130 research outputs found
Da Orfeo ad Anfione: mitizzazioni corelliane e il primato di Roma (ripensando la classicità di Corelli)
No full textLo studio interpreta la musica orchestrale di Corelli nel contesto del progetto pontificio (Clemente XI) di rilancio dell'imago Urbis tramite imponenti iniziative architettoniche. Detto «Anfione dei nostri tempi», Corelli venne inteso 'architetto' in quanto autore in grado di costruire con geometrica razionalità la composizione strumentale e, pertanto, di edificare monumenti sonori a maggior gloria di Roma e del papato. The study reconsiders Corelli's role within Pope Clement XI's project of renewal of the imago Urbis by means of great architectural initiatives. Named «Amphion of our times», Corelli was considered a musical architect since he was able to give geometric rationality to the instrumental composition and was then able to built musical monuments to the glory of Rome and of the Pope. Si richiede che il prodotto sia sottoposto a peer review e non a valutazione con criteri bibliometrici.The study interprets the orchestral music of Corelli in the context of the papal project (Clement XI) recovery of the imago Urbis by imposing architectural initiatives. Said, "Amphion of our times," Corelli was intended 'architect' as the author can build with geometric rationality and instrumental composition, therefore, to build monuments to sound greater glory of Rome and the papacy. The study reconsiders Corelli's Role Within Pope Clement XI's project of renewal of the Imago Urbis by means of great architectural Initiatives. Named "Amphion of our times," Corelli was Considered a musical architect since he was Able to give to the geometric rationality and instrumental composition was then built Able to musical monuments to the glory of Rome and of the Pope. It requires that the product is subjected to peer review and assessment with bibliometric criteria
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
Rakhmaninov's "Corelli" variations : new directions
No full textOnly a few of RakJimaninov's compositions were popular with audiences during the lifetime of this Titan of the piano. Such youthful works as the Prelude in c# minor, op. 3, no. 2 and the Piano Concerto no. 2, op. 18 demonstrated only one facet of a creative process that evolved throughout his life. The purpose of this thesis, therefore, is to consider the extent of Rakhmaninov's stylistic evolution, especially the changes embodied in the large scale piano solo, Variations on a Theme of Corelli, written in the last decade of the composer's life.
In the discussion of Rakhmaninov's lifelong stylistic development the author considers three distinct stages in his life as important landmarks. The first stage shows certain early influences upon the composer's creative powers, whether conscious, such as his acknowledged sensitivity to melody, or unconscious, such as medieval chant (Dies Irae), the sound of church bells, poetry and painting.
The second addresses the question of the mixed legacy of Rakhmaninov's break with the past, when he left Russia in 1917 to re-settle in the United States the next year. On the one hand he never entirely broke his links with "Mother Russia," his fascination with the sounds
of bells and chants, in his last decade of musical composition. For example, a comparison of the ancient Dies Irae theme with the La Folia tune that Corelli had used reveals striking similarities that Rakhmaninov undoubtedly found attractive, albeit unconsciously. On the other hand, he was inspired to seek a new conciseness of style and form in composition.
The third stage relates to trends nurtured perhaps by his friendship with eminent string players and performers in America such as Fritz Kreisler. It is not surprising that Rakhmaninov's last two important works owe their themes to famous violin pieces: the Folia tune used by Arcangelo Corelli in the Corelli Variations and Paganini's well known 24th Caprice in the Paganini Rhapsody. These new directions in Rakhmaninov's music are most clearly present in the Corelli Variations, which are examined in terms of: (a) a new keyboard style; (b) string influenced variations; (c) elements of American jazz; and (d) a new clarity of structure.
