12 research outputs found
Chant populaire des Mutualités scolaires. Paroles de J.-B. Vinet. Musique de S. Boulnois
No full textFortune 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
La question du livret de Monna Vanna, opéra inachevé de Sergej Raxmaninov et Mixail Slonov
No full textL’article est consacré à l’opéra inachevé de S. V. Raxmaninov, Monna Vanna. Pour expliquer cet abandon, on invoque en général le fait que le compositeur n’aurait pas été satisfait par le travail de son librettiste, M. A. Slonov. Cherchant à faire la clarté sur ce point, l’auteur de cette étude revient sur la collaboration entre les deux hommes, d’où il ressort qu’il n’y a pas lieu de rendre Slonov responsable de l’inachèvement de l’opéra.The article describes the problems connected with the incompleteness of S. Raxmaninov’s opera Monna Vanna. One of the most commonly admitted point of view found in the literature is expressed by the relatives of the composer. According to this version Raxmaninov was unhappy with the work of the librettist M. A. Slonov, and that is the reason why the opera has not been not finished. In his effort to find out whether this version is accurate or not, the author of the article considers the process of the teamwork of Raxmaninov and Slonov on the libretto of Monna Vanna. His conclusion is in favour of the creative union of Raxmaninov and Slonov which he believes to have been quite successful. That is why, in his opinion, there is no reason to blame Slonov for the incomplete ness of the opera
Dom Pedro II e Wagner
No full textRESUMO
Com base na autobiografia de Wagner e na correspondência de Dom Pedro, o autor evoca a grande admiração do Imperador brasileiro em relação ao compositor alemão, tendo inclusive contribuído financeiramente para a construção do teatro de Bayreuth, dedicado exclusivamente à música de Wagner, e assistido à sua inauguração em companhia do Imperador da Alemanha. Descreve como Dom Pedro contribuiu indiretamente para a escolha do tema da ópera Tristão e Isolda e levou o compositor a começar a escrever essa obra, cuja estréia foi planejada para o Rio de Janeiro e dedicada ao Imperador brasileiro. Comenta os motivos que levaram Wagner a tal empreendimento e analisa os equívocos decorrentes das más condições de comunicação da época, bem como os fatores que impediram a visita de Wagner ao Brasil.
ABSTRACT
Dom Pedro II and Wagner. v. 19, n. 2, p. 215-232, jul./dez. 1991
Based on the autobiography of Wagner and the correspondence of Dom Pedro, the author evokes the great admiration that the Brazilian Emperor had for the German composer, including his having contributed financially to the construction of the Bayreuth which is dedicated exclusively to Wagner´s music, and having attended its inauguration in the company of the German Emperor. The author describes how Dom Pedro contributed indirectly to the thematic choice of the opera Tristão e Isolda, and led the composer to begin to write this work whose première was planned for Rio de Janeiro and dedicated to the Brazilian Emperor. The author comments on the motives which led Wagner to undertake such a project and analyses the errors caused by the precarious conditions of communication at the time, as well as the factors that impeded Wagner´s visit to Brazil.
