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The Cimarosa Affair is a collection of essays written by Simone Perugini and translated by Elizabeth Thomson. With his latest studies, Simone Perugini sheds new light on the life of the Italian composer, Domenico Cimarosa, one of the greatest exponents of the Neapolitan School in the second half of the 18th century. Using contemporary documentary sources discovered recently in various state archives in Italy, and analysing the scores and the librettos of Cimarosa’s operas, Simone Perugini retraces aspects of Cimarosa’s personal and professional life which were either unknown, or incorrectly reported, before this detailed study.
Offering comprehensive coverage of classical music, this guide surveys more than eleven thousand albums and presents biographies of five hundred composers and eight hundred performers, as well as twenty-three essays on forms, eras, and genres of classical music. Original.
This book demonstrates the cultivation of instrumental genres by Neapolitan musicians and its significant stature at the royal court. Drawing on archival documents and musical sources, it paints a compelling history of local instrumental music culture and contributes to a wider ethnographic portrait of Naples in the late eighteenth-century.
When first published in 1947, A Short History of Opera immediately achieved international status as a classic in the field. Now, more than five decades later, this thoroughly revised and expanded fourth edition informs and entertains opera lovers just as its predecessors have. The fourth edition incorporates new scholarship that traces the most important developments in the evolution of musical drama. After surveying anticipations of the operatic form in the lyric theater of the Greeks, medieval dramatic music, and other forerunners, the book reveals the genre's beginnings in the seventeenth century and follows its progress to the present day. A Short History of Opera examines not only the standard performance repertoire, but also works considered important for the genre's development. Its expanded scope investigates opera from Eastern European countries and Finland. The section on twentieth-century opera has been reorganized around national operatic traditions including a chapter devoted solely to opera in the United States, which incorporates material on the American musical and ties between classical opera and popular musical theater. A separate section on Chinese opera is also included. With an extensive multilanguage bibliography, more than one hundred musical examples, and stage illustrations, this authoritative one-volume survey will be invaluable to students and serious opera buffs. New fans will also find it highly accessible and informative. Extremely thorough in its coverage, A Short History of Opera is now more than ever the book to turn to for anyone who wants to know about the history of this art form.
The thrust of these five volumes is contained in their title, London Opera Observ’d. It takes its cue from the numerous texts and volumes which — during the seventeenth, eighteenth and nineteenth centuries — used the concept of ‘spying’ or ‘observing’ by a narrator, or rambler, as a means of establishing a discourse on aspects of London life. The material in this five-volume reset edition examines opera not simply as a genre of performance, but as a wider topic of comment and debate. The stories that surrounded the Italian opera singers illuminate contemporary British attitudes towards performance, sexuality and national identity. The collection includes only complete, published material organised chronologically so as to accurately retain the contexts in which the original readers encountered them — placing an emphasis on rare texts that have not been reproduced in modern editions. The aim of this collection is not to provide a history of opera in England but to facilitate the writing of them or to assist those wishing to study topics within the field. Headnotes and footnotes establish the publication information and provide an introduction to the piece, its author, and the events surrounding it or which caused its publication. The notes concentrate on attempting to identify those figures mentioned within the texts. The approach is one of presentation, not interpretation, ensuring that the collection occupies a position that is neutral rather than polemical.
Covers forty years which saw profound changes in music, most of them dominated by Beethoven. Provides a detailed, scholarly critical survey of the music of the period with chapters on French, Italian and German opera and on opera in other countries, on Beethoven's orchestral and chamber music and of his contemporaries on the concerto, on piano music, on solo song and on choral music, as well as an introductory chapter on general musical conditions of the time.
This irresistible collection of stories is perfect for anyone interested in a fresh perspective on what it means to be a human being who creates art. Grace Notes for a Year sheds light on the fragile and perilous process of inspiration, composition, and performance required to create classical music, whether the final product is a masterpiece or a mess. Each page of the book corresponds to a different day of the year and features a true story about a famous figure in musical history. These delightful anecdotes—inspirational, informative, and often hilarious—disprove the myth of the artist as untouchable. Instead, Norman Gilliland exposes in them human vulnerability we can all relate to. From Beethoven to Wagner, these artists suffered from poverty, spent lazy days in bed, had scandalous love affairs, and often failed in their creative endeavors as often as they succeeded.