Norwegian title Sami. Victor Balaguer. Claudio Villa. Conny van den Bos. Conchita Bautista 2. Madeleine Pascal. Domenico Modugno 3. Kenneth McKellar. Lado Leskovar. Claudio Villa 2. Muriel Day feat. The Lindsays. Simone de Oliveira 2. David Alexandre Winter. Carlos Mendes 2. Nova feat. The Dolls. Bendik Singers 2.
Gigliola Cinquetti 2. Pepel in kri. Lasse Berghagen feat. The Dolls 2. Chocolate, Menta, Mastik. The Swarbriggs 2 Plus Two. Anne-Marie B. Dream Express Hearts of Soul 2. Carole Vinci. Caroline Robinson ". Anne-Marie David 2. Xandra Sandra Reemer 3. Paola del Medico 2. Jean-Claude Pascal 2. Rainy Day. Lazy Bums. Vicky Rosti feat. Johnny Logan 2. Boulevard 2. Scott Fitzgerald. Christos Callow feat. Sarah Bray. Germany United. Daisy Auvray. Michael Ball. The European literary sources are described as well, along with music written for them; seven other operas on the tale are discussed.
Genesis of the Puccini version includes some of his previ- ously unpublished letters to librettist Renato Simoni and three versions of the libretto. A shorter account is in the next entry. The opera was planned to have three acts. By the end of , Puccini had decided to make it three acts. Vedrai, non dormi! E pensi a Turandotte! Korfmacher, Peter. P97 K A history of the myth and its manifestations in Europe, connected to a genesis of the opera.
The emphasis is on explicating the exotic atmosphere of the score and of other scores at the time. Bibliography, index. Powers, Harold S. Comments on the Atlas-Parker controversy about composer transpo- sitions and their impact on tonal design. Powers disagrees with both of them but favors the view that the composer knew what he was doing.
In doing so, he realigned one relationship and strengthened two others, making a stronger link to the enigma scene of the second act. The change was in no way casual. Later thoughts by Powers on the transposition issues are in Casali, Patrick Vincent. Rosa Raisa—who created the title role—clearly said in a interview that it had to be silent, claiming both Puccini and Toscanini had said so.
It is also heard in later recordings and in German-language recordings of all periods. Le villi Librettist Fer- dinando Fontana made a one-act opera of it, and Puccini set it in accord with the paradigmatic Italian style of the time, more Germanic than melodic. Daniel Purcell — Barstow, Robert Squire. Daniel was the brother of Henry Purcell.
Henry Purcell — Editions The Works of Henry Purcell. Margaret Laurie et al. London: Novello, — P98 Henry Purcell Operas published: v. These are revised versions of earlier publications, except for Dido, which was a new edition Each work has an introduction, list of sources, and notes to the score. Thematic Catalogues and Worklists Zimmerman, Franklin B. London: Macmillan, P95 Z Musical incipits are given for all movements of the compositions. Bibliographies and Guides to Research Henry Purcell: A Guide to Research. Garland Com- poser Resource Manuals, New York: Garland, Also a worklist, long list of editions, and a substantial biographical sketch.
Index of names, titles, and topics. Performing the Music of Henry Purcell. Michael Burden. New York: Oxford U. P93 P4. Consists of 16 papers 7 of them on the operas , most of them from a conference at Oxford. Collections of Essays Henry Purcell — : Essays on His Music.
Imogen Holst. Nine essays by various authors. The Purcell Companion. P93 P Eleven essays by various scholars. Three are on operatic matters: Edward A. Keates, Jonathan. Purcell: A Biography. Reprint, Boston: Northeastern U. P93 K4. A personalized life story, with program notes on the operas. Backnotes, expan- sive index, no bibliography. Henry Purcell, — His Life and Times. Philadelphia: U.
P93 Z5. First edition, The standard life and works, fully documented, well illus- trated, with bibliography and index. See also New Grove North European Operas in General Moore, Robert Etheridge. Henry Purcell and the Restoration Theatre. Lon- don: Heinemann, Reprint, Westport, Conn. ISBN Greenwood P93 M6.
A documented account of the stage works in program-note style, with musical examples. No bibliography. Name, title, and topic index. Price, Curtis. Henry Purcell and the London Stage. London: Cambridge U. P93 P7. A scholarly, analytic work, with good documentation and musical examples. Considers the sources and music for more than 50 plays as well as the operas and gives a comprehensive picture of the London theatrical milieu.
