La otra ópera

Gerardo Rosvaenge · **Registrado:** 14 Jul 2007 10:33 **Mensajes:** 8710 **Ubicación:** Madrid

No pasa nada. Con lo que sí se puede oir hay para un buen rato. :wink:

Gracias, de nuevo, Zelenka, por tu trabajo.
Un saludo.

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

Tadeusz Baird (1928-1981) He was born in Grodzisk Mazowiecki, Poland and died in Warsaw. He studied composition privately with Bolesław Szabelski and Kazimierz Rytel during World War II, and later was a student of Piotr Rytel and Piotr Perkowski at the State Higher School of Music in Warsaw. He studied piano with Tadeusz Witulski, and for three years he studied musicology at Warsaw University. In 1959, 1963, and 1966 he won first prize at the UNESCO International Composer's Rostrum. Among his other honors, he received the State Award, the City of Cologne Prize, the Polish Composers' Union Award, the Koussevitzky Prize, the Award of the Andrzej Jurzykowski Foundation in New York, the Honegger Prize, and in 1977 he was named professor of composition at the Academy of Music in Warsaw.

Baird began to compose at a time when new means of musical expression were not well received in Poland. In 1949, he founded Group 49 along with Kazimierz Serocki and Jan Krenz with an aim to write communicative and expressive music according to the social-realistic ideology of the state. Again with Serocki, Baird founded the Warsaw Autumn international contemporary music festival in 1956. Four Love Sonnets and Ballad About a Soldier's Cup illustrate this period in his creativity well. A more radical musical language fused with new means of expression appeared in his 12-tone String Quartet (1957) and in Four Essays for Orchestra (1958). A mixture of strong emotion, discipline, inventiveness, and spontaneity are the characteristic features of Baird's music. As a composer deeply rooted in the dionysian, romantic stream of art, Baird fully deserved the epithet of a "twentieth-century Romantic," and as such he was mostly interested in the lyrical and dramatic aspects of music. In his lyrical compositions, the melodic lines are played by the more expressive solo instruments in an emotionally moving way (e.g., oboe in Four Dialogs, and violin in Espressioni Varianti). Baird sets a high value on the voice -particularly the full, rich soprano or mezzo-soprano voice, for which he composed song cycles on texts by Małgorzata Hilar and Halina Poświatowska.

Jutro, drama musical en un acto (1964-1966). Comienzo.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

Antonio Salieri (1750-1825) He was born in Legnago, Italy. Raised in a prosperous family of merchants, Salieri studied violin and harpsichord with his brother Francesco Salieri, who was a student of Giuseppe Tartini. At 15, Salieri lived for a brief period in Padua with another brother, a monk, after his parents' deaths. But his already formidable musical talents had drawn notice, and a family friend, Giovanni Mocenigo, arranged for his continued musical education in Venice. Salieri studied for a year there with Giovanni Pescetti and Ferdinando Pacini. There, he met Florian Leopold Gassmann in 1766, who invited him to attend the court of Vienna, and there trained him in composition based on Fux's Gradus ad Parnassum. Salieri remained in Vienna for the remainder of his life. By 1768, Salieri had composed his first opera, La vestale, probably not a success and now lost. His first surviving opera, Le donne letterate, was good enough to have impressed his new friend Gluck. Armida followed in 1771 and achieved wide success, assuring Salieri recognition in the highest Viennese musical circles.

In 1774, after Gassmann's death, Salieri was appointed court composer by Emperor Joseph II. He met his wife, Therese von Helferstorfer in 1774, and in 1774 the two were married. (The couple went on to have eight children.) In addition, he became conductor of the city's Italian opera company. He was now one of the most influential figures in European music, holding a position of eminence that Mozart and other talented composers of the day would never attain. Salieri went on to score triumphs in Milan (L'Europa riconosciuta; 1778) and in Venice (La scuola de' gelosi; 1778), while he was on leave from the Vienna court for two years. He surpassed these successes with his next operas, given in Paris. With the help of Gluck, Les Danaïdes (1784) was performed to enthusiastic audiences there, but was far overshadowed by the sensation of Tarare (1787). Salieri would never have a finer moment.

