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Imogene Horsley and David Nutter

Cerreto’s other extant publications, Il primo libro di canzonelle a tre voci (Naples, 1606 ) and L’Amarillide a tre voci con alcuni a due soprani, Il terzo libro, Opera 18 (Naples, 1621 ). Works now lost mentioned by the composer in his theoretical writings or in various catalogues include at least four books of spiritual madrigals for four voices and three books of madrigals for five voices, all printed before 1601 ; a book of two-voice ricercares ( 1604 ); a volume of madrigals for two voices ‘sopra madrigali d’Arcadelt’ (before 1616 ); a book of ‘Canoni

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Biancamaria Brumana and Colin Timms

perpetuates the scholastic treatment of the subject as a mathematical discipline’ (Allen) and for doing so was scathingly censured by Burney and Hawkins. Works Operas all first performed in Dresden Il Paride in musica (erotopegnio musicale, 5, Bontempi), Riesensaal, 3 Nov 1662 (Dresden, 1662/ R ) 1 recit and aria ed. in BurneyH ; 1 aria ed. in R. Rolland: ‘Les origines de l’opéra allemand’, EMDC , I/ii (1921), 914–15 Dafne (5, Bontempi, collab. D. Schirmer and D.E. Heidenreich, after O. Rinuccini), 3 Sept 1671, collab. M.G. Peranda

Article

Nicholas Tawa

Master of Arts in music from Harvard University, the first such degree granted by an American University. While still an adolescent, he had discovered Schumann’s piano music. A respect for Wagner’s operas began with a visit to Bayreuth in 1876. However, Wagner was never a strong influence on Foote’s own style. Beethoven, he treasured. He stated, “It seemed natural to have all . . . [the Beethoven] symphonies in one season of the symphony concerts.” Foote also cherished Brahms’s compositions. When he became elderly, he acquainted himself with the innovations of composers

Article

Stephan D. Lindeman and George Barth

W.S. Newman : ‘About Czerny's op.600 and the “First” Description of “Sonata Form”’, JAMS , 20 (1967), 513–15 P. Badura-Skoda , ed.: Carl Czerny. On the Proper Performance of all Beethoven's Works for the Piano , with excerpts from Czerny's Memoirs and Anecdotes and Notes about Beethoven (Vienna, 1970) C. Suttoni : Piano and Opera: a Study of the Piano Fantasies written on Opera Themes in the Romantic Era (Ann Arbor, 1974) M.S. Cole : ‘Czerny's Illustrated Description of the Rondo or Finale’, MR , 36 (1975), 5–16 A.L. Mitchell , ed., with Introduction

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1721 he returned to Brunswick, where he composed his first Italian opera, L’innocenza difesa ; there too he refused an offer, repeated in 1722 , of a post as court musician in the service of the Duke of Brunswick. At the end of the year he accepted the King of Sweden’s invitation to become Kapellmeister at his court, but he had resigned by Easter 1725 because he was not given a promised appointment as court organist. In Sweden he wrote several occasional works for the court; an Italian opera, Arminio , is either lost or (according to Mattheson) was never completed

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authority on early music. He was an important contributor to the first edition of Grove's Dictionary . His compositions, conservative in style, include numerous operatic fantasias, short piano pieces, and songs, including the once popular Queen and huntress . His piano arrangements of operas in Boosey & Co.'s series The Standard Lyric Drama ( 1847–52 ) made the works available to a wide public. Writings only those on music A History of Music for the Use of Young Students (London, 1879, 3/ c 1890) A Key to Practical Harmony (London, 1881) Practical Harmony: a Manual

Article

Stephen McClatchie

from 1893 , notably at Coburg and Gotha, and composed an opera, several orchestral works, songs and a Clarinet Quintet. In the aftermath of World War I he was forcibly retired and settled in Munich. He studied musicology under Moritz Bauer at Frankfurt, graduating in 1922 with a thesis on form in Wagner's Ring . The following year he was appointed lecturer, and in 1926 honorary professor, at Munich University. His four-volume Das Geheimnis der Form bei Richard Wagner ( 1924–33 ) laid the foundation for all subsequent Wagnerian analysis and is still unsurpassed

Article

John Edwin Henken

soloists, chorus and orchestra. He returned to Madrid in July 1846 , and in the following year completed a three-act opera buffa, only excerpts of which were performed. He joined a group of progressive musicians agitating for a national opera under the name La España Musical and in the following year joined the Madrid Liceo, for which he sang and composed. He began writing music reviews for La ilustración in 1849 and worked as a prompter in Italian operas at the royal palace. Although his first zarzuela to reach the stage, Gloria y peluca , had been completed the

Article

Enrico Careri

English edition of the Pièces de clavecin and numerous reprintings of earlier works, he had the op.5 cello sonatas in hand and a new collection of concerti grossi, op.7. On 9 February 1745 Geminiani directed, at the New Theatre in Haymarket, L'incostanza delusa , a pasticcio opera which was not a success with the public. Between the acts he performed his new concerti grossi, which were published the following year as op.7. The engraving of the concertos and the op.5 cello sonatas was carried out in the Netherlands, where Geminiani went in 1746 . The two new

Article

Péter P. Várnai

‘Hat írás Bartókról’ [Six papers on Bartók], Magyar zene , 27 (1986), 69–84 ed. J. Demény : Boethius boldog fiatalsága [Boethius's happy youth] (Budapest, 1989) ed. F. Bónis : ‘Egy autor nyilatkozik’ [One author makes a statement], ‘Elöljáró az opera esztétikájához’ [Introduction to the aesthetics of opera], Magyar zene , 32 (1991), 52–80, 81–90 Bibliography M.D. Calvocoressi : ‘Hungarian Music of Today’, MMR , 52 (1922), 30–32 J.S. Weissmann : ‘The Contemporary Movement in Hungary’, Music Today , 1 (1949), 81–96 Articles on Molnár’s

