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 Asunto: Re: La otra ópera
NotaPublicado: 24 Jul 2020 20:57 
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Pedro Miguel Juan Buenaventura Bernadino Marqués y García (1843 - 1918) Nació en Palma de Mallorca. Marqués hizo sus primeros estudios musicales con los profesores Noguera y Montis, y luego con el director italiano O. Foce. Destacó pronto como violinista, trasladándose a París en 1859, donde amplió estudios con Armingaud y Alard. Dos años después ingresó en el Conservatorio parisiense, donde tuvo como profesores a Massart (violín) y Bacin (armonía). De esta época data su amistad con el gran Héctor Berlioz, quien no sólo introdujo en él la inquietud por la composición sinfónica, sino que le dio clases de instrumentación. A los 24 años de edad se instaló en Madrid, en cuyo Conservatorio siguió perfeccionando la armonía con Galiana, el violín con Monasterio y la composición con Emilio Arrieta. Marqués fue violinista de la Sociedad de Conciertos, donde se dieron a conocer con éxito sus primeras obras sinfónicas. Más tarde fue nombrado inspector de las escuelas especiales de música de Madrid y profesor de canto de los colegios de la Inclusa. En el plano didáctico, este hombre modesto, simpático, ha dejado un Pequeño método de violín y La lira de la infancia. En el de la música teatral, contribuyó con algunos éxitos al desarrollo de la zarzuela grande, cuyo modelo había fijado Barbieri en su Jugar con fuego. Además de la ya citada, merecen mencionarse Justos por pecadores (1872), El maestro de Ocaña, Los hijos de la costa, La cruz de fuego, El regalo de boda, El reloj de Lucerna (1884), uno de sus mayores triunfos, El motín de Aranjuez, El diamante rosa, La hoja de parra, Plato del día, muy popular, como El monaguillo, que trascendió las fronteras, Amores nacionales, Los redentores, El guateque, El aquelarre, Magdalena, El zortzico, El dios chico, El centinela, El abate San Martín, Fraternidad, Los tortolitos, El santuario del valle, Verso y prosa, Florinda, Camoens, etc.

Sin embargo, la verdadera importancia de Miguel Marqués, máxime si tenemos en cuenta la escasa aportación al sinfonismo de nuestros compositores románticos, radica en su dedicación constante a este género. En mayo de 1869 Monasterio estrenó la Sinfonía nº 1 en si bemol, cuyo andante se repitió en varias ocasiones en las veladas de la Sociedad de Conciertos. Insistió Marqués con una Segunda Sinfonía en mi bemol (3 de abril 1870). Continuó componiendo oberturas, como la titulada La selva negra (1873), polonesas de conciertos, poemas sinfónicos como La cova del drac, marchas, alcanzando un prestigio mítico como compositor sinfónico al modo moderno, hasta el punto de estrenar una Gran marcha nupcial en 1878, con motivo de las bodas reales entre Alfonso XII y María de las Mercedes. Dos años antes había estrenado su Sinfonía nº 3 en si menor, que fue recibida con indescriptible entusiasmo por el público de la Sociedad de Conciertos. La citada Sociedad decidió editar la partitura, cosa que se realizó, grabándose en la calcografía de Lodre para el editor Antonio Romero y Andía. No se han escuchado en nuestros tiempos las sinfonías de Marqués, tan melódicas y operísticas, pero tan interesantes para comprender un momento clave en el incipiente sinfonismo español. Todavía aportó el músico mallorquín otras dos sinfonías Nº 4 en mi mayor (1878) y Nº 5 en do menor (1880) antes de retirarse a su tierra natal, donde todavía obtuvo un último reconocimiento al estrenar su Himno a honor de Ramón Llull (Palma, 1916).

Para comprender el efecto causado por las obras sinfónicas de Miguel Marqués, algunas de las cuales pasaron a los Conciertos Pasdeloup de París, basta leer, con el consiguiente regocijo, los siguientes párrafos de Peña y Goñi, crítico famoso y valioso de la época, citados por Subirá en sus "Temas Musicales Madrileños": "La sinfonía de Marqués representa una nueva fase de nuestro arte patrio, una innovación atrevida... Ha valido al distinguido maestro el lugar único e indisputable que ocupará mañana en la historia musical de su patria... La sinfonía clásica, la sinfonía de Beethoven, es para el público madrileño, en su inmensa mayoría, matrona añeja y malhumorada, cuyos tiempos pasaron, y que solo algunos curiosos visitan de higos a brevas en el museo arqueológico del arte. Marqués la ha adornado y la ha transformado. Ha lavado su cara con leche de Iris y velutina; ha llenado sus frentes de ricitos a la "dernière", resguardados de la lluvia bajo la techumbre de un sombrero cabriolet; la ha vestido con falda de raso y sobrefalda ceñida, según el último figurín; ha aprisionado sus pies en zapatitos enrejados, jaula transparente y tenue, por la que asoma fina media de color, provocativa. Y la matrona severa y arrugada, convertida en graciosa polla coquetona, se ha dirigido al público, preguntándole con la mayor desenvoltura: "¿Me amas?" Y el público, hecho un sietemesino, ha contestado: "¡Te adoro!".

