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Article

Nancy B. Reich

work became known to the musical world. Almost without exception, Clara played at the première of each work he wrote for or with piano; and almost all his orchestral works were introduced in concerts in which she was the solo artist. In 1878 Clara Schumann became principal teacher of piano at the Hoch Conservatory in Frankfurt, but did not relinquish her performing career. Her presence attracted students from all over the world and especially from England, where she was an immensely popular performer. She made her last public appearance as a pianist in 1891

Article

Pasquin  

Rob C. Wegman

move in parallel tenths. Bibliography E. Thoinan : Déploration de Guillaume Cretin sur le trépas de Jean Okeghem (Paris, 1864) C. Wright : ‘Musiciens à la cathédrale de Cambrai, 1475–1550’, RdM , 62 (1976), 204–28 A. Seay , ed.: Johannes Tinctoris: opera theoretica , CSM , 22/2a (1978) R.C. Wegman : ‘Sense and Sensibility in Late-Medieval Music: Thoughts on Aesthetics and “Authenticity”’, EMc , 23 (1995), 298–312

Article

Marie Louise Pereyra

revised by George Biddlecombe

not certain whether they are all by Martin Joseph or by his two brothers. One brother, whose forename is unknown ( c 1768– c 1824 ), was probably the Adrien identified by Wild as chef des choeurs at the Théâtre Feydeau in 1791 . According to Fétis, the other, Ferdinand ( c 1770– c 1830 ) taught singing in Paris, but Fétis’s statement that he was maître des choeurs at the Opéra between 1798 and 1801 is not confirmed by Wild. One of the brothers may have written the opera Le fou ou La Révolution , produced at the Antwerp opera on 3 December 1829 .

Article

Robert Stevenson

González Bocanegra. The judges, all native Mexicans, awarded first prize to Nuno’s anonymously submitted music on 14 August 1854 , and it was given its première in the Gran Teatro Santa Anna, later renamed Nacional, on 15 September 1854 , conducted by Giovanni Bottesini. Two months after Santa Anna’s deposition on 9 August 1855 , Nuno followed him to Havana and from there went to New York in the company of the contralto Vestivalí. In 1857 he directed the orchestra that played at Thalberg’s concerts there, in 1860 he conducted an opera company doing a season at the

Article

In respect to the quality and inventiveness of his music, he is equal to any of his generation. Works For full source information see the Opera omnia for sacred works, Meconi (1986) for secular works. Only additional sources are listed below. Further additions are found in Meconi (2003) and Blackburn (2007). Editions Pierre de la Rue: Opera omnia , ed. N.S.J. Davison, J.E. Kreider and T.H. Keahey, CMM, xcvii/1– (1989–) [D] Trésor musical musique profane , ed. R.J. van

Article

Virgil  

Warren Anderson, Thomas J. Mathiesen and Robert Anderson

libretto. Pre-Metastasio operas include Didona by Cavalli ( 1641 ) and Purcell’s Dido and Aeneas ( 1689 ). The Metastasio century 1724–1824 begins with settings of Didone abbandonata by Sarro ( 1724 ), Albinoni ( 1725 ) and Porpora ( 1725 ), continues with such composers as Galuppi ( 1740 , 1764 ), Hasse 1742 , rev. 1744 ), Jomelli ( 1747 , 1749 ) and Paisiello ( 1794 ), and enters the new century with Paer ( 1810 ), Mercadante ( 1823 ) and Reissiger ( 1824 ). Meanwhile J.M. Kraus wrote his Aeneas i Cartago to inaugurate the Royal Opera’s new theatre in Stockholm

Article

Edward H. Roesner

Conductus for Two and Three Voices , ed. J. Knapp, Collegium musicum, vi (New Haven, CT, 1965 ) [K] The Works of Perotin , ed. E. Thurston (New York, 1970 ) [T] The Montpellier Codex , ed. H. Tischler, RRMMA, ii–viii ( 1978–85 ) [M] Notre-Dame and Related Conductus: Opera omnia , ed. G.A. Anderson (Henryville, PA, 1979 –) [A] The Conductus Collections of MS Wolfenbüttel 1099 , ed. E. Thurston, RRMMA, xi–xiii ( 1980 ) [C] The Earliest Motets (to circa 1270): a Complete Comparative Edition , ed. H. Tischler (New Haven, CT, 1982 ) [E]

