DOCSLIB.ORG

Boston Symphony Orchestra Concert Programs, Season 52,1932-1933

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boston Symphony Orchestra Concert Programs, Season 52,1932-1933 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTY-SECOND SEASON, 1932-1933 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1932, BY BOSTON SYMPHONY ORCHESTRA. INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. BENTLEY W. WARREN President HENRY B. SAWYER Vice-President ERNEST B. DANE Treasurer HENRY B. CABOT, JR. ARTHUR LYMAN ERNEST B. DANE WILLIAM PHILLIPS N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER FREDERICK E. LOWELL BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 193 GERICKE Reviews the Past + * * When wiiheim returned the books he Gericke, the second con- said, I am completely ductor of the Boston dumbfounded! I do notsee Symphony Orchestra, what is left for me to do arrived in Boston one of here. You seem to have his first acts was to ex- had everything already; amine the programmes of more, much more, than that orchestra' s past three we ever had in Vienna/' seasons. In addition he studied care- Yet Gerickeprovedthat there was much fully two immense bound volumes left for him to do, for during his fifteen containing the programmes for the 17 years as conductor he brought the stand- years of concerts given by the Harvard ard of the concerts nearer to the high Musical Association. When he plane that Major Higginson desired. Time changes so many things. ... A will drawn a few years ago now may not represent the real wishes of the maker ... in its present form its probate may seriously affect the interests of the very persons it is supposed to benefit. While we do not draw wills our experience as Executor and Trustee may be of help to you in finding out whether or not your will is one that needs immediate revision. Old Colony Trust Company 17 COURT STREET, BOSTON ^Affiliated with The FlRST NATIONAL Bank of BOSTON !94 ; CONTENTS I Title Page Page 193 Programme ........ 197 Analytical Notes by Philip Hale: Haydn Symphony in G major, "Oxford," No. 92 198 (Haydn's Symphony No. 17 in F major will be played instead of the above symphony) Harriet Cohen . Biographical Sketch 213 Bax . "Winter Legends" for Orchestra and Piano 214 Entr'acte: A Great Symphonist: Art of Jan Sibelius By F. Bonavia (Daily Telegraph, London, January 23, 1932) 220 Sibelius . Symphony No. 1 in E minor, Op. 39 222 Advance Programme . 231 Special Concert Announcements 232-236 Teachers' Directory ....... 237-240 Personnel Opposite page 240 19.5 Cfrannler & Co. Famous for Style for Over a Century Women s or Misses' Coats Third Floor We Suggest ersian . as a Beautiful Fur of enduring smartness! $98 If you want a coat that displays its worth in the beauty of furs ... If you want a coat that has distinction in its perfect lines ... If you want a coat of which you'll be proud for several seasons . then do see these care- fully selected, beautifully furred coats at $98! Also at this Price . these Expensive Furs: Beaver, Kolinsky, Mink, Silver or Blue-dyed Fox. i96 FIFTY-SECOND SEASON, NINETEEN HUNDRED THIRTY-TWO AND THIRTY-THREK FRIDAY AFTERNOON, NOVEMBER 11, at 2.30 o'clock SATURDAY EVENING, NOVEMBER 12, at 8.15 o'clock in major, for String Orchestra Haydn . Symphony No. 17 F I. Allegro. II. Andante. III. Finale. Bax "Winter Legends," Symphonie Concertante for Pianoforte and Orchestra I. Allegro. II. Lento molto espressivo. III. Molto moderato. (First time in the United States) Sibelius Symphony No. 1 in E minor, Op. 39 I. Andante ma non troppo; Allegro energico. II. Andante ma non troppo lento. III. Allegro. IV. Finale (Quasi una Fantasia): Andante; Allegro molto. SOLOIST HARRIET COHEN STEINWAY PIANO USED There will be an intermission before the symphony of Sibelius City of Boston, Revised Regulation of August 5, 1898,—Chapter 3, relating to the covering of the head in places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which ohstructi the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN. City Clerk. The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert 197 Symphony in G major, "Oxford" Josef Haydn (Instead of the above symphony, Haydn's Symphony No. 17 in F major will be played j (Born at Rohrau, Lower Austria, March 31 (?), 1732; died at Vienna, May 31, 1809) This symphony is marked "Letter Q" in the catalogue of the Lon- don Philharmonic Society ; No. 9 in the Peters edition ; No. 2 in the edition of Rieter-Biedermann ; No. 31 in Sieber's edition; No. 11 in La Due's; No. 20 in the Library of the Paris Conservatory. It is called the "Oxford" because it was performed at the second concert (July 7, 1791) of the three given while Haydn was at Ox- ford, England, to receive his degree of Mus. Doc. from the Uni- versity. The concert began at 7 p.m. The program was a long one. Handel's overture to "Samson"; aria, "So much Beauty," from Handel's "Esther," sung by Master Mutlow;* a violoncello concerto played *This Oxford singing-boy took the place of the famous and beautiful soprano, Anna Maria Crouch (1763-1805), who fell dangerously sick at Henley on her way to Oxford. Anna Selina Storace (1766-1817) was the daughter of an Italian double-bass player at London and the sister of Stephen Storace, the composer. She studied in London, and then at Venice with Sacchini. She sang in Italy from 1780 to 1782, when to Vienna in 1784, created there the part of Susanna in Mozart's "Marriage of Figaro" (1786), returned to London and left the stage in 1808. Giacomo David (born Davide), born at Presezzo in 1750, was a distinguished tenor in Italy as early as 1770. He sang for the last time in Genoa in 1811, and died at Bergamo in 1830. Michael Kelly, composer, singer, and manager, was born at Dublin in 1762. He studied there and at Naples. He sang in Italy and at Vienna, created the parts of Don Basilio and Don Curzio in Mozart's "Marriage of Figaro." He died at Margate in 1826. His "Reminiscences" High Grade Bonds For Safety of Principal and Income Chase Harris Forbes Corporation 24 Federal Street, Boston 198 by Mr. Sperati; aria, "Quel desir che amor un di," by Storace, sung by Sgra. Storace; a chorus from HandePs "Alexander's Feast," made up the first part. The second opened with a symphony (MS.) by Haydn, "expressly intended for this concert." An aria from Handel's "Saul/' sung by Sig. David; a violin concerto by Master Clement and played by the youthful composer; Mengozzi's aria, "Donna chi vuol vedere," sung by Mr. Kelly ; Purcell's "From Silent Shades and the Elysium Graves," sung by Sgra. Storace; the hail- stone chorus from Handel's "Israel in Egypt" ; and a glee sung by Kelly, Webb, and Bellamy, made up the second part. There was an attempt to shorten this part, but the students, "gentlemen of the square cap," would not hear of it. The third part included an aria, "Whither, my Love," sung by Sgra. Storace ; a concertante by Pleyel, played by Cramer, Dance, Patria, Sperati; an aria by Sarti, sung by Sig. David ; Handel's "Let the Bright Seraphim," from "Samson," sung by Sgra. Storace; and a chorus from the same oratorio. In spite of the words "expressly intended for this concert," it is (1826), a book of most entertaining gossip, was written by Theodore Hook. Clement afterward became a celebrated virtuoso, and was the first to play Beethoven's violin concerto. The Bellamy who took part in the glee was probably Richard Bellamy (1743-1813). one of the best basses of his day and a composer of church music, glees, and other works. MUSIC: SUITABLE FOR AN ART AND A LANGUAGE By WALTER R. SPALDING GIFTS OR "The best book on music that has yet come from America." —Musical Opinion, London. GENERAL READING Price, $2.50 net CRITICAL AND HISTORICAL ESSAYS By EDWARD MacDOWELL 'Especially valuable to those who desire to secure the essential elements of a liberal culture in music." —The Musician- Price, $2.00 net A SHORT OUTLINE OF MUSICAL HISTORY From. Ancient Times to the Present Day By CUTHBERT HARRIS "Giving terse characterizations of periods, schools and composers, with listing of their chief works. Musical instruments are also analyzed and. storied in brief." —Musical Courier Price, $1.25 net The ARTHUR P« SCHMIDT CO„ 120 Boylston St. 199 not probable that this symphony was composed for the occasion, but we do not know whether it had been played before in public. Leopold Schmidt, in his "Joseph Haydn" (Berlin, 1898), says that the symphony had been played, and that the trumpets and drums were added later by the composer, but he cites no authority for this statement. Some say it was probably written about 1788. We are told that Haydn intended to have the work, "one of his favorite compositions," performed at the first Oxford concert, July 6, but he arrived too late for rehearsal, and one that was already familiar was played. Cramer was the "leader," Dr. Hayes was the chief conductor.
