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Nozze Istriane (1895) drama en tres actos. Final del acto primero.

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Extraordinario.

Señor Z, tiene usted un mp.


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Emil Nikolaus Freiherr von Reznicek (1860-1945) He was born in Vienna. Reznicek studied law and music simultaneously in Graz. He didn't finish his law degree, but continued to study music. Subsequently, he conducted at the theater in Graz, in Berlin and a few other places. From 1886 to 1894 he was Kapellmeister of the 88th Infantry of Prague, and it was here that he saw his greatest triumph with the premiere of Donna Diana (December 16, 1894). In the spring of 1902 he settled in Berlin, touring to Russia and England from time to time. When the Nazi Party came to power in 1933, Reznicek tried not to become involved, but stayed in Berlin. Reznicek was a personal friend of Richard Strauss. However, the relation between the two seems to have been an ambivalent one. Reznicek's symphonic poem Schlemihl (1912) can be seen as a direct parody of Strauss' Ein Heldenleben. The use of (often sarcastic) humor is a feature of much of Reznicek's music, from the jibbering Blaubart in the opera Ritter Blaubart through the sardonic Dance around the Golden Calf from Der Sieger (1913) to the expressionist Tarantella last movement of his Dance Symphony (#5, 1925). This Eulenspiegelei (a reference to the literary prankster Till Eulenspiegel) frequently got him into trouble in a world that was unaccustomed to the use of humour in music and art.

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Donna Diana, ópera en tres actos (1894, rev. 1933). Fragmento del acto primero.

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Ritter Blaubart, ópera en dos actos (1917). Fragmento del acto segundo.

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Última edición por Zelenka el 25 May 2014 9:27, editado 2 veces en total

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Jean Jacques Rousseau (1712-1778) Born in Geneva of a learned mother, who died within a week, and an artisan father, Rousseau was brought up to cherish the civic ideal of the ancient Roman republic. His father being exiled for an ill-judged duel, Rousseau was brought up with a cousin until the time came for him to be apprenticed to an engraver. Finding this intolerable he left Geneva, and in Turin was received into the Catholic church. In Savoy he belonged to the household of the slightly disreputable Baroness de Warens, but it was after becoming tutor to the family of the Abbé de Mably that Rousseau became acquainted with philosophers of the French Enlightenment, including Mably's brother Condillac. In Paris he made friends with Diderot; a year in Venice saw him dismissed from the service of the Ambassador, the comte de Montaigu, for generally insufferable behaviour. Back in Paris he became secretary to an opulent tax-farmer named Dupin, and began passing an agreeable literary life in the magnificent château of Chenonceaux, where he wrote various contributions to the Encyclopédie. His political philosophy heavily influenced the French Revolution, as well as the American Revolution and the overall development of modern political, sociological and educational thought.

Rousseau's scheme for musical notation, published in 1743 as Dissertation sur la musique moderne, brought him neither fame nor fortune - only a letter of commendation from the Académie des Sciences. But his interest in music spurred him to write two operas - Les Muses galantes (1742) and Le Devin du village (1752) - and permitted him to write articles on music for Denis Diderot's Encyclopédie; the Lettre sur la musique française, which embroiled him in a quarrel with the Paris Opéra (1753); and the Dictionnaire de musique, published in 1767. Le Devin du Village was performed for King Louis XV in 1752. The king was so pleased by the work that he offered Rousseau a lifelong pension. To the exasperation of his friends, Rousseau turned down the great honor, bringing him notoriety as "the man who had refused a king's pension." He also turned down several other advantageous offers, sometimes with a brusqueness bordering on truculence that gave offense and caused him problems. The same year, the visit of a troupe of Italian musicians to Paris, and their performance of Giovanni Battista Pergolesi's La Serva Padrona, prompted the Querelle des Bouffons, which pitted protagonists of French music against supporters of the Italian style. Rousseau was an enthusiastic supporter of the Italians against Jean-Philippe Rameau and others, making an important contribution with his Letter on French Music.

Although a celebrity, Rousseau's mental health did not permit him to enjoy his fame. His final years were largely spent in deliberate withdrawal. However, he did respond favorably to an approach from the composer Gluck, whom he met in 1774. One of Rousseau's last pieces of writing was a critical yet enthusiastic analysis of Gluck's opera Alceste. While taking a morning walk on the estate of the marquis René Louis de Girardin at Ermenonville (28 miles northeast of Paris), Rousseau suffered a hemorrhage and died, aged 66.

