ATeM Archiv für Textmusikforschung
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Voltaire et l’opéra : ses livrets, adaptations opératiques de ses tragédies
Get PDFVoltaire wrote seven librettos, but only two minor texts were set to music by Rameau. – His tragedies do not have tragic heroes (in the Aristotelian sense), they present paragons of virtue and vice. In some of his tragédies larmoyantes (Ridgway), the villains triumph at the end (cf. Mahomet); in others, virtue is rewarded and evil punished (cf. Sémiramis). Therefore, Voltaire’s tragedies anticipate some features of the romantic melodrama. This may be the reason why they inspired librettists and composers of (Italian and French) opera mainly in the decades between 1780 and 1810 when French melodrama was created by Guilbert de Pixérécourt and others. – As examples for the technique of adaptation, the librettos of Tancredi (Rossini), Maometto (von Winter), and Semiramide (Rossini) are analysed in greater detail
Fernand Hörner (Hg.): Kulturkritik und das Populäre in der Musik. Münster/New York, Waxmann, 2016. ISBN 978-3-8309-3361-8. 337 Seiten.
Get PDFVariations sur ATeM : la chanson-souffle
Get PDFThis paper tries to analyse the spreading of tunes and breathing as one single wave-like reality in the history of the French chanson. Historically and in line with the system of timbres, the genre of the French chanson takes up existing airs and combines them with interchangeable lyrics. With the spreading and the success of recording techniques, other forms of acoustic palimpsests appear. Claude Nougaro, for instance, transforms breathlessness into a piece of art when he returns to jazz standards, and singers like Barbara and her last interpreter Patrick Bruel reveal their inner fractures and hesitations through their broken voices
Das Migrationsthema bei Gianmaria Testa: zur ethischen und ästhetischen Hinterlassenschaft des Liedermachers aus dem Piemont
Get PDFThis article focuses on the work of the Italian Cantautore Gianmaria Testa, who died prematurely this year. In particular, it analyses his concept album Da quest parte del mare (2006), which deals with the issue of migration. In the eleven songs of this album, Testa establishes a link between the migrations of the past and the present, in order to show that human feelings and behaviour do not change in ‘times of crises’. As the article tries to point out, Testa’s musical style and lyrics are the result of an intense aesthetic work. It is based on ethical principles and empathy, it creates intertextual relations with contemporary literary texts and with the Italian tradition of songwriters and reaches a remarkable expressiveness
L’espace autobiographique de Barbara ou les signes en chanson de la seiche
Get PDFMore often than not, we vainly try to bring into relief the autobiographical aspects of a short poetic text. The autobiographical material being either carefully hidden or ostensibly unveiled, Philippe Lejeune coined the notion of espace autobiographique (autobiographical space), which has proved relevant to emphasize the intriguing interplay between a fiction and an attested autobiography. This methodological framework can be adjusted to the works of the French singer Barbara, and particularly to her posthumous and unfinished autobiography (Il était un piano noir, 1998) and to a selection of her songs which seem to be riddled with biographical details. Our stylistical approach aims at analysing how a feeling of ambiguity is created, intertwining false certainties and subtle indications
