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 Asunto: Re: La otra ópera
NotaPublicado: 04 Mar 2022 14:24 
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Muy interesante, Zelenka. Entartete Musik at its best. Me recuerda a Kurt Weill...

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 Asunto: Re: La otra ópera
NotaPublicado: 04 Mar 2022 15:36 
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Los tres álbumes de esa serie son muy interesantes. Ya iré poniendo mas cosas.

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 Asunto: Re: La otra ópera
NotaPublicado: 11 Mar 2022 18:22 
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Gilbert Amy (*1936) Born in Paris, he entered the Conservatoire de Paris in 1954, where he was taught and influenced by Olivier Messiaen and Darius Milhaud and studied piano with Yvonne Loriod and fugue with Simone Plé-Caussade. His first composition (Œil de fumée) dates from 1955. In 1957 he met Pierre Boulez, under whose direction he composed his Piano Sonata. A year later Boulez commissioned from him a work called Mouvements, which was performed in Darmstadt by the Orchestre du Domaine Musical. From 1958 to 1961 he attended the courses given by Karlheinz Stockhausen in Darmstadt. In 1962 Jean-Louis Barrault named him adjunct music director of the Odéon Theater in Paris. At the same time he undertook a career as conductor in Europe and Argentina. Between 1967 and 1973 he was the director of the Domaine Musical, succeeding Pierre Boulez. From 1973 to 1975 he was music advisor to ORTF and worked to "reform" the music heard on the radio. From 1976 to 1981, he was music director of the Nouvel Orchestre Philharmonique of Radio France. In 1984, Amy succeeded Pierre Cochereau as Director of the Conservatoire National Supérieur de Musique at Lyon, while continuing to compose music. His notable students include Micheline Coulombe Saint-Marcoux and Jeffrey Brooks. Amy's talent as a composer has won him a number of awards including the Grand Prix National de la Musique in 1979, the Grand Prix of SACEM in 1983, the Grand Prix Musical of the City of Paris in 1986 and the Prix of the President of the Republic from the Academy Charles Cros in 1987.

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Le Premier Cercle, ópera en cuatro actos (1996–1999). Qu’est-ce qu’on vous a mis sur le dos?

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 Asunto: Re: La otra ópera
NotaPublicado: 18 Mar 2022 19:55 
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Niccolò Castiglioni (1932-1996) He was born and raised in Milan, where he began studying piano at the age of 7. He received his performer's diploma from the Milan Conservatory in 1952, and graduated there in composition in 1953. His student compositions were marked by Stravinsky's neo-classicism, but after graduation his style changed under the influence of the Second Viennese School. His interest in twelve-tone technique was joined with musical-political engagement, though this was short-lived. The Impromptus I–IV, identified by the composer as his first true opus, abandoned these expressionistic tensions, and these four short pieces exhibit a close relationship to Webern's aphoristic style, while also moving closer to the European avant garde. Personal contact with Luciano Berio at the RAI electronic music studio in Milan also influenced Castiglioni's direction at that time, and his attendance at the Darmstädter Ferienkurse completed this development. During the years 1958 to 1965 he taught at the Darmstadt Summer Courses. From 1966 to 1970 he taught composition as composer-in-residence at SUNY Buffalo (1966), visiting professor at the University of Michigan in Ann Arbor (1967), Regent Lecturer in composition at the University of California at San Diego (1968), and professor of the history of Renaissance music at the University of Washington in Seattle (1969–1970). Following his return to Italy in 1970, he eventually resumed teaching composition at the conservatories of Trent (1976–1977), Milan (1977–1989), Como (1989–1991) and Milan once again (1991–1996).

