La Mélodie Française De Berlioz À Duparc French Song From Berlioz To Duparc The Origin And Development Of The Mélodie Second Edition Revised By Rita Benton Frits Noske Translated By Rita Benton
La Mélodie Française De Berlioz À Duparc French Song From Berlioz To Duparc The Origin And Development Of The Mélodie Second Edition Revised By Rita Benton Frits Noske Translated By Rita Benton Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of La Mélodie Française De Berlioz À Duparc French Song From Berlioz To Duparc The Origin And Development Of The Mélodie Second Edition Revised By Rita Benton Frits Noske Translated By Rita Benton book. This book definitely worth reading, it is an incredibly well-written.
French Song from Berlioz to Duparc by Frits Noske,Rita Benton Pdf
Devoted to French art songs of the 19th century, this volume explores the melodies of Berlioz, Liszt, Bizet, Saint-Saëns, Franck, Fauré, and many others. Sensitive evaluations include more than 250 musical examples.
Fauré Studies by Carlo Caballero,Stephen Rumph Pdf
Presents new research on Fauré by leading scholars, encompassing hermeneutics, musical analysis, aesthetic theory, critical theory, and social history.
The Harvard Dictionary of Music by Don Michael Randel Pdf
This classic reference work, the best one-volume music dictionary available, has been brought completely up to date in this new edition. Combining authoritative scholarship and lucid, lively prose, the Fourth Edition of The Harvard Dictionary of Music is the essential guide for musicians, students, and everyone who appreciates music.
In a lively exploration of Jacques Offenbach's final masterpiece, Heather Hadlock shows how Les Contes d'Hoffmann summed up not only the composer's career but also a century of Romantic culture. A strange fusion of irony and profundity, frivolity and nightmare, the opera unfolds as a series of dreamlike episodes, peopled by such archetypes as the Poet, the Beautiful Dying Girl, the Automaton, the Courtesan, and the Mesmerist. Hadlock shows how these episodes comprise a collective unconscious. Her analyses touch on topics ranging from the self-reflexive style of the protagonist and the music, to parallels between nineteenth-century discourses of theater and medical science, to fascination with the hysterical female subject. Les Contes d'Hoffmann is also examined as both a continuation and a retraction of tendencies in Offenbach's earlier operettas and opéra-comiques. Hadlock investigates the political climate of the 1870s that influenced the composer's vision and the reception of his last work. Drawing upon insights from feminist, literary, and cultural theory, she considers how the opera's music and libretto took shape within a complex literary and theatrical tradition. Finally, Hadlock ponders the enigmas posed by the score of this unfinished opera, which has been completed many times and by many different hands since its composer's death shortly before the premiere in 1881. In this book, the "mad loves" that drive Les Contes d'Hoffmann--a poet's love, a daughter's love, erotic love, and fatal attraction to music--become figures for the fascination exercised by opera itself.
Gabriel Fauré’s mélodies offer an inexhaustible variety of style and expression that have made them the foundation of the French art song repertoire. During the second half of his long career, Fauré composed all but a handful of his songs within six carefully integrated cycles. Fauré moved systematically through his poetic contemporaries, exhausting Baudelaire’s Les fleurs du mal before immersing himself in the Parnassian poets. He would set nine poems by Armand Silvestre in swift succession (1878-84), seventeen by Paul Verlaine (1887-94), and eighteen by Charles Van Lerberghe (1906-14). As an artist deeply engaged with some of the most important cultural issues of the period, Fauré reimagined his musical idiom with each new poet and school, and his song cycles show the same sensitivity to the poetic material. Far more than Debussy, Ravel, or Poulenc, he crafted his song cycles as integrated works, reordering poems freely and using narratives, key schemes, and even leitmotifs to unify the individual songs. The Fauré Song Cycles explores the peculiar vision behind each synthesis of music and verse, revealing the astonishing imagination and insight of Fauré’s musical readings. This book offers not only close readings of Fauré’s musical works but an interdisciplinary study of how he responded to the changing schools and aesthetic currents of French poetry.
Catalog of Copyright Entries, Third Series by Library of Congress. Copyright Office Pdf
The record of each copyright registration listed in the Catalog includes a description of the work copyrighted and data relating to the copyright claim (the name of the copyright claimant as given in the application for registration, the copyright date, the copyright registration number, etc.).
