L’Euridice, composta in musica in stile rappresentativo by Giulio Caccini (1551–1618) is considered the first fully preserved and printed opera in music history. It was composed in 1600 to the ...libretto by Ottavio Rinuccini, itself commissioned for the wedding celebrations of Maria de Medici and her spouse, the French king Henry IV. The score was printed in 1600 in Florence and dedicated to Count Giovanni Bardi; in 1615 it was reprinted in Venice, but without the dedication. In fact, Caccini had not been commissioned to write the music for that occasion: in 1600 the official composer of the opera Euridice had been Jacopo Peri, whose version, with approximately one sixth of Caccini’s music – the parts sung by Caccini’s family members, including Euridice’s part – was performed in Florence on 6 October 1600. At this hybrid performance, parts of Giulio Caccini’s opera were heard for the first time. The only known full staging of Caccini’s opera took place on 5 December 1602 at Palazzo Pitti in Florence to honour Cardinal Montalto. It entertained the noble public for two hours. Considering the simplicity and shortness of the extant score, the performance cannot have been a simple one: it would have included repetitions, dances, and other unwritten additions. In the tradition of humanist Florentine circles, Ottavio Rinuccini’s libretto follows one of the most famous classical myths – the story of the divine singer Orpheus, which was particularly appropriate for a first attempt to resurrect the classical tragedy, believed to have been entirely sung. Yet Rinuccini was inspired not only by Ovid’s and Virgil’s narratives of the myth but also by Angelo Poliziano’s Favola di Orfeo and some other, earlier Renaissance sources. Thee story itself was partly changed and adapted to the occasion of an important state marriage, a common practice in later operatic texts as well. It tells only the first part of the myth, centred on the tragic loss of Eurydice and on Orpheus’ despair: on his ‘magic’ song that makes the underworld deities return his beloved to life. Omitting Eurydice’s second death, the opera has her and her Orpheus return to the meadow, where it ends with a happy chorus of nymphs and shepherds. Caccini’s Euridice did not have a wide dissemination in the early 17th century, but somehow the score (published in a single volume, as a score for a single voice and instrumental bass with some four- and five-part choruses) found its way into the music collection of the Cathedral of Ljubljana, where it was first recorded in 1620 as »Euridice Giulii Cazini in folio«. Another hand added »desunt«, meaning that the second review had found it missing. At the next review, however, a third hand added new information, »L’euridice composta Julii Caccini liber solus«, probably referring to the same copy – now found – rather than to a second copy. Unfortunately neither of the music items listed in the above-mentioned inventory survives, so these two short notes are the only testimony to an early presence of Giulio Caccini’s Euridice in Ljubljana. The article discusses some possible theories on why and how the score might have entered the Ljubljana inventory.
The research focuses on the folklore regarding two monolith ‘Babas’ in the Karst region of Slovenia. From the Karst to the Vipava Valley and Croatian Istria, parents used the ‘baba’ to frighten their ...children, telling them that they would have to kiss or blow up the buttocks of the ugly ‘old baba’ (crone’) or swallow her snivel on their first visit to a neighbouring town (for example, Trieste). Throughout the area, stone ‘Babas’ were represented as personifications of a repulsive old woman. At Grobnik in Croatian Istria, a ‘Baba’ with pronounced female attributes is carved in rock at the entrance to the old town. In some parts, the imaginary or stone ‘Babas’ were given offerings of crops. At Golec in Cicarija, a three-day ritual to ‘Baba’ was performed on Midsummer Day, offering her water, soil and ashes (from a bonfire). Immolation and rituals performed in the immediate vicinity of ‘Babas’ are recorded also in Macedonia, as well as in France and Italy. The ‘Baba’ appears to be an omnipresent, yet fragmentarily preserved phenomenon in the traditions of all Slavic peoples. It encompasses different phenomena. On the one hand it represents old age, infertility, and on the other young, fertile things, or a structural support or basis. In Slavic traditions, the ‘baba’ is connected with water or equated with precipitation phenomena (rain, hail, places where storms break, etc.). She is associated with moisture through some adjectives (‘snotty’, ‘muddy’) or through the location of the stone monoliths by the water. According to the Rodik tradition, the ‘baba’s’ urine turns to rain, her fart to wind, and by lifting her skirt she brings clear weather. Slavic and Indo-European folklore material points to a close connection between bodily winds and conception, birth, and new souls. The lifting of the skirt is reminiscent of the obscene gesture by Baubó in Greek mythology. In several rituals of the Balkans, crawling under the skirt of the ‘baba’ (the oldest woman in the village) is believed to protect from diseases and bring fertility. The ‘baba’ is most commonly associated with a mountain, which could point to the wider Eurasian representations of the mountain as the earth and a woman/mother. The Karst tradition which has it that a person falling on the ground has kissed ‘the snotty baba’ could also suggest that the ‘snotty baba’ is nothing but the earth itself. As stone monoliths or mountain names, ‘Babas’ commonly appear in the vicinity of archaeological sites. The toponyms show a pattern of the Baba opposed to a celestial male deity (Slavic Perun), often in a tripartite structure. The lasciviousness of the traditions about the ‘baba’ can be compared to those surrounding the Slavic goddess Mokosh. Both figures are associated with adjectives of moisture, debauchery, sexual traits, and to Mother Earth. However, the analogies go beyond the Slavic world. The traditions of ‘kissing the crone on the buttocks’ on going somewhere for the first time are known also in Liguria, the valleys of Adda and Mera, and Friuli in northern Italy, in Benevento in southern Italy, and in France up to Brittany. Like in Slovenia, people in northern Italy used to predict bad weather by observing the mountain ridge named after the ‘baba’ or ‘crone’. Moreover, Liguria has the same saying about falling down on the ground as the Karst tradition mentioned above. The widespread analogies all over Europe suggest a much more ancient background for the ‘baba’ than has been supposed. Particularly striking is the similarity between such specific grotesque, lascivious traditions as ‘kissing the baba or blowing up her buttocks’. The ‘Baba’ is an ambivalent folklore figure. Her degraded principle can be seen in horrifying representations and in the threats with repulsive, muddy, and snotty ‘crones’ on entering a town, in her connection with a sudden cold, winter, etc. Her vital, generative principle can be discerned in the representations of the ‘baba’ that symbolise fertility: exaggerated female attributes, association with water, personification of (moist) earth, her power over the weather, her role of providing structural support, etc. With the Karst tradition of burning the last sheaf of grain, again called ‘baba’, people asked for the return of the same in the following year. The ‘baba’ concludes the yearly cycle, which has to finish with ‘death’ so as to be renewed in the following year. What presents the basis or support of the entire macrocosmos, the grounds for construction, for life, is also its end. Despite criticisms of the ‘Great Mother’ theories, it is difficult to avoid comparisons to the ambivalent deities and female figures from European folklore. But such a deity would probably be part of a larger tripartite belief system, demonstrated in the recent researches. This would be corroborated by the immolation of the three basic nature elements to ‘Baba’ and by her inclusion in the tradition of ‘trocan’, a reflection of the old beliefs in the three primary forces of nature from western Slovenia. The common opinion perceives the traditions of ‘kissing the baba on her buttocks’ just as a ‘fairytale’ intended to frighten children. However, the presence of such a specific tradition all over Europe suggests the remnant of an initiation rite on first entering a place, a rite connected to an ancient European goddess governing the forces of nature.
