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 Asunto: Re: La otra ópera
NotaPublicado: 15 Jul 2022 10:46 
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Claro, mátenme antes que tocar para vosotros. Hubiera sido un chiste que lo acusaran de eso.

En cuanto al cambio de nacionalidad, Stravinsky hizo lo mismo, ruso-francés-gringo.

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 Asunto: Re: La otra ópera
NotaPublicado: 15 Jul 2022 11:02 
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Zelenka escribió:
Claro, mátenme antes que tocar para vosotros. Hubiera sido un chiste que lo acusaran de eso.

En cuanto al cambio de nacionalidad, Stravinsky hizo lo mismo, ruso-francés-gringo.


Buenos días, Zelenka. Una cuestión:

¿Qué consejos das a una persona que haya escuchado "Moises und Aaron" de Shoem... y haya - como yo - salido huyendo?

Perdona que sea tan radical. Es una barrera que me cuesta muchísimo superar el Wozzeck la Lulú, el Moises ... un pena pero es así.


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 Asunto: Re: La otra ópera
NotaPublicado: 15 Jul 2022 11:18 
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No te preocupes. No es obligación. Escucha las obras de Webern. Son cortas y están en el mismo lenguaje, en lo que le vas encontrando el gusto a ese tipo de música.

También puedes escuchar Los demonios de Loudun de Penderecki, y cuando ya no puedas mas, poner el Wozzek, y vas a ver lo melodioso que te va a sonar. No es broma.

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 Asunto: Re: La otra ópera
NotaPublicado: 22 Jul 2022 7:11 
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Giovanni Battista Borghi (1738-1796) He was born in Camerino, Macerata. During the first 15 years of his career he wrote an equal number of opere buffe and opere serie. Typical of the 1770s, his serious operas have arias of extreme length, short third acts, multiple exits following individual arias, long ballets as entr'actes, trios and duets concluding the first two acts and aria-length cavatinas late in Act 3. The comic operas open with short static introduzioni, proceed with a succession of recitatives and arias and conclude with finales with increasing numbers of personnel. Il filosofo amante stands out for its many short ensembles, including a quartet, a quintet and a trio involving some action. After 1777 Borghi turned exclusively to opera seria. His operas of the 1780s show innovatory traits common in the works of the librettist Sertor, such as the ensemble that increases from duet to trio in Piramo e Tisbe. In his setting of Metastasio's Olimpiade (1784) violence appears on the stage, and he carved a multi-sectional finale from the final scene of Metastasio's text. Accompanied recitative becomes more prevalent; such scenes may encompass cavatinas and employ wind instruments for ‘ghost scenes’ and other special effects.

Borghi's arias show extreme textural contrasts: a thin string accompaniment sometimes follows the voice and sometimes provides rhythmic background, thickening abruptly with the addition of wind instruments and obbligato commentary during vocal caesuras and ritornellos. Nevertheless, his accompaniments are often denser than those of many of his contemporaries and his forms less clearly sectional. Though he was judicious in his use of wind, his harmonic vocabulary was at times chromatic, his orchestration programmatic and his ornamental vocal style virtuoso.

In the two operas of the 1790s the amount of accompanied recitative increases significantly to encompass entire scenes, particularly near the end of each act. The introduzione becomes a component of serious opera, and the chorus assumes a more important role, participating in ensembles and concluding arias. Arias incur commentary from other characters, the chorus and even a full military wind band. Borghi's most successful work, La morte di Semiramide, proved to be a herald of the decade. In this early example of the new Venetian style, pioneered by the librettist Sografi, the traditional stark delineations of form disappear in great scene complexes of continuous music moving seamlessly among the textural options of accompanied recitative, aria, ensemble and chorus. There are only 11 arias, and some are interrupted or overlaid with choral or solo interpolations; in one of Semiramide's a military wind quartet is heard, and public comments restore her tranquillity. There are extended continuous scenes as each act draws to its climactic conclusion: the ghost scene in Act 1, the mother–son confrontation in Act 2 and the tomb and death scene in Act 3. Other features of this opera soon to become common are the introduzione for duo and chorus, the giuramento for quartet and chorus and the nottorno for duo.

Borghi may have been best known for his sacred music. Its widespread use is suggested by the many manuscripts surviving in libraries and church archives. He also composed many oratorios and occasional pieces for ecclesiastical ceremonies. La Borde described Borghi as an original composer, highly regarded by connoisseurs, but ‘more esteemed than applauded, for lack of that naturalness so necessary in music to win the approval of the multitude’. Gervasoni praised Borghi's sacred works for their elegant melodic style and for their harmonic and contrapuntal correctness, but Tebaldini (1921) judged them as belonging to ‘the most decadent genre’, in which ‘the absolute virtuosity of the singer has taken the upper hand over the composer’.

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Il Trionfo di Clelia, dramma per musica en tres actos (1773). Aria: Tanto avezza alle sventure.

