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Article

Peter Branscombe and Dorothea Link

Carltheater (formerly the Theater in der Leopoldstadt). Year after year he turned out a series of theatre scores, ranging from overtures and incidental music to operettas, opera parodies and even the occasional opera. Among his greatest successes were Gervinus ( 1849 ), Flotte Bursche ( 1863 ) and Fatinitza ( 1876 ), each of which received 100 or more performances in a few years; and, above all, Boccaccio ( 1879 ), which he referred to as ‘the greatest success of my life’. In the late 1870s he purchased an estate in Lower Austria, and his increasing fame was reflected

Article

Kevin O’Brien

music in general and of language in particular which make for a work list that is consistent yet original. His archives are housed at the performance division of the Library of Congress. The majority of his scores are held at the American Composers Alliance. Works Operas The Decorator (F. Getlein, D. Getlein), 5 vv, chbr orch, 1959 The Birthday of the Infanta (M. Ewald after O. Wilde), 8 vv, chorus, orch, 1993 Choral Dante’s Praises to the Virgin Mother, 1952 Mass #3, 1952

Article

Kristina Yapova

time of its new epoch. His musical work is mainly choral and is divided between church and secular genres. The first is represented mainly by the cycles of chants for the Liturgy and for the All-Night Vigil, the second by the songs based on Bulgarian folklore. A many-sided creative person, Christov has exerted a profound impact upon the generations after him who worked in all fields of Bulgarian music culture. Works (selective list) Orchestral Two Balkanski suiti [Balkan Suite Nos.1, 2], 1903, 1916 Turjestvena ouvertura ‘Ivaylo’ [Festive Overture Ivailo], 1906 Turjestven

Article

Ursel Schlicht

recorded her first work for large ensemble, A Genuine Tong Funeral (RCA). Two years later Charlie Haden commissioned her to arrange music for his album Liberation Music Orchestra ( 1969 , Imp.), and she subsequently arranged for all of the group’s future albums. The first performance of her best-known work, the genre-bending avant-garde jazz opera Escalator over the Hill ( 1971 , with lyrics by Paul Haines), featured a huge cast that included Jack Bruce, Linda Ronstadt, Don Cherry, and John McLaughlin. In 1964 Bley helped to organize the Jazz Composer’s Guild. The

Article

Carmen Ottner

his work, namely the Hungarian influence, which remains prominent even in his penultimate composition, the Quintet in A major of 1938 . He absorbed all the important elements of the Hungarian idiom to the point that it became a constant part of his personal style. It is also evident in the first, second and fourth symphonies, in the quintets, in the Variationen über ein Husarenlied and most notably in his first opera Notre Dame , where it is used to characterize the gypsy Esmeralda: Karl Goldmark described the famous Intermezzo as ‘the most beautiful of gypsy music’

Article

John Carmody

as a music examiner for Trinity College, London, until his death at sea, en route to England. All his life Orchard composed in a dated English style; his comparable conservatism as an educator and public figure, delayed the development of modernist trends in Sydney. His writings include an autobiography, The Distant View (Sydney, 1943 ), and Music in Australia (Melbourne, 1952 ). He was awarded the OBE in 1936 . Works ( selective list ) Operas The Coquette, or A Suicidal Policy (comic op, W.J. Curtis), 1905, Palace, Sydney, 28 Aug 1905

Article

Keith Moore

incorporating a rock group and requiring three conductors. From 1976 he focussed on assimilating the entire American musical tradition, including hymn tunes, marches and ragtime, and with Americana, or, A New Tale of the Genii he began his most ambitious project yet: a cycle of three operas, each encompassing a century of America’s musical heritage. Later works such as Arabesques Redux and The Blue Box use modes taken from jazz and non-Western traditional musics. Works ( selective list ) Dramatic Pyramus and Thisbe (chbr

Article

John W. Wagner

until 1811 , his longest period of residence at one address being from 1801 to 1810 at 59 Maiden Lane. From 1792 until the end of March 1808 , he was conductor of the orchestra at the Park Street Theatre, where his duties included arranging and composing music for many ballad operas and other musical productions. He also operated his own ‘musical repository’, where he gave lessons and sold musical instruments and music composed by himself and others. Although his musical activities in Boston began as early as 1805 , the family did not move there until 1811

Article

Gilbert Chase, David Wright and Lars Helgert

and eclectic, represented by such works as the Symphony in G, the early concertos, various choral works, and the orchestral Symphony of Chorales based on chorales by Bach. Also present is an element of American populism, as in the setting of Sandburg’s The Prairie and the comic opera The Jumping Frog of Calaveras County on the story by Mark Twain. The transitional phase began in 1956 , when Foss decided to experiment with ensemble improvisation, primarily for the benefit of his students at UCLA. A year later he founded the Improvisation Chamber Ensemble and

Article

Reinhold Sietz and Matthias Wiegandt

adverse criticism. An indication of Hiller's pre-eminent position in musical life is given by his voluminous correspondence with composers, performers and publishers, which has yet been edited only partially. Works printed works published in Leipzig unless otherwise stated Operas all published in vocal score Romilda (os, G. Rossi), Milan, Scala, 8 Jan 1839, selected pieces (Milan, c 1839) Der Traum in der Christnacht (3, C. Gollmick, after E. Raupach), Dresden, 9 April 1845 ( c 1845) Konradin, der letzte Hohenstaufen (R. Reinick), Dresden, 13 Oct 1847 Der Advokat

