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Article

Lucrecia R. Kasilag

diploma 1933 ); his composition teacher was Nicanor Abelardo. Later he joined the staff of the University of the Philippines, where he was secretary of the conservatory until 1941 . He taught and lectured outside the university as well, also conducting choral groups, church choirs, opera and orchestral concerts. In 1956 he was made director of the Cosmopolitan Academy of Music, and also directed the Centro Escolar University Conservatory ( 1948–71 ). He received an honorary doctorate from the university in 1953 and was made dean emeritus of the conservatory on his

Article

Fabio Fano

revised by Roberta Costa

MGG1 ( R. Allorto ) A. D’Angeli : ‘L’opera musicale di Guido Alberto Fano’, Cronaca musicale , 13 (1909), 256–60 I. Valetta : ‘Rassegna musicale: i concerti al Corea’, Nuova Antologia , 44 (1909), 331–2 F. Fano : ‘Di una corrispondenza di Guido M. Gatti con Guido Alberto Fano con notizie e considerazioni connesse’, Quadrivium , 14 (1973), 45–64 F. Fano : ‘La figura di Guido Alberto Fano’, Rassegna musicale Curci , 28/2–3 (1975), 41–4 V. Fano : ‘Come far uscire la fanciulla dal pozzo – Vicissitudini di un’opera: Juturna di Guido Alberto Fano ed Ettore

Article

Steven Ledbetter and Victor Fell Yellin

career commentators noted ‘American’ traits in his music, as in the String Quartet no.2 and the scherzos of his first two symphonies. Some works, such as the lyric drama Judith , show an interest in French sonorities, while The Padrone , for all its evocation of American urban life, draws on the techniques of verismo opera. In the scherzo of the Second Symphony he uses a pentatonic melody resembling black American song nine years before Dvořák included the better-known example in his Symphony no.9 (‘From the New World’). Most movements of Chadwick’s symphony use

Article

Viorel Cosma

revised by Ruxandra Arzoiu

Lenin’), 1957 , and Pentru marele octombrie (‘For the Great October’), 1960 . His dramatic temperament is evident in the operas Meşterul Manole (‘Master Manole’) and Michelangelo , but even more so in the oratorios Horia and 1907 and in the Symphony no.3 ‘Reconstructia’. The basis of his style evolved from late Romanticism to serialism in the manner of the Second Viennese School and reveals a great mastery of compositional technique in all genres; His final mature manner was realized in several works of a nationalist spirit written between 1950 and 1966

Article

Gérard Streletski

of his teachers, particularly Halévy and Berton. However, it was above all his talents as an orchestrator that were recognized by his contemporaries; Gounod and Berlioz in particular paid tribute to his skill. Works MSS at F-Pn, printed works published in Paris Sacred 3 requiems op.7, 1843 (n.d.) op.28 no.1, 1877 op.28 no.2, 1870 Choeurs religieux, hymnes, op.18 (1847) O salutaris, op.14a, 1847 (n.d.) Prière pour la paix, op.28 no.6 (1870) Dramatic Operas Samson, 1837, lost Lionel Foscari (1), 1841, F-Pn *; Le violon enchanté

Article

Andrea Lanza

sera and in 1878 succeeded his father as professor of aesthetics at the Milan Conservatory. In 1880 he moved to London, where he was a teacher and translator of Italian, and occasional music critic. Alberto’s daughter, Elisa, composed the opera Mr Sampson of Omaha ( 1888 , Omaha, Nebraska). Works all printed works published in Milan Stage La fidanzata di Lammermoor (dramma per musica, 2, P. Beltrame, after W. Scott), Padua, Nuovissimo, 24 Feb 1834, I-Mr *, excerpts, pf acc. (1836) Don Chisciotte (melodramma

Article

Lester Trimble

revised by Severine Neff

Conferences. In addition Luening was a co-founder of ACA ( 1938 ) and the American Music Center ( 1939 ). In 1944 Luening was appointed director of opera productions at Columbia University, where he developed a graduate seminar in composition, and professor at Barnard College. During his tenure at Columbia he conducted the world premières of Menotti’s opera The Medium , Thomson’s The Mother of Us All , and his own opera Evangeline . Luening was a founder of CRI ( 1954 ) and a trustee of the American Academy in Rome ( 1953–70 ), where he was also composer-in-residence

Article

Zofia Chechlińska

Polish composers. From 1905 to 1908 he was director and conductor of the Warsaw PO, and from 1907 was also director of the opera. He occasionally directed choirs. Throughout his life he wrote music criticism for the daily press and for journals. In his concert reviews he also drew attention to more general musical problems. Noskowski was one of the most important Polish composers of the second half of the 19th century. He composed all types of music, including popular works intended for a wide public and pieces for children. His large output was uneven in quality

Article

E. Eugene Helm

revised by Darrell Berg

of Amor e Psiche , he wrote to his attendant Pöllnitz: ‘You will tell Agricola that he must change all of Coli’s arias – they are worthless – as well as those of Romani, along with the recitatives, which are deplorable from one end to the other’. An effort of 1772 entitled Oreste e Pilade , ordered by Frederick as entertainment for a visit by the Queen of Sweden and the Duchess of Brunswick, proved to be so far from what Frederick wanted that the entire opera had to be rewritten and retitled I greci in Tauride . As a performer-teacher, and in aspects of composition

Article

Warren M. Sherk

head of the composition department. He spent the next three years teaching privately in Vienna and Leipzig, where he studied with composers Max Reger and Hans Sitt. Back in the United States, he lived in Georgia from 1912 to 1916 , directing the Atlanta Philharmonic, conducting light opera, and teaching at Brenau College in Gainesville. After moving to New York, he taught at the Malkin School of Music and contributed music to a National Academy of Music university course. He spent 1919 in Great Britain and France, conducting vaudeville shows in Paris. After he settled

