vita musicale milanese del primo Ottocen- to deve dar ragione di aspetti non poco contraddittori. Da un lato appare chiaro il ruolo secondario del pianoforte nelle istituzioni pubbliche di istruzione e di concerto. Dall’al- tro appare imponente l’attività che potremmo dire privata, quale ci viene testimoniata dai ‹nobili dilettanti› e dai cataloghi editoriali. Osserviamo innanzi tutto alcuni dati recentemente raccolti sulle pubbliche accade- mie del Regio Conservatorio, a partire dalla sua fondazione nel 1808.1 Pur tenendo conto delle inevitabili lacune di uno spoglio d’archivio, appaiono clamorose le assenze di esi- bizioni pianistiche per interi anni, sommerse da un enorme numero di brani operistici e di ariette. Nei primi dieci anni di vita dell’istituzione, l’insegnante Benedetto Negri propone alle autorità e al pubblico cittadino soltanto questi due interventi pianistici: 8 ottobre 18122 Wolfgang Amadeus Mozart Variazioni per clavicembalo Giovanni Battista Rabitti3 1 ottobre 18154 Friedrich Heinrich Himmel Sonata per pianoforte5 [Luigi] Rabitti «minore» con accompagnamento di corni da caccia: Giacomo Belloli e Giuseppe Schiroli 1 Milano e il suo Conservatorio, a c. di Guido Salvetti, Milano 2003; cd-rom allegato, Appendice iv: Cronologia dei saggi degli allievi dal 1809 al 1896. Questa è l’avvertenza iniziale: «Per la compilazione della cronologia sono stati consultati i programmi di sala e, in alternativa, le recensioni apparse sulla Gazzetta musicale di Milano e sulla Perseveranza. In generale, per i titoli si è mantenuta la grafia come appare nel documento originale; dove è stato possibile si è provveduto, invece, a completare i nomi degliallieviedegliautori».
    [Show full text]
  • 103 the Music Library of the Warsaw Theatre in The
    A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska.
    [Show full text]
  • The University of Chicago Objects of Veneration
    THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................
    [Show full text]
  • Signing the Body Dramatic Interpretation and Translation of Racine's Phedre
    Signing the Body Dramatic Interpretation and Translation of Racine's Phedre An undergraduate thesis in Theater and Linguistics by Emily Louise Melnick K. Elizabeth Stevens & DonnaJo Napoli Swarthmore College, Swarthmore Pennsylvania April 29, 2012 Table of Contents 2 Introduction 5 Two Brief Notes 6 Excerpts from Storytelling as a Means ofCulturalAffirmation 12 Culture Swapping 14 What is Deaf Theater? 16 Getting Started 20 What's in a Name? 27 The Matter of Meter 33 Issues and Errata 39 Introduction to ASL Gloss 42 Phedre, PHEDRE, P-H-E-D-R-E: Act I 54 Racine's Phedre: Acte I 1 Introduction And ifthe body does not do fully as much as the soul? And ifthe body were not the soul, what is the soul? -Walt Whitman, I Sing the Body Electric American Sign Language is a language of the body. It's a language of gesture, of facial expression, of sight and touch. As an actor, a linguist, and a dramaturg (and one who was raised on a heavy diet of Brecht's Epic Theater), I'm drawn to ASL as a medium for theater, for storytelling, and for connection and communication. This thesis is an exploration of my experiences with ASL as a literary and theatrical medium-my experiments in ASL translation, my understanding of Deaf theater, and my musings on communication, translation, and creation. The thesis is naturally bipartite. ASL being a highly visual, four-dimensional language, my translation work is presented in video format. The paper (or, more likely, pixel) portion of my thesis is a window into my process.