Bibliogra- phy of about modern writings, index. Squire, W. A valuable gathering of data on 54 plays to which Purcell contributed vocal or instrumental music. Sources of each, their dates according to various scholars, and what is known of the musical numbers. Radice, Mark A. His stage works of the s were given there.
Its architecture and elaborate machinery are described and illustrated. Harris, Ellen T. P93 H3. An account of the research undertaken by Harris as she prepared a revision of the score published by Oxford U. Considers the sources, libretto and its literary tradition, editions, reception, and performance history.
Techni- cal analysis includes studies of declamation and the ground bass. Useful bibli- ography of primary and secondary sources, index. Savage, Roger. Reprinted in and Purcell, Henry. Dido and Aeneas. Curtis Price. Norton Critical Score Series. New York: Norton, P98 D A reprint of the old Purcell Society score with a critical edition of the original libretto of which only one copy is known to exist. Valuable back- ground essay by Price, covering the allegory and sources, and an account of early performances, by Margaret Laurie.
Moore, Edward Dent, and Roger Savage his reprinted. No index or bibliography. Muller, Julia. Studies in the His- tory and Interpretation of Music, Lewiston, N. Mellen, P93 M8. Bibliographic description of sources, provenance of the play and opera, line- by-line study of the text, scenes and machines, productions. Good bibliography of about items, no index. The Fairy Queen Mandinian, Edward. London: Lehmann, S6 A M3. The title speaks for itself. King ArthurASO Charleton, David. A close analysis of text and music, with a study of the sources. Palmieri, Robert. Gar- land Composer Resource Manuals, 3.
R12 P3. An outstanding handbook, including annotated entries for the literature in Russian as well as the usual languages for the secondary literature. Also a worklist, an inventory of the Rachmaninoff performing repertoire, 12 illustra- tions, and indexes of authors, names, subjects, and titles.
Titles of works cited are in Russian Library of Congress transliteration and English. One English book has some coverage of the operas Norris, Geoffrey. London: Dent, R12 N A documented life and works, with worklist, chronology, bibliography, and name index. Some discussion of the operas. Martyn, Barrie. Rachmaninoff: Composer, Pianist, Conductor. Aldershot En- gland : Scolar, R12 M The principal life and works in English, based on archival Russian materials.
Aleko has program notes, p. Chapter endnotes, token bibliography, name and title index. Pietro Raimondi — Il ventaglio is in IO—, v. Jean-Philippe Rameau. Opera omnia. Paris: G. Billaudot, —. In progress; projected 44v. Series 4 will include all the dramatic works in 31v. Each volume has a scholarly introduction in French and En- glish, with discussion of editorial variants, sketches, versions, cuts, and textual matters.
Paris: Durand, — Reprint, New York: Broude, R25 B All the stage works included.
Hans-Joachim Moser, Musiklexikon (2nd Edition) (1943)
Each volume has extensive commentaries in French, including production statistics as well as editorial issues. Foster, Donald. Garland Composer Resource Manuals, R14 F7. A valuable annotated bibliography of entries, with a useful background essay on Rameau research. Material on the Rameau revival is grouped sepa- rately. Indexes of names, authors, and titles. Paris: Champion, R2 J Consists of 42 papers from the conference. Contents are in Foster , item Neal Zaslaw on the operatic apprenticeship is entered here at Beaussant, Philippe, ed. Paris: Fayard, ISBN 2- R2 R Information in dictionary arrangement about the composer and his works, pre- pared by 23 authors.
Entries include names of persons, places, characters in the operas, titles of musical and theoretical works, terms, and instruments. Each opera has an entry, some of them extensive Dardanus has 4H pages. Opera worklist giving 18th-century performances , bibliography of about titles. Girdlestone, Cuthbert. London: Cassell, R17 G5. Remains the standard full-scale biography, covering life and all the works, with extensive comparisons to Gluck and Lully. Well docu- mented, with bibliography of some titles, indexing by names, subjects, and titles. See also New Grove French Baroque Dill, Charles.