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La morte di Semiramide, ópera seria en tres actos (1791). Aria: Figlio diletto e caro.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jul 2022 7:48 
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Dame Elizabeth Violet Maconchy LeFanu (1907-1994) She was born in Broxbourne, Hertfordshire, of Irish parents, and grew up in England and Ireland. Her family moved to Ireland in 1917, where they lived in Howth, on the east coast. The adolescent Maconchy began her musical studies in Dublin, studying piano with Edith Boxhill, and harmony and counterpoint with Dr John Larchet. Those formative years in Ireland where important for Maconchy, who considered herself Irish. Throughout her career she was identified as an Irish composer, or as an English composer with 'Celtic' influences, by reviewers and commentators. In 1923, at the age of sixteen, she moved to London to enrol at the Royal College of Music. At the RCM Maconchy studied under Charles Wood and Ralph Vaughan Williams. Her contemporaries at the college included Grace Williams, Dorothy Gow, and Ina Boyle. Early compositions such as the Violin Sonata and Piano Concertino of 1927 already show the influence of European composers, especially Bartok. As a student, Maconchy was awarded the Blumenthal Scholarship in 1927, and the Octavia Scholarship of 1930, which allowed her to continue her studies in Prague. Her first public recognition came in 19 March 1930 with a performance of her Piano Concerto, conducted by her teacher there, Karel Jirak. This was followed on 30 August by a BBC Proms performance of her cantata The Land, conducted by Henry Wood, which was inspired by the long poem of the same name by Vita Sackville-West.

In response to the scarce opportunities for young avant garde composers and for female composers, a group of women got together to organise regular concerts at the small Ballet Club theatre in Notting Hill, London, showcasing new work. It has been claimed that this venture "changed the face of music in London", and that it "prove[d] a lifeline for Elizabeth Maconchy through the 1930s". In 1930 Maconchy married William LeFanu, with whom she had two daughters: Elizabeth Anna LeFanu (born 1939) and Nicola LeFanu (born 1947). In 1932, Maconchy developed tuberculosis and she moved with her family from London to Kent. She returned to Ireland in 1939, living in Dublin for a brief period, during which she composed her Fifth String Quartet, which some critics consider her greatest achievement, and gave birth to a daughter. Maconchy did much to improve the conditions of composers, being elected Chair of the Composers Guild of Great Britain in 1959, a position she held for a number of years. She was also President of the Society for the Promotion of New Music. Maconchy was a socialist, and her activism extended to supporting the Democratic/Republican side in the Spanish Civil War, and other causes. Maconchy's friends included the English composer Elisabeth Lutyens, Welsh composer Grace Williams, the Irish composer Ina Boyle, and the Czech music critic Jan Löwenbach. Maconchy once declared that: "for me, the best music is an impassioned argument". She died in Norwich, England.

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The Sofa, ópera cómica (1956–1957). Come and dance!

The Departure, ópera (1960–1961, rev. 1977). Then do not leave me.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jul 2022 7:49 
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Esa fue la viñeta No. 700.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jul 2022 9:05 
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:cheers:


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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jul 2022 9:58 
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:wink:

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jul 2022 10:35 
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:cheers:

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jul 2022 12:12 
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Enhorabuena, maestro. Esperamos con ansia (sin sorna alguna) las próximas e ilustrativas 700 viñetas. Por cierto, tal vez pueda usted saber si esta señora compositora podría estar emparentada o incluso ser descendiente de Sheridan Le Fanu, el escritor irlandés (de Dublin, concretamente) del s. XIX, especialista en historias fantasmagóricas. El apellido no es muy corriente y algo me sonaba de mis tiempos juveniles.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jul 2022 12:26 
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Abdallo escribió:
tal vez pueda usted saber si esta señora compositora podría estar emparentada o incluso ser descendiente de Sheridan Le Fanu


Eso no puede ser, porque el LeFanu le viene por el marido William LeFanu, que era hijo de Thomas Le Fanu, que a su vez era hijo de William Richard Le Fanu, que era hermano de Sheridan Le Fanu.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jul 2022 12:28 
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Bueno, pues entonces estaba "emparentada", al menos políticamente, con el escritor en cuestión. Gracias.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Jul 2022 12:36 
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 Asunto: Re: La otra ópera
NotaPublicado: 05 Ago 2022 6:30 
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Hans Erich Pfitzner (1869-1949) He was born in Moscow where his father played cello in a theater orchestra. The family returned to his father's native town Frankfurt in 1872, when Pfitzner was two years old, he always considered Frankfurt his home town. He received early instruction in violin from his father, and his earliest compositions were composed at age 11. In 1884 he wrote his first songs. From 1886 to 1890 he studied composition with Iwan Knorr and piano with James Kwast at the Hoch Conservatory in Frankfurt. (He later married Kwast's daughter Mimi Kwast, a granddaughter of Ferdinand Hiller, after she had rejected the advances of Percy Grainger.) He taught piano and theory at the Koblenz Conservatory from 1892 to 1893. In 1894 he was appointed conductor at the Staatstheater Mainz where he worked for a few months. These were all low-paying jobs, and Pfitzner was working as Erster (First) Kapellmeister with the Berlin Theater des Westens when he was appointed to a modestly prestigious post of opera director and head of the conservatory in Straßburg (Strasbourg) in 1908, when Pfitzner was almost 40.