In 1788, Salieri became court music director, and he retained the post following the death of Joseph II in 1790. Over the next decade-and-a-half, he did not explore new directions in his operatic style, thus falling out of fashion even before the turn of the nineteenth century. Aware of his own conservatism, he wrote no operas after 1804. Salieri became Royal and Imperial Kapellmeister in 1788, a post which he held till 1824. He was president of the "Tonkünstler-Societät" (society of musical artists) from 1788 to 1795, vice-president after 1795, and in charge of its concerts until 1818. He also continued writing sacred and instrumental music. Salieri played an important role in late 18th and early 19th century classical music. He was a teacher to many famous composers, including Ludwig van Beethoven, Carl Czerny, Johann Nepomuk Hummel, Franz Liszt, Giacomo Meyerbeer, Ignaz Moscheles, Franz Schubert, and Franz Xaver Süssmayr. He also taught Mozart's younger son, Franz Xaver, some years after the death of Franz's illustrious father. Near the end of his life, he was placed in an asylum owing to his deteriorating mental and physical states.

Answers

La Grotta di Trofonio Opera en dos actos (1785). Aria, Ma perchè in ordine il tutto vada. Final, Sperar poss'io.

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Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

Hoy es el cumpleagnos de Salieri

Gerardo Rosvaenge · **Registrado:** 14 Jul 2007 10:33 **Mensajes:** 8710 **Ubicación:** Madrid

Me ha encantado, especialmente el "Sperar poss'io".
Gracias, Zelenka.

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

De nada

pucciniana

Una pregunta,

¿Conocen "Prima la musica, poi le parole" de Salieri?

Me acuerdo que cuando leí sobre la ópera Capriccio de Strauss, que compartían el libreto de Battista Casti, claro que Salieri mucho antes

He encontrado esto ahora:

En pocos momentos de la historia literaria o musical europea se vive tan intensamente la simbiosis palabra-música como en el melodrama dieciochesco. Y un ejemplo significativo lo encontramos en G.B. Casti que titula una de sus primeras obras en el ámbito mélico como Prima la musica, poi le parole (Viena 1786). En el libreto, con música de Antonio Salieri, se entra de lleno, a través de la parodia, en los temas que más preocupaban en el mundo teatral o metateatral del momento: la adaptación de un texto a una música escrita con anterioridad y la pugna entre la «opera seria» y la «opera buffa».

Es una obra interesante, como todo lo de Salieri y con un debate en el que no entro, primero la música o primero la palabra...cada compositor decía algo distinto. :roll:

[youtube]http://www.youtube.com/watch?v=pxgZcMGmkkI[/youtube]

El idiota

pucciniana escribió:

¿Conocen "Prima la musica, poi le parole" de Salieri?

Sí, la escuché en un concierto junto a "Der Schauspieldirektor" de Mozart. Ambas obras, si no recuerdo mal, se estrenaron juntas, en una especie de competición "ópera alemana-ópera italiana".
No sé si hacer un hilo de "características comunes" entre ambas... :rolling:

Gerardo Rosvaenge · **Registrado:** 14 Jul 2007 10:33 **Mensajes:** 8710 **Ubicación:** Madrid

El idiota escribió:

No sé si hacer un hilo de "características comunes" entre ambas... :rolling:

Parafraseando a Andrea, ban El idiota.
:rolling:

pucciniana

Pués hazlo, verás que interesante

más que leerse la enciclopedia de la historia de la ópera :lol:

Bicharraca_decomputada

Que me gusta a mi una Europa riconosciuta

tamiri

muy interesante todo,pero lo siento,yo con Salieri no puedo,me parece un compositor tan mediocre y aburrido...

b_alonsoes

A mí me gusta Les danaides

Zelenka · **Registrado:** 05 Oct 2005 20:42 **Mensajes:** 3034

tamiri escribió:

muy interesante todo,pero lo siento,yo con Salieri no puedo,me parece un compositor tan mediocre y aburrido...

Aburrido tal vez, a mi no me lo parece, pero de mediocre nada. Es tanto lo que compuso y tan poco lo que circula y no precisamente en interpretaciones de primera :roll:

tamiri

Zelenka escribió:

tamiri escribió:

muy interesante todo,pero lo siento,yo con Salieri no puedo,me parece un compositor tan mediocre y aburrido...

. Es tanto lo que compuso y tan poco lo que circula y no precisamente en interpretaciones de primera :roll:

pues por algo sera,como tu bien dices a menudo :twisted:

La otra ópera

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