Load more

Recommended publications
  • MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
    MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A.
    [Show full text]
  • A-AGRIGENTO Da 1 a 8 7-03-2007 8:34 Pagina 1
    A-AGRIGENTO da 1 a 8 7-03-2007 8:34 Pagina 1 DRAMMATURGIA MUSICALE VENETA 27 I GIUOCHI D’AGRIGENTO I ProprietàRicordi Casa A-AGRIGENTO da 1 a 8 7-03-2007 8:34 Pagina 2 ProprietàRicordi Casa A-AGRIGENTO da 1 a 8 7-03-2007 8:34 Pagina 3 ISTITUTO ITALIANO ANTONIO VIVALDI DELLA FONDAZIONE GIORGIO CINI VENEZIA DIPARTIMENTO DI STORIA E CRITICA DELLE ARTI «GIUSEPPE MAZZARIOL» DELLA UNIVERSITÀ DI VENEZIA ALESSANDRO PEPOLI - GIOVANNI PAISIELLO I GIUOCHI D’AGRIGENTO Partitura dell’opera in facsimile Edizione del libretto Saggio introduttivo a cura di Lorenzo Mattei ProprietàRicordi Casa RICORDI A-AGRIGENTO da 1 a 8 7-03-2007 8:34 Pagina 4 Sotto l’alto patronato del Presidente della Repubblica Italiana La collana è diretta da Giovanni Morelli Reinhard Strohm Thomas Walker ProprietàRicordi © Copyright 2007 by BMG RICORDI MUSIC PUBLISHING S.p.A. Produzione, distribuzione e vendita: BMG PUBLICATIONS s.r.l. - via Liguria, 4 - Frazione Sesto Ulteriano 20098 San Giuliano Milanese (MI) Tutti i diritti riservati All rights reserved Casa Printed in Italy 139787 ISBN 978-88-7592-827-8 ISMN M-041-39787-0 A-AGRIGENTO da 1 a 8 7-03-2007 8:34 Pagina 5 ProprietàRicordi Casa A-AGRIGENTO da 1 a 8 7-03-2007 8:34 Pagina 6 ProprietàRicordi Casa A-AGRIGENTO da 1 a 8 7-03-2007 8:34 Pagina 7 Lorenzo Mattei IL BATTESIMO DELLA FENICE: PAISIELLO E I «GIUOCHI» DI UN CONTE DRAMMATURGO ProprietàRicordi Casa A-AGRIGENTO da 1 a 8 7-03-2007 8:34 Pagina 8 ProprietàRicordi Casa 8 B-AGRIGENTO pag 9-32 7-03-2007 8:35 Pagina IX Le opere serie del secondo Settecento chiamate all’inaugurazione
    [Show full text]
  • Resistance and Waste Work: Women's Environmentalism
    RESISTANCE AND WASTE WORK: WOMEN’S ENVIRONMENTALISM IN SOUTHERN ITALY BY VALERIA BONATTI DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Sociology in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Doctoral Committee: Professor Tim Liao, Chair Professor Zsuzsa Gille, Director of Research Professor Asef Bayat Professor Behrooz Ghamari-Tabrizi Professor Faranak Miraftab ABSTRACT This dissertation analyzes how the implementation of the European Union Waste Directives is shaping gender and ethnic relationships in the region of Campania, Italy, an area with an extensive history of illegal dumping and toxic waste contamination. Through ethnographic and archival methods, I examine how women of different ethnic and socio-economic backgrounds strive to address issues of pollution, illegal dumping and toxic waste contamination in various spheres of life, including family, workplace and civil society. The work begins with a review of the history and of the epistemological frameworks underlying the study of the environment and of waste management in Italy. Drawing on neoliberal globalization scholarship, in Chapters 1 and 2 I highlight how the overwhelming prevalence of nation-state policy frameworks risk marginalizing considerations of gender, race and ethnicity from these studies. In the third chapter (Chapter 3) I refer to environmental justice environment to engage with the emergence of maternal politics among working-class Italian women in rural districts, drawing attention to these groups' strategic use of traditional and even stereotypical understandings of gender roles - motherhood in particular – to obtain political legitimacy in the realms of a male-dominated civil society.