Provider: - Institution: - Data provided by Europeana Collections- Šis paveikslas – tai Nacionalinėje meno galerijoje Vašingtone saugomo Tiziano (apie 1490–1576) kūrinio „Venera prieš veidrodį“, ...sukurto apie 1555 m., kopija. Kai buvo daroma ši kopija, originalas dar buvo saugomas Ermitažo muziejuje.Drobėje matome veidrodyje, laikomame angeliuko, savo atvaizdu besigėrinčią meilės ir grožio deivę Venerą. Tai – vienas labiausiai kopijuotų Tiziano kūrinių. Žinoma ir keletas paties Tiziano sukurtų šio kūrinio variantų.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
I. Zum TerminusUnter Musikmythen werden im folgenden Erzählungen mythologischen, märchenhaften, sagenhaften oder legendären Inhalts verstanden, in denen auf eine nicht rationale Weise die Entstehung ...v...
Kao najekstremniji podžanr heavy metal-glazbe, black metal snažno
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black metala kao izraza nihilizma, sotonizma ili transgresije. Međutim,
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Provider: - Institution: - Data provided by Europeana Collections- Estampe skleidžiasi grafiška senovės graikų mitų veikėjo Edipo – Tėbų karaliaus Lajo sūnaus – temos parafrazė. Kompozicija drąsiai ...dalijama įžambia balta juosta, kur viršutinėje tamsaus fono dalyje en face vaizduojama išeinančio Edipo pusfigūrė. Ji, nepilno piešinio, su į šoną ištiesta kairiąja ranka, yra stilizuojama iki abstrahuoto ženklo. Abiejuose apatinės dalies skirsniuose ryškinami apibendrintų formų išdidinti kojų fragmentai. Juodo fono giluma, siluetinės piešinio plokštumos ir jų grafiškos linijos kuria tragišką žmogiškosios emocijos išraišką.Signuoata: apatinėje dalyje kairėje pieštuku – „SKisarauskienė“.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Estampe skleidžiasi grafiška senovės graikų mitų veikėjo Edipo – Tėbų karaliaus Lajo sūnaus – temos parafrazė. Kompozicija drąsiai ...dalijama įžambia balta juosta, kur viršutinėje tamsaus fono dalyje en face vaizduojama išeinančio Edipo pusfigūrė. Ji, nepilno piešinio, su į šoną ištiesta kairiąja ranka, yra stilizuojama iki abstrahuoto ženklo. Abiejuose apatinės dalies skirsniuose ryškinami apibendrintų formų išdidinti kojų fragmentai. Juodo fono giluma, siluetinės piešinio plokštumos ir jų grafiškos linijos kuria tragišką žmogiškosios emocijos išraišką.Signuoata: apatinėje dalyje kairėje pieštuku – „SKisarauskienė“.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Analiza kosovske legende - njen nastanek, razvoj in predaja - kaže, da nam tudi mit o Troji ne more dati nobenih zanesljivih informacij o zgodovinskih dogodkih v mikenski dobi.
Isusovac Rajmund Kunić jedan je od najcjenjenijih prevodilaca Homera na latinski. Ključni faktor u njegovu radu bilo je isusovačko obrazovanje zahvaljujući kojem je dobro poznavao klasične pisce i ...skladno se i sam izražavao na latinskom. Međutim, odabir Ilijade kao prevodilačke građe nije bio posve neproblematičan iz isusovačke perspektive budući da se u tom djelu nalaze i razni škakljivi ulomci. Najpoznatiji od njih je epizoda „Zavođenje Zeusaˮ koja se u ovom radu prikazuje iz različitih perspektiva, zaključno s analizom Kunićeva prijevoda iste. Naša analiza ukazuje na sklonost ublažavanju potencijalno skandaloznih stihova te na posezanje za antičkim autorima.
KALISTO (2.401–495) Širne ograde neba vsemogočni oče obkroži; gleda, če sila ognjena morda jih je kje razmajala. Čim se prepriča, da čvrsto stoje in so trdne kot nekdaj, zemljo in mučno gorje ...človeštva s pogledom razišče.
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