Finally, the writer examines similarities between the Corelli Variations and the Paganini Rhapsody that writers have sometimes touched upon.Arts, Faculty ofMusic, School ofGraduat
Olive Schreiner, Marie Corelli and the anxieties of female authorship
No full textThis article explores the competing models of gendered authorship emerging from Marie Corelli’s multiple print encounters with Olive Schreiner. Where Schreiner is cast by Corelli as the modish darling of a snobbish literary intelligentsia, who is beloved by critics and ignored by readers, Corelli herself emerges from her writings about Schreiner as the democratic author par excellence, a writer for the people rather than the press. In spite of the clear common ground that bridged their experience as celebrity authors, Corelli, in her writings about Schreiner, sought only to elucidate the ideological and artistic gulf that she identified as existing between them. As this essay will show, Corelli’s public resistance to Schreiner was a strike not only against an unfair male literary system of which she perceived Schreiner to be an arbitrary beneficiary, but also a rejection of the rhetoric of literary value that emerged in Britain during the fin de siècle. What Corelli failed to understand was that to be a woman writer at this time, however successful, was to occupy an ambiguous position within dominant, masculinist discourses of artistic distinction. A fuller exploration of Schreiner and Corelli’s positions within and experiences of the late-Victorian literary marketplace not only reveals the frailty of Correlli’s oppositional construction in real terms, but also signals the extent to which it was their shared status as women writers that was the key determinant shaping their respective experiences of professional authorship.Peer reviewe
Marie Corelli: Science, Society and the Best Seller
No full textIssues which faced Britain in the late nineteenth and early twentieth centuries include the effects of new scientific theories on traditional religious belief, the impact of technological innovation, the implications of mass literacy and the changing role of women. This thesis records how such issues are reflected in contemporary literature, focusing on the emergence of popular culture and the best seller, a term which conflates author and novel. The first English best seller was Marie Corelli and, by way of introduction, Part I offers a summary of her life and her novels and a critical overview of her work. Part II of the thesis examines how the theory of evolution undermined traditional religious belief and prompted the search for a new creed able to defy materialism and reconcile science and religion. Contemporary literature mirrors the consequent interest in spiritualism during the 1890s and the period immediately following the Great War, and critical readings of Corelli�s A Romance of Two Worlds and The Life Everlasting demonstrate that these novels - which form the nucleus of her personal theology, the Electric Creed - are based on selections from the New Testament, occultism and, in particular, science and spiritualism. Part III of the thesis looks at the emergence of �the woman question�, the corresponding backlash by conservatives and the ways in which these conflicting views are explored in the popular literature of the time. A critical examination of the novella, My Wonderful Wife, reveals how Corelli uses social Darwinism in an ambivalent critique of the New Woman. Several of Corelli�s essays are discussed, showing that her views about the role of women were complex. A critical analysis of The Secret Power engages with Corelli�s peculiar kind of feminism, which would deny women the vote but envisages female scientists inventing and operating airships in order to secure the future of the human race. Interest in Marie Corelli has re-emerged recently, particularly in occult and feminist circles. Corelli�s immense popularity also makes her an important figure in cultural studies. This thesis adds to the body of knowledge about Corelli in that it consciously endeavours to avoid spiritualist or feminist ideological frameworks, instead using contemporary science as a context for examining her work
Olive Schreiner, Marie Corelli and the anxieties of female authorship
No full textThis article explores the competing models of gendered authorship emerging from Marie Corelli’s multiple print encounters with Olive Schreiner. Where Schreiner is cast by Corelli as the modish darling of a snobbish literary intelligentsia, who is beloved by critics and ignored by readers, Corelli herself emerges from her writings about Schreiner as the democratic author par excellence, a writer for the people rather than the press. In spite of the clear common ground that bridged their experience as celebrity authors, Corelli, in her writings about Schreiner, sought only to elucidate the ideological and artistic gulf that she identified as existing between them. As this essay will show, Corelli’s public resistance to Schreiner was a strike not only against an unfair male literary system of which she perceived Schreiner to be an arbitrary beneficiary, but also a rejection of the rhetoric of literary value that emerged in Britain during the fin de siècle. What Corelli failed to understand was that to be a woman writer at this time, however successful, was to occupy an ambiguous position within dominant, masculinist discourses of artistic distinction. A fuller exploration of Schreiner and Corelli’s positions within and experiences of the late-Victorian literary marketplace not only reveals the frailty of Correlli’s oppositional construction in real terms, but also signals the extent to which it was their shared status as women writers that was the key determinant shaping their respective experiences of professional authorship
Twin souls, twin pens: Charles Mackay, Marie Corelli, and the authorship of <i>The Twin Soul</i>
