Download or read book Les Diamants de la Couronne written by Daniel François Esprit Auber and published by . This book was released on 1871 with total page 284 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Les Diamants de la Couronne Ouverture written by and published by . This book was released on 1865 with total page 18 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Daniel Fran ois Esprit Auber Les Diamants de la coronne I diamanti della corona The Crown Diamonds Op ra Comique en trois actes Paroles de Eug ne Augustin Scribe et Jules Henri Vernoy de Saint Georges In Italian and English translation written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2014-06-26 with total page 290 pages. Available in PDF, EPUB and Kindle. Book excerpt: Daniel-François-Esprit Auber (1782–1871) was long considered one of the most typically French, as well as one of the most successful, opera composers of the nineteenth century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opéra-comique La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber’s life was his meeting with the librettist Eugène Scribe (1791–1861), with whom he developed a long and illustrious working partnership that only ended with Scribe’s death. Success followed success; works such as Le Maçon (1825) and La Muette de Portici (1828) brought Auber public fame and official recognition. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Légion d’Honneur. Auber seems to have been fated to live in revolutionary times; during his long life no less than four revolutions took place in France (1789, 1830, 1848, 1870). He died on 12 May 1871 as a result of a long illness aggravated by the privations and dangers of the Siege of Paris. Auber’s overtures were once instantly recognizable, favourites of the light Classical repertoire. His gracious melodies and dance rhythms had a huge influence, both on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. Musical tastes and fashions have changed, and contemporary audiences are more accustomed to the heavier fare of verismo, high Wagnerian ideology, and twentieth-century experimentalism. The operas themselves, apart from Fra Diavolo (1830), are seldom performed, yet Auber’s elegant, delicate and restrained art remains as appealing to the discerning listener as ever it was. Les Diamants de la couronne (1841) is a piece of really refined, almost surreal, fantasy. In many respects, it represents something of a distillation of the art of Scribe and Auber, a synthesis in some ways of the more earthy comedy of Fra Diavolo and the almost spiritual sophistication of Le Domino noir. Both plot and music carry the natural instincts of both creators to their extreme attainment. Berlioz singled out its musical beauty in his critique of the work. The narrative, with its story of royal counterfeiting, romance fulfilment and social restitution, combines several recurrent motifs that preoccupied Scribe, with the exotic Iberian setting opening up the Mediterranean sphere so stimulating to the artistic imagination of both librettist and composer. Catarina, heiress to the crown of Portugal, has a copy of the crown jewels made so that she can sell off the originals to pay off the national debt. The young queen's ploy works, the nation is saved. The music is very brilliant for the principal character who, by turns queen, brigand, and prima donna, sings variations of the greatest virtuosity and in the best of vocal styles. This edition reproduces the vocal score published in London by Boosey and Co. (c. 1880), the Royal Edition, edited by Arthur Sullivan and Josiah Pittman (with Italian and English words).
Download or read book The Romantic Overture and Musical Form from Rossini to Wagner written by Steven Vande Moortele and published by Cambridge University Press. This book was released on 2017-04-27 with total page 305 pages. Available in PDF, EPUB and Kindle. Book excerpt: The first comprehensive study of musical form in operatic and concert overtures in continental Europe between 1815 and 1850.
Download or read book His Master s Voice La Voix de Son Maitre written by Alan Kelly and published by Bloomsbury Publishing USA. This book was released on 1990-09-27 with total page 734 pages. Available in PDF, EPUB and Kindle. Book excerpt: This is a companion volume to the Italian catalogue, La Voce del Padrone, already published by Greenwood Press. This new volume provides a complete catalogue of French gramophone recordings made by the Gramophone Company Ltd. between 1898 and 1929. During this period the Compagnie Francaise du Gramophone was the continental European, African, and Asian end of a powerful partnership between the Victor Talking Machine Company and the Gramophone Company Ltd. The volume includes details of Victor recordings issued outside the Americas and hence is a useful adjunct to the series The Encyclopedic Discography of Victor Recordings, also published by Greenwood Press. The first three sections conform to the previously established pattern of listing Gramophone black and celebrity labels followed by the Zonophone green labels and the Gramophone green labels. In 1920, it was decided to issue records specifically for the Belgian/Flemish market; these are detailed in the fourth section. The contents of each section are listed in numerical order following the pattern of the early printed catalogues, that is, bands followed by orchestras followed by talking, etc. A list of the series actually used precedes each section and acts as a table of contents for the section. Each catalogue entry comprises as much as possible of the following information: the original numerical catalogue number; the matrix (serial) number; the date of the recording; the name of the artist(s) involved; the title of the piece; alternative issue numbers; and occasional notes. The introduction provides an overview of the company's recording practices and cataloging systems. This volume provides much-needed guidance for the serious collector and will be a valuable resource for the music historian.