In Strasbourg, Pfitzner finally had some professional stability, and it was there he gained significant power to direct his own operas. He viewed control over the stage direction to be his particular domain, and this view was to cause him particular difficulty for the rest of his career. The central event of Pfitzner's life was the annexation of Imperial Alsace—and with it Strasbourg—by France in the aftermath of World War I. Pfitzner lost his livelihood and was left destitute at age 50. This hardened several difficult traits in Pfitzner's personality: an elitism believing he was entitled to sinecures for his contributions to German art and for the hard work of his youth, notorious social awkwardness and a lack of tact, a sincere belief that his music was under-recognized and under-appreciated with a tendency for his sympathizers to form cults around him, a patronizing style with his publishers, and a feeling that he had been personally slighted by Germany's enemies. His bitterness and cultural pessimism deepened in the 1920s with the death of his wife in 1926 and with meningitis affecting his older son Paul, who was committed to institutionalized medical care. In 1895, Richard Bruno Heydrich sang the title role in the premiere of Pfitzner's first opera, Der arme Heinrich, based on the poem of the same name by Hartmann von Aue. More to the point, Heydrich "saved" the opera. Pfitzner's magnum opus was Palestrina, which had its premiere in Munich on 12 June 1917 under the baton of Jewish conductor Bruno Walter. On the day before he died in February 1962, Walter dictated his last letter, which ended "Despite all the dark experiences of today I am still confident that Palestrina will remain. The work has all the elements of immortality".

Easily the most celebrated of Pfitzner's prose works is his pamphlet Futuristengefahr ("Danger of Futurists"), written in response to Ferruccio Busoni's Sketch for a New Aesthetic of Music. "Busoni," Pfitzner complained, "places all his hopes for Western music in the future and understands the present and past as a faltering beginning, as the preparation. But what if it were otherwise? What if we find ourselves presently at a high point, or even that we have already passed beyond it?". Pfitzner had a similar debate with the critic Paul Bekker. Pfitzner dedicated his Violin Concerto in B minor, Op. 34 (1923) to the Australian violinist Alma Moodie. She premiered it in Nuremberg on 4 June 1924, with the composer conducting. Moodie became its leading exponent, and performed it over 50 times in Germany with conductors such as Pfitzner, Wilhelm Furtwängler, Hans Knappertsbusch, Hermann Scherchen, Karl Muck, Carl Schuricht, and Fritz Busch. At that time, the Pfitzner concerto was considered the most important addition to the violin concerto repertoire since the first concerto of Max Bruch (1866), although it is not played by most violinists these days. On one occasion in 1927, conductor Peter Raabe programmed the concerto for public broadcast and performance in Aachen but did not budget for copying of the sheet music; as a result, the work was "withdrawn" at the last minute and replaced with the familiar Brahms concerto.

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Der arme Heinrich, drama musical en tres actos (1891–1893). Del acto primero: Auf grüne Wipfel lacht nun wonnig der Lenz.

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Die Rose vom Liebesgarten, ópera romántica con un preludio (1897–1900). Del acto segundo: Herrin!

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Palestrina, leyenda musical en tres actos (1909–1915). Del acto segundo: Darf ich die Frage stellen,warum nicht nach der Reih.

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Das Christ-Elflein, Spieloper en dos actos (1917). Del acto primero: Du holdes Puppengesicht.

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Das Herz, drama musical en tres actos y cuatro escenas (1930–1931). Escena primera del acto segundo.

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 Asunto: Re: La otra ópera
NotaPublicado: 12 Ago 2022 2:32 
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Otto Matthäus Zykan (1935-2006) He was born in Vienna. He studied at the Vienna Music Academy, where his teachers included Karl Schiske (composition), Bruno Seidlhofer and Josef Dichler (piano). He also attended the Darmstadt summer courses (1958, 1964–1966), winning the Kranichstein Music Prize of the international piano competition on his first visit. Zykan's most characteristic works are his ‘total art productions’, in which processes of permutation extend to movement, sounds and linguistic elements alike, sometimes producing compromise and sometimes distortion, and often reducing critical comment to the absurd. As his creative work has been conceived entirely in relation to the present, a number of his works exist only in a sketch-like draft form. He has mostly dispensed with publication, since the majority of his works depend on his personal interpretation. As a result, a number of compositions have been lost. He has also created TV advertisements for well-known firms.

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Der Zurückgebliebenen Auszählreim, ópera (1986). Escena 10a.

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