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Le Devin du Village, intermedio en un acto (1752). J'ai perdu tout mon bonheur.

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Última edición por Zelenka el 25 May 2014 9:28, editado 2 veces en total

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Alois Hába (1893-1973) nació en Vizovice, en Moravia Oriental. Oriundo de una familia de prole numerosa y de pocos recursos, vivió en su ciudad natal hasta los 15 años. Tiempo suficiente para conocer el riquísimo folklore de la región. Además, como adolescente tocaba en la banda folclórica de su padre, que en Vizovice y sus alrededores solía acompañar a cantantes y danzarines populares de Valaquia. En el folclore de Moravia Oriental tiene sus raíces también la sofisticada teoría de Hába sobre los microintervalos en la música. El compositor recordaba que desde la infancia escuchaba en los campos los cantos de los campesinos y de su madre en los que aparecían los microintervalos para expresar la emoción del cantante popular. La libertad creativa de los autores anónimos de las canciones foklóricas inspiró a Hába también la idea de componer la llamada música atemática. En una composición atemática los temas musicales no se repiten y no reaparecen tampoco en forma de variaciones. Es una herejía que desafía los cánones clásicos de la composición.

Hába adquirió la formación musical básica durante sus estudios en el Instituto Pedagógico en la ciudad morava de Kromeríz. Posteriormente se desempeñó durante dos años como maestro suplente en un pueblo de la región de Slovácko, en Moravia Oriental, donde se dio a la recopilación de joyas del folklore local. Al presentarse en 1914 a los exámenes de admisión al Conservatorio praguense, en un primer momento no quisieron admitirlo ya que con sus 21 años Hába sobrepasaba el límite de edad. Afortunadamente, Vítezslav Novák acabó por admitir al joven en su clase de composición. Novák influyó sobre Hába en la composición de cuartetos de cuerdas, género en el que Alois Hába destacaría. El joven compositor pasó dos años en el infierno de la Primera Guerra Mundial. Retomó su estudios de composición en Viena al matricularse en la Escuela superior de música y artes dramáticas. Cuando su profesor Franz Schreker se fue en 1920 a Berlín, Hába lo siguió a la capital alemana.

La estancia de tres años en Berlín fue decisiva para que Alois Hába alcanzara la madurez artística. En Berlín impartían cursos de composición figuras cimeras de la música moderna, como Arnold Schönberg, Paul Hindemith y el compositor italo-alemán, Ferruccio Busoni, cuyas búsquedas despertaron el interés de Hába. Hába fue admitido en la sección alemana de la Sociedad internacional para la nueva música. Ef eZYDÃfestival organizado en 1923 por esta entidad en Salzburgo obtuvo el primer éxito internacional con su Cuarteto de Cuerdas opus 12. Su obra se asentaba en un original sistema de composición a base de cuartos de tono. Cuando Hába regresa en 1923 a Praga le espera cierta incomprensión. En la Asociación para la música moderna hay funcionarios influyentes que no favorecen las nuevas tendencias musicales y exhortan a respetar los valores tradicionales. Los 50 años de la vida artística de Hába pasados entre 1923 y 1973 en Praga son años de una ardua lucha por su propia identidad artística y por la modernidad de la vida musical checa.

Hába fundó en el Conservatorio praguense una nueva sección de composición vanguardista frecuentada por alumnos de varios países. Diseñó y mandó fabricar novedosos instrumentos para la interpretación de su música de vanguardia, como un piano con dos teclados o un órgano con tres teclados. Cuando en 1948 llegó al poder en Checoslovaquia el Partido Comunista, Hába, acusado de propagar en la música el llamado "formalismo occidental", fue condenado al silencio. Durante cinco años la radio estatal - y no había otra- no incluyó en su programación las obras de Hába y las orquestas no interpretaban sus composiciones. Con la muerte de Stalin el cerco de los burócratas aflojó. En 1954 Hába fue rehabilitado por la Unión de Compositores Checoslovacos y al mismo tiempo sus composiciones pudieron regresar a los medios musicales oficiales. En las últimas dos décadas de su vida Alois Hába fortaleció su autoridad como uno de los más originales compositores checos del siglo 20.

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Matka, ópera en cuartos de tono en diez escenas (1927-1929). Fragmento.