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Attraverso Lo Specchio, ópera radiofónica (1961). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 25 Mar 2022 15:16 
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Havergal Brian (1876-1972) William Brian (he adopted the name "Havergal" from a local family of hymn-writers, of whom Frances Ridley Havergal was most prominent) was born in Dresden, a suburb of Longton in Stoke-on-Trent, and was one of a very small number of composers to originate from the English working class. After attending an elementary school he had difficulty finding any congenial work, and taught himself the rudiments of music. For a time he was organist of Odd Rode Church just across the border in Cheshire. In 1895, he heard a choir rehearsing Elgar's King Olaf, attended the first performance and became a fervent enthusiast of the new music being produced by Richard Strauss and the British composers of the day. Through attending music festivals he made the lifelong friendship of his near-contemporary composer Granville Bantock (1868–1946). In 1898, Brian married Isabel Priestley, by whom he had five children. One of his sons was named Sterndale after the English composer Sir William Sterndale Bennett. At this point (1907) a development unusual in British 20th century musical history transformed Brian's life; whether for better or for worse has never been decided. He was offered a yearly income of £500 (then a respectable lower-middle-class salary) by a local wealthy businessman, Herbert Minton Robinson, to enable him to devote all his time to composition. It seems Robinson expected Brian soon to become successful and financially independent on the strength of his compositions, and initially Brian indeed found success: his first English Suite attracted the attention of Henry J. Wood, who performed it at the London Proms in 1907. The work proved popular and Brian obtained a publisher and performances for his next few orchestral works, although this initial success was not maintained. For a while Brian worked on a number of ambitious large-scale choral and orchestral works, but felt no urgency to finish them, and began to indulge in pleasures such as expensive foods and a trip to Italy.

Arguments over the money and an affair with a young servant, Hilda Mary Hayward (1894-1980), led to the collapse of his first marriage in 1913. Brian fled to London and, although Robinson (who disapproved of the incident) continued to provide Brian with money until his own death, most of the allowance went to Brian's estranged wife after 1913. The affair with Hilda turned into a lifelong relationship: Brian and she began living together as man and wife, and after Isabel's death in 1933 they were married, by which point Hilda had already borne him another five children. No longer able to rely on Robinson's support, in London Brian began composing copiously whilst living in poverty. On the outbreak of World War I he volunteered for the Honourable Artillery Company but saw no service before he was invalided out with a hand injury. He subsequently worked at the Audit Office of the Canadian Expeditionary Force until December 1915. The family then moved to Erdington, near Birmingham, Warwickshire, until May 1919 and then spent several years in various locations in Sussex. His brief war service gave him the material for his first opera The Tigers. In the 1920s he turned to composing symphonies, though he had written more than ten before one of them was first performed in the early 1950s. Brian eventually obtained work of a musical kind, copying and arranging, and writing for the journal The British Bandsman. In 1927, he became assistant editor of the journal Musical Opinion and moved back to London.

In 1940 he retired, living firstly in London, and then in Shoreham-by-Sea, Sussex. Freed from the requirement to work to make a living, he was able to devote all of his time to composition, and the bulk of his compositional output belongs to the last three decades of his life, including four of the five operas (composed between 1951 and 1957) and twenty-seven of the thirty-two symphonies (composed from 1948 onwards). Through most of the 1960s, Brian composed two or three symphonies each year. This late flurry of activity coincided with something of a rediscovery, in part due to the efforts of Robert Simpson, himself a significant composer and BBC Music Producer, who asked Sir Adrian Boult to programme the Eighth Symphony in 1954. A number of Brian works received their public premieres during this time, including the Gothic Symphony. Written decades earlier between 1919 and 1927, it was premiered in a partly amateur performance in 1961 at Westminster Central Hall, conducted by Bryan Fairfax. A fully professional performance followed in 1966 at the Royal Albert Hall, conducted by Boult. The latter performance was broadcast live, encouraging considerable interest, and by his death six years later several of his works had been performed, along with the first commercial recordings of Brian's music. For a few years after Brian's death there was a revival of interest in Brian with a number of further recordings and performances; two biographies and a three-volume study of his symphonies appeared. Renowned conductor Leopold Stokowski heard the Sinfonia Tragica (No. 6) and let it be known that he would like to perform a Brian work. The result was the world premiere in 1973 of the 28th Symphony, in a BBC broadcast produced by Robert Simpson in Maida Vale Studio 1, and played by the New Philharmonia Orchestra. Anthony Payne in his Daily Telegraph review wrote: "It was fascinating to contemplate the uniqueness of the event – a 91-year-old conductor learning a new work by a 91-year-old composer."

