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Article

Nigel Burton

the music’s phrase patterns with considerable subtlety. Her songs in the Italian vein demonstrate an intimate knowledge of contemporary opera, and her vocal experience is reflected in their beautifully shaped melodic contours. Her sense of quasi-symphonic development results in some remarkable experiments with binary form in songs such as Mary, adieu ( 1837 ) and The lark now leaves his wat’ry nest ( 1840 ). Works all printed works published in London Songs, 1v, pf Ah! love was never yet without the pang (Byron) (1837)

Article

Margaret Murata

declare Rome happy to see heaven receive its newest saint Landi’s score, the first of three Barberini operas to be published, was issued in the same year with eight scenographic plates ( see also Opera ). Landi’s note to the reader concerning transposition of roles, instrumental doubling, and ornamentation suggests that he anticipated future performances. Librettos from Reggio nell’Emilia ( 1645 ) and Bologna ( 1647 ) have survived. The composer of the Barberini opera given in 1635 and 1636 , I Santi Didimo e Theodora , is not known. Landi has been considered,

Article

Folke Bohlin

and from 1851 he was a very active member of the Academy of Music. In 1853–4 he was in the USA, where he taught and gave concerts, mostly in Washington, DC. In 1856 he founded a successful music shop in Stockholm. All Dannström's compositions are vocal music. His operetta Doktor Tartaglia had its first performance at the Swedish Royal Opera in 1851 (a revised version was given in Göteborg as Crispinos giftermål , 1878 ). He was also successful with his music for the comedies Skomakaren och hans fru ( 1847 ), Herr och fru Tapperman ( 1848 ) and Lordens

Article

Sven Hansell

revised by Kay Lipton

Arnold : The Oratorio in Venice (London, 1986), 39 C.H. Parsons : Opera Premieres: an Index of Casts (Lewiston, NY, 1992) R.L. Weaver and N.W. Weaver : A Chronology of Music in the Florentine Theater, 1751–1800 (Detroit, 1993) D. Heartz : Music in European Capitals: the Galant Style, 1720–1780 (New York, 2003), 889 M. Feldman : Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy (Chicago, 2007), 220 M. Buciarelli , N. Dubowy and R. Strohm : Italian opera in Central Europe (Berlin, 2008), 133

Article

Malcolm Boyd

revised by John Rosselli

become a priest. A number of cantatas and arias are among his works. Though Tosi claimed some originality, his treatise codified past teaching and was itself drawn upon by later writers. Opera for him was only one of three types of singing (along with church and chamber) for students to master. They were to practise (untempered) scales, unite chest and head registers, and seek all-round attainment in music, acting and civility. With this went a polemic in favour of expressive pathos and against new-fangled display, but Tosi avoided identifying any eminent singers with

Article

Margaret Murata

di Samaria; La caduta di Vasti; S Margherita; all lost, cited in Mischiati, 144, 150 Bibliography A. Berardi : Ragionamenti musicali (Bologna, 1681) A. Adami : Osservazioni per ben regolare il coro dei cantori della cappella pontificia (Rome, 1711/ R ) L. Torchi : ‘Canzoni ed arie italiane ad una voce nel secolo XVII’, RMI , 1 (1894), 581–656 E. Schmitz : ‘Zur Geschichte des italienischen Continuo-Madrigals im 17. Jahrhundert’, SIMG , 11 (1909–10), 509–28 H. Prunières : L'opéra italien en France avant Lulli (Paris, 1913/ R

Article

Robert Fajon

instrumental accompaniment and vocal writing inspired by opera and cantata, were intended for a more cultivated public. After his early operas Bouvard stood apart from the major musical genres, and also from the musical disputes, of his time, and for this reason he is an interesting representative of French musical society in the first half of the 18th century. Works all printed works published in Paris Stage Médus, roi des Mèdes (tragédie en musique, prol, 5, F.-J. de Lagrange-Chancel), Paris, Opéra, 23 July 1702 (1702) Cassandre (tragédie en

Article

James R. Anthony

revised by Catherine Massip

Guédron. Ex.2 illustrates his control of variation techniques: a three-part instrumental statement is followed by solo and ensemble settings, and all are based on the same melodic and harmonic materials. Ex.1 Inutiles pensers and double (Les airs de Monsieur Lambert, 1666 edn) Ex.2 Mes yeux, que vos plaisirs (Airs, 1689) Through his dialogues and some of his more dramatic récits Lambert influenced French opera composers. Ménestrier ( Des représentations en musique anciennes et modernes , Paris, 1681 ) quoted the text of a dialogue by him between Silvie and

Article

Jonathan Le Cocq

air] M.M. McGowan : L’art du ballet de cour en France, 1581–1643 (Paris, 1963/ R ) N. Fortune : ‘Solo Song and Cantata’, NOHM , 4 (1968), 125–217 D.L. Royster : Pierre Guédron and the ‘air de cour’ 1600–1620 (diss., Yale U., 1973) M.M. McGowan : ‘The Origins of French Opera’, NOHM , 5 (1975), 169–205 A. Verchaly : ‘A propos du récit français au début du XVIIe siècle’, RMFC , 15 (1975), 35–46 G. Durosoir : L'air de cour en France 1571–1655 (Liège, 1991) J. Le Cocq : French Lute-Song, 1529–1643 (diss., Oxford U., 1997)

Article

Armineh Grigorian

revised by 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