Antonio Vivaldi, Brustbild

Signatur des Originals: S 36/G02438

El Motezuma de Vivaldi

This article explores aesthetic and historical aspects of Antonio Vivaldi's (1678- 1741) Motezuma (1733), in three acts, to celebrate this opera revival after the score's discovery and its first premiere at De Doelen theatre, Rotterdam (2005). Particular attention is paid to cultural aspects, regarding the European interpretation of the Conquest of Mexico.

Vivaldi en el Valle del Jerte.

Se describe una experiencia llevada a cabo en el CRA Riscos de Villavieja (Casas de Castañar, Cáceres) centro ubicado en el valle del Jerte. Aprovechando la estación de la primavera se realiza una audición de la obra de Antonio Vivaldi 'La primavera', posteriormente se estudió la vida y obra del compositor y se plasmaron los cambios que se producen en el entorno inmediato a través de la expresión musical, plástica y digital. Se describen los contenidos estudiados, el desarrollo de la experiencia y se realiza una valoración de la misma.

VERSATILITY IN THE MODERN PERFORMER: THREE DIVERSE OPERA ROLES

This dissertation project consisted of performances of three diverse operatic roles. The goal was to examine the challenges and benefits of performing diverse repertoire (baroque, classical, and romantic opera, in this case) and to observe how vocal and acting techniques might adjust to different styles and voice classifications. On December 3, 5, 11, and 13,2003, I performed a composite role in Fatal Song, directed by Leon Major, in the Robert & Arlene Kogod Theatre. This opera pastiche, premiered in 1996, contains spoken dialogue, and the music originates from famous eighteenth and nineteenth-century operas. I explored the challenges and benefits of playing three different, well-known opera characters within the same opera, performing four different languages within the same opera, and performing spoken dialogue in an opera. My roles in this pastiche of famous opera included Lucia from Lucia di Lammermoor by Gaetano Donizetti, Manon from Manon by Jules Massenet, and Pamina from Die ZauberJlote by W.A. Mozart. On January 28 and 29, 2005, I performed the role of Nice in Eurilla e Alcindo, a serenata by Antonio Vivaldi, in Homer Ulrich Recital Hall; musical direction by Joseph Gascho and stage direction by Kate Vetter Cain. I explored the challenges and benefits of preparing baroque ornamentation, singing without a conductor, performing an unknown work, staging a work that is not traditionally staged, singing with minimal sets and costumes, and singing with period instruments. On April 16,20, and 24,2005, I performed the role of Musetta in Giacomo Puccini's La BohBme, directed by Pat Diamond and conducted by Jeffrey Rink, in the Ina & Jack Kay Theatre. I examined the challenges and benefits of singing with a large orchestra of modem instruments, singing Puccini rubato and coordinating this with the conductor, and singing a role in one of the most well-known operas in today's repertoire. As a result of this investigation, I concluded that singing different styles, and singing outside one's voice classification, within reason, is beneficial. The knowledge, skill, confidence and insight I acquired by becoming more versatile benefited me as a performer and as a teacher.

Reclaiming the Vocal High Ground: Performing Baroque Repertoire in a Modern World

The early music revival of the late twentieth century revolutionized music with the birth of historically lnformed performance. With this revolution came a stereotype of the "early music singing voice" as small, bright, straight-toned, and unfortunately, often inferior techrucally to the mainstream opera singer. An assessment of the validity of this stereotype was made though readings of treatises and modern manuals of performance practice, and through listening to recordings. Sources on ornamentation, recitative, dance rhythm, and baroque gesture were examined, resulting in the finding that these issues are far more important to historical accuracy than are voice timbre and size. This dissertation is comprised of three historically informed performances intended to satisfy both the early music specialist and the mainstream voice teacher. Program One (May 15, 2004) is a performance of The "Peasant" Cantata, BWV 212, by J.S. Bach, with The Bach Sinfonia at the Washington Conservatory of Music. Program Two (January 29, 2005) is the role of Eurilla in a staged production of Antonio Vivaldi's serenata, Eurilla e Alcindo. The performance is a collaboration with the Baltimore-based ensemble, La Rocinante, and is conducted from the keyboard by Joseph Gascho. Program Three (March 14, 2005) is a solo recital entitled, Fairest Isle: Music of Baroque London. All three programs are documented in a digital audio format available on compact disc, with accompanying programs and notes also available in digital format.