Article

John Warrack and Rosemary Williamson

spirit of the German; its most crucial fault is that what is archaic in German sounds merely quaint in English. Of Corder’s own operas, only Nordisa met with any success, being widely performed after its première on 26 January 1887 by the Carl Rosa Opera Company at the Royal Court Theatre, Liverpool. But after the death of Carl Rosa, Corder was forced to abandon his hopes of a career as a composer for an established English opera, and turned to teaching. From 1888 he was a professor of composition at the RAM (curator, 1889 ), and there taught many composers

Article

Benjamin Korstvedt

director of the Munich Kaim Orchestra (the forerunner of the Munich Philharmonic) in the 1897–8 season; he returned to Munich as Director of the orchestra from 1908 to 1914 . He directed the Vienna Singverein from 1896 to 1898 , worked as conductor and répétiteur at the Vienna Court Opera in 1898–9 , and directed the concerts of the Vienna Gesellschaft der Musikfreunde in 1900–04 . Löwe’s greatest success was achieved with the Vienna Concertverein (which later became the Vienna Symphony). He was one of the founders of this ensemble in 1900 and served as its Concert

Article

Lance W. Brunner

revised by Greg A Steinke

imagination. His Five Pieces after Paintings by Andrew Wyeth explore a number of styles, from sophisticated chromatic counterpoint to rock and jazz rhythms to Ivesian collage and layering, resulting in a vivid programmatic tapestry characteristic of his instrumental palette. Works Operas The Birthday of the Infanta (Nelson), 1955–6 Hamaguchi (M. Miller), 1981 Choral The Christmas Story (Bible), cantata, Bar, nar, SATB, brass, perc, org, 1958, arr. SATB, orch; 5 Anthems for Young Choirs (Heb. Book of Prayer), SA, pf, 1961 3 Ancient Prayers (Heb. Book of Prayer), SATB

Article

Robert Orledge and Andrew Thomson

Davies : ‘The French Wagnerians’, Opera , 19 (1968), 351–7 L. Davies : César Franck and his Circle (London, 1970/ R ) A. Balsan : ‘L’hérédité Drômoise de Vincent d’Indy: notes généalogiques’, Revue Drômoise , no.421 (Oct 1981), 373–7 S. Giocanti : ‘Vincent d’Indy et le régionalisme musical’, France Latine , no.113 (1991), 81–104 See also Franck, César, §1: Life Chabrier, Emmanuel, §2: Works Symphonic poem, §6: France See also from The New Grove Dictionary of Opera : Indy, (Paul Marie Théodore) Vincent d’ (opera) ; Etranger, L’ ; Fervaal

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

Deborah Schwartz-Kates

Argentina and one of the most influential members of the Grupo Renovación. He skillfully combined a broad spectrum of national sources (representing indigenous, criollo , and urban popular traditions) with contemporary techniques. Gianneo composed approximately 100 works covering all genres (except opera) and is best known for his orchestral and chamber music. His early compositions, exemplified by the symphonic poems Turay-Turay ( 1927 ) and El tarco en flor ( 1930 ), reveal his fascination with the indigenous culture and landscape of northwestern Argentina. After joining

Article

Viorel Cosma

revised by Valentina Sandu-Dediu

writing for the opera ( Orestes and Oedipus , 2001 ) and explored the genres of symphony and concerto, faithful to the idea of employing obsessive, laconic motives (sometimes using alphorn signals), in a harmonic and gestural austerity. Works ( selective list ) Stage Secretul lui Don Giovanni [Don Giovanni’s Secret] (I. Balea, after D. Tamás), 1969, Cluj, 8 July 1970 Oreste-Oedipe (Olivier Apert), 1999–2001, Cluj, 4 April 2007 Film scores The Verdict (Ferenc Kósa), 1970 Red Apples (Alexandru Tatos), 1976 Above All (Nicolae Mărgineanu

Article

Robert Parker

orchestra as a symphonic suite in five movements. Ancient Greek theatre was also the basis for two lesser-known later works: the cantata Prometheus Bound ( 1956 ) and Upingos ( 1957 ), incidental music for solo oboe for Euripides' Hippolytus . But though he wrote five ballets, an opera and incidental music, Chávez was not notably a composer for the theatre. His ballets are better known as concert pieces; he failed to get either El fuego nuevo or Pirámide staged, and Los cuatro soles did not reach production until 1951 in the favourable political climate that

Article

Evgeny Machavariani

revised by Gulbat Toradze

by his continuing interest in folk choral singing, as well as by his early work as a choirmaster. This evolution led him naturally to opera, by way of a programmatic symphonic poem ( Mtsïri , 1956 ), songs to words by Pshavela and Pushkin, and vocal orchestral cycles on texts by G. Tabidze and other Georgian poets ( 1957–9 ), works distinguished by an ever more noticeable social element. Mindia ( 1960 ) was the culminating opera, an organic solution of new problems, glorifying the wisdom of a harmonious union between man and nature. It is built on the transformation

Article

Delmer D. Rogers

explored by American composers in the 19th century. Bristow's best-known works, including his opera Rip Van Winkle , oratorio Daniel , and symphonies in D minor, op.24, and F♯ minor, op.26, have been revived in either recordings or live performances. However, many fine unknown works, such as his two string quartets, two duos for violin and viola, Arcadian Symphonie , Niagara Symphony , violin sonata, solo song The Abode of Music and piano piece Dreamland , which are all in manuscript, reveal a talented composer. A valuable autobiographical sketch, Life of a Musician