Article

Roy.20.A.XVI and is stylistically compatible with the works known to be his. Hayne’s output, as far as it can be established, consists entirely of rondeaux (including, probably, the two pieces that survive without text). With the possible exception of A l’audience all are for three voices, and all are in duple metre. The pieces share the traits typical of their genre in the later 15th century: a treble-dominated texture, probably intended for texted performance of the top voice and solmized or instrumental performance of the lower voices; a contrapuntal structure

Article

Michael Fend

des Alpes (scène lyrique, P.-J. Moline), Paris, Tuilleries, 20 July 1781 as op.11 ( c 1781) Esther (orat), Paris, Concert Spirituel, 8 April 1781 lost Ariane dans l’isle de Naxos (drame lyrique, 1, Moline), Paris, Opéra, 24 Sept 1782 ( c 1782) Feu (ballet, 1, from P.-C. Roy: Les éléments), Paris, Opéra, 24 Sept 1782 airs ( c 1782) Diane et l’amour (opéra-ballet, Moline), Paris, Jeunes-Elèves, 1802, mentioned in FétisB ed., with J.-L. Adam airs by other composers, 1v, hpd, vn, in Délices d’Euterpe (1778–84) Instrumental For list of various

Article

Ronnie Sanders

of O’Regan’s later works employ a free sense of chromaticism causing the tonal center to become somewhat obscured. His style of composition may be described as postmodern-eclectic. His opera Heart of Darkness ( 2011 ), for the Royal opera House in London, has a multiplicity of complicated rhythmic materials and a complex harmonic language, far-reaching from his early works. His All Creation Slept ( 2012 ), however, marks a return to the early modal chant-like style which O’Regan drew upon in his earliest works. Since 2004 , O’Regan has held various academic positions

Article

influential men of letters and musicians from Madrid court circles, such as the poet Alberto Lista and the violinist Francesco Maria Vaccari; and with the famous singer Manuel García. Reports on Arriaga's opera in the Spanish press presumably appeared on the initiative of his father and brother. The choice of texts for two patriotic hymns and the idea to set a Spanish opera also reflect the influence the family had on the boy. By September 1821 Arriaga had produced about 20 works, only some of which are now extant. According to his father, Arriaga wrote his first piece

Article

Sean Gallagher

S’il vous plaist consists in large part of a series of shifting duos. The four-voice Puisque ma dame/Je m’en voy combines its primary poem with a second text in the contratenor altus in a way that finds no counterpart among songs of the period. Works Edition J. Regis: Opera omnia , ed. C. Lindenburg, CMM, ix (1956) [L] Missa Crucis (lost) see Houdoy Missa ‘L’homme armé’/‘Dum sacrum mysterium’, 4vv, L i, 1; Monumenta polyphoniae liturgicae Sanctae Ecclesiae Romanae, ser. i, t.i, fasc.v (Rome, 1948) Missa ‘Ecce ancilla Domini’/‘Ne timeas Maria’, 4vv, L i

Article

Bojan Bujic

revised by Aleš Nagode

national movement also motivated his creativity in the field of theatrical music. His first work, Tičnik , is a Slovenian adaptation of A. von Kotzebue’s Der Käfig and is composed in the fading tradition of Viennese Singspiel. The lyric opera Teharski plemiči is a bit more ambitious and is considered an example of Slovenian national opera by some authors. However, its semi-serious character and tight stylistic ties with contemporary Viennese theatrical music anchor it firmly in the average Austrian provincial repertoire. Serenada za godala (Serenade for Strings), his