THE ART OF TRANSCRIBING FOR HARPSICHORD

A relatively unexplored area of the harpsichord repertoire is the group of transcriptions made by J.S. Bach (1685-1750), Jean Henry d'Anglebert (1629-1691), and Jean-Baptiste Forqueray (1699-1782). These transcriptions are valuable and worth exploring and performing. Studying them provides unique insights into their composer‘s musical thinking. By comparing transcriptions with their original sources, the transcriber's decisions and priorities can be observed. The performance component of this dissertation comprises three recitals. The first features works of Johann Sebastian Bach: two transcriptions of violin concerti by Antonio Vivaldi (1678-1741), and two transcriptions of trio sonatas by Johann Adam Reinken (1643-1722). The most salient feature of Bach‘s transcriptions is his addition of musical material: ornamenting slow movements, adding diminutions and idiomatic keyboard figurations throughout, and recomposing and expanding fugal movements. The second recital features works of Jean Henry d'Anglebert and Jean-Baptiste Forqueray, two French composer/performers. From d'Anglebert‘s many transcriptions, I assembled two key-related suites: the first comprised of lute pieces by Ennemond Gaultier (c. 1575-1651), and the second comprised of movements from operas by Jean-Baptiste Lully (1632-1687). Forqueray's transcriptions are of suites for viola da gamba and continuo, composed by his father, Antoine Forqueray (1671-1745). Creative and varied ornamentation, along with the style brisé of arpeggiated chords, are the most important features of d‘Anglebert‘s transcriptions. Forqueray‘s transcriptions are highly virtuosic and often feature the tenor and bass range of the harpsichord. The third recital features my own transcriptions: the first suite for solo cello by J.S. Bach, excerpts from the opera La Descente d’Orphée aux Enfers by Marc-Antoine Charpentier (1643-1704), and two violin pieces by Nicola Matteis (fl. c. 1670-c. 1698). In these transcriptions, I demonstrate what I have learned from studying and performing the works in the first two recitals. These recitals were performed in the Leah Smith Hall at the University of Maryland on May 4, 2010; May 11, 2010; and October 7, 2010. They were recorded on compact discs and are archived within the Digital Repository at the University of Maryland (DRUM).

SELECTED REPERTOIRE OF THE GILLET COMPETITION FROM 1996 TO 2006

There are many bassoon competitions around the world- and one of the most famous is the Gillet competition, sponsored by the International Double Reed Society. In 1981, it was established as an annual event, the "Femand Gillet Bassoon Competition"- a title expanded in 2000 to the "Femand Gillet-Hugo Fox Bassoon Competition." My goal was to explore the history of the competition, the availability of the repertoire selected for each competition, and the difficulties performing each piece. Through this journey, I was able to discover the variety of material chosen and how it was used, the quality, value, and the importance of the repertoire in each competition. For example, Ferdinand David's Concertino op.12, the style of the piece provides romantic, operatic type lyricism, a flashy presto section and finale, makes it as a standard romantic piece in the bassoon repertoire; Otmar Nussio's Variations on an Air by Pergolesi, contains a slow theme and few diverse variations, which provides a contemporary style music with the traditional music form and descriptive quality. The result of learning this repertoire proves that different styles of music in the competition demonstrate the artistry of the bassoon repertoire and music history in relationship of the development of the instrument. My first dissertation recital featured: Concerto for Bassoon, K. 191 by Wolfgang Amadeus Mozart; Concertino by Marcel Bitsch; Metamorphoses by Leslie Bassett; and Sonatine by Alexandre Tansman. My second recital featured: Concerto in E minor, RV 484 by Antonio Vivaldi; On the Summer Map of Stars by Gordon Kerry; Concertino Opus12 by Ferdinand David; Elegie by Jacques Hetu; and Interferences by Roger Boutry. My third recital featured: Cello Suite No.2 in D minor, BWV1008 by Johann Sebastian Bach; Combinaciones: Sonatina para Fagot y Piano by Salvador Ranieri; Andante e Rondo Ungarese Opus 35 by Carl Maria von Weber; and Variations on an Air by Pergolesi for Bassoon and Piano by Otmar Nussio.

A.·. 418: um método de sistematização da concepção musical interpretativa

Este trabalho consiste numa proposta metodológica, denominada A∴418, que visa abordar a actividade especulativa dos performers no que diz respeito às suas concepções interpretativas dos discursos musicais. Foram identificados dois factores inerentes a esta actividade – as concepções expressiva e técnica – como estando na base da configuração final deste processo. O A∴418 resulta de um processo de aplicação de técnicas de análise musical vocacionadas para o estudo da interpretação musical, são elas a Análise da Intenção Musical Interpretativa (direccionada para a concepção expressiva da narrativa sonora) e a Análise Técnica da Intenção Musical Interpretativa (direccionada para a concepção técnico-instrumental do discurso musical). A sistematização deste processo metodológico conduz à produção de uma partitura final, revista pelo músico-instrumentista, na qual acrescem ao discurso original do compositor indicações que reflectem a concepção técnicoexpressiva produzida pelo performer que interpreta a obra musical. Esta metodologia foi demonstrada através da sua aplicação à concepção musical interpretativa do Concerto para Violoncelo em La menor, RV 418, de Antonio Vivaldi, tendo em conta as demandas específicas deste instrumento musical e a leitura idiossincrática que o autor fez desta obra musical em concreto.