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The Tigers, ópera en un prólogo y tres actos (1917–1929). Halt! Right Turn!.

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Faust, tragedia en un prólogo y cuatro actos (1955–1956). Habe nun ach.

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 Asunto: Re: La otra ópera
NotaPublicado: 01 Abr 2022 11:10 
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Paul Hindemith (1895-1963) Nació en Hanau y estudió en el conservatorio de Hock, Frankfurt. A los trece años, mientras estudiaba en dicho centro, trabajó en orquestas de baile, teatros y cines. Entre 1915 y 1923 fue concertino y, más tarde, director de la orquesta de la Ópera de Frankfurt. En 1921 fue uno de los creadores del famoso Cuarteto Amar-Hindemith (grupo que había creado el húngaro de ascendencia turca Licco Amaren). En esta agrupación se hizo cargo de la viola. Durante los años veinte, Hindemith se consagró como compositor. Primero se le consideraba un sucesor de Richard Strauss y después se le vinculó al ultramodernismo. En 1927 fue nombrado profesor de composición del Berlin Hochschule für Musik. En 1929 actuó como solista en el estreno del Concierto para viola de William Walton, en Londres. En 1936, a pesar del apoyo que obtuvo del director Wilhelm Fürtwangler, Hitler prohibió sus obras debido a su "extremado modernismo". Tampoco se avenía al gusto de los nazis el fuerte sentido irónico de obras como la ópera Neues von Tage. Poco más tarde Hindemith se trasladó a Turquía para reorganizar el programa de estudios musicales del país. En 1940 marchó a los Estados Unidos e impartió clases en la Universidad de Yale hasta 1953, año en el que regresó a Europa para enseñar en la Universidad de Zurich. En 1946 adquirió la nacionalidad estadounidense. Murió el 28 de diciembre de 1963 en Frankfurt.

Al igual que sus coetáneos, Hindemith se encontró con el vacío que había dejado la disolución de las estructuras musicales tradicionales, basadas en la armonía tonal. A pesar de que algunas de sus primeras composiciones acusan la influencia del sistema atonal, la mayor parte de su obra no se inscribe en esa dirección. Desarrolló su propio método respecto al tratamiento de la armonía y la tonalidad, basado en una jerarquía entre la tensión (disonancia) y la relajación (consonancia). Entre sus óperas, su obra maestra es Mathis der Maler (Matías el pintor, 1934), basada en la vida del pintor alemán Matthias Grünewald. Asimismo, una sinfonía inspirada en temas pertenecientes a esta ópera es una de sus obras orquestales más conocidas. Fue defensor del concepto Gebrauchmusik (música para todos los usos), a través del cual trató de establecer una aproximación entre el compositor y el público, creando obras destinadas a ser interpretadas por grupos de estudiantes y aficionados. Una de estas obras es su ópera para niños Wir bauen eine Stadt (Construimos una ciudad, 1931). La llamada 'música para usar' corresponde, en sentido estricto, a un movimiento surgido de'' la prédica de Bertolt Brecht que sostenía que los artistas debían mantener el contacto con el pueblo. A tal fin los creadores debían encontrar su inspiración en temas de actualidad y usar un lenguaje cotidiano. Con todo esto el propio Hindemith o Kurt Weill, de igual modo partidario de estas ideas, pretendían oponerse al 'arte por el arte' y destacar la influencia social de su trabajo Ludus tonalis (1943, colección de fugas que abarca todas las tonalidades), es un grupo de estudios para piano destinado al desarrollo de la técnica pianística con el que demostró sus teorías sobre el contrapunto y la organización tonal.

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Mörder, Hoffnung der Frauen, ópera en un acto (1921). Comienzo.