RESUMÉ
D. Pedro et Wagner. v. 19, n. 2, p. 215-232, jul./dez. 1991
A partir de l’autobiographie de Wagner et la correspondence de D. Pedro II, l’auteur évoque la grande admiration que l’empereur brésilien nourissait pour le compositeur allemand. L’empereur a contribué financièrement pour la construction du théâtre de Bayreuth et à assisté à son inauguration en compagnie du musicien. L’article décrit également la manière comment D. Pedro II a contribué pour le choix du thème de l’opéra Tristã et Iseut, dont la première présentation a eu lieu à Rio de Janeiro et dédiée à l’empereur brésilien. L’article se ferme en montrant les raisons selon lesquelles Wagner n ´a pas visité le Brésil
Composer dans l’ombre de Darmstadt (1987)
No full textDans cet article rédigé en 1987 et publié en 1996 dans le recueil de texte intitulé Musik als existentielle Erfahrung, le compositeur Helmut Lachenmann porte un regard critique et autocritique sur l’expérience des cours d’été de Darmstadt, depuis le début des années 1950 jusqu’au début des années 1980.Décennie par décennie, il dégage les divers courants et tendances qui ont marqué l’histoire de Darmstadt en explicitant les paradoxes parfois insolubles engendrés par l’attitude avant-gardiste dont les cours d’été avaient fourni le modèle autour de 1950. À chaque fois, il se réfère à des expériences vécues, faisant intervenir Luigi Nono (son professeur autour de 1960), Dieter Schnebel, John Cage ou Karlheinz Stockhausen. Partisan d’un « structuralisme dialectique », l’auteur spécifie enfin sa position — en référence au festival de Donaueschingen de 1980 et à un texte de 1982, « Affect et aspect » — par rapport à celles de Wolfgang Rihm et de Walter Zimmermann, ainsi que d’autres compositeurs ayant (ou non) tenté de théoriser leur relation à la tradition et à la subjectivité.Written in 1987 and published in a collection entitled Musik als existentielle Erfahrung in 1996, this article by composer Helmut Lachenmann takes a critical and self-critical look at the experience of the Darmstadt summer courses, between the early 1950s and the beginning of the 1980's. Decade by decade, he reveals the various currents and tendencies that marked the history of Darmstadt, uncovering the sometimes insoluble paradoxes engendered by the avant-garde attitude spawned by the Darmstadt model around 1950. He tells of his experiences with Luigi Nono (his teacher in the early 1960's), Dieter Schnebel, John Cage, and Karlheinz Stockhausen. As a partisan of "dialectic structuralism", the author clarifies his own position—with reference to the 1980 Donaueschingen festival and a 1982 text entitled "Affekt und Aspekt"—in relation to those of Wolfgang Rihm and Walter Zimmermann, as well as other composers, some of whom attempted to theorize their relationship to tradition and subjectivity
The aesthetics of Pierre Boulez
No full textTo enable the reader to find references as quickly and easily as possible, I have grouped all references together in the bibliography in alphabetical order. Texts by the same author are distinguished first by year and second, if there are several texts from the same year, by letter. Interviews and writing collaborations (including published correspondence) involving Boulez are also ordered alphabetically. The year given at the beginning of each bibliographical entry is, in the majority of cases, the year in which the text was first published (not necessarily the year of the edition cited). For all writings written by Boulez, I have provided the original title under which the text in question was first published (usually in French). Many articles have subsequently been translated into English and therefore I have decided to provide page references for both versions. For all texts by writers other than Boulez, I have cited the version of the text I have used. Wherever possible, I have cited the existing English translations of texts originally written in French. However, on many occasions I have considered it necessary to make alterations to the published translations. This is particularly applicable to Boulez on Music Today (1971) and Orientations (1986), both of which display an often heavy-handed and rather inaccurate approach to the task of translating specific concepts employed by Boulez. In contrast. Stocktakings of an Apprenticeship (1991) has required only occasional minor amendments. All changes to the published English translations are acknowledged in the corresponding footnote. None of the material m this thesis has previously been submitted for a degree in this or any other University. The copyright of this thesis rests with the author. No quotation from it should be published without prior written consent and information from it should be acknowledged. I have received permission to exceed the word limit from the Graduate School Committee at the University of Durham