El guiñol como hilo conductor en educación musical

Se presenta una programación para el aula de educación musical, en la que se emplea como herramienta motivadora el guiñol. Se incluye una unidad didáctica 'Antonio Vivaldi y Las Cuatro Estaciones' indicando los objetivos, contenidos, desarrollo de la unidad y resultados experimentados en su puesta en práctica por parte del autor en los distintos niveles de educación primaria.

Stabat Mater: : dolor, gozo y sublimación en la búsqueda de una identidad

“Stabat Mater" propone la historia de una joven que sufre por el dolor del abandono en su niñez. Cecilia, la protagonista de esta novela de carácter intimista, transcurre los días de su existencia en forma trágica y rutinaria. Su pena no tiene consuelo ni respuestas: su madre la abandonó en un orfanato veneciano y, a diferencia de la suerte corrida por otras jóvenes, posteriormente nadie la reclamó ni fue por ella. Las clases de música impartidas en el orfanato son su único –aunque monótono– consuelo. Pero un factor inesperado cambiará el tedio en pasión: el mismo maestro Antonio Vivaldi se hará cargo de dichas lecciones. Él enseñará a Cecilia y a sus compañeras la música del universo todo, con los matices más profundos, sutiles y estremecedores jamás imaginados. A través de esta vivencia, determinante en el ánimo de la joven, esta construirá su futuro, un destino erigido a partir de recuerdos dolorosos, pero resignificado y sublimado en función de la experiencia vivida.

Metamorfoses musicais em concerto

Uma transcrição musical consiste numa composição adaptada de uma obra original para outra instrumentação, que não a inicialmente definida pelo compositor. Nestas, o conteúdo original tende a permanecer o mais fiel possível (De Vente, 2005). A partir do século XIX esta prática tornou-se corrente e prolífica. Atualmente, o uso de transcrições é bastante comum, especialmente quando destinado a instrumentos musicais com uma história recente devido à sua falta de repertório canónico. Um instrumento característico deste último grupo é o saxofone para o qual se tem transcrito uma grande quantidade de obras com especial ênfase nos períodos barroco e romântico. Nesta monografia detalho uma abordagem metodológica à transcrição musical que visa expandir o repertório para saxofone para além dos períodos barroco e romântico, assim como instrumentações e desafios diversos no processo de adaptação tais como: adaptar obras polifónicas para um instrumento monofónico, transcrever gestos técnicos e específicos de um instrumento de corda e criar continuidades sonoras típicas do uso do pedal no piano no saxofone. O processo de transcrição descrito nesta monografia impõe uma metamorfose timbrica às obras originais e oferece ao ouvinte uma perspectiva diferente sobre o conteúdo musical assim como questiona conceitos de autenticidade e autoria. Quatro composições que seguem a atual proposta de transcrição são apresentadas e documentadas. De ressaltar a diversidade de escolhas do repertório transcrito em termos de estilo, e instrumentação que se traduzem num grande desafio na adaptação ao saxofone, entre estas: Dream, John Cage, Chaccone em Sol menor, Tomaso Vitali, Fratres, Arvo Pärt e o Inverno das Quatro Estações, Antonio Vivaldi.

Konzert für die Orgel, mit zwei Manualen und Pedal, nach Vivaldi.

"Edition Peters, No. 3002."

VIVALDI, A H2020 European Project aiming at preventing and mitigating farmed bivalve diseases

The European shellfish industry enjoys a privileged position on the global scene. Its social dimension is essential, as it employs a high number of people in more than 8000 companies, mostly micro-companies. Shellfish production in Europe is little diversified and mainly relies on the industrially produced mussels, oysters and clams. Over the recent years, this sector has grown more slowly than other fish farming sectors, notably because it depends a great deal on the environmental quality and the emergence of diseases. Mortality events, linked to pathogen organisms such as viruses, bacteria and parasites (protozoa), tend to weaken the production’s sustainability. In this context, the European project VIVALDI (PreVenting and mItigating farmed biVALve DIseases) aims at increasing the sustainability and competitiveness of the shellfish industry in Europe, developing tools and approaches with a view to better preventing and controlling marine bivalve diseases. VIVALDI is a 4-years European Horizon 2020 project coordinated by Ifremer (2016-2020): 21 mostly European, public and private partners are involved, representing the diversity of the European shellfish industry landscape