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Última edición por Zelenka el 25 May 2014 9:30, editado 2 veces en total

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Esta obra me acompaña desde 1998, cuando la adquirí en una vieja tienda de Praga por dos perras.

Una ópera inquietante y que pide más de una escucha. Ese sonida tan peculiar de los cuatos de tono... La recomiendo.


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Luigi Rodolfo Boccherini (1743-1805) He was born in Lucca. Boccherini was the son of a professional musician who was the first double bassist to perform solo concerts. The elder Boccherini started to give his son cello lessons when the boy was five years old. Luigi continued his studies from the age of nine with Abbé Vanucci, music director of the cathedral at San Martino. When the boy made his first public appearance it was conceded that he had already surpassed his teacher's skills. He was sent to Rome, where he trained with G. B. Costanzi, music director of St. Peter's Basilica. After one year in Rome, Luigi and his father were summoned to Vienna, where they were hired by the Imperial Theater Orchestra.

Boccherini's compositions were first published when he was 17 years old. In 1765 Boccherini and his father went to Milan, which at the time was a magnet for talented musicians. It was there that he wrote his first string quartet. In the same year, the ill health that would plague Boccherini all his life began to take its toll. The composer endured a further blow in 1766 when his father died. He formed a new partnership with the violinist Filippo Manfredi; they toured Italy in 1767 and made their way to Paris, where they became a sensation. In Paris Boccherini published a number of notable works, including a set of six string quartets. Following his successes there, Boccherini began writing and publishing prolifically.

In 1769 Boccherini and Manfredi journeyed to Spain, where the composer enjoyed great acclaim. Boccherini then took up another new genre, the string quintet. He in fact became best known for these works, written for string quartet with an additional cello. Now enjoying the benefits of a steady job, Boccherini married in 1771.

Boccherini's wife died of a stroke in 1785. That year his Spanish patron, Archbishop Don Luis, also died, leaving Boccherini without a position. He petitioned King Charles, asking to be retained in some musical position. Charles granted him a pension and assigned him various musical duties. There was an upturn in Boccherini's fortunes in 1786 when he was commissioned as "Composer of Our Chamber" by Friedrich Wilhelm, who was soon to become King of Prussia. Though he wrote most of his new music for Friedrich Wilhelm, Boccherini remained in Spain, where he wrote his only opera, a zarzuela called La Clementina.

In 1787 Boccherini remarried. In 1796 he entered into an arrangement with publisher, composer, and piano manufacturer Ignaz Pleyel, who both praised and published Boccherini's works while cheating him of income. In February 1803, Boccherini was reported as living in "distress," but this is as likely from emotional depression as financial hardship, for in 1802 two of his daughters died from an epidemic within a few days of each other. In 1804 both his wife and his only living daughter died. It seems clear that Boccherini, although he continued to compose up to the end, had little interest in living, and died on May 28, 1805 of what was described as "pulmonary suffocation." He was buried in the Church of San Justo in Madrid. In 1927 his remains were disinterred and he was reburied in the Basilica of San Francesco in his hometown of Lucca.

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La Clementina, zarzuela en dos actos (1786). Fragmento del acto segundo.

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Última edición por Zelenka el 25 May 2014 9:32, editado 2 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 22 May 2011 15:33 
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Melesio Morales (1839-1908) Nació en la Ciudad de México. Desde muy joven, mostró una gran aptitud para la música, pero su padre, D. Trinidad Morales, deseoso de que abrazara la carrera de ingeniero civil, le dedicó al estudio de las matemáticas haciéndolo entrar en la Academia de San Carlos. y alrededor de 1850 ya escribía sus primeros valses y canciones. Se dice que compuso su primera ópera, Romeo y Julieta, a la edad de 18 años. La obra fue estrenada en 1863 en el Gran Teatro Nacional y fue interpretada por las sopranos Elisa Tommasi (Romeo) y Mariana Paniagua (Julieta), el tenor Manuel Morales (Tebaldo), el barítono Francisco de Paula Pineda (Lorenzo) y el bajo Ignacio Solares (Capelio). La obra fue dirigida por el mismo Melesio Morales quien dedicó su nueva ópera a su padre. En 1866 se estrenó su segunda ópera, Ildegonda, un drama lírico en dos actos con libreto de Temistocle Solera en el Gran Teatro Nacional, entonces llamado Teatro Imperial. Por la obra recibió una beca del gobierno del emperador Maximiliano I de México para estudiar en Florencia con Teódulo Mabellini.

