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Article

Ronald Woodley

and court tutor in the theory and practice of music. (Besides singing, he played the rebec and bowed vihuela enthusiastically.) He was perhaps drawn to Naples partly by the reputation for law of the University there, but all other details of the recruitment process or material enticements offered to Tinctoris by Ferrante have been lost. Almost all his writings and compositions date from his two decades in Naples. Throughout this time he was involved with the highest intellectual levels of Italian humanism; in 1478–80 he was particularly close to and influential upon

Article

Alcuin  

Jane Bellingham

including for instruction in ‘cantilenae’. This advice reflects the practice at the Frankish court where, according to one of Alcuin's poems, boys were taught ‘modulamine sacro’ by the cantor (MGH, Poetae latini , i, Berlin, 1881 / R , p.246). Bibliography Alcuin : Opera omnia , PL , c–ci E. Dümmler , ed.: Poetae , MGH , Poetae latini aevi Karolini , 1 (Berlin, 1881/ R ) E. Dümmler , ed.: Epistolae , MGH , Epistolae , 4 (Berlin, 1895/ R ) J. Szövérffy : Die Annalen der lateinischen Hymnendichtung (Berlin, 1964) J. Dehusses : ‘Le supplément

Article

Sylvan Suskin

Works Stage all first performed in Paris all published in Paris in year of first performance, unless otherwise indicated MSS in F-Pn, Po Sémiramis (tragédie lyrique, 3, P. Desriaux, after Voltaire), Opéra, 4 May 1802 Les artistes par occasion (opéra bouffon, 1, A. Duval), OC (Feydaeu), 22 Jan 1807 L’Auberge de Bagnères (opéra bouffon, 3, C. Jalabert), OC (Feydaeu), 23 April 1807 Alexandre chez Apelles (ballet, 2, Gardel), Opéra, 20 Dec 1808 Les bayadères (op, 3, E. Jouy), Opéra, 8 Aug 1810

Article

melodies from serious operas) was unnotated, though the notated airs in Zéphire et Flore may be his. In his Théorie de la musique (Paris, 1764 ) he developed a system based on the harmonic series of the hunting-horn; a similar system, evidently unknown to him, had been presented by G.A. Sorge in 1741 . The Théorie had some followers (notably Canon Jamard and Abbé Feytou) and won Rousseau's praise, but was harshly criticized by later theorists, in particular J.-B. de La Borde. Works unless otherwise stated, all are opéras comiques in 1 act, with

Article

Dennis Libby

revised by Emanuele Senici

Monferrato Cathedral, and remained there until his death. Boucheron composed two operas ( Ettore Fieramosca and Le nozze al castello ) and some farces, none of them performed. Three of his songs and an organ fantasia were published by Ricordi, and four symphonies are in the Milan Cathedral archives. His Inno per le cinque giornate , to a text by Pasquale Contini, was well known during the period of the struggle against Austria. His main output was church music, a large amount of which in all genres is in the cathedral archives of Voghera and, especially, Milan. In this

Article

George J. Buelow

a post Heinichen assumed in 1717 and retained all his life. In Dresden Heinichen shared the duties as Kapellmeister with Johann Christoph Schmidt. The court of August the Strong maintained one of the most important musical establishments in Europe. In the court orchestra Heinichen found such outstanding musicians as the violinists Veracini, Volumier and Pisendel (one of Heinichen's pupils), the flautists Buffardin, Hebenstreit and Quantz, and the lutenist S.L. Weiss. For the court theatre he wrote only one opera, Flavio Crispo , which was never performed. For reasons

Article

T. Michael Turnbull

in disgrace at court. Like Quinault he had made his name in spoken drama, and he had collaborated with Donneau de Visé on machine plays such as Circé and L'inconnu (both 1675 ) with incidental music by Marc-Antoine Charpentier. A number of his dramas have been the source of operas, particularly early 18th-century Italian works (see Strohm). In addition Corneille was responsible for three librettos. The revision of the tragédie-ballet Psyché (Lully, 1678 ), possibly undertaken with Fontenelle, preserves some of the original text and music, yet reveals Corneille's