Xerse. Cavalli/Lully
No full textDossier numérique réalisé à l'occasion de la première recréation moderne du 'Xerse' de Francesco Cavalli et Jean-Baptiste Lully (Paris 1660) à l'Opéra de Lille (octobre 2015)First performed in Venice on January 12, 1655 in the Santi Giovanni e Paolo theatre, Xerse is one of Venetian master Francesco Cavalli’s most successful works, after Egisto (1643) and Giasone (1649), and is the result of a collaboration between Cavalli and a promising young librettist, Nicolò Minato. The work was an immediate success and was reprised in the largest Italian cities (Milano, Rome, Genoa, Naples, etc.) during the second half of the century, and in a revised form in Paris in 1660, for the wedding of Louis XIV and Maria Theresa of Spain.The revival of Xerse in Paris in 1660 takes place during the celebration of Louis XIV and Maria Theresa of Spain’s marriage. Since the 1640’s, Cardinal Mazarin had been very involved in the efforts to establish Italian opera at the French court, and he had hoped to invite Francesco Cavalli to Paris to mark this event, since Cavalli was already a famous composer at this time and the author of more than 20 operas.In 2015, the Parisian version of Xerse was revived. This work, unique in the context of seventeenth-century Italian opera, is produced by the Lille Opera and its coproducers, the Centre de musique baroque de Versailles and the Caen Theatre. Guy Cassiers directed, with musical direction by Emmanuelle Haïm, leading the “Concert d’Astrée” ensemble.Créé à Venise le 12 janvier 1655 au théâtre Santi Giovanni e Paolo, Xerse compte parmi les titres à succès de Francesco Cavalli, après Egisto (1643) et Giasone (1649). Fruit de la collaboration entre le maître vénitien et un jeune librettiste prometteur, Nicolò Minato, l’œuvre remporta un succès immédiat et fut reprise dans les principales villes italiennes (Milan, Rome, Gênes, Naples, etc.) pendant la seconde moitié du siècle. Parmi les reprises, on compte également la représentation dans une version remaniée à Paris, en 1660, pour le mariage de Louis XIV avec Marie-Thérèse d’Autriche.La reprise de Xerse à Paris en 1660 s’inscrit dans le cadre des célébrations pour le mariage de Louis XIV et Marie-Thérèse d’Autriche. Le cardinal Mazarin, très impliqué depuis les années 1640 dans des tentatives d’implanter l’opéra italien à la cour de France, avait souhaité, pour marquer cet événement, inviter Francesco Cavalli à Paris, à cette date compositeur renommé et déjà auteur de plus de vingt opéras.En 2015, la version parisienne de Xerse renaît sur la scène. L’Opéra de Lille, en coproduction avec le Centre de musique baroque de Versailles et le Théâtre de Caen, recrée cette œuvre unique dans le contexte de l’opéra italien du XVIIe siècle, avec une mise en scène de Guy Cassiers et sous la direction musicale d’Emmanuelle Haïm, à la tête du Concert d’Astrée
L'oeuvre latine attribuée à Jacotin dans les sources des XVe et XVIe siècles : transcription critique et analyse
No full textLa version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).Qui était "Jacotin"? Quels sont encore les mystères de sa biographie? Quelle a été sa contribution au panorama musical de la Renaissance? Et pourquoi le connaît-on si mal, lui dont l’oeuvre – dans son ensemble stylisée et élégante – semble avoir connu de son temps un succès considérable? À l’heure actuelle, l’oeuvre attribuée à "Jacotin" est pratiquement tombée dans l’oubli et l’identité du ou des compositeurs à qui nous la devons fait toujours l’objet de spéculations parmi les spécialistes. Ainsi, ces compositions n’ont jamais retenu toute l’attention qu’elles méritent. Les chansons n’ont été éditées en notation moderne qu’en 2004 ; l’oeuvre latine, elle, n’a pas encore fait l’objet d’une édition critique, ni d’une étude. Plus généralement, l’oeuvre attribuée à "Jacotin" n’a pas été étudiée intégralement. Pourtant, celle-ci aurait beaucoup à nous apprendre des différences et interactions stylistiques entre les Pays-Bas, la France et l’Italie aux XVe et XVIe siècles, puisque les candidats au titre de compositeur(s) potentiel(s) furent actifs tant à Paris et Anvers qu’à Naples, Ferrare, Rome et Milan. L’œuvre latine attribuée à "Jacotin" témoigne en outre des différentes activités et services de son ou ses auteurs, certains motets (notamment Beati omnes qui timent Dominum, Interveniat pro rege nostro et Michael archangele) s’inscrivant possiblement dans le cadre de cérémonies qui prirent place à la cour royale d’Angleterre sous le règne d’Henry VIII (1491-1547, reg. 1509-1547), ainsi qu’à celle de France sous ceux de Louis XII (1462-1515, reg. 1498-1515) et François Ier (1494-1547, reg. 1515-1547). Les motets de "Jacotin" constituent donc des maillons essentiels dans l’histoire du genre, tant en France que, plus généralement, en Europe.