    [Show full text]
  • PPO2 Schneider 2.Pages
    Performing Premodernity Online – Volume 2 (January 2015) On Acting in Late Eighteenth- Century Opera Buffa MAGNUS TESSING SCHNEIDER In 1856 the German poet and music critic Johann Peter Lyser wrote about the beginning of the supper scene in the second finale of Don Giovanni, written for the comedians Luigi Bassi and Felice Ponziani: "Unfortunately, it is not performed in Mozart's spirit nowadays, for the Don Giovannis and Leporellos of today are no Bassis and Lollis [recte: Ponzianis]. These played the scene differently in each performance, sustaining an uninterrupted crossfire of improvised jokes, droll ideas and lazzi, so that the audience was thrown into the same state of mirth in which it was Mozart's intention that master and servant should appear to be on the stage. These were the skills of the opera buffa singers of old; the modern Italian singers know as little how to do it as the Germans ever did."1 Though written more than 150 years ago, this longing for the musical and theatrical immediacy that reigned in the opera houses of the late eighteenth century may still resonate with adherents of the Historically Informed Performance (HIP) movement. At least since Georg Fuchs coined the motto "rethéâtraliser le théâtre" in 19092 the theatrical practices of the past has, indeed, been an important source of inspiration for theatrical reformers, and the commedia dell'arte, with its reliance on virtuoso improvisation rather than on written text, has appealed to many directors. Yet as the Lyser quotation suggests, the idealization of a lost tradition as the positive counter- image of the restrictions of the modern stage is not a new phenomenon.
    [Show full text]
  • The Metastasio Moment Irish-Italian Studies 2018.Pdf (230.3Kb)
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title The Metastasio moment: language, music and translation Author(s) O'Connor, Anne Publication Date 2018 O'Connor, Anne. (2018). The Metastasio Moment: Language, Publication Music and Translation. In Chiara Sciarrino (Ed.), Irish-Italian Information Studies: New Perspectives on Cultural Mobility and Permeability. Palermo: Palermo University Press. Publisher Palermo University Press Link to publisher's https://www.unipapress.it/ version Item record http://hdl.handle.net/10379/14687 Downloaded 2021-09-24T11:36:48Z Some rights reserved. For more information, please see the item record link above. Atti e Convegni IRISH-ITALIAN STUDIES New Perspectives on Cultural Mobility and Permeability Edited by Chiara Sciarrino Atti e Convegni Chiara Sciarrino, Irish-italian Studies - New Perspectives on Cultural Mobility and Permeability © Copyright 2018 New Digital Frontiers srl Viale delle Scienze, Edificio 16 (c/o ARCA) 90128 Palermo www.newdigitalfrontiers.com ISBN (a stampa): 978-88-31919-26-5 ISBN (online): 978-88-31919-27-2 Index Preface 7 CHIARA SCIARRINO Introduction 9 DONATELLA ABBATE BADIN Poetic Rewritings: Issues of Cultural Distance and Examples of Textual Mediation in Seamus Heaney’s Italian Translations 23 DEBORA BANCHERI When Italian Popular Music Sings about Ireland: Homage, Inspiration and Kindred Spirits 45 SIMONA MARTINI The Metastasio Moment: Language, Music and Traslation 73 ANNE O’CONNOR Visions of
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 47,1927
    CARNEGIE HALL .... NEW YORK Thursday Evening, November 24, at 8.30 Saturday Afternoon, November 26, at 2.30 / III WWllillJI/// ^ :%. m 4f- & BOSTON v %ro SYAPHONY ORCHESTRA INC. FORTY-SEVENTH SEASON 1927-1928 PRSGR7W\E " . the mechanism is so perfect as to respond to any demand and, in fact, your piano ceases to be a thing of ivocd and -wires, but becomes a sympathetic friend." Wt^ Wilhelm BachailS, most exacting of pianists, finds in the Baldwin the perfect medium of musical ex- pression. Acclaimed the pianist of pianists, beloved by an ever-growing public, Bachaus has played the Baldwin exclusively for twelve years, in his home and on all his American tours. That loveliness and purity of tone which appeals to Bachaus and to every exacting musician is found in all Baldwins; alike in the Concert Grand, in the smaller Grands, in the Uprights. The history of the Baldwin is the history of an ideal. ^albtotn $tano Company 20 EAST 54th STREET NEW YORK CITY CARNEGIE HALL - - - NEW YORK Forty-second Season in New York FORTY-SEVENTH SEASON 1927-1928 INC. SERGE KOUSSEVITZKY, Conductor m©^ the THURSDAY EVENING, NOVEMBER 24, at 8.30 AND THE SATURDAY AFTERNOON, NOVEMBER 26, at 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1927, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B.
