Der für die Sünde der Welt Leidende und sterbende Jesus : aus den IV Evangelisten in einem Passions-oratorio /

Signatures: A-⁸ B⁴.

L'Oratorio della Madonna delle Grazie in San Giovanni Val d'Arno : monografia storico-artistica ... /

Includes bibliographical references.

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.

Oratorio de religiosos y exercicio de virtuosos / compuesto por el Illustre señor don Antonio de Gueuara, ...

Capitulares grab. xil.

Hoja Oratorio: Uso de la Tierra

Proyecto de Actualización Cartográfica de usos de la Tierra a escala 1:10.000 GAM de Costa Rica. Elaboración de Cartografía digital y Ortofotos.

Red cap

The field of research is contemporary theatre practice with a community focus. In 2007, La Boite Theatre Company partnered with the Queensland Music Festival to produce an operatic representation of the 1964 Mt Isa industrial dispute, focussed on the charismatic figure of Pat Mackie. “Community theatre” is often criticised on grounds that the work aims only to satisfy community outcomes. This work explored whether a story from a specific location, which is very much an embedded story in the culture of the Mt Isa community, could be told in such a way as to appeal to, resonate with, and have relevance for, broader national and international audiences. To address this question required rigorous interrogation of both content and form. The play was researched through interviews with members of the Mt Isa community, political leadership at the time of the dispute, and participants of the dispute, including Pat Mackie himself. The production was then framed as an oratorio. Uniquely, the play had two back-to-back seasons; the first in Mount Isa (3 shows: 1500 people including a significant number of school children) and a 4-week season at the Roundhouse Theatre, Brisbane (over 5,000 attendances). In each location, a chorale was formed of community participants who, alongside the professional cast, performed the work. The production and its complementary exhibition had a significant local and national profile. The project was featured in The Australian newspaper’s Queensland Music Festival wrap-up as an exemplar of successful community engagement and creative adventure. Playlab Press has since published the script.

Things that fall over : Women's playwriting, poetics and the (anti-)musical

Abstract: This study explores the contradictions and ambivalences experienced by a working artist at a time when her age, her gender, and broader cultural shifts are all potential obstacles or liabilities to creative flourishing. It is the product of practice-led research into the creative process from the perspective of the female "late bloomer". In this phrase, I have in mind the mature-aged woman who is, in mid-life, suddenly seized with inspiration and fired with creative energy. At its heart is the question: If an Elizabeth Jolley were in our midst today, would we hear from her? The result is a full-length libretto and accompanying exegetical binoculars in the form of a Preface and an Afterword. The creative work, Things That Fall Over (TTFO) is conceived in two parts: a libretto and oratorio for performance. It begins as a play, but over three acts and into a coda, the work becomes something entirely other - an (anti-) musical. The work grew from a personal interest in the nexus between women, ageing and creative practice, via investigation into the oeuvre of two Australian artists, Elizabeth Jolley, author, first published at age 53, and Rosalie Gascoigne, sculptor, first exhibited at 58. A second strand of the research grew from a fascination for the stage musical, especially in its more alternative modes as in the hands of Stephen Sondheim, or in more provocative manifestations as witnessed in recent Tony Award winners Avenue Q and The Book of Mormon. Contextually, this research is conducted at a time when anecdotal evidence suggests that women’s work in the performing arts and in literature is being pushed to the margins after a late twentieth century Golden Age on page and stage. Using hybrid practice-led methodologies - bricolage, log-keeping - and working within queer and feminist paradigms, this study seeks to counter that push with a new work that is all-female, part-pantomime, part monstrous allegory. In illuminating the creative process of a mature-aged playwright it concludes that hybrid and interstitial forms still offer an inclusive and democratic space in which voices that may otherwise be muted will continue to be heard.

Cartas do P. Antonio Vieira da companhia de Jesus

Coleção formada por três volumes, datados de 1735-1746, que contém, respectivamente, 141, 145 e 196 cartas escritas pelo Padre Vieira, que refletem a mais pura prosa da língua portuguesa. Segundo Francisco Freire de Carvalho, no seu Ensaio da história literária de Portugal, "estas cartas têm merecido ser emparelhadas em virtudes de estilo e na pureza de linguagem às de Cícero, ou pouco menos: e, como tais, elogiadas por todos quantos se prezam de bom gosto literário".

La inmaculada : periódico religioso.

UANL

Redescobrir Campanet : l'arquitectura religiosa. 'Redescubrir Campanet : la arquitectura religiosa'

Propuesta de actividades acerca de una visita al oratorio de Sant Miquel (Campanet-Mallorca).

Conèixer Mallorca : una passejada per Palma 1. 'Conocer Mallorca : un paseo por Palma 1'.

Se recorre la historia, urbanismo y arquitectura de la ciudad de Palma de Mallorca. En primer lugar, se visita la catedral, el Palacio de la Almudaina, los jardines del Hort del Rei, el Palau March y el Parlamento de las Islas Baleares antes sede de la asociación Círculo Mallorquín y se transita por las calles Morey y Portella donde encontramos las casas señoriales de Can Oleza, Ca la Gran Cristiana ahora sede del Museo de Mallorca, Can Formiguera y los baños árabes. También se comentan las iglesias de Santa Clara, Sant Francisco y Santa Eulalia, el palacio de Can Oleza, y los edificios modernistas de Can Barceló y Can Rey. En la parte baja de la ciudad se recorre la calle de la Concepción, la iglesia de la Sangre y la calle de Sant Jaume. Finalmente se visita la plaza del Mercado con los edificios modernistas de can Casasayas y el Gran Hotel así como el edificio del siglo XVIII Can Berga, prosiguiendo hacia Sa Riera y posteriormente se transita hacia el Borne, Can Solleric, la iglesia de Sant Gaietà, el oratorio de San Felio, los casales de Can Montenegro y Can Belloto, la plaza de las Atarazanas, el Consulado de Mar, la Porta Vella del Moll y la Lonja.

Conèixer Mallorca : la part forana 1. 'Conocer Mallorca : la ruralía 1'.

Se realiza una visita por la arquitectura e historia de Sóller: la iglesia parroquial, el Banco de Sóller, sus casas tradicionales, el oratorio de la Virgen de la Victoria, el convento de Sóller así como diversos edificios modernistas y el Museo de Ciencias Naturales de Sóller que aloja el Jardín Botánico de Sóller.

Materiales : Nazismo, antisemitismo y represión política.

Este artículo pertenece a un dossier monográfico titulado 'Nazismo, antisemitismo y represión política'

Petición y licencia para celebrar misa en la capilla de San Vicente

Manuel Ortiz de Zárate capellán de la estancia de San Vicente pide licencia para celebrar la misas en el Oratorio que fundó el difunto arzobispo Fray Cristóbal de Torres y Motones. La licencia fue concedida por el canónigo de la catedral de Santafé Lucas Fernández de Piedrahita.

El Mesías de Haendel.

Resumen basado en el que aporta la revista