Article

Victoria Eli Rodríguez

years over the Comité Nacional Cubano de la Música. In 1971 he was elected president of the music section of the Unión de Escritores y Artistas de Cuba (UNEAC). He received various national and international prizes for his music. Ardévol wrote over 130 works, covering all genres except opera. His early pieces ( 1924–30 ) show the influence of Debussy, Stravinsky and the keyboard writing of Scarlatti. From 1930 his music assumed an expressionist atonality, and became at once more experimental and more systematic in a quasi-serialist manner. His Tres ricercari

Article

Gerald R. Benjamin

composers and thought that the development of the ‘13th sound’ revolution would in itself be sufficient to give universal renown to Mexico. Out of it would result a new order, less complex though providing for complexity, less constrained though providing for restraint. Works Operas Without microtones La princesse Oïna (Ossian) (1, H. Albert), 1902 México en 1810 (Matilde) (4, L. Viramontes), 1909 Xulitl (3, C. d’Erzel), 1921, rev. 1947 Orchestral With microtones Sym. no.1 ‘Colombia’, c 1926 Serenata, ¼-tone vc, orch, 1926 Sym. no

Article

Andrée Desautels

the Société des Symphonistes, which he organized in 1878 , and the Montreal Philharmonic Society ( 1880–99 ), as well as conducting the orchestra in concerts given by Emma Albani. Through these and two other concert societies he founded, Couture introduced the Montreal public to the operas of Wagner (which he studied on a trip to Bayreuth in 1893 ) and other Classical and Romantic repertory. Couture’s own compositional abilities are revealed in two important late works, a requiem and the oratorio Jean le Précurseur , which is in three sections. The first, La nativité

Article

Sigrid Wiesmann

revised by Daniel Ender

similar to speech. All of Furrer’s operatic works are based on ancient myths transformed into a modern perspective, as in BEGEHREN ( 1999–2001 ), in which the tale of Orpheus is represented by ancient and recent texts and musically reduced to the relationship between a female and a male voice. Many of his compositions are generated by ‘overpainting’ other works. In Orpheus’ Bücher ( 2001 ), for example, a scene from BEGEHREN is ‘expanded’ for orchestra, projecting some of the parts into a larger range. Spatiality plays an important role in all of Furrer’s music

Article

Torben Schousboe

in 1827 . From 1829 to 1831 he made a study tour of Germany, Paris and Italy, having already made a name as a composer of string quartets and overtures. When Schall retired in 1834 , Frøhlich was one of three alternating conductors chosen to succeed him; later he conducted all the opera performances. He was a director of the Musikforening from its founding in 1836 until 1841 and chairman in 1836–7 . He went on leave to Italy in 1838 to recover from a street accident and a stroke. On his return he wrote the music for some of Bournonville’s ballets, but ill-health

Article

Martin Eastick

45; 2 Etudes de Concert, op.48 Suite, G, op.50 (1892) Frühling, 5 Stücke, op.57 (1896) [8] Tristesses et Sourires, op.58 (1896) 3 Mazurkas, op.60 (1898) 4 Morceaux, op.68 (1902) Valse de concert, F, op.69 (1902) 15 Etudes de virtuosité, ‘Per aspera’, op.72 (1903) Chanson bohème de l'opéra ‘Carmen’ de G. Bizet, transcription de concert (1906) 10 Pièces mignonnes, op.77 (1907) Grande valse de concert, G♭, op.88 (1912) [5] Tanzmomente, op.89 (1912) Isolden's Tod, Schluss-Szene aus Tristan und Isolde von Richard Wagner, paraphrase (1914) 6 Morceaux, op.93 (1916)

Article

Norbert Carnovale and Richard Dyer

Steuermann, both of whom became his friends and mentors, through his wife, Marjorie Black, a singer and pianist. Schoenberg’s theories, life, and work were particularly influential to Schuller throughout his subsequent career. From 1945 to 1959 Schuller played in the Metropolitan Opera Orchestra, spending nine seasons as principal and working with many prominent conductors. During this period, he pursued his interest in jazz, sparked by an Ellington concert he had heard in Cincinnati. He listened to recordings obsessively and comprehensively, notating path-breaking

Article

G.W. Hopkins

revised by Paul Griffiths

Interviews M.D. Hastings : ‘M. Boulez’ Press-Conference’, MO , vol.89 (1965), 21–7 J. Buzga : ‘Interview mit Pierre Boulez in Prag’, Melos , vol.34 (1967), 162–4 ‘Sprengt die Opernhäuser in die Luft!’, Der Spiegel (25 Sept 1967); Eng. trans. in Opera , vol.19 (1968), 440–50 G. Harewood : ‘Whither Opera?’, Opera , vol.20 (1969), 922–31, 1026–31 M. Cotta and S. de Nussac : ‘L’express va plus loin avec Pierre Boulez’, L’express , no.979 (1970), 144 H. Pousseur : ‘Pierre Boulez’, VH 101 , no.4 (1970–71), 6–11 M. Kendergi : ‘Pierre Boulez interrogé’, Cahiers

Article

Armineh Grigorian, 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

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