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Das Nusch-Nuschi, Ein Spiel für burmanischen Marionetten en un acto (1921). Comienzo.

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Tuttifäntchen, cuento de Navidad con canto y danza en tres cuadros (1920). Es war einmal ein Meister.

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Sancta Susanna, ópera en un acto (1922). Comienzo.

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Cardillac, ópera en tres actos (1926, rev. 1952). Szene und Quartett.

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Neues vom Tage, ópera en tres partes (1929, rev. 1954). Fragmento.

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Wir bauen eine Stadt, ópera para niños (1930). Comienzo.

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Sabinchen, radio-ópera (1930).

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Mathis der Maler, ópera en siete escenas (1937). Fragmento.

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Die Harmonie der Welt, ópera en cinco actos (1957). Prag: Ein Zimmer in Keplers Haus

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Das Lange Weihnachtsmahl, ópera en un acto (1961). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 08 Abr 2022 18:58 
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Gennaro Manna (1715-1779) He was born in Naples, the son of Giuseppe Maria Manna and Caterina Feo (sister of the composer Francesco Feo), he received his musical training at the Conservatorio di Sant'Onofrio a Porta Capuana in Naples, where his uncle Francesco Feo was primo maestro. He made his operatic debut at the Teatro Argentina in Rome with Tito Manlio on January 21, 1742. Thanks to its success, he received a new commission from the Teatro San Giovanni Grisostomo in Venice for the carnival of the following year, where he gave Siroe re di Persia. After his return to Naples, he composed Festa teatrale per la nascita dell'Infante with Nicola Bonifacio Logroscino, which was never staged. In 1744, he was appointed maestro di cappella of the Senate of Naples, succeeding Domenico Sarro, and in January 1745, with Achille in Sciro, he made his debut at the Teatro di San Carlo with Giovanna Astrua and Gaetano Majorano, which was well received. On October 1, 1755, after the death of Francesco Durante, the primo maestro of the Conservatory of Santa Maria di Loreto, he took the position of interim teacher next to the secondo maestro Pietro-Antonio Gallo, but on February 13, 1756, he won the competition to become permanent. Between 1760 and 1761 he performed his last theatrical works, the serenata Enea in Cuma and the opera seria Temistocle. In January 1761 he succeeded his uncle Feo as director of the chapel of the Santissima Annunziata Maggiore, and on May 9 of the same year he received the same position for the Naples Cathedral. He remained active as a composer of sacred music until his death.

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Achille in Sciro, ópera seria en tres actos (1745). Aria: Chi può dir che rea son io.

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Lucio Vero, ossia Il Vologeso, ópera seria en tres actos (1745). Aria: Cara ti lascio, addio.

Lucio Papirio dittatore, , ópera seria en tres actos (1748). Aria: Odo il suono di tromba guerriera

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 Asunto: Re: La otra ópera
NotaPublicado: 15 Abr 2022 18:34 
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John Anthony Caldwell (*1938) He was born in Bebington, Cheshire and studied the organ at the Matthay School of Music in Liverpool, becoming a Fellow of the Royal College of Organists in 1957. He studied at Keble College, Oxford, obtaining his B.A. in 1960, B.Mus. in 1961 and D.Phil. in 1965. For his doctorate, he transcribed and edited a manuscript of English liturgical organ music from between 1548 and 1650. He was an assistant lecturer at Bristol University from 1963 to 1966, before returning to Oxford University as a lecturer in 1966, holding this position until 1996 when he was appointed a Reader. He was a Fellow of Keble College from 1967 to 1992. He became a senior research fellow of Jesus College, Oxford in 1999 and given the title of Professor by the University Distinctions Committee. He became an Emeritus Fellow on his retirement in 2005. His main areas of interest are medieval and Renaissance music, music theory and keyboard music. In one of his late articles dedicated to early witnesses of Western modal music and music theory he suggested to consider modality not to be bound up with 8 "standard" church tones, but to treat it as a unifying concept for Western chant. His compositions include the opera-oratorio Good Friday, first performed in Oxford in February 1998 and Ecce sacerdos magnus for the Choirs of All Saints' Church, Northampton.