Download or read book The Overtures of Daniel Fran ois Esprit Auber written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2011-01-18 with total page 467 pages. Available in PDF, EPUB and Kindle. Book excerpt: The overtures of Daniel-François-Esprit Auber (1782–1871), once as popular as those of Gioacchino Rossini and Franz von Suppé, were formerly known everywhere, a staple of the light Classical repertoire. The influence of Auber’s melodies and dance rhythms on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany, was overwhelming. The operas themselves, apart from Fra Diavolo (1830), have virtually passed out of the repertoire, but some of their overtures live on vicariously, and sound brilliant and charming when given the chance—The Bronze Horse, Masaniello, The Crown Diamonds, Fra Diavolo, The Black Domino. The freshness of the melody, the incision of the orchestral colours, and the rhythmic vitality are still capable of generating a visceral excitement. Auber, the most amiable French composer of the 19th century, came to his abilities late in life. After a stalled commercial career, he studied with Cherubini. His first operas were not a success, but La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. It was at this time that he met the librettist Eugène Scribe (1791–1861), with whom he established a working partnership, one of the most successful in musical history, that lasted until Scribe’s death. After Le Maçon (1825) and La Muette de Portici (1828), Auber’s life was filled with success. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Légion d’Honneur. Auber’s famous historical grand opera La Muette de Portici (Masaniello) is a key work in operatic history, and helped to inspire the revolution in Brussels that led to the separation of Belgium from Holland. Auber himself experienced four French Revolutions (1789, 1830, 1848, 1870). The latter (The Commune) hastened the end of his life. He died on 12 May 1871, at the advanced old age of 89, and in the pitiful conditions of civil strife, after a long and painful illness which worsened during the Siege of Paris. He refused to leave the city he had always loved despite the dangers and privation, even after his house had been set on fire by the petroleurs et petroleuses. By some irony a mark had been placed against the house of the composer of La Muette de Portici, the very voice of Romantic liberty! Auber’s elegant and restrained art now has little appeal for the world of music, attuned as it is to meatier substance of verismo, high Wagnerian ideology, and twentieth-century experimentalism. But he was once a household name, and his pared style, fleet rhythms and restrained emotion were a byword of taste. This collection brings together 40 of Auber’s overtures, from his first great success with La Bergère Châtelaine, to his last opera, written at the age of 87, Rêve d’Amour, and including the concert overture he wrote in 1862 for the London Exhibition. Auber adopted the Rossinian adaptation of the overture genre, a sonata form with foreshortened development (or a sequential passage for transition back to the recapitulation). His handling of this basic structure remained consistent throughout his career, and followed three or four differing approaches, but always invested with his characteristic verve, rhythmic élan, clarity of texture, and brilliance of orchestration. In all, the overtures, especially when viewed as a corpus, present a journey through the creative life of composer dedicated to musical drama, who always remained the perfect exemplar of a certain French style and elegance—even in his serious works.
