173 research outputs found
Prologue pour les écrits d’un compositeur
No full textDans ce texte qui précède la collection des écrits de Claude Vivier, l’auteure rappelle les grandes lignes de la vie du compositeur, décrit la nature des textes qu’il a laissés et expose les principes suivis pour en établir l’édition.In this introduction to the collection of writings by Claude Vivier, the author recounts the major stages in the life of the composer, describes the nature of the texts left by him, and outlines the principles with which the edition was prepared
A supplement to the Guida armonica , with examples shewing it's use in composition : by F. Geminiani.
No full textTitre uniforme : Geminiani, Francesco (1687-1762). Compositeur. [A supplement to the Guida armonica]Appartient à l’ensemble documentaire : RISMImpOuvrages avant 180
The National song folio. Volume I
No full textTitre uniforme : Händel, Georg Friedrich (1685-1759). Compositeur. [Theodora. HWV 68
[Arias extraites de Siroe / Gaetano Latilla]
No full textAncien possesseur : Stillingfleet, Benjamin (1702-1771). Ancien possesseurAncien possesseur : Prunières, Henry (1886-1942). Ancien possesseurAncien possesseur : Thibault, Geneviève (1902-1975). Ancien possesseurTitre uniforme : Latilla, Gaetano (1711-1788). Compositeur. [Siroe]. ChoixTitre uniforme : Latilla, Gaetano (1711-1788). Compositeur. [Siroe. Acte 1, scène 15. Vedeste mai sul prato]Titre uniforme : Latilla, Gaetano (1711-1788). Compositeur. [Siroe. Acte 2, scène 7. Fra sdegno ed amore]Titre uniforme : Latilla, Gaetano (1711-1788). Compositeur. [Siroe. Acte 1, scène 1. Se il mio paterno amore]Titre uniforme : Latilla, Gaetano (1711-1788). Compositeur. [Siroe. Acte 2, scène 3. Mi credi infedele]Comprend : Alle Dame 1740 // Del Sig.r // Gaetano Latilla ; Alle Dame 1740 Del Sig.r Gaetano Latilla ; Alle Dame 1740 Del Sig.r Gaetano Latilla ; Alle Dame // 1740 // Del Sig.r // Gaetano LatillaContient 4 arias extraites de "Siroe", dramma per musica en 3 actes. - Livret de Pietro Metastasio. - 1re exécution : Rome, Théâtre alle Dame, carnaval 1740. - Mention ms. sur la p. de garde : "Benjamin Stillingfleet whose signature as the owner of this Ms. appears above, was author of "Principles & Power of Harmony". 4to. 1771_ in which year he died (15 Dec.), aged 69 or 70. He was an English Poet, Dramatist & Naturalist & wrote also the words of 5 oratorios.The treatise on Harmony is a commentary on (or a translation of) Tartini's "Trattato di Musica". - Table au dos de la f. de garde. - Mentions au plat : "Orig.l binding", "N°1240" et "H. Pr. 5. p. 3". - Reliure cartonnée, papier marbréPrésentation musicale : [Partition]Appartient à l’ensemble documentaire : RISM2Appartient à l’ensemble documentaire : Chambure1Appartient à l’ensemble documentaire : RISMMssAirs d'opéra -- +* 1700......- 1799......+:18e siècle
Sonate a violino e basso , composte da Francesco Geminiani e dedicate all'illustrissima ed eccellentissima Signora Margarita contessa d'Orrery. Opera IV
No full textTitre uniforme : Geminiani, Francesco (1687-1762). Compositeur. [12 sonates. Violon, basse continue. Op. 4]Présentation musicale : [Partition]Appartient à l’ensemble documentaire : RISMIm
XII Sonata's or solo's for a violin, a bass violin or harpsicord... his fifth opera. This edition has the advantage of haveing the graces to all the adagio's and other places where the author thought proper by Arcangelo Corelli.... [Op. 5]
No full textTitre uniforme : Corelli, Arcangelo (1653-1713). Compositeur. [Sonates (12). Violon, basse continue. Op. 5]Présentation musicale : [Partition]Appartient à l’ensemble documentaire : RISMImpSonates (violon et basse continue) -- +* 1700......- 1799......+:18e siècle
Vocal and instrumental musick, in three parts . Containing, I. The overture and songs in the Masque of Circe. II. A sonata or trio, and songs of different kinds, viz. ballads, airs and cantatas. III. An Ode, being part of an exercise perform'd for a Bachelor's degree in Musick. The whole compos'd by William Hayes, B.M. organist of Magdalen College, and professor of musick in the University of Oxford.
