A paradoxical feature of the lament as a poetical and musical genre is the imbalance between the supposedly spontaneous expression of emotional turmoil and the artificial dimension of its artistic ...representation. Embedded in the lament since antiquity, such tension becomes particularly prominent in the early modern period, when the development of the 'lamenting mode' in poetry and vocal music facilitated experimentation in both domains. After reconsidering the rhetorical status of the lament, this essay explores the ways in which one specific lament - Olimpia's from Ariosto's Orlando furioso - moves across mediums and genres. More precisely, by focusing on the transition from ottava rima to the free-verse recitative style of seventeenth-century lamenti and cantatas, the article argues that the formal instability intrinsic to the lament exposes the limitations of any attempt to represent the utterance of a lamenting character as well as the expressive potential conveyed by its quintessentially performative nature.
Thèse en co-tutelle, sous la direction d’Alain Musset (EHESS) et d’Enrique Aliste (Université du Chili), soutenue devant un jury composé de : Olivier Compagnon (Université Sorbonne Nouvelle), Enrique ...Fernandez-Domingo (Université Paris 8 Vincennes Saint-Denis), Jimena Obregon Iturra (Université Rennes 2) et Élodie Salin (Université du Mans). Résumé : Un Grand Nord chilien est constitué à partir de la fin du XIXe siècle à la suite d’une conquête militaire, dans une conjonction de récits, de re...
Abstract
Just before the denouement of the opera Il palazzo incantato, something remarkable happens. For long hours, the enchanted palace of the title—drawn from Ariosto’s Orlando furioso—has kept ...the 20-odd characters vainly searching for one another, with rarely more than two or three converging at a time. In the penultimate scene, however, the librettist, Giulio Rospigliosi, and composer, Luigi Rossi, allow nearly the entire company to assemble. But rather than greet and embrace each other, the long-lost lovers and friends suspend the story they have been enacting, abandon their characters’ motivations, and play a round of parlour games. The bizarre events of Act 3, scene 7—heretofore unremarked—illuminate something fundamental about the work as a whole. Indeed, notwithstanding its length and elaborate staging, this opera shows an affinity less with Rospigliosi’s earlier theatrical works than with the typical amusements of the aristocratic chamber, and with the cantata specifically: a difference that may stretch our idea of what an opera could be in Barberini Rome.
This study analyzes how the hymns of Martin Luther are treated in the works of Johann Sebastian Bach. It has been stated that Bach often used Luther’s chorales in his vocal and organ works, and yet ...there has been no monograph capturing its entire picture. In this article, 44 hymns whose texts are written by Luther are regarded as “Luther’s hymns”（ Table 1）. Among some 200 Bach’s organ chorales, 53 are based on Luther’s chorales （Table 2）. In the Orgelbüchlein, Luther’s hymns printed in contemporary hymnals are covered exhaustively. Bach used about 370 hymn stanzas in his vocal works. Eleven among 53 chorale cantatas are wholly based on Luther’s hymns. 26 four-part chorales use Luther’s hymns. In other vocal works, Luther’s hymns are used in 58 movements of 46 works （Table 3–4）. Bach used 100 stanzas of Luther’s hymns in all. The data shown in this study demonstratively support the widespread statement that Bach often used Luther’s hymns. Table 1 shows which of Luther’s hymns are used in which of Bach’s works. It is considered that the most popular hymns in Bach’s time were Luther’s. However, Luther’s hymns account for only one to nine percent in four hymnals Bach referred to. It is true that Luther’s hymns are located at conspicuous positions in these hymnals; it is supposed that the ecclesiastical authorities had the policy to attach great importance to Luther’s hymns. Nevertheless, it cannot be an accident that as many as a quarter of organ chorales and hymn stanzas Bach composed are based on those of Luther. Besides, the reason why 10 hymns of Luther were not composed by Bach was given.
The article draws attention to the music of Azio Corghi (b. 1932), a modern Italian composer, hardly known in Russia. His artistic world is organically integrated into one of the characteristic ...features of modern culture: its inextricable link with the memory of the past. The composer demonstrates his own, original approach to musical memory – an artistic dialogue with it through the use of excerptions from various works of the past. According to the composer it allows him to “re-discover and re-read the past in the spirit of modernity”. This Corghi’s method is defined in the article with the help of the term riletture (Ital. re-reading), invented by the Italian musicologist Raffaele Mellace. Among a large number of works of this kind, as a specific example, the author considers the dramatic cantata “...fero dolore” – on Pianto della Madonna and Lamento d’Arianna by Claudio Monteverdi, for female voice, viola (oboe d’amour), percussion and string instruments
Article is a reflection upon f. Hugolin Sattner’s cantata “Ode to Soča”, which was created in the time of First World War and great battles of Isonzo. It outlines composer’s ideological, political ...and aesthetic outlook as a basis for his creativity thus applying methods of history of mentalities.
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