Cette thèse tente dans un premier temps d’élucider le problème identitaire qui affecte "Jacotin" depuis plus de deux siècles. Ainsi, la première partie est consacrée à la prosopographie des chantres de la Renaissance clairement identifiés sous ce diminutif. De concert avec l’examen des sources musicales et l’étude de leurs schémas de diffusion, l’analyse des oeuvres elles-mêmes permet ensuite leur attribution à quatre musiciens bien distincts, à savoir : Jacques de Nieuport (v. 1435-v. 1475), Jacques Frontin (v. 1450/55-?1519), Jacques Godebrye (v. 1460-1529), et Jacques Lebel (v. 1494-v. 1556). Dans un second temps, cette thèse propose pour la première fois une transcription critique de l’oeuvre latine de "Jacotin", transcription qui vient compléter l’édition critique de ses chansons publiée par Frank Dobbins en 2004. Ainsi, l’oeuvre complète attribuée à "Jacotin" est enfin disponible en notation moderne, pour les chercheurs comme pour les interprètes.Who was "Jacotin"? What mysteries of his biography remain? What was his contribution to the musical panorama of the sixteenth century? And why do we know so little about a figure (or figures) whose work – for the most part stylish and elegant – seem to have encountered considerable success in his time? At present, the oeuvre attributed to "Jacotin" is almost completely forgotten and the identity of the composer(s) to whom we owe it is still the subject of speculations among scholars. Thus, these compositions have never received the attention they deserve. The chansons were not edited in modern notation until 2004 ; the Latin works have not yet been the subject of a critical edition, nor of a study. More generally, the compositions attributed to "Jacotin" have not been exhaustively studied. Yet, they have much to teach us about the stylistic differences and interactions between France, the Netherlands and Italy during the fifteenth and sixteenth centuries, as the potential candidates for the title of composer(s) were employed in Paris, Antwerp, Naples, Ferrara, Rome and Milan. The Latin works ascribed to "Jacotin" also reflect their author(s) numerous activities and services, as some motets (Beati omnes qui timent Dominum, Interveniat pro rege nostro and Michael Archangele, notably) were possibly part of ceremonies that took place at the royal court of England under the reign of Henry VIII (1491-1547, r. 1509-1547), as well as that of France under the reigns of Louis XII (1462-1515, r. 1498-1515) and François I (1494-1547, r. 1515-1547). The motets of "Jacotin" constitute therefore essential links in the history of the genre, both in France and, more generally, in Europe. This study attempts first to solve the identity problem that has been affecting "Jacotin" for over two centuries. Thus, the first part is devoted to the prosopography of Renaissance singers clearly identified under this nickname. In conjunction with the examination of the musical sources and the study of their patterns of diffusion, the analysis of the Latin works then allows their attribution to four different authors, namely: Jacques de Nieuport (c. 1435-c. 1475), Jacques Frontin (c. 1450/55-?1519), Jacques Godebrye (c. 1460-1529), and Jacques Lebel (c. 1494-c. 1556). In a second step, this study proposes for the first time a critical edition of the Latin works attributed to "Jacotin", which complete the critical edition of his chansons published by Frank Dobbins in 2004. As a result, the complete work preserved under this nickname is finally available in modern notation, for both performers and scholars
L'oeuvre latine attribuée à Jacotin dans les sources des XVe et XVIe siècles : transcription critique et analyse
No full textLa version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).Qui était "Jacotin"? Quels sont encore les mystères de sa biographie? Quelle a été sa contribution au panorama musical de la Renaissance? Et pourquoi le connaît-on si mal, lui dont l’oeuvre – dans son ensemble stylisée et élégante – semble avoir connu de son temps un succès considérable? À l’heure actuelle, l’oeuvre attribuée à "Jacotin" est pratiquement tombée dans l’oubli et l’identité du ou des compositeurs à qui nous la devons fait toujours l’objet de spéculations parmi les spécialistes. Ainsi, ces compositions n’ont jamais retenu toute l’attention qu’elles méritent. Les chansons n’ont été éditées en notation moderne qu’en 2004 ; l’oeuvre latine, elle, n’a pas encore fait l’objet d’une édition critique, ni d’une étude. Plus généralement, l’oeuvre attribuée à "Jacotin" n’a pas été étudiée intégralement. Pourtant, celle-ci aurait beaucoup à nous apprendre des différences et interactions stylistiques entre les Pays-Bas, la France et l’Italie aux XVe et XVIe siècles, puisque les candidats au titre de compositeur(s) potentiel(s) furent actifs tant à Paris et Anvers qu’à Naples, Ferrare, Rome et Milan. L’œuvre latine attribuée à "Jacotin" témoigne en outre des différentes activités et services de son ou ses auteurs, certains motets (notamment Beati omnes qui timent Dominum, Interveniat pro rege nostro et Michael archangele) s’inscrivant possiblement dans le cadre de cérémonies qui prirent place à la cour royale d’Angleterre sous le règne d’Henry VIII (1491-1547, reg. 1509-1547), ainsi qu’à celle de France sous ceux de Louis XII (1462-1515, reg. 1498-1515) et François Ier (1494-1547, reg. 1515-1547). Les motets de "Jacotin" constituent donc des maillons essentiels dans l’histoire du genre, tant en France que, plus généralement, en Europe.