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Good Friday, ópera-oratorio (1998). Et bajulans sibi crucem.

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 Asunto: Re: La otra ópera
NotaPublicado: 22 Abr 2022 14:13 
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Daniel Sternefeld (1905-1986) He was born in Antwerp. Sternefeld took private lessons with Renaat Veremans and Paul Gilson at the Royal Conservatory of Flanders in Antwerp, after which he studied conducting under Frank van der Stucken. He completed his studies at the Mozarteum in Salzburg with Bernard Paumgartner, Clemens Krauss and Herbert von Karajan. In 1929, he joined the orchestra of the Royal Flemish Opera, and in 1938, he was appointed as its principal conductor. Between 1930 and 1940 Sternefeld was also working for the Koninklijke Nederlandse Schouwburg of Antwerp, for whom he wrote incidental music. He also conducted the Cercle musical juif and several choral societies in Antwerp. During the occupation Sternefeld, an ethnic Jew, was forced into hiding in Antwerp. In 1942, he risked his life by attending the funeral of his teacher Paul Gilson in Brussels. He was arrested in late 1943 and incarcerated in the Dossin Barracks in Mechelen. He stayed several months in this Sammellager but was released. It was during this period that he wrote his first symphony. In 1948, he left the Royal Flemish Opera for the Belgian Radio Symphony Orchestra in Brussels – serving initially as associate conductor, and then from 1957 to 1970 as principal conductor – where he became known for his interpretations of modern music. He travelled the world as a guest director and also gave conducting classes at the Royal Conservatoire of Antwerp from 1948 until his retirement in 1971. While his work as a conductor left him little time to compose, the last 17 years of his life were devoted to writing music.

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Mater Dolorosa, ópera en cuatro cuadros y un final (1936). Tercer cuadro.

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 Asunto: Re: La otra ópera
NotaPublicado: 22 Abr 2022 14:56 
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¡NEO Y PLAGIARIO!

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 Asunto: Re: La otra ópera
NotaPublicado: 22 Abr 2022 15:31 
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Cómo va a ser neo si la obra es de 1936?

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 Asunto: Re: La otra ópera
NotaPublicado: 22 Abr 2022 16:21 
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Jaque mate.


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 Asunto: Re: La otra ópera
NotaPublicado: 22 Abr 2022 18:24 
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Entonces solo plagiario... :wink:

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Abr 2022 15:34 
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Pierantonio Mastrogiovanni Tasca (1864-1934) He was born in in Noto, Sicily. His first opera, Bianca, premiered in 1885, to a libretto by Enrico Golisciani. Eva Tetrazzini, elder sister of the famous Luisa Tetrazzini participated in the premiere. His next operas, A Santa Lucia (1892) and Pergolesi (1898), had successful premieres in Berlin. The libretto for A Santa Lucia was written by Enrico Golisciani, based on the book Scene popolari napoletane (1889) by Goffredo Cognetti (Napoli 1855-Castiglioncello, Livorno 1943). The score was published by Galletti e Cocci (Florence) in 1892. Pergolesi was based on a libretto by Eugenio Chécchi (Livorno 1838 - Roma 1932). In 1901, an operetta by Tasca called Studenti e sartine premiered in Tasca's hometown of Noto, in Sicily. Tasca presented the work using a pseudonym, "D'Anthony." Tasca's next opera to be performed onstage was La lupa, with a libretto by Giovanni Verga. La lupa was published in the second decade of the 20th century, but had its premiere in Noto in 1932. Two additional operatic works composed by Tasca, La madre and Scongiuro, were never performed. Tasca also wrote a Messa da Requiem, a death elegy to Edmondo De Amicis, as well as symphonic and chamber music.

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A Santa Lucia, melodrama en dos actos (1892). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 29 Abr 2022 16:40 
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ICONOCLASTA E IRREDENTO!!!

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