    [Show full text]
  • Una Fanatica Per La Musica Di Mayr 2
    Una fanatica per la musica di Mayr? Angelica Catalani and Il fanatico per la musica in London in 1824 Alexander Weatherson No one can really be surprised that the outrageous heroine of Che originali - the fantastic Donna Aristea - who sported the headdress of Cleopatra and the sandals of Sofonisba, who swept on the stage in the robes of Semiramide or of Dido or of Ifigenia should have had such an attraction for Angelica Catalani - that irresistible bête noire of the operatic firmament who has come down to us as the one truly insuperable primadonna of the age of Mayr. A legendary soprano who sang more Semiramide, Didos and Ifigenie than anyone in existence, the one gloriously willful icon in a theatre of posture and change. The ultimate Metastasiasta diva par excellence. She timed her appearances with perfection, and not just for Mayr, it was the French Revolution that did it. No one ever sang so many betrayed or dying queens. Her operatic tastes, like her musical garb, however pessimistically they may have been viewed by generations of vocal purists, reflected the popular events of her day. Her career, like that of Donna Aristea was old hat but indisputably topical. She was a final extravagant flower of the ancien régime like Brigida Banti, Gertrud Elisabeth Mara and Giuseppina Grassini and utterly unlike - for example - Giuditta Pasta or Maria Malibran of the romantic era, with whom she overlapped. But was she a fanatic for the music of Mayr? She cultivated fanaticism it is true, she counted upon fanatics to sustain her career and ran a fanatical train of existance.
    [Show full text]
  • Creighton University Commencement
    2021At the close of the one hundred forty-second year Creighton University Commencement MAY 13–15, 2021 Lord, teach me to be generous; teach me to serve you as you deserve; to give and not to count the cost; to fight and not to heed the wounds; to toil and not to seek for rest; to labor and not to ask for reward; save that of knowing that I am doing your will. A Prayer for Generosity St. Ignatius of Loyola Founder of the Society of Jesus (the Jesuits) C R E S I G A H T I T S O R N E I A V I N N A U 1 8 7 8 Commencement Exercises COLLEGE OF ARTS AND SCIENCES ...............................................................................................................8 HEIDER COLLEGE OF BUSINESS ....................................................................................................................15 COLLEGE OF PROFESSIONAL STUDIES .....................................................................................................19 COLLEGE OF NURSING ......................................................................................................................................20 SCHOOL OF DENTISTRY ...................................................................................................................................24 SCHOOL OF LAW ..................................................................................................................................................25 SCHOOL OF MEDICINE .....................................................................................................................................
    [Show full text]
  • Paolo Fabbri: Rossini, Donizetti E La Malanotte
    Paolo Fabbri: Rossini, Donizetti e la Malanotte. La carriera del primo Tancredi Schriftenreihe Analecta musicologica. Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom Band 46 (2010) Herausgegeben vom Deutschen Historischen Institut Rom Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat der Creative- Commons-Lizenz Namensnennung-Keine kommerzielle Nutzung-Keine Bearbeitung (CC BY-NC-ND 4.0) unterliegt. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Den Text der Lizenz erreichen Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode Rossini, Donizetti elaMalanotte. La carrieradel primo Tancredi Paolo Fabbri Ciò che resta del patrimonio di cimeli, documenti edotazioni bibliografiche di un cantante del primo Ottocento èdisolito disperso in musei ebiblioteche.Inqualche caso,però–adesempio,quelli di Giuditta Pasta, Giovanni BattistaVelluti, Giovanni Battista Rubini –, esso ci ègiunto ancora più omeno sufficientemente compatto in quanto trasmesso per asse ereditario oraccolto da collezionisti. Ad essi può aggiun- gersi quello di un’importante interprete rossiniana quale Adelaide Malanotte,lecui carte confluirono per
    [Show full text]
  • Simon Mayrs Ginevra Di Scozia