Durante su periodo de estudios en Europa confirmó su influencia italiana y rehizo Ildegonda. La ópera se estrenó en el Teatro Pagliano de Florencia. La segunda versión de la ópera fue presentada en Italia en múltiples ocasiones con gran éxito. A su regreso a México, Melesio Morales fue tratado como un héroe, luego de que su segunda ópera había sido aceptada en las principales ciudades italianas. En el Conservatorio enseñó armonía y composición, sustituyendo a Felipe Larios y a Aniceto Ortega. En 1877 logra estrenar su ópera Gino Corsini en el llorado Gran Teatro Nacional, entonces llamado Teatro Imperial. La obra se estrenó en la misma temporada en que se vio el estreno de Aída y de la Misa de Requiem de Verdi. Las tres obras fueron cantadas por Ángela Peralta. La nueva ópera de Morales tuvo éxito y acrecentó su fama. En 1891 estrena en el Gran Teatro Nacional, auspiciada por la Compañía de Ópera Italiana Sieni y con la soprano Salud Othón como protagonista, su ópera Cleopatra.

Morales fue un incansable promotor de la cultura y la música en México. A su regreso de Italia se dedicó a la docencia, la dirección de orquesta y escribió artículos periodísticos sobre temas relacionados a la música. Su dedicación pedagógica en el campo de la música lo llevó a participar en la fundación del Conservatorio de Música y Declamación de México.

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Ildegonda, ópera en en tres actos yseis escenas (1866). Solo un alba e vedremo la croce.

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Última edición por Zelenka el 25 May 2014 9:36, editado 2 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 22 May 2011 19:00 
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¡¡Bien!! Me alegro mucho de que hayas retomado este hilo, Zelenka.

Y muy buen regreso, con ese dúo tan hermoso. ¡Gracias!


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Pierre-Alexandre Monsigny (1729–1817) He was born at Fauquembergues, near Saint-Omer, in the former Artois region of France (now Pas-de-Calais), four months before the marriage of his parents, Marie-Antoinette Dufresne and Nicolas Monsigny. He was educated at the Collége des Jésuites Wallons in Saint-Omer. It was here that he first discovered his aptitude for music. As the eldest child, in 1749, a few months after his father's death, he left for Paris with only a few coins in his pocket, a violin and a recommendation letter, in an attempt to further his musical career and provide for his siblings. He entered into the service of a M. de Saint-Julien, in the bureau of the Comptabilité du Clergé de France. In 1752, after watching a performance of La serva padrona by Giovanni Battista Pergolesi at the Paris Opera, he decided upon his true vocation. He then became Gianotti's student, and a counter-bassist at the Paris Opéra.

Secretly, with a text by Laribardière, he wrote Les aveux indiscrets, his first comical opera, which premiered at the theater of the Foire St Germain in February 1759. This work was well-received and encouraged him to compose a second opera, in two acts, on a libretto by Pierre-René Lemmonier. Le maître en droit, the following year, received the same response. Michel-Jean Sedaine, a well-liked librettist, proposed to Monsigny to collaborate with him, following Le cadi dupé's success. Their common production was excellent: On ne s'avise jamais de tout, Le roi et le fermier and Rose et Colas. In 1766, at the Académie royale de Musique, his epic ballet in three acts Aline, reine de Golconde was not as successful as expected. The critics were harsher two years later, with L'île sonnante. The music, it is true, preserves its usual grace of Monsigny's touch. However, Charles Collé's booklet happened to be unadapted and justified its little success.

It is during this same year of 1768 that the composer bought the charge of Head Waiter at the service of the Duke of Orléans. This patronal environment favored a little more his inspiration. Michel-Jean Sedaine submitted his libretto, Le déserteur, for which he composed his most successful score. Yet Le faucon, created in 1771 was a failure. In 1775, La belle Arsène caused controversy among critics. In 1777, following the success of Félix, ou L'enfant trouvé, Monsigny stopped composing. At the beginning of 1784, he married Amélie de Villemagne, with whom he lived peacefully until 1789. The French Revolution and The Terror deprived them of all their material existence. The musician and his family sank into deep misery and oblivion for a few years. Hearing of the composer's state of poverty, the members of the Opéra-Comique gave him a pension of 2400 pounds, in order to prove their gratitude to one of the founders of their theater. The years of adversity came to an end and Monsigny reached once again his deserved success. He became inspector of teaching at the Conservatoire de Musique de Paris. In 1804, he received the title of Chevalier de la Légion d'Honneur. In 1813, he succeeded Grétry at the Institute. Total blindness afflicted his last years. Monsigny died in Paris.