No full textTitre uniforme : Hayes, William (1708-1777). Compositeur. [Vocal and instrumental music]Présentation musicale : [Partition]Appartient à l’ensemble documentaire : RISMImpSonates en trio (hautbois, violon, basse continue) -- +* 1700......- 1799......+:18e siècle:Musique de masque -- +* 1700......- 1799......+:18e siècle:Cantates profanes -- +* 1700......- 1799......+:18e siècle
Le meilleur professeur est un éternel étudiant. Bengt Hambraeus, compositeur et pédagogue
No full textUn ancien étudiant du compositeur d’origine suédoise Bengt Hambraeus dresse un portrait chaleureux de ce dernier. Il passe en revue les principales étapes de sa formation d’organiste, de musicologue et de compositeur et il souligne sa participation active à la vie musicale suédoise en qualité de producteur à la radio d’État. L’auteur explique ensuite les motifs qui ont conduit Hambraeus à émigrer au Canada en 1972. Débute alors sa fructueuse carrière de pédagogue à la Faculté de musique de l’université McGill, à Montréal. Il y assure, avec son collègue alcides lanza, la direction du studio de musique électroacoustique. Il y enseigne également la composition et propose différents cours et séminaires sur l’écriture et la musique d’avant-garde. Sa vaste expérience de musicien professionnel, sa curiosité insatiable, sa mémoire prodigieuse et sa capacité d’établir, à partir d’un sujet donné, des liens multiples avec différentes disciplines et époques de l’histoire de la musique sont particulièrement mis en valeur. Ces traits de caractère permettent de mieux comprendre les compositions de celui que ses élèves surnomment « l’encyclopédie vivante ».In this cordial portrait of Swedish-born composer Bengt Hambraeus by one of his former students, the principle stages in his education are reviewed : from organist to musicologist and composer, together with his active participation in Swedish musical life as a producer for state radio. The author then explains the reasons why, in 1972, Hambraeus immigrated to Canada, where he began a fruitful career in Montreal as a teacher at McGill University’s Faculty of Music. There he co-directed the Electronic Music Studio with his colleague alcides lanza. He also taught composition and various seminars on composing, and on the avant-garde. His vast experience as a professional musician, his insatiable curiosity, his prodigious memory and his capacity to establish (starting from a given topic) a multiplicity of links to different disciplines and periods of music history are highlighted. These character traits provide for a better understanding of the compositions whose author students called a “walking encyclopedia.
Fortune and desire in Guillaume de Machaut
No full textThere is a pervasive tendency, in Machaut scholarship, to read his poetry as having
value only insofar as it speaks to our postmodern age: either it is fragmented and
riven with ambiguities, or it celebrates eroticism and the things of this world for their
own sake; in any case, it resists religious and moral orthodoxy. Such readings, while
often valuable in themselves, fail to take sufficient account of the influence which
Boethian and Neoplatonic ideas had upon Machaut, and thus misunderstand his work
on a fundamental level. By paying attention to the Boethian content in the narrative
dits, and by analysing Machaut's verse more thoroughly than has been done before,
my thesis demonstrates not only this author's moral orthodoxy, but also his extremely
sophisticated didactic methods. I begin with the Confort d'ami, Machaut's most
overtly moral work. The Confort engages with the supposed 'worldly' perspective of
its imprisoned addressee, adapting biblical and classical exempla in order to coax
Charles of Navarre towards a deeper understanding of worldly fortune. In Chapter 2 I
show how, in the Prologue and the Dit du vergier, the ambiguity so beloved of critics
can serve as a moral commentary on the carnality and self-absorption of the erotic
and artistic points of view. Having established, in the preceding chapters, that this
author's approach to his subject is ambiguous and critical, in Chapter 3 I explore the
extremes of his pessimism, and show how his love poetry can incorporate
sophisticated philosophical ideas, through my analysis of the Jugement du roy de
Behaigne. The thesis culminates in a detailed reading of the Remede de Fortune.
Through his deliberately idealised statements about education, through his application
of these views to the art of courtly love, through his composition (and setting to
music) of a sequence of virtuoso lyrics, and through his explicit invocations of and
borrowings from Boethius, Machaut develops an empathic but ultimately, as I argue,
deeply sceptical vision of earthly love
Brian Cherney et Bruce Mather : la clairvoyance du compositeur solitaire
No full textDeux compositeurs d’origine ontarienne mais ayant élu domicile à Montréal sont présentés par un ancien élève. Leurs démarches présentent certaines similitudes. Par exemple, ils ne se soucient pas des modes et entretiennent des liens étroits avec le milieu de la création européenne et québécoise d’avant-garde. L’auteur insiste sur la personnalité contemplative de Brian Cherney et l’admiration qu’il porte au poète allemand Rainer Maria Rilke, sentiment qu’il partage d’ailleurs avec son collègue Bruce Mather, comme lui professeur à la Faculté de musique de l’université McGill, à Montréal. Les influences de Bartók, de Carter et de Bruce Mather ont été déterminantes sur l’évolution de Brian Cherney en tant que compositeur. Quant à Bruce Mather, il nous est présenté comme un esthète d’une grande culture, amateur averti de grands vins français et disciple du compositeur Wyschnegradsky, dont il a fait la connaissance en 1974. Plusieurs de ses oeuvres témoignent de son intérêt pour la musique microtonale mais aussi pour la poésie. Il aime composer pour des interprètes choisis, sensibles à son esthétique et il n’hésite pas à faire connaître ses opinions sur la création musicale contemporaine.The work of two composers, originally from the Province of Ontario but who have chosen to live in Montreal, is presented by a former student. Their artistic progress is shown to have certain similarities. For example, their lack of interest in fashionable trends while nevertheless preserving close ties with European and Quebec creative avant-garde movements. The author focuses upon the contemplative personality of Brian Cherney and his admiration for the German poet Rainer Maria Rilke, a sentiment which he shares with his fellow Faculty of Music (McGill University) colleague, Bruce Mather. The influence of Bartók, of Carter and of Mather were significant steps in Brian Cherney’s creative evolution. The portrait of Bruce Mather is one of an esthete, a connoisseur of French wines, and a disciple of composer Wyschnegradsky, whose acquaintance he made in 1974. Many ofMather’s works reveal his interest in microtonal music but also for poetry. He prefers to compose for like-minded performers who share his aesthetic tastes, and he never hesitates to let his opinions be known about contemporary music in general
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