Download or read book Le Guide Musical written by and published by . This book was released on 1880 with total page 370 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Musical World written by and published by . This book was released on 1864 with total page 870 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Musical Life of Nineteenth Century Belfast written by Roy Johnston and published by Routledge. This book was released on 2017-07-05 with total page 400 pages. Available in PDF, EPUB and Kindle. Book excerpt: Roy Johnston and Declan Plummer provide a refreshing portrait of Belfast in the nineteenth century. Before his death Roy Johnston, had written a full draft, based on an impressive array of contemporary sources, with deep and detailed attention especially to contemporary newspapers. With the deft and sensitive contribution of Declan Plummer the finished book offers a telling view of Belfast‘s thriving musical life. Largely without the participation and example of local aristocracy, nobility and gentry, Belfast‘s musical society was formed largely by the townspeople themselves in the eighteenth century and by several instrumental and choral societies in the nineteenth century. As the town grew in size and developed an industrial character, its townspeople identified increasingly with the large industrial towns and cities of the British mainland. Efforts to place themselves on the principal touring circuit of the great nineteenth-century concert artists led them to build a concert hall not in emulation of Dublin but of the British industrial towns. Belfast audiences had experienced English opera in the eighteenth century, and in due course in the nineteenth century they found themselves receiving the touring opera companies, in theatres newly built to accommodate them. Through an energetic groundwork revision of contemporary sources, Johnston and Plummer reveal a picture of sustained vitality and development that justifies Belfast‘s prominent place the history of nineteenth-century musical culture in Ireland and more broadly in the British Isles.
Download or read book Concert Life in Nineteenth Century New Orleans written by John H. Baron and published by LSU Press. This book was released on 2013-12-09 with total page 744 pages. Available in PDF, EPUB and Kindle. Book excerpt: During the nineteenth century, New Orleans thrived as the epicenter of classical music in America, outshining New York, Boston, and San Francisco before the Civil War and rivaling them thereafter. While other cities offered few if any operatic productions, New Orleans gained renown for its glorious opera seasons. Resident composers, performers, publishers, teachers, instrument makers, and dealers fed the public's voracious cultural appetite. Tourists came from across the United States to experience the city's thriving musical scene. Until now, no study has offered a thorough history of this exciting and momentous era in American musical performance history. John H. Baron's Concert Life in Nineteenth-Century New Orleans impressively fills that gap. Baron's exhaustively researched work details all aspects of New Orleans's nineteenth-century musical renditions, including the development of orchestras; the surrounding social, political, and economic conditions; and the individuals who collectively made the city a premier destination for world-class musicians. Baron includes a wide-ranging chronological discussion of nearly every documented concert that took place in the Crescent City in the 1800s, establishing Concert Life in Nineteenth-Century New Orleans as an indispensable reference volume.
Download or read book Catalogue of Augener Co s Universal Circulating Musical Library with Supplements written by Augener & Co and published by . This book was released on 1861 with total page 1404 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Daniel Fran ois Esprit Auber written by Robert Ignatius Letellier and published by Cambridge Scholars Publishing. This book was released on 2010-10-12 with total page 420 pages. Available in PDF, EPUB and Kindle. Book excerpt: Daniel-François-Esprit Auber (1782-1871), the composer of La Muette de Portici (1828) and Fra Diavolo (1830), was once regarded as one of the great figures of music, a staple of the operatic repertoire in France, and indeed around the world. It is now almost impossible to understand the extent of his once universal fame, his influence on contemporary composers. His operas were in the theatre repertories of the world until the 1920s, and innumerable arrangements of them were published and sold everywhere. The ubiquity of his overtures—Masaniello, Fra Diavolo, The Bronze Horse, The Black Domino, The Crown Diamonds—once as popular as those of Rossini and Suppé, and the influence of his melodies and dance rhythms on piano and instrumental music, and on Romantic comic opera, was overwhelming. In his operas Auber avoided any excess in dramatic expression; all emotion and expressiveness, any vivid depiction of local milieu, were realized within his discreetly nuanced tones, always stamped with a Parisian elegance. His operas were loved in his native France until the years before the First World War, with Fra Diavolo and Le Domino noir last performed at the Opéra-Comique in 1909. Auber’s career was a record of this success and appreciation. His