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counterpoint, Impressionist harmonic subtleties and dramatic complexity, all firmly rooted in folk traditions. He further experimented with this style in a series of choral poems on texts of contemporary poets; these works include L′odolom (‘Icebreaker’) and Litni tony (‘Summer Tones’) to words by H. Chuprynka and Lehenda (‘Legend’) to words by M. Vorony. Leontovych also wrote several religious works (among them a setting of the liturgy and a number of cantatas), and at his death left an unfinished opera based on B. Hrinchenko's fairy tale Na rusalchyn velykden (‘The

Article

Dina Zanetti Masiello and Claudio Toscani

the Société des Musicologues Français. As a Jew, he was forced by the racial laws to give up all his public posts in 1939 . A meticulous scholar, Boghen worked mainly with early music. He made editions of old French songs, piano arrangements of pieces by Bach, Liszt, Marcello, Clementi, Frescobaldi, Domenico Scarlatti and Bernardo Pasquini, as well as arrangements for violin and piano of pieces by Tartini, Nardini and Veracini. His compositions include an unperformed opera Alceste , held in high regard by Sgambati and others, vocal and chamber works and many piano

Article

Michael Tilmouth

However, the Edinburgh public took comparatively little notice of the opportunities he created for such artists to be heard. Tovey had composed prolifically during his Oxford days and in the years immediately following, but after 1918 the only major works he produced were the opera The Bride of Dionysus , which had occupied him since 1907 and was eventually performed in 1929 , and the Cello Concerto of 1935 for Casals. He was knighted in 1935 . Tovey was a brilliant conversationalist, something that gained him many distinguished friends. But he could

Article

Robert N. Freeman

by Emperor Joseph II during the suppression of the Austrian monasteries, Stadler was appointed abbot of Lilienfeld in April 1786 . In Kremsmünster, where he held the same post from May 1789 , his administration was marked by his support of secular music, including performances of operas by Paisiello, Salieri and Umlauf. He moved to Linz in January 1791 , acted as consistorial adviser to the bishop and was awarded an annual pension of 1000 florins from Kremsmünster for the next 12 years. In 1796 he settled in Vienna, was secularized in 1803 and received the

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Michael Fend

to the fore in the thematic development of the final movement. In a similarly experimental fashion, in Quartet no.6 the openings of all the previous movements are quoted in the finale. In Quartet no.1, his most popular quartet, movements are linked thematically and by emphasizing contrapuntal technique; its Scherzo is a ‘Spanish’ genre piece with refined texture and colourful instrumentation. Cherubini's overtures to his French operas became popular concert overtures in their own right during the 19th century. He quickly replaced the Italian overture of Ifigenia in

Article

Ned Quist and Linda L. Giedl

three years of intensive work, he submitted his doctoral dissertation (Die italienische Sonate für mehrere Instrumente im 17ten Jahrhundert, diss., U. of Heidelberg, 1932 ). Later that year he was engaged as a coach and conducting assistant to Hans Schmidt-Isserstedt at the Darmstadt Opera. Beaten with guns by Adolf Hitler’s Stormtroopers in early 1933 , Schlossberg left Germany for Paris. Taking the name Jean Berger in 1934 , he became a sought-after concert accompanist and vocal coach, founded and conducted a small chorus (Les Compagnons de la Marjolaine) and a

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ethnomusicologist , conductor and composer of Austro-Hungarian origin . He studied at the Berlin Hochschule für Musik with Franz Schreker and Curt Sachs and at Prague University with Gustav Becking and Paul Nettl. He conducted opera in Karlovy Vary and Eger, Bohemia, 1927–8 . His appointments included those of music director for All-India Radio ( 1935–46 ), head of the piano department at the Conservatory of Halifax, Nova Scotia ( 1947–8 ), conductor of the Winnipeg SO ( 1949–56 ), and professor of musicology at Indiana University ( 1957–77 ). Kaufmann is best

Article

Susan Feder

22, 1899 ; d Plainfield, NJ , May 23, 1979 ). American soprano and folklorist . She studied voice in New York with Cesare Stunai, Henry Russell , and Katherine Opdycke, and made her debut in 1929 , as Gounod’s Marguerite, with the Quebec Opera Company, Montreal. During the 1930s, while continuing to sing opera in New York, Philadelphia, and elsewhere (her roles included Aida, Tosca, and Carmen), she became interested in American folk music and folklore and began collecting songs, particularly from residents of the Pine Barrens of New Jersey and the Zuni Indians

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John Warrack and James Deaville

1844 , from teaching in 1854 and from directing the institute in 1858 . Although he composed a number of original works, including church music, symphonic music, an unperformed opera Scipio ( 1818 ), songs and much chamber and piano music, it is for his teaching manuals and theoretical and critical writings that Fröhlich is renowned. As a theorist he was thorough and above all practical in his approach; as a teacher he demanded that theory and practice should go hand in hand; as a critic, especially for the journal Caecilia , he showed an alert understanding

Article

David Scott

e for all broadcast chamber music and recitals. In 1938 he devised a memorable series ‘Handel in Rome’. After the war he returned to the BBC to plan the Third Programme, which gave its first broadcast in 1946 . Lewis took charge of the organization and general direction of all Third Programme music. In 1947 he was elected Peyton and Barber Professor of Music at Birmingham University, where he continued his pioneering activities. During his 21-year professorship he conducted many revivals of orchestral, choral and stage works, particularly Handel operas; these