Women Composers by Martha Furman Schleifer,Sylvia Glickman Pdf
The composers included in Volume 4 of "Women Composers: Music Through the Ages, Vocal Music," were born between 1700 and 1799. Some of the women found in Volume 4 are also represented in Volumes 3 (keyboard) and 5 (large and small instrumental ensembles). Unlike most of the composers in Volumes 1 and 2 who belonged to religious orders or noble families, those in the 18th-century volumes are of secular background. Many are members of musical families that include mothers, daughters, wives, and sisters-in-law of other composers and musicians. The women represented in this volume performed and composed in a variety of vocal forms and genres. Volume 4 includes sixty-five works by twenty-three composers from eleven countries: the American colonies, England, Ireland, Scotland, France, Italy, Germany, Austria, Poland, the Netherlands, and Martinique. Two composers lived in the American colonies. Maria Eicher reached a position of prominence within Georg Conrad Beissel's Ephrata Cloister. Five main collections of music manuscripts were created there; one of the most important, known as the "Turtel-Taube" (Turtle Dove), contains twelve hymns by Maria Eicher. The colonies also became the home of Mary Ann Wrighten Pownall, nee Matthews, one of the group of English actress-singers who composed songs. After a successful career under her first married name (Wrighten) in England she came to America where she was one of the first female published songwriters. As a performer she also participated in some of the earliest American performances of opera and oratorio excerpts from works of Handel, Haydn, and Gluck. About half of her surviving songs were published in England as Mrs. Wrighten; fiveAmerican songs are under the name Mrs. Pownall. One of each is included in this volume. The Duchess of Devonshire, Georgiana Cavendish, nee Spencer, was a noblewoman of high rank who lived at the center of a circle of writers, artists, and politicians. Her only extant music, the songs "I Have A Silent Sorrow Here" (written for a play by R. B. Sheridan) and "Sweet Is the Vale," were reissued in many versions and arrangements both in Great Britain and America, evidence of their great popularity. Margaret Essex is known today only by her published works, which span a twelve-year period at the turn of the 19th century. They comprise thirteen publications, all of them chamber works for domestic use. Mrs. Jordan, nee Dorothea Bland, was a successful actress-singer who made her debut in Dublin and spent most of her career in London. She also composed songs, including one of the most popular songs in the English language, "The Blue Bell of Scotland." This version is thought to be the earliest available. The most published of the English singer-composers was Miss Abrams. She was from a family of musicians of Jewish descent. Her sisters, Theodosia and Eliza, were well-known singers and performed in concerts with her. Abrams appeared with Haydn and in the series organized by Johann Peter Salomon. Her publications include songs in both English and Italian, examples of which are included. Haydn served as a connection among several of the 18thcentury composers in this volume. Composer-poet, Anne Home Hunter, wrote texts for Haydn for some of his finest songs. She was an early figure in the Scottish national song movement of the late-18thcentury, and also wrote several texts to pre-existingmelodies. Haydn taught Marianna Martines daily for three years and received free board in Vienna from her family in exchange for these lessons. She acquired the skill of" bel canto" singing and composition from Nicolo Porpora, and absorbed the early Classical style through the teaching of Johann Adolf Hasse. Martines composed over 200 works, and of these, sixty-nine are known to have survived. "La tempesta" (1778), is an Italian-style chamber cantata comprised of two recitatives and two arias for soprano and ensemble. One aria is reproduced here. German and Austrian born composers included in Volume 4 are Madame Mara, Sophie Westenholz, Louise Reichardt, Emilie Zurnsteeg, and Bettine von Arnim. Mara, the first German opera star, was important primarily as a great singer. Like many famous singers, she published a few works which became popular partly on the strength of her fame as a performer. She traveled to Vienna, Paris, and London, where she was particularly noted for her brilliant performances in Handel's works. She also appeared in Salomon's and other subscription concerts in the 1790s. Say Can You Deny Me illustrates the English popular song of the 1790s. The version represented here has the type of orchestral accompaniment that the song would have had in theatre performances or subscription concerts. Sophie Westenholz was a court musician and composer for over forty years, and had great success as a singer and pianist. Although some of her music was published in her lifetime, most of it exists only in manuscript. Her