    [Show full text]
  • Paul Schoenfield's' Refractory'method of Composition: a Study Of
    Paul Schoenfield's 'Refractory' Method of Composition: A Study of Refractions and Sha’atnez A document submitted to the Graduate School of The University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music by DoYeon Kim B.M., College-Conservatory of Music of The University of Cincinnati, 2011 M.M., Eastman School of Music of The University of Rochester, 2013 Committee Chair: Professor Yehuda Hanani Abstract Paul Schoenfield (b.1947) is a contemporary American composer whose works draw on jazz, folk music, klezmer, and a deep knowledge of classical tradition. This document examines Schoenfield’s characteristic techniques of recasting and redirecting preexisting musical materials through diverse musical styles, genres, and influences as a coherent compositional method. I call this method ‘refraction’, taking the term from the first of the pieces I analyze here: Refractions, a trio for Clarinet, Cello and Piano written in 2006, which centers on melodies from Mozart’s Le nozze di Figaro (The Marriage of Figaro). I will also trace the ‘refraction’ method through Sha’atnez, a trio for Violin, Cello and Piano (2013), which is based on two well-known melodies: “Pria ch’io l’impegno” from Joseph Weigl’s opera L’amor marinaro, ossia il corsaro (also known as the “Weigl tune,” best known for its appearance in the third movement of Beethoven’s Trio for Piano, Clarinet, and Cello in B-flat Major, Op.11 (‘Gassenhauer’)); and the Russian-Ukrainian folk song “Dark Eyes (Очи чёрные).” By tracing the ‘refraction’ method as it is used to generate these two works, this study offers a unified approach to understanding Schoenfield’s compositional process; in doing so, the study both makes his music more accessible for scholarly examination and introduces enjoyable new works to the chamber music repertoire.
    [Show full text]
  • La Clemenza Di Tito
    La clemenza di Tito La clemenza di Tito (English: The Clemency of Titus), K. 621, is an opera seria in La clemenza di T ito two acts composed by Wolfgang Amadeus Mozart to an Italian libretto by Caterino Mazzolà, after Pietro Metastasio. It was started after the bulk of Die Zauberflöte Opera by W. A. Mozart (The Magic Flute), the last opera that Mozart worked on, was already written. The work premiered on 6 September 1791 at theEstates Theatre in Prague. Contents Background Performance history Roles Instrumentation Synopsis Act 1 The composer, drawing by Doris Act 2 Stock, 1789 Recordings Translation The Clemency of Titus See also References Librettist Caterino Mazzolà External links Language Italian Based on libretto by Pietro Metastasio Background Premiere 6 September 1791 In 1791, the last year of his life, Mozart was already well advanced in writing Die Estates Theatre, Zauberflöte by July when he was asked to compose an opera seria. The commission Prague came from the impresario Domenico Guardasoni, who lived in Prague and who had been charged by the Estates of Bohemia with providing a new work to celebrate the coronation of Leopold II, Holy Roman Emperor, as King of Bohemia. The coronation had been planned by the Estates in order to ratify a political agreement between Leopold and the nobility of Bohemia (it had rescinded efforts of Leopold's brother Joseph II to initiate a program to free the serfs of Bohemia and increase the tax burden of aristocratic landholders). Leopold desired to pacify the Bohemian nobility in order to forestall revolt and strengthen his empire in the face of political challenges engendered by the French Revolution.
    [Show full text]