Article

well as Die deutschen Gesellschaftslieder des 16. und 17. Jahrhunderts (Leipzig, 1844 ). His original melodies, and above all his poems for children ( Fünfzig Kinderlieder ; Leipzig, 1843 ), were widely and deservedly popular; his poems were set by Brahms, Cornelius, Franz, Liszt, Loewe, Mendelssohn, Schumann and Wolf. He is, however, probably most widely known as the author of Das Lied der Deutschen (‘Deutschland, Deutschland über Alles’), written on 26 August 1841 and authorized as Germany’s national anthem on 11 August 1922 to Haydn’s tune for the Emperor’s

Article

David Lloyd-Jones

revised by David Brown

collectanea: Festschrift Karl Gustav Fellerer , ed. H. Hüschen (Cologne, 1973), 12–22 ‘Opera in Spain’, NOHM , 7 (1973), 281–7 ‘The Apogee and Decline of Romanticism: 1890–1914’, ‘The Reaction against Romanticism: 1890–1914’, ‘Music in the Soviet Union’, NOHM , 10 (1974), 1–79, 80–144, 639–700 The Tradition of Western Music (London, 1974) ‘Arab Melodies in Rimsky-Korsakov and Borodin’, ML , 56 (1975), 313–18 ‘The Early Development of Opera in Poland’, Essays on Opera and English Music in Honour of Sir Jack Westrup , ed. F.W. Sternfeld , N. Fortune and

Article

Sven Hansell

revised by Emilia Zanetti

L.F. Chenette : Music Theory in the British Isles during the Enlightenment (diss., Ohio State U., 1967) B. Crosby : A Catalogue of Durham Cathedral Music Manuscripts (Oxford, 1986) E. Zanetti : ‘Giorgio Antoniotto, il suo trattato “L'Arte armonica” (London, 1760) e l'Opera V di Corelli’, Studi corelliani IV: Fusignano 1986 , 381–401

Article

Walter Aaron Clark

resumed with Eda ( 1887 ), Little Carmen ( 1888 ), and Mara ( 1889 ), all commissioned by a friend in New York. In 1890 he began work on his monumental Els Pirineus ( Los Pirineos ), an operatic trilogy with prologue, which blended the quotation of medieval and Renaissance music with modern harmony and Wagnerian leitmotif. In conjunction with its completion a year later he published the book Por nuestra música , in which he set forth his views regarding Spanish national opera. Pedrell moved to Madrid in 1894 and was appointed professor of choral singing

Article

William W. Austin

Woods (H.W. Longfellow), 1969 The Young Dead Soldiers (A. MacLeish), 1970 Kyrie from the Mass for All Men, SB, pf, org, opt. perc, 1971 Mass for All Souls, 1975 Patriot Primer, 1975 These are the Times that Try Men's Souls (T. Paine), SSA, pf, 1976 The Bounty of Athena, SSA, pf, 1978 Ah! Freedom is a Noble Thing (J. Barbour), SATB, pf, 1981 [arr. low v, pf, as Freedom] Give All to Love (R.W. Emerson), SATB, pf, 1981 No Great, no Small (Emerson), SATB, pf, 1982 Choose Life

Article

Almonte Howell

revised by Cécile Davy-Rigaux

religieuses avec L’art d’accompagner sur la basse continue, pour l’orgue et le clavecin (Paris, 1689/ R ) Chants for the convent school, St Cyr, F-V : Cantique sur la conformité à la volonté de Dieu; Chants de Jephté; Le Temple de la paix; Opéra de la vertu; Opéra de sceaux Liturgical editions all published in Paris; dates are of all known editions Graduale romano-monasticum … in usum et gratiam monialium sub regula (according copies:) S.P.N. Benedicti, Augustini or Francisci militantium (1658, 1671) [Officia propria Seminarii Sancti Sulpicii] (1668) Antiphonarium romanum