Cette thèse tente dans un premier temps d’élucider le problème identitaire qui affecte "Jacotin" depuis plus de deux siècles. Ainsi, la première partie est consacrée à la prosopographie des chantres de la Renaissance clairement identifiés sous ce diminutif. De concert avec l’examen des sources musicales et l’étude de leurs schémas de diffusion, l’analyse des oeuvres elles-mêmes permet ensuite leur attribution à quatre musiciens bien distincts, à savoir : Jacques de Nieuport (v. 1435-v. 1475), Jacques Frontin (v. 1450/55-?1519), Jacques Godebrye (v. 1460-1529), et Jacques Lebel (v. 1494-v. 1556). Dans un second temps, cette thèse propose pour la première fois une transcription critique de l’oeuvre latine de "Jacotin", transcription qui vient compléter l’édition critique de ses chansons publiée par Frank Dobbins en 2004. Ainsi, l’oeuvre complète attribuée à "Jacotin" est enfin disponible en notation moderne, pour les chercheurs comme pour les interprètes.Who was "Jacotin"? What mysteries of his biography remain? What was his contribution to the musical panorama of the sixteenth century? And why do we know so little about a figure (or figures) whose work – for the most part stylish and elegant – seem to have encountered considerable success in his time? At present, the oeuvre attributed to "Jacotin" is almost completely forgotten and the identity of the composer(s) to whom we owe it is still the subject of speculations among scholars. Thus, these compositions have never received the attention they deserve. The chansons were not edited in modern notation until 2004 ; the Latin works have not yet been the subject of a critical edition, nor of a study. More generally, the compositions attributed to "Jacotin" have not been exhaustively studied. Yet, they have much to teach us about the stylistic differences and interactions between France, the Netherlands and Italy during the fifteenth and sixteenth centuries, as the potential candidates for the title of composer(s) were employed in Paris, Antwerp, Naples, Ferrara, Rome and Milan. The Latin works ascribed to "Jacotin" also reflect their author(s) numerous activities and services, as some motets (Beati omnes qui timent Dominum, Interveniat pro rege nostro and Michael Archangele, notably) were possibly part of ceremonies that took place at the royal court of England under the reign of Henry VIII (1491-1547, r. 1509-1547), as well as that of France under the reigns of Louis XII (1462-1515, r. 1498-1515) and François I (1494-1547, r. 1515-1547). The motets of "Jacotin" constitute therefore essential links in the history of the genre, both in France and, more generally, in Europe. This study attempts first to solve the identity problem that has been affecting "Jacotin" for over two centuries. Thus, the first part is devoted to the prosopography of Renaissance singers clearly identified under this nickname. In conjunction with the examination of the musical sources and the study of their patterns of diffusion, the analysis of the Latin works then allows their attribution to four different authors, namely: Jacques de Nieuport (c. 1435-c. 1475), Jacques Frontin (c. 1450/55-?1519), Jacques Godebrye (c. 1460-1529), and Jacques Lebel (c. 1494-c. 1556). In a second step, this study proposes for the first time a critical edition of the Latin works attributed to "Jacotin", which complete the critical edition of his chansons published by Frank Dobbins in 2004. As a result, the complete work preserved under this nickname is finally available in modern notation, for both performers and scholars