Fundación Juan March

El anillo de hierro, drama lírico en tres actos (1878). Yo no salgo de mi asombro.

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 Asunto: Re: La otra ópera
NotaPublicado: 31 Jul 2020 20:56 
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Georg Joseph Vogler (1749-1814) Vogler was born at Pleichach in Würzburg. His father Jared Vogler was a violin maker and instrument-maker for the Prince-Bishop of Würzburg. The young Vogler studied law and theology in Würzburg and Bamberg, however he had possessed a prodigious talent and interest in music from childhood and continued to pursue that interest as a university student. In the late 1760s he was introduced to the Elector Palatine Karl Theodor, receiving appointment as the latter's almoner at the court in Mannheim in 1770. Vogler became active in composing and performance there, and in 1771 his first major theatrical piece Singspiel – Der Kaufmann von Smyrna was performed for the court.[3] In 1773 he was sponsored by the court to study under the Padre Martini in Bologna. Dissatisfied with the method of that learned theorist, he studied for five months under Francesco Antonio Vallotti at Padua, and met Johann Adolph Hasse in Venice. He afterwards proceeded to Rome, where, having been ordained priest, he was admitted to the famous Academy of Arcadia, made a knight of the Golden Spur, and appointed protonotary and chamberlain to the pope.

On his return to Mannheim in 1775, Vogler was appointed court chaplain and second maestro di cappella. From this position he was able to found a school to educate both amateur and aspiring musicians. His pupils were devoted to him, but he made innumerable enemies, for the principles upon which he taught were opposed to those of all other teachers. Two major musicological contributions followed: Tonwissenschaft und Tonsetzkunst on the theory of harmony, and Stimmbildungskunst on voice training. He also invented a new system of fingering for the harpsichord, a new form of construction for the organ, and from 1778 to 1781 edited the Betrachtungen der Mannheimer Tonschule – a periodical providing analysis of new compositions and essays on music. Mozart condemned the fingering as "miserable", the young composer finding little musical success in Mannheim now musically dominated by Vogler. The proposed change in the construction of the organ consisted of simplifying the mechanism, introducing free-reeds in place of ordinary reed-stops, and substituting unisonous stops for the great "mixtures" then in vogue. Vogler's writings on musical theory, though professedly based upon Vallotti's principles, was to a great extent empirical. Nevertheless, in virtue of a certain substratum of truth which seems to have underlain his new theories, Vogler undoubtedly exercised a powerful influence over the progress of musical science, and numbered among his disciples some of the greatest geniuses of the period.

In 1778 Karl Theodor moved his court to Munich. Vogler temporarily remained in Mannheim before following him there in 1780, but, dissatisfied with the reception accorded to his dramatic compositions, soon quit his post. He went to Paris, where after much hostility his new system was recognized as a continuation of that started by Jean-Philippe Rameau. His organ concerts in the church of St. Sulpice attracted considerable attention. At the request of the royal court, he composed the opera Le Patriotism, which was performed at Versailles. Other works, including Eglė and La Karmesse, ou La Foire flamande, did not attract widespread critical acclaim however. Rather more successful were his tone paintings, performed in his capacity as an organ virtuoso, and Vogler played to packed houses around Europe in 1780s, although critical opinions remained mixed.

In 1786 he was appointed Kapellmeister by Gustav III of Sweden and founded his second music school in Stockholm. His major composition of this period was Gustav Adolf och Ebba Brahe, as well as the Pieces de Clavecin and a series of organ studies and didactic works on musical theory. He attained extraordinary celebrity by his performances on an instrument called the "orchestrion", a species of organ invented by himself. As a member of the Swedish court he visited Saint Petersburg in 1788 where he met the Copenhagen organ builder Kirsnick (one of the first known to use free reeds in organ pipes). Starting in 1790 Vogler changed all the organs he performed on by adding new registers with free reeds. The first organ that was changed was in Rotterdam, and as many as 30 known rebuilds of organs followed. In 1790 he brought this instrument to London, and performed upon it with great effect at the Pantheon, for the concert-room where he also constructed an organ upon his own principles. The abbé's pedal-playing excited great attention. His most popular pieces were a fugue on themes from the Hallelujah Chorus, composed after a visit to the Handel festival at Westminster Abbey, and A Musical Picture for the Organ, by Knecht, containing the imitation of a storm.