Article

John D. Wicks and Lavern J. Wagner

qui est ), but a few, such as Mon seul espoir and J'ay veu le cerf , are Parisian in style with transparent polyphony and often chordal openings. For part of a motet by Manchicourt , fig. Works Editions: Pierre de Manchicourt: Opera omnia , ed. J.D. Wicks and L.J. Wagner, CMM, lv (1971–84) [W] Pierre de Manchicourt: Quatorzième livre de motets , ed. A.T. Merritt (Monaco, 1964) [M] Pierre de Manchicourt: Twenty-nine chansons , ed. M.A. Baird, RRMR, xi (1972) [B] for MS co

Article

Malcolm MacDonald

ergian serial practice. In 1941 , Pedrell's centenary year, he produced two commemorations of his former master. Like the orchestral homage which Falla, unknown to Gerhard, was writing in Argentina, the Symphony (‘Homenaje a Pedrell’) is based on themes from Pedrell's unperformed opera La celestina . Only the finale (‘Pedrelliana’) was heard in Gerhard's lifetime, but Cançionero de Pedrell , songs from different regions of Spain arranged from Pedrell's monumental collection, has become one of his best-known works. More important was the substantial Don Quixote

Article

Howard Mayer Brown

revised by John T. Brobeck

monophonic chanson in T) Doubtful and misattributed works Magnificat quinti toni, 4vv, ed. in RRMR, xciv (1993) (attrib. Richafort in 19th-century score D-MÜs 2784; by Divitis; 1910 description of MS falsely gives Richafort attrib. to all 10 Magnificat settings, but others, by Palestrina and Mouton, are all anon.) Ad te levavi oculos meos, 5vv, ed. in CMM, vi/10 (1975) (attrib. Richafort in D-Kl 24; by Gombert) Beata Dei genitrix, 5vv, ed. in CMM, xxxii/5 (1973) (falsely attrib. Richafort in EitnerS ; by Layolle) Congratulamini mihi omnes, 4vv, E ii

Article

discernible. At least 38 chansons belong to chanson–réponse pairs, sometimes with yet a third piece, a réplique . In some cases these are all by Crecquillon, but often another composer wrote one of the chansons. There are usually musical or textual similarities, sometimes quite subtle ones. No less important than his chansons are Crecquillon’s motets, which are paradigmatic of the mid-16th-century contrapuntal style. Nearly all are constructed of a series of points of imitation, one for each segment of text. They range from three to eight voices, although four- and

Article

James Haar and Letitia Glozer

fresh and artful ways. Things of interest may be found in all of the five madrigal books, as well as in individual madrigals published in anthologies such as the note nere volumes of the later 1540s and the madrigal book of Claudio Veggio (RISM 1540 ¹ 9 ). In the Libro terzo , for example, there are several pieces, including Dai dolci camp’ Elisi , in which text and music suggest use in a theatrical intermedio; this book also contains a number of madrigals scored a voci pari or mudate , for all-male performance. The order of publication of the madrigals does

Article

worthy of emulation. Hermann Finck ( Pratica musica , 1556 ) ranked him with Gombert, Crecquillon and Clemens non Papa, while Pietro Cerone ( El melopeo y maestro , Naples, 1613 / R ) claimed that Palestrina composed in Phinot’s style. Works Edition Dominici Phinot opera omnia , ed. J. Höfler and R. Jacob, CMM, lix (1972–) [H] Masses and magnificat settings Missa ‘Quam pulchra es’, 4vv, 1544 5 (on Lupi’s motet) Missa ‘Si bona suscepimus’, 4vv, 1544¹ (on Sermisy’s motet) Pleni sunt coeli, 2vv, 1543 19 Magnificat [1st tone], 4vv (Venice,

Article

Suzanne Clercx-Lejeune

Pierre continued his itinerant career in the prince's entourage, accompanying him on all his travels, in Austria and to Paris, Mariemont and Tervuren. He also continued to compose numerous symphonies. As peace approached, however, he began to think of settling, and in 1762 he obtained a seven-year contract as director of the Brussels Grand Théâtre; there he conducted, and was in charge of choosing the repertory: tragedies and comedies of the French theatre, as well as opéras comiques which he had composed ( La bagarre ), arranged ( Les soeurs rivales ) or written