Monstrous Opera: Rameau and the Tragic Tradition. Press, R2 D Back- notes, good bibliography of sources, expansive index. Zaslaw, Neal. Masson, Paul-Marie. Paris: H. Laurens, Re- print, New York: Da Capo, R17 M One of the classic music biographies, still valuable after 70 years. Bibliography of about books, worklist with manu- script locations, name index. Ahnell, Emil G. Brundrett, Grant A. Sadler, Graham. Each instrumental group is dis- cussed separately. Bouissou, Sylvie. Cast, chorus, and orchestra are reconstructed from the manuscript lists of performers.
Castor et Pollux Jullien, Adolphe. The performance and publication history of the opera. DardanusFO, v. Beaussant, Philippe. Paris: Albin Michel, ML R2 B Historical background, genesis, program notes, and description of the early productions. A detailed reception study, quoting manuscript and printed sources.
A perfor- mance list is included. Legrand, Raphaelle. Giovanni Battista Sammartini — Jenkins, Newell, and Bathia Churgin. Cambridge, Mass. S J Includes information on the operas: premiere dates and places, casting, and instrumentation. Comments on publication history, refer- ences to secondary literature. An expansive index of names and titles concludes this useful handbook.
Jenkins, Newell. The discussion is related to elaborate tonal-structure diagrams. Giuseppe Sarti — Scarpatta, Umberto. S18 C This is the only useful contribution on opera of the 19 papers in the volume. It gives genesis, a list of all the numbers in the opera with their instrumentation, and a formal analysis. Alessandro Scarlatti — EditionsThere is no collected edition. Modern publications of individual operas are listed inVidali , — The principal series is issued by Harvard U. Bibliographies and Guides to Resources Vidali, Carole F.
S V5. A valuable handbook on both composers. For Alessandro Scarlatti there is an annotated bibliography of items, plus a description of modern editions and facsimile issues. Individual numbers in the Harvard series OAS are described, with references to reviews. Indexes of authors, names, and titles.
Alessandro Scarlatti Biographies Dent, Edward J. Alessandro Scarlatti: His Life and Works.
London: Edward Arnold, Reprint, St. Clair Shores, Mich. S D3. This edition includes footnotes by Frank Walker. The only full-length biography in English, it is a plain life and works, with program notes on selected operas and 94 musical examples. Worklist with library loca- tions. No bibliography, expansive index of names and titles. Grout, Donald Jay. Berkeley: U. S22 G7. Consists of lectures given in , with some footnotes added.
They offer a casual presentation of the life, style, reputation, and contemporaries of Scar- latti. He edited the series of critical editions issued by Harvard OAS. With an appendix of musical examples and a good index of names, titles, and topics; no bibliography. Lorenz, Alfred Ottokar. Augsburg: Benno Filser, S22 L7. An important study of the works written through Technical discussions cover micro- and macrostructural elements.
There are musical examples in v. A chronological list of the operas is in v. Morey, Carl Reginald. Il Ciro Jones, Gaynor G. Examines 18th-century libretti based on Cyrus of Persia, including the one by Scarlatti. Performance histories with biographical information on the singers and research problems encountered with this material. Sartori, Claudio. Discusses the three libretti on Dafni by Scarlatti dating from , , and and gives performance information; also comments on two other set- tings, of Brings out similarities and differences in these texts.
Gli equivoci nel sembianteOAS, v. New York: Pen- dragon, S22 D A thorough account of the premiere performance Rome, , with much attention to the libretto and to performance history.
Well documented, with sources reproduced. La GriseldaOAS, v. Massimo PuppienoOAS, v. Mitridate Eupatore Westrup, Jack. A discussion, based on the Paris manuscript, of instrumentation, harmony, and interpretative questions. Cites errors in the published edition. Il PompeoHS, v.
La principessa fedeleOAS, v. La StatiraOAS, v. Arnold Schoenberg Holmes, William C. Monographs in Musi- cology, 2. New York: Pendragon, S22 H6. A comparison of the printed libretto with a working autograph and an exami- nation of both texts in the context of four surviving copies of the score. Vari- ants and corrections are explicated. Documents of about the opera are reproduced.
In the course of this scholarly analysis, the circumstances of opera production in Rome are exhibited. TelemacoIO—, v. TigraneOAS, v. Collins, Michael. Genesis, libretto sources, reception history, and program notes, with discus- sion of the four surviving manuscripts. Pauly, Reinhard G. Describes the surviving score, which includes stage directions. It seems to be from a later performance, not from the premiere, since the role of Tigrane appears to have been transposed for a castrato. Rudolf Stephan, for the Akademie der Kunste, Berlin. Mainz: Schott; Vienna: Universal, —.