appointment to the Institute (1829) was followed by other prestigious posts: as Director of Concerts at Court (1839), director of the Paris Conservatoire (1842), Musical Director of the Imperial Chapel (1852), and Grand Officer of the Légion d’Honneur (1861). During his lifetime, six biographies appeared contemporaneously, with another six appearing posthumously in the period up to 1914. In the late nineteenth and early twentieth centuries, however, reactions to Wagner, Impressionism and the Neo-Classicism of the Ballet Russe resulted in a growing lack of interest in the ancient traditions of opéra-comique, with its charming plots, melodic directness and rhythmic élan. Boieldieu, Hérold, Adam and Auber were relegated to the dustbin of history. Only in Germany did the genre continue to flourish; Auber’s most enduring work is still performed there. His death in pitiful conditions during the Siege of Paris (1871), in the city he always loved, marked the end of an era. Auber now occupies a shadowy niche in the general consciousness as the name of the metro station nearest the Palais Garnier, and remains unknown and neglected (apart of course from Fra Diavolo), although his impact on the nineteenth-century operatic theatre was just as great as Rossini’s. The time has surely come for Auber’s life and work, especially in association with his life-long collaborator Eugène Scribe (1791-1861)—master dramatist and supreme librettist, a determining force in the history of opera—to be reassessed. Perhaps then the world will begin to hear more of Auber’s elegant gracious, life-affirming music, written to Scribe’s words. The aim of the present study is to offer an overview of the life and work of Auber by close examination of his forty operas, with consideration of origins, casting, plot, analysis of dramaturgy and musical style, and reception history. This is presented in the context of Auber's relationship to the dominant genres of early nineteenth century French culture, opéra comique and grand opéra. The three evolving periods of Auber's unique involvement with opéra comique are of principal concern. This analysis of the operas is made in the context of Auber's crucial working relationship with Scribe, who provided 38 of his libretti. Their cooperation is unique and of great importance on several literary, musical and cultural levels. The nature of their interaction and personal friendship is assessed by a translation of the extant correspondence between them, some 80 letters that have not appeared in English before. The presentation of each opera is illustrated by musical examples from all the scores, prints from the complete works of Scribe and other theatrical memorabilia. The study also contains bibliographies of Auber’s works and their contemporary arrangements, studies of Auber’s and Scribe’s life and work, their artistic and historical milieux, and a discography.
Download or read book The Edwin A Fleisher Collection of Orchestral Music in the Free Library of Philadelphia written by Edwin A. Fleisher Music Collection and published by Boston : G. K. Hall. This book was released on 1979 with total page 976 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Musical Standard written by and published by . This book was released on 1881 with total page 864 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The International Horticultural Exhibition and Botanical Congress Held in London from May 22nd to May 31st 1866 Report of Proceedings With Plates Including a Map written by International Horticultural Exhibition, 1866 (LONDON) and published by . This book was released on 1867 with total page 458 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The International Horticultural Exhibition and Botanical Congress Held in London from May 22nd to May 31st 1866 written by and published by . This book was released on 1866 with total page 466 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Behind the Burnt Cork Mask written by William John Mahar and published by University of Illinois Press. This book was released on 1999 with total page 476 pages. Available in PDF, EPUB and Kindle. Book excerpt: The songs, dances, jokes, parodies, spoofs, and skits of blackface groups such as the Virginia Minstrels and Buckley's Serenaders became wildly popular in antebellum America. Behind the Burnt Cork Mask not only explores the racist practices of these entertainers but considers their performances as troubled representations of ethnicity, class, gender, and culture in the nineteenth century. William J. Mahar's unprecedented archival study of playbills, newspapers, sketches, monologues, and music engages new sources previously not considered in twentieth-century scholarship. More than any other study of its kind, Behind the Burnt Cork Mask investigates the relationships between blackface comedy and other Western genres and traditions; between the music of minstrel shows and its European sources; and between "popular" and "elite" constructions of culture. By locating minstrel performances within their complex sites of production, Mahar offers a significant reassessment of the historiography of the field. Behind the Burnt Cork Mask promises to redefine the study of blackface minstrelsy, charting new directions for future inquiries by scholars in American studies, popular culture, and musicology.