Article

Elaine Brody

revised by Richard Langham Smith

cantatas, numerous songs, orchestral works and five operas, some of which reflect his study of folk music. His Dans la lande: esquisse d’après nature for piano combines folk dance and folksong with a more adventurous piano style than is found in the transcriptions, while the Rhapsodie cambodgienne for large orchestra incorporates Cambodian melodies. His folksong collections, in which he tended to use modal harmonizations, are classics of their kind and helped to stimulate interest in folk music in France. His operas show considerable skill: La conjuration des fleurs

Article

Viorel Cosma

revised by Ruxandra Arzoiu

the Brooklyn College of Music. His literary activities extended to translating opera and oratorio texts into Romanian and writing plays, novels, poems and opera texts in Romanian, French, and English. Among his extensive theoretical writings, the valuable treatise on music aesthetics received a Romanian Academy prize ( 1934 ). As a composer he has remained an isolated figure, partly as a result of his involved philosophical style, partly because of the huge forces demanded by his operas and symphonies. He wrote 20 symphonies in a tonal language and in classical forms

Article

mer, hpd (Leipzig, 1713) Opera prima sacra, bestehend aus 4 neukomponierten Missen, chorus, insts (Erfurt, 1720), lost Missa a 6 voci, SATB, 2 vn, bc, 1695, score and parts; Missa I, SATB, 2 vn, bn, bc, score; Ein Mensch in seinem Leben, cantata fragment: all D-B 36–42 chorale preludes, org, in autograph J.G. Walther, D-B ; also LEm , NL-DHgm , and elsewhere; see MGG1 2 marches, hpd, in Ut, mi, sol (Erfurt, 1716) many fugues, ricercares, fughettas, preludes, fantasies, all for kbd, announced in Musicalische

Article

Melita Milin

Romanticism in Serbian Music . Until her retirement in 1994 Mosusova was a regular associate of the Institute and was promoted to all positions up to research fellow. She taught Music History at the Faculty of Music ( 1977–93 ) and Analysis of Ballet Music at the Faculty of Dramatic Arts in Belgrade ( 1982–3 ). The fields of her musicological research include music in Serbia and other Slavonic countries (focused on musical nationalism), opera and ballet of the 19th and 20th century, the impact of Russian emigration on music and theatre in Europe, both Americas, and Australia

Article

Edmond Strainchamps

death it went to his pupil G.M. Casini and then to Bresciani. Though Bonini declared that Nigetti’s compositions were prized in their day like precious stones, only three pieces by him, of no great interest, are known to have survived. They are a solo song, a duet and a trio, all with continuo (all are in I-Bc Q49, and the last two also appear, anonymously, in CZ-Pnm Sign.II.La 2; the solo song is edited in AMI, v, n.d., 37). Bibliography P. Nettl : ‘Über ein handschriftliches Sammelwerk von Gesängen italienischer Frühmonodie’

Article

John C.G. Waterhouse

clearly struck a sympathetic chord in Malipiero’s imagination; at its best, and above all in the magnificent opening scene, it shows Malipiero at the height of his powers. But Ecuba , Giulio Cesare and Antonio e Cleopatra reveal all too clearly that he had relatively little flair for either orthodox characterization or varied naturalistic dialogue. Each of the operas contains striking scenes (some of them incorporated, many years later, into the surprisingly effective anthology opera Gli eroi di Bonaventura ); but on the whole the details of the dramas too easily

Article

to Russia, where he undertook teaching commitments in Moscow and was a council member of the music theory department at the Institute for the History of the Arts in Petrograd. At about the same time he produced a number of compositions; almost all have remained in manuscript, and include a Symphonic Suite ( 1893 ), the operas Adol′fina ( 1908 ) and Koldun′ya (‘The Sorceress’, 1913 ; performed St Petersburg, 1918 ), chamber music, piano pieces, choral works and songs. In 1922 he was appointed dean of the faculty of theory and composition at the Moscow Conservatory