In 1792 his royal patron was assassinated, and he embarked upon a series of ambitious travels extended over Spain, Greece, Armenia, remote districts of Asia and Africa, and even Greenland, in search of uncorrupted forms of national melody and the existing traces of ancient musical practices on which Western music was founded. These travels also supplied new exotic themes and folk music traditions that found their way into his later compositions. He returned to Stockholm and remained in residence there until 1799, before once more establishing himself in Germany, where his compositions, both sacred and dramatic, received at last full credit. He also wrote Choral-System in 1800 as a result of his new theory on choral accompaniment. He spent time in Vienna from 1802 to 1804, making the acquaintances of Haydn and Beethoven. His operas Castore e Polluce and Samori received popular acclaim there and he was to gain two ardent disciples – Carl Maria von Weber and Johann Baptist Gänsbacher. Under his tutelage, both would become well known composers in their own right. After Vienna, Vogler continued to travel around Germany. While at Frankfurt in 1807 he received an invitation from Ludwig I, grand duke of Hesse-Darmstadt, offering him the appointment of Kapellmeister, with the order of merit, the title of privy councillor, a salary of 3000 florins, a house, a table supplied from the duke's own kitchen, and other privileges, which determined him to bring his wanderings at last to a close. At Darmstadt he opened his third and most famous music school, the chief ornaments of which were Gänsbacher, Weber, and Giacomo Meyerbeer. One of Vogler's last journeys was to Frankfurt in 1810, to witness the production of Weber's Sylvana. He continued to work hard in old age, and died suddenly of apoplexy at Darmstadt.

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Gustav Adolf och Ebba Brahe, ópera en tres actos (1778). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Ago 2020 15:49 
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Kate Soper (*1981) Soper was born and raised in Ann Arbor, Michigan and studied piano through the University of Michigan Piano Pedagogy Program. She holds a D.M.A. from Columbia University and a B.M. from Rice University. Early musical activities include frequent performances as a piano-based singer-songwriter, study of Indian Karnatic vocal music, and extensive work in the theatre as a sound designer and composer. Her vocal writing incorporates spoken and sung pitches, overtones and unique tuning systems, imitation and adaptation of instrumental timbres and effects, and extended techniques such as abrupt register changes, alternative and mixed singing styles, reverse phonation, and resonance changes. Frequent subjects include the treachery of language and the authenticity/inauthenticity of expression in music, and she has set original texts as well as writings by Lydia Davis, Jorie Graham, Ludwig Wittgenstein, Pietro Bembo, Plato, Freud, André Breton, Christian Bök, and Matha Collins, among others. In addition to composing, Soper performs frequently as a new music soprano in her own works and the works of others, and many of her vocal works were developed with herself in mind as performer. Her compositional style has been deemed "exquisitely quirky" with "seamless commingling of not only lines but of actual instrumentation and fingering with another player."

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Ipsa Dixit, ópera de cámara (2016). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Ago 2020 18:58 
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Ubicación: Calle Mossén Femades
Zelenka escribió:
Dos años antes había estrenado su Sinfonía nº 3 en si menor, que fue recibida con indescriptible entusiasmo por el público de la Sociedad de Conciertos. La citada Sociedad decidió editar la partitura, cosa que se realizó, grabándose en la calcografía de Lodre para el editor Antonio Romero y Andía. No se han escuchado en nuestros tiempos las sinfonías de Marqués, tan melódicas y operísticas, pero tan interesantes para comprender un momento clave en el incipiente sinfonismo español.
Hace como seis o siete años pude escuchar en el Teatro de la Zarzuela esta sinfonía y me pareció fabulosa, en especial un solo de violín que lo podía haber firmado cualquiera de los grandes. Recuerdo que la busqué en YT y no la encontré. Menos mal que Loge reparó tal decepción. Eso sí, acabo de escucharlo y ni rastro del citado solo. :?

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Cuidado con tragarse las óperas de Wagner: son de difícil digestión.


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 Asunto: Re: La otra ópera
NotaPublicado: 14 Ago 2020 18:49 
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Gordon Kerry (*1961) He studied composition at the University of Melbourne under Barry Conyngham. He then worked for the Sydney Festival and resided in Sydney for the next 16 years. After the retirement of Fred Blanks, Kerry was invited to become a music critic for the Sydney Morning Herald. In April 1997 he was appointed artistic administrator for Musica Viva Australia, a post he held for 18 months but left as he had too little time to compose. He then became the organisation's musical adviser. He also contributes pieces for Limelight and The Australian's Review of Books. In 2009, he was awarded the Ian Potter Established Composer Fellowship. His book New Classical Music: Composing Australia was published by UNSW Press in 2009.

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Medea, ópera de cámara (1993). Fragmento.

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