work as a composer has received little previous recognition. She contributed to the development of the late-18thand early-19th century lied at a time when artsongs for solo voice and piano were becoming distinguished from the folksong style of writing. Her three songs illustrate many characteristics of early Romanticism. Louise Reichardt was the daughter of two musicians, Johann Friedrich Reichardt and Juliane Reichardt, nee Benda (see Vol. 3). Her father took scant interest in her musical education, which was casual and unorganized. Nonetheless, her creative talents were so outstanding that a number of her songs were included in a collection from 1800 titled: "Deutsche Lieder von Johann Friedrich Reichardt und dessen Tochter Luise Reichardt "(German songs by Johann Friedrich Reichardt and his daughter Luise Reichardt). Her contributions to this collaborative effort, identified by her initials, were the first of over ninety published vocal compositions which appeared during her lifetime. They were favorably received by critics and the public. Emilie Zumsteeg was born in Stuttgart in 1796, the daughter of Johann Rudolf Zumsteeg (1760-1802) the well-known composer of opera, lieder, and ballads. She was beloved in Wurttemberg as a singer, pianist, conductor, and extraordinary teacher. She was responsible for preparing the choruses for many first performances in Stuttgart of the great oratorios of Bach, Handel, Haydn and Mendelssohn. Emilie Zumsteeg's compositions included lieder for voice and piano or voice with guitar, music for solo piano, choral settings for three, four, and six voices, a cantata, an overture for orchestra, and variations for flute and harp. As a composer Zumsteeg may be described as a bridge between the early German Romantic composers, including her father Johann Rudolf Zumsteeg, Conradin Kreutzer, Friedrich Silcher, andFranz Schubert, and the Romantic school of Robert Schumann. Bettine von Arnim, while known primarily as an author of novels based on her correspondence with prominent Romantic figures such as Johann Wolfgang von Goethe, was also a composer. As a young woman she pursued music studies and set to music texts of Goethe, Achim von Arnim (whom she married in 1811), and her brother, Clemens Brentano. Fewer than a dozen songs were published during her lifetime, but her manuscripts attest to a wealth of musical ideas. Some songs have appeared in heavily edited versions. Corona Schroter, born in Poland into a musical family, spent a significant part of her life in Germany. A virtuosa singer and actress, her close association with Goethe led her to set some of his poetry for her lieder. Also born in Poland, Maria Szymanowska (born Marianna Agata Wolowska), was a virtuosa pianist and composer of over 100 pieces, mostly for the piano. Szymanowska's twenty-two songs based on sentimental or heroic texts belong to the genre of the romance. Her works appear in all of the eighteenth-century volumes in this series. Marie Teresa Agnesi, the only Italian woman of this period known to have composed opera seria, is represented by an accompanied aria in this volume and by a keyboard sonata in Volume 3. Although Isabella Colbran was born in Spain, she spent much of her successful operatic career in Italy. Four of her songs are presented here. Dutch composer Josina Anna Petronella van Boetzelaer, nee van Aerssen, closely associated with the musical royalty in the House of Orange, concentrated on writing vocal music. Her opus 2 is dedicated to Maria Teresa Agnesi. The young Parisian musician, Sophie Gail(nee Edme-Sophie Garre), impressed family friends with her talents as a pianist, singer, and composer, as she would later impress the French musical milieu. She was a successful performer and composer of songs and opera. Born in Martinique, Pauline Duchambge was a French Creole pianist, singer, and composer. She studied composition in Paris with Daniel Auber, Luigi Cherubini, and Jan Ladislav Dussek. Duchambge wrote over 300 songs, setting many texts by the poet Marceline Desbordes-Valmore, who was her lifelong friend. Madame Louis, French pianist and composer, published six keyboard sonatas and a two-act opera comique. Several arias from this opera appear here; the "Overture" is in Volume 5. A leading singer with the "Academie royale de musique" (the Paris Opera), Henriette-Adelaide de Villars, dite Beaumesnil, may have written music during her singing career. However, it was only after her retirement from the stage that her compositions were actually performed and published. Between 1781 and 1792, she wrote at least three short operas and an oratorio, of which only the score of her one-act opera "Tibulle et Delie "appears to have survived. Amelie-Julie Candeille, an actress, singer, playwright, pianist, harpist, composer, novelist, and music teacher made her debuts at the Paris Opera and Comedie Francaise while in her teens. She performed her own piano concerto at the "Concert Spirituel." Her first play w