Observations sur les termes culinaires dans deux San-Antonio de Frédéric Dard

Pro gradu-työni aihe on ruokaterminologiaa käsittelevät ranskan puhekielen ja Pariisin slangin lainasanat sekä kirjailija Frédéric Dardin alias San-Antonion (1921-2000) luomat, ruokatermistöön kuuluvat uudissanat ja -sanonnat kahdessa San-Antonio-romaanissa C'est mort et ça ne sait pas sekä Le fil à couper le beurre. Näissä ns. kioskikirjallisuutta edustavissa rikosromaaneissa seikkailee puheenparttaan ruoka-alan termeillä höystävä, "erikoistehtäviä" hoitava komisario ja naistenmies, San-Antonio. Ranskankielisessä arjen kielenkäytössä vilisee ruokaan liittyviä sanoja ja sanontoja muissakin kuin varsinaisissa ruuanvalmistus- ja ateriointiyhteyksissä. Halusin tarkastella, millaisena tämä yleisesti havaitsemani ilmiö todentuu Frédéric Dardin kahdessa romaanissa, jotka olen valinnut aineistokseni. Frédéric Dard käyttää romaaneissaan varsin omaperäistä kieltä: sekä puhekieltä että Pariisin slangia. Korpukseni koostuu romaaneista poimimistani ruoka-alan termistöä sisältävistä esimerkeistä, joita valmiiseen työhön tuli 228 kappaletta. Jaoin kaikki korpuksesta löytämäni ruokatermit kahteen luokkaan sen mukaan, oliko kirjailija lainannut käyttämänsä sanan tai ilmauksen puhekielestä tai Pariisin slangista (lainatermit), vai oliko hän luonut termin tai ilmauksen itse (neologismit). Määrittelin termin tai ilmauksen neologismiksi, jos se ei esiintynyt joko laisinkaan tai ainakaan kirjailijan tarkoittamassa merkityksessä seuraavissa sanakirjoissa: Le Dictionnaire du français argotique, populaire et familier; Le Dictionnaire de l'argot moderne; Le Dictionnaire du français non conventionnel; Le Dictionnaire de l'argot; Le Dictionnaire du français argotique et populaire; L'argot chez les vrais de vrai ja Trésor de la langue française. Varsinainen tutkimus perustuu sanojen ja ilmausten merkitysten selvittämiseen ja analysointiin. Lainatermien analyysillä tarkoitan lainatermien merkitysten selvitystä em. sanakirjojen avulla. Neologismit analysoin tarkemmin käyttäen em. sanakirjoja sekä tukeutuen gastronomisten ja erityisesti kielitieteellisten lähdeteosteni tarjoamiin rakenteellisiin ja semanttisiin muodostustapoihin ja tekemällä niistä tarvittavat yhteenvedot oikean merkityksen selvittämiseksi. Käsittelin aineiston kaikki ruokatermit. Niiden valtavan lukumäärän vuoksi analysoitavien esimerkkien määrää piti rajoittaa niin, että valmiiseen työhön jäi jokaisesta termistä enintään kaksi esimerkkiä kummastakin korpuksen kirjasta eli yhteensä 228 esimerkkiä. Muut esimerkit luetteloin työn lopusta löytyvään liitteeseen. Neologismianalyysissä selvisi, että Frédéric Dard suosi erityisesti semanttisia muodostustapoja eli olemassa olevan merkityksen muuttamista metaforien ja kielikuvien avulla. Dardin rikas terminologia ja hänen humoristiset oivalluksensa ovat osaltaan rikastuttaneet ranskan puhekieltä.Työssäni totean, että Pariisin slangia ja puhekieltä on totuttu pitämään sosiaalisesti sopimattomana, marginaalisten ryhmien kielenä, vaikka sen ilmauksia saattaa nykyisin kuulla jopa akateemikkojen käyttävän, ja ilmauksia on siirtynyt slangi- ja puhekielestä yleiskieleen. Toivon työni edistävän kiinnostusta kielitaidon parantamiseen San-Antonion tyyliin tutustumisen avulla sekä herättävän mielenkiintoa ranskan kielen vivahteikkuuteen ja monimuotoisuuteen muullakin kuin yleiskielen tasolla. Kielessä ei mielestäni voi olla sellaisia osa-alueita, joiden opiskelu ja osaaminen olisi tarpeetonta.

El problema del innatismo en Antonio Rosmini : (parte II)

Resumen: Esta parte del artículo repasa las principales teorías modernas sobre el innatismo, analizando sus puntos fuertes y débiles a partir de la teoría rosminiana de la presencia innata de la idea de ser. Se subraya la simplicidad de esta teoría, lo que le confiere un elevado carácter explicativo, en contraste con los dificultades que suscitan las filosofías de Descartes, Locke, Leibniz, Malebranche y Kant.