    Zum Karneval in Turin, Venedig, Mailand und Florenz: Simon Mayrs Ginevra di Scozia Szene aus der Oper Die Oper Ginevra di Scozia = Ginevra aus Schottland von Johann Simon Mayr, nach dem Libretto von Gaetano Rossi, erlebte anlässlich der Eröffnung des Teatro Nuovo in Triest am 21. April 1801 ihre erste Aufführung. "Die Oper spielt in St. Andrews Schottland in einer sagenhaften Zeit. Thema der Oper ist eine verwickelte Liebesgeschichte zwischen den vier Hauptpersonen, die wegen vielfältiger Intrigen beinahe nicht zueinanderkommen. Am Ende der Oper finden sich die Paare und den Schuldigen wird vergeben." (Wikipedia) Nach ihrer Erstaufführung in Triest wurde am 27. Oktober 1801 Ginevra di Scozia erstmals in Wien gegeben, allerdings bereits mit Abänderungen und Zusätzen von Joseph Weigl. Die Bearbeitungs- und Adaptionspraxis der verschiedenen Opernhäuser ist als zeittypisches Phänomen zu werten und gehört zum „Opernmarkt“ und zum „Opernmarketing“ des 18. und 19. Jahrhunderts. Die Hochschulbibliothek hat in ihrem Bestand ein Exemplar eines solches Klavierauszuges von ca. 1801, der die Kompositionen von Mayr und Weigl miteinander vereint. 1 Weitere Aufführungen von Ginevra di Scozia folgten zum Karneval 1802 in Turin, ebenfalls 1802 in Frankfurt, auszugsweise und in deutscher Fassung, dann zum Karneval 1803 an der Scala in Mailand ebenfalls wieder mit dem profilierten Gegnerpaar der Erstaufführung, dem Kastraten Luigi Marchesi und dem Tenor Giacomo David. Mayrs Oper Ginevra di Scozia wurde nach Erfolgen in Genua, Verona und Berlin am 13. Juli 1805 in München anlässlich der „hochbeglückten Geburtstagsfeyer Ihrer Churfürstl.[ichen] Durchlaucht Wilhemine Friderike Karoline, regierende Churfürstin zu Pfalzbaiern“ die herausragende Festoper. Das Bühnenbild dazu entwarf Joseph Quaglio. Als Polinesso brillierte der bedeutende Tenor Antonio Brizzi.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 29,1909
    ACADEMY OF MUSIC . BROOKLYN Twenty-ninth Season, J909-I9J0 MAX FIEDLER, Conductor programme of % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, MARCH 25 AT 8.15 COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively PlSNO. THE JOHN CHURCH CO., 37 West 3 ad Street New York City » '-.— >* .- ?» . Boston Symphony Orchestra PERSONNEL Twenty-1tiinth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J Noack, S. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Goldstein, H. Goldstein, S Kurth, R. Werner, H. Violas. Fenr, E. Heindl, H. Rennert, B. Kolster, A. Zahn, F. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W Violoncellos. Warnke, H. Nagel, R. Barth, C. Belinski, M. Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, P Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones Tuba. Hess, M. Wendler, G. Kloepfel, L.
    [Show full text]
  • Storia Della Tradizione Musicale a Jesi Dall'età
    L’APPASSIONANTE RACCONTO DI UN’IDENTITÀ CULTURALE 250 ILLUSTRAZIONI NEL TESTO PER LA PRIMA VOLTA UNA VISIONE D’INSIEME DEI SUOI SECOLI DI STORIA - 2 - STORIA DELLA TRADIZIONE TEATRALE MUSICALE A JESI &11*9A=24)*73&=&)=4,,. di Gianni Gualdoni - 3 - Regista, Scrittore, Produttore, Gianni Gualdoni è “figlio d’arte” e cresce in stretto contatto con maestri d’arte del teatro musicale; Laurea in Lin- gue e letterature straniere, studia musica e teatro con Massimo Bogian- ckino. Autore di studi e ricerche d’ambito teatrale e musicale e testi drammaturgici (diversi rappresentati), è invitato in comitati scientifici e convegni nazionali sul teatro musicale (Fermo Festival, Macerata Opera, et al.). Firma regie in Italia e all’estero -spesso anche le scene- annove- rando un repertorio che va dal barocco al contemporaneo: diverse le direzioni di prima rappresentazione moderna e “prima assoluta”, sia d’opera che di prosa. Produttore di eventi teatrali e musicali nazionali e internazionali, negli anni dirige vari festival e teatri ed è consulente e direttore artistico per istituzioni culturali italiane ed estere. Tra i Testi teatrali più recenti dell’Autore: La notte che Wagner uccise Spontini (melologo, musiche di G. Spontini e R. Wagner), 2000; Lettera d’amore di Celeste Erard (racconto teatrale, musica di Gaspare Spontini), 2001; Saffo (dramma lirico), 2002; Parola di Adamo, parola di Eva (commedia musicale), 2002; Nella notte di Natale (racconto, musiche di Lino Liviabella), 2003; Sinfonia visiva (melologo, musica di Cinzia Pennesi), 2003; Lo spettacolo della Fiera (evento teatrale di massa), 2004; Cantico (opera multimediale), 2005; Tosca rusticana (melologo, musiche di Giacomo Puccini e Pietro Mascagni), 2009; Graal - Mi chiamo Wagner (melologo, musica di Richard Wagner), 2010; Viva Verdi (drammaturgia, musiche di Giuseppe Verdi e altri), 2011; Shéhérazade (balletto - soggetto originale, musica di Nikolaj Rymskij-Korsakov), 2011; Al Tabarin dell’Operetta (commedia musicale - teatro di rivista), 2012.