No full textThis article investigates the ambiguous authorship of the 1887 novel The Twin Soul, originally published anonymously and later attributed to the writer Charles Mackay, adoptive father of bestselling novelist Marie Corelli. Drawing on archival research, textual analysis, and corpus stylistics, it explores the possibility of Corelli’s creative involvement in the work. The study situates Twin Soul within the broader context of nineteenth-century publishing practices, attentive to the prospect of familial literary collaboration towards the end of Mackay’s life and early on in Corelli’s own novelistic career. It examines the novel’s thematic and stylistic parallels with Corelli’s known works as well as its divergence from Mackay’s established oeuvre, also considering the implications of anonymous publication, gendered assumptions in literary criticism, and the role of digital humanities in attribution studies. Ultimately, the authors propose that while Mackay is likely the text’s primary author, there is evidence of collaboration between Mackay and Corelli, with financial pressures and publishing circumstances likely driving this joint effort. This interdisciplinary enquiry not only sheds light on a neglected text, suggesting its significance in future scholarship on Corelli, but also challenges conventional understandings of authorship and literary legacy in the Victorian period.</p
Twin Souls, Twin Pens:Charles Mackay, Marie Corelli, and the Authorship of <i>The Twin Soul</i> (1887)
No full textThis article investigates the ambiguous authorship of the 1887 novel The Twin Soul, originally published anonymously and later attributed to the writer Charles Mackay, adoptive father of bestselling novelist Marie Corelli. Drawing on archival research, textual analysis, and corpus stylistics, it explores the possibility of Corelli’s creative involvement in the work. The study situates Twin Soul within the broader context of nineteenth-century publishing practices, attentive to the prospect of familial literary collaboration towards the end of Mackay’s life and early on in Corelli’s own novelistic career. It examines the novel’s thematic and stylistic parallels with Corelli’s known works as well as its divergence from Mackay’s established oeuvre, also considering the implications of anonymous publication, gendered assumptions in literary criticism, and the role of digital humanities in attribution studies. Ultimately, the authors propose that while Mackay is likely the text’s primary author, there is evidence of collaboration between Mackay and Corelli, with financial pressures and publishing circumstances likely driving this joint effort. This interdisciplinary enquiry not only sheds light on a neglected text, suggesting its significance in future scholarship on Corelli, but also challenges conventional understandings of authorship and literary legacy in the Victorian period
New solid-supported reagents (SSRs) for selective acylation of amines
No full textThe pyrimidine linker (4) was prepared by solid phase synthesis starting from Merrifield resin. Acylation of 4 with different acyl chlorides gave polymerbound 4-acyloxypyrimidines (2a-c), which proved to be useful solid-supported reagents for the selective acylation of amines. Their use in solution combinatorial chemistry has been also envisaged. (author abst.
La Recepción del Estilo Galante en la Tocata Española del siglo XVIII: Corelli como Modelo
No full textRecent contributions to the study of eighteenth-century music by Daniel Heartz (2003) have shed new light on the development and dissemination of the galant style from Italy, which prevailed across Europe between 1720 and 1780. At the same time, the analytical framework based on the galant schemata identified by Robert O. Gjerdingen (2007) enables a deeper understanding of the nature of this style. The present work aims to examine the reception of the galant style in the Spanish organ toccata of the eighteenth century. Among the few surviving toccatas from this period, particular importance is attached to two collections originating from Valencia, which preserve the most extensive corpus known to date (E-Bbc M1011 and M1012). Some of these toccatas reveal, to varying degrees, the influence of Arcangelo Corelli, who, according to Heartz, played a decisive role in the incipient shaping of this new style. Alongside elements of the traditional idiom, they present a hybridization with the sonata da chiesa and da camera models as disseminated by Corelli, together with the incorporation of stylistic features characteristic of the galant style. Rodríguez’s Toccata a la ytaliana, based on Corelli’s Concerto No. 1 Op. 6, stands out for demonstrating both command of and free handling of the schemata drawn from the original model. Also notable is an anonymous toccata constructed entirely from galant schemata, whose stylistic affinities with Corelli’s music provide solid evidence that his works served as its compositional model.Las contribuciones recientes al estudio de la música del siglo XVIII realizadas por Daniel Heartz (2003) han arrojado nueva luz sobre el desarrollo y la difusión del estilo galante desde Italia, el cual predominó en Europa entre 1720 y 1780. Paralelamente, el marco analítico basado en los esquemas galantes identificados por Robert O. Gjerdingen (2007) permite una comprensión más profunda de la naturaleza de este estilo. El presente trabajo tiene como objetivo examinar la recepción del estilo galante en la tocata española para órgano del siglo XVIII. Entre las pocas tocatas conservadas de este periodo, revisten particular importancia dos colecciones procedentes de Valencia, que contienen el corpus más extenso conocido hasta la fecha (E-Bbc M1011 y M1012). Algunas de estas tocatas revelan, en distinto grado, la influencia de Arcangelo Corelli, quien, según Heartz, desempeñó un papel decisivo en la incipiente configuración de este nuevo estilo. Junto a elementos del lenguaje tradicional, presentan una hibridación con los modelos de sonata da chiesa y da camera difundidos por Corelli, así como la incorporación de rasgos estilísticos propios del estilo galante. Destaca especialmente la Toccata a la ytaliana de Vicente Rodríguez, basada en el Concerto n.º 1 Op. 6 de Corelli, la cual demuestra un dominio, a la vez que un manejo libre, de los esquemas del modelo original. También merece especial atención una tocata anónima construida en su totalidad a partir de esquemas galantes, cuya afinidad estilística con la música de Corelli ofrece una evidencia sólida de que sus obras fueron tomadas como modelo compositivo
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