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Article

Ronald Earl Booth

revised by Matthias Thiemel

of his style, and rejected him as he gradually became more isolated from the mainstream. Works unless otherwise stated, all for piano solo and published in Leipzig detailed list in Müller-Kersten (1986) Variations op. 1 Thème de Paganini varié (1829) 4 Variations brillantes sur une valse de Hubowsky (Pest, 1829) 5 Variations brillantes sur un thème polonais (Pest, 1829) 6 Introduction, variations et finale (thèmes favoris de l’opéra Zampa) (1830) 75 Rondeau-caprice et variations sur La dame de pique de Halévy (1849) 127 Freischütz-Studien (1871) 130 33 Variationen

Article

James Deaville

Third Symphony ‘Im Walde’, and the comic opera Dame Kobold . In the 1870s he was one of the most frequently played German composers, with five new symphonies, including the still-performed ‘Lenore’ Symphony, and various concertos. In 1878 Raff became director of the new Hoch Conservatory in Frankfurt, for which he was able to recruit the baritone Julius Stockhausen as well as Clara Schumann. Despite his heavy administrative and teaching responsibilities, he found time to compose such works as the last two symphonies, an opera ( Benedetto Marcello ) and the apocalyptic

Article

H.L. Lindenmaier and Barry Kernfeld

these allowed him to concentrate in the years 1995–8 on writing, presenting on tour, and recording an ambitious improvisational opera, The Cry , based on the writings of the feminist Bangladeshi poet Taslima Nasreen. He returned occasionally to the USA through the 1990s, touring not only with his sextet and trio, but also as an unaccompanied soloist and in a duo with Aebi, and appearing in New York late in the decade as a participant in all-star tributes to Thelonious Monk. In October 1997 he played with Rudd again in a concert with the ICP orchestra in the Netherlands

Article

Jim Samson

his expensive life style and philanthropy – especially towards Polish causes – made huge inroads to his funds, and to compensate he was obliged to undertake punishing schedules of concerts, at the expense of both his health and his creative work. His opera Manru had been a considerable success when it was performed all over Europe and America in 1901–2 , but the round of concerts prevented him from consolidating this. A break from performing in 1907–8 , due to nervous exhaustion, enabled him to complete his Symphony, but he returned to the platform again in 1909

Article

Giorgos Sakallieros

Air Force in the Libya front. In 1944 he won the first prize in the Eistedfodd Festival in Cairo, both in piano performance and composition. He conducted his first major symphonic work, Œdipe-roi , at the Cairo Opera in 1945 . In 1947–8 he studied piano and composition at the Schola Cantorum, Paris, graduating with honours. He toured extensively all over the world either as recitalist or as accompanist for renowned soloists like Jacques Thibaud, Christian Ferras, and Henryk Szeryng. With French violinist Colette Frantz he founded and ran a music school and a chamber

Article

Armineh Grigorian

revised by Robert Atayan and Aram Kerovpyan

have been produced by the Arts Institute of the Armenian Academy of Sciences, is being continued by other publishers. 2. Works. Robert Atayan, revised by Aram Kerovpyan Komitas’s folksong collections are remarkable for their precision and variety; all the poetic forms, many dialect types and all the modal and rhythmic species are represented. One of his most valuable discoveries was that, apart from ancient folk melodies such as the improvisatory agricultural tunes, the hayren songs of the early gusan (professional minstrels) tradition and variations

Article

Arnold Rosner and Vance Wolverton

; in fact the years after his 60th birthday were the most productive of all, yielding over 30 symphonies. In 1977 he became a member of the Institute of the American Academy and Institute of Arts and Letters. Hovhaness composed extensively for full orchestra, chamber orchestra and band. A capable pianist, he wrote many piano works and songs with piano accompaniment. His chamber works often use instruments of diverse types, occasionally including oriental instruments. The short chamber operas are suggestive of mystery plays and nō drama. Of his many choral works

Article

Niall O’Loughlin

further in works for his performing groups, including Drama and Correspondences , in which exactly notated material is gradually abandoned until the players are left only with improvisation instructions. He has also developed elaborate staged concert works, sometimes approaching operas in scope, for large ensembles with speakers and singers, the most notable being Les émigrés ( 1982–6 ).and L’armonia drammatica ( 1987–90 ). Unlike many of his compatriots, Globokar has not used folksong extensively, except in the fascinating Etudes pour folklora ( 1968 ), where

Article

Peter Kemp

aus der Geschichte der “Fledermaus” in Wien’, ÖMz , 28 (1974), 217–25 P. Kemp : ‘Der Schelm von Bergen: [Johann] Strauss’s Other Opera’, Tritsch-Tratsch , 28 (1975), 12–21 F. Racek : ‘Zur Entstehung und Aufführungsgeschichte der “Fledermaus”’, ÖMz , 30 (1975), 264–72 N.A. Godel : ‘The Operetta Wiener Blut : an Analysis of its Score’, Tritsch-Tratsch , 30 (1976), 8–20 A.M. Lamb : ‘ Die Fledermaus : from Vaudeville to Opera House’, About the House [Journal of the Friends of Covent Garden], 5/4 (1977), 4–9 P. Kemp : ‘ Aschenbrödel : Johann’s Cinderella

Article

oratorios and a number of theatrical items, even pantomimes, and especially certain occasional pieces such as martial music … Turkish music, music with ‘steel keyboard’ and lastly a musical sleigh ride; not to speak of marches, so-called ‘Nachtstücke’ and many hundreds of minuets, opera dances and similar items. Most of these works are lost: of the 30 large serenades only one is extant, and of the oratorios and other theatrical items only two. Nevertheless, a significant body of music, chiefly symphonies, keyboard and chamber works, as well as masses, litanies and

Article

Robyn Holmes, Peter Campbell and Judith Crispin

concertos for Jan Sedivka) and the series of fantasias for solo piano. These works pay homage to a specific artist, often a student, and reflect the qualities of the performer or composer to whom they are dedicated. Of special importance to Sitsky’s works are the six operas on librettos by Gwen Harwood. A seventh opera remains unfinished as Gwen Harwood died before the libretto was complete. Their 30-year artistic friendship is documented in a series of letters and telegraphs housed at the National Library of Australia and soon to be published as a book. Through his many p