He is considered alongside André Grétry and François-André Danican Philidor to have been the founder of a new musical genre, the opéra comique, laying a path for other French composers such as François-Adrien Boieldieu, Daniel-François-Esprit Auber, Charles Gounod, Georges Bizet, and Jules Massenet in this genre. Paul Dukas is quoted as saying, "Of all the composers of our country, he may be the first who had the gift of true, human emotion, of communicative expression and of fair feeling"

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Le déserteur, drama en tres actos (1769). V, o, u, s, e, t, et te.

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Última edición por Zelenka el 25 May 2014 9:38, editado 2 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 29 May 2011 11:48 
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Qué interesante, Zelenka. Conozco la Ildegonda de Emilio Arrieta, pero no conocía la de Morales ¡Muchas gracias por ese precioso fragmento! :aplauso:

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 Asunto: Re: La otra ópera
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¡Y por el de "Le deserteur"! Me ha gustado el detalle de que Monsigny encontrase su vocación al escuchar "La serva padrona". Esa obrita tan deliciosa tuvo que animar a componer a muchos.


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Joseph Deems Taylor (1885-1966) He was born in New York City to JoJo and Katherine Taylor. Taylor initially planned to become an architect; however, despite minimal musical training he soon took to music composition. The result was a series of works for orchestra and/or voices. In 1916 he wrote the cantata The Chambered Nautilus, followed by Through the Looking-Glass (for orchestra) in 1918, earning him public praise and recognition. Taylor was also a friend of the Algonquin Round Table, a group of writers, actors and critics that met almost daily from 1919-1929 at Manhattan's Algonquin Hotel. In 1921 he secured a job as music critic for the New York World, a post he held when approached by the Metropolitan Opera to suggest a composer to write a new opera. He put forth his own name, and was accepted, the result being The King's Henchman, with the libretto by Edna St. Vincent Millay. Peter Ibbetson followed in 1929.

Taylor was a promoter of classical music throughout his life, working in broadcasting and as intermission commentator for the New York Philharmonic. He appeared in Walt Disney's 1940 film Fantasia as the film's Master of Ceremonies, and was instrumental in selecting the musical pieces that were used in the film, including the then-controversial Sacre du Printemps. He provided the commentary of the technical story behind the recording of actual cannon fire and carillon for the famous recording (by Mercury, in 1954) of Tchaikovsky's 1812 Overture—still one of the most highly regarded recordings of that piece. He was also a frequent guest on the radio quiz program Information Please.

Taylor also served as the president of ASCAP for six years. The ASCAP Deems Taylor Awards were established in 1967 to honor his memory. The Deems Taylor Award "recognizes books, articles, broadcasts and websites on the subject of music selected for their excellence." His work as a broadcaster, critic, and commentator ultimately overshadowed his work as a composer. Taylor’s music is often witty, always deftly formed, well-timed, and entertaining. The basic style of even his later works is academically post-Romantic, resisting any influence of progressive trends except perhaps in orchestration. This conservatism, lacking sharp individual profile or sense of deep conviction, may help to explain the initial enthusiastic acceptance of Taylor’s work (the number of Metropolitan Opera performances for The King’s Henchman and Peter Ibbetson is greater than that of any other American composer, and none of his American-born contemporaries had more large-scale works published), but may also explain the fact that his music was virtually forgotten soon afterward.

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Peter Ibbetson, drama lírico en tres actos (1929). Fragmento del acto tercero.

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Última edición por Zelenka el 25 May 2014 9:39, editado 2 veces en total

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 Asunto: Re: La otra ópera
NotaPublicado: 05 Jun 2011 12:43 
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Un pelin de rostro, ya tenia este señor.

Por cierto, el Peter Ibbetson me resulta plano y monocorde, un pelin aburrido. La española Lucrezia Bori estreno el papel de Mary.

Mucho mas atractiva la pelicula de Henry Hathaway....


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