    [Show full text]
  • Adolphe Nourrit, Gilbert-Louis Duprez, and Transformations of Tenor Technique in the Early Nineteenth Century: Historical and Physiological Considerations
    University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2009 ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS Jason Christopher Vest University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Vest, Jason Christopher, "ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS" (2009). University of Kentucky Doctoral Dissertations. 705. https://uknowledge.uky.edu/gradschool_diss/705 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DMA PROJECT Jason Christopher Vest The Graduate School University of Kentucky 2009 ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS ABSTRACT OF DMA PROJECT A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Jason Christopher Vest Lexington, Kentucky Director, Dr. Everett McCorvey, Professor of Voice Lexington, Kentucky 2009 Copyright © Jason Christopher Vest 2009 ABSTRACT OF DMA PROJECT ADOLPHE NOURRIT, GILBERT-LOUIS DUPREZ, AND TRANSFORMATIONS OF TENOR TECHNIQUE IN THE EARLY NINETEENTH CENTURY: HISTORICAL AND PHYSIOLOGICAL CONSIDERATIONS The April 1837 debut of tenor Gilbert-Louis Duprez at the Paris Opéra sparked uproarious applause and inspired a new group of tenors with a different vocal technique from tenors of the previous generation.
    [Show full text]
  • Downloadable PDF
    To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/437 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Verdi in Victorian London Massimo Zicari https://www.openbookpublishers.com © 2016 Massimo Zicari This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Massimo Zicari, Verdi in Victorian London. Cambridge, UK: Open Book Publishers, 2016. http://dx.doi.org/10.11647/OBP.0090 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/isbn/9781783742134#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active on 28/6/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/isbn/9781783742134#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • Grandi Prime Alla Fenice
    Grandi prime alla Fenice Il Teatro La Fenice, eretto da una società di palchettisti ex-proprietari del Teatro di San Benedetto, si presentò fin da subito come il teatro ufficiale dell'aristocrazia veneziana: tale status si rifletteva anche nella sua elegante apparenza architettonico- decorativa. Inaugurato nel 1792 con il dramma per musica I Giuochi d’Agrigento del celebre Giovanni Paisiello su libretto di Alessandro Pepoli e il balletto Amore e Psiche di Onorato Viganò, musicato da Giulio Viganò, il nuovo teatro assunse immediatamente una posizione di assoluta preminenza nella città lagunare, riservandosi il genere in musica al tempo più prestigioso, l'opera seria. Al San Benedetto e ancor più agli altri teatri minori spettava invece il compito di allestire le opere comiche. Tutti i teatri veneziani erano comunque tenuti a rispettare un calendario annuo ben cadenzato: gli spettacoli si articolavano in tre stagioni, autunno (da ottobre a alla metà di dicembre), carnevale (dal 26 dicembre fino a febbraio- marzo) e primavera (aprile-maggio). Gli anni immediatamente successivi all'inaugurazione non furono memorabili quanto la società dei proprietari avrebbe forse sperato, nonostante i frequenti allestimenti di opere appositamente commissionate a compositori di grido come Giovanni Simone Mayr (Saffo, 1794) e Domenico Cimarosa (Gli Orazi e i Curiazi, 1797, rimasta in repertorio per oltre mezzo secolo; Artemisia, 1801, rappresentata postuma, subito dopo la morte repentina del musicista nella città lagunare nei primi giorni dello stesso anno). Delle molte altre novità assolute rappresentate nel primo ventennio d'attività del teatro si segnala soprattutto la presenza di tutte le maggiori voci dell'epoca: Giacomo David, Luigi Marchesi, Angelica Catalani, Gasparo Pacchiarotti, Brigida Banti, Imperatrice Sessi, Giuseppa Grassini, celebre per i suoi flirts, tra cui quello con Napoleone.
    [Show full text]