In progress. Abteilung 3 is for stage works. Von heute auf morgen has been published —; 2v. These are orchestra scores, with extensive critical apparatus in German and English. Reich, Willi. Schoenberg: A Critical Biography. Leo Black. London: Longman, ISBN X. S R A general life and works, footnoted, with program notes on the operas.
Worklist in the translation has titles in English only; in the German edition. No information is provided about the compositions listed. Bibliography of about 25 books, name index. Newlin, Dika. Schoenberg Remembered: Diaries and Recollections — She continued the diaries into , with more emphasis on her own ideas, which are of great interest.
Bibli- ography, index. Individual WorksErwartung Buchanan, Herbert H.
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Musical examples and references to earlier literature. Laaber: Laaber, S45 G3. Genesis and background, with a close micro- and macroanalysis; scholarly and thorough. The backnotes are poorly supported by a weak bibliography of about 90 items with incomplete data. Other problems are the lack of an index and the inscrutable handwritten musical examples. Budde, Elmar. Two approaches to the work: emotional expression and musical structure. Lessem, Alan Philip.
Ann Arbor, Mich. S L Extensive notes and musical examples. Bibliography of about items. Expansive index of names, titles, and topics. See also Franklin Steiner, Ena. Genesis; parallels to the work of his friend, the painter Kandinsky; letters. Nothing said about the music itself. Franz Schreker Crawford, John C. Moses und AronASO Paul Ham- burger. S28 W Originally Gotteswort und Magie Heidelberg: Schneider, Emphasis is on the reli- gious ideas of the text.
Bibliography of about 30 entries, index of names, titles, and topics.
Lewin, David. Reprint, GL, v. Cooper-White, Pamela. S W Versions of the text are compared, and compositional techniques the tone row are expli- cated. Characterization and leading motives are covered. Analytical diagrams make all this accessible. Notes, good bibliography of about 40 entries, expan- sive index.
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Hair, G. Davison, Stephen. Technical analysis of the set and pitch-class structure, macrostructure, and dramatic form. Franz Schreker — Hailey, Christopher. Franz Schreker, — A Cultural Biography. New York: Cambridge U. S H3. He was not revisited after the war: his students had dispersed, and his works remained unperformed. Genesis and analysis, with reception of Die ferne Klang. Worklist, good bibliography some 30 items, by and about , expansive index of names, titles, cities, and topics. Franz Schreker Symposium. Elmar Budde and Rudolf Stephan.
Berlin: Colloquium Verlag, S F8. Consists of nine papers given at a meeting in Berlin, 6—8 October Franklin, Peter R. Musical examples appear, but the discussion is really about the text. Neuwirth, Gosta. S38 N5. Genesis, sources, harmony, form, tonality—all in a useful scene-by-scene analysis. Bibliography, name index.
Brzoska, Matthias. Stuttgart: Franz Steiner, A67 v. Genesis, structure, drama and character, performance history. Musical exam- ples with technical analysis. Bibliography of about items, no index. Schubert, Franz. Series 2, the stage works, has published Des Teufels Lustschloss ; 2v. Each volume has a full score, facsimiles, and critical comments in German only.
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Cambridge Companion to Schubert. Christopher Gibbs. New York: Cam- bridge U. S3 C Schubert Studies: Problems of Style and Chronology. Eva Badura Skoda and Peter Branscombe. S3 S McKay, Elizabeth Norman. Franz Schubert: A Biography. S3 M A footnoted life and works, with program notes on the operas. With an indif- ferent bibliography and a partly expansive index. Tutzing: Schneider, S26 M Genesis, reception, and program notes on the operas, with 89 musical exam- ples.
No footnotes; weak bibliography, name index. Hoorickx, P. Reinhard van. A list of the 10 complete operas and 11 that are incomplete, plus 16 arias. Brief descriptive comments, with just two reference footnotes. Brown, Maurice J. Gives extended program notes on Fierrabras and Alfonso und Estrella. No full-scale professional performance has been noted. Cunningham, George R. Freiburg , Citron, M. Wischusen, Mary Ann. Schumann: A Symposium. Gerald Abraham. London: Oxford U. S4 A It gives program notes and some musical examples. Siegel, Linda. Abert, Hermann.
Schmidt, Gustav Friedrich. Regensburg: Bosse, —
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