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 Asunto: Re: La otra ópera
NotaPublicado: 16 Oct 2020 17:46 
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Sir Malcolm Henry Arnold (1921-2006) He was born in Northampton, Northamptonshire, England, the youngest of five children from a prosperous Northampton family of shoemakers. Although shoemakers, his family was full of musicians; both of his parents were pianists, and his aunt was a violinist. After seeing Louis Armstrong play in Bournemouth, he took up the trumpet at the age of 12 and five years later won a scholarship to the Royal College of Music (R.C.M.). At the RCM he studied composition with Gordon Jacob and the trumpet with Ernest Hall. In 1941 he joined the London Philharmonic Orchestra (LPO) as second trumpet and became principal trumpet in 1943. In 1941 he registered as a conscientious objector, and was initially exempted from military service conditional upon joining the National Fire Service, but in the event he was allowed to continue in the LPO. In 1944, after his brother in the Royal Air Force had been killed, he volunteered for military service. When the army put him in a military band he shot himself in the foot to get back to civilian life; he remained in touch with the CO movement, giving a trumpet recital at the 1946 New Year party of the Central Board for Conscientious Objectors. After a season as principal trumpet with the BBC Symphony Orchestra he returned in 1946 to the London Philharmonic, where he remained until 1948, leaving to become a full-time composer.

He was ranked with Benjamin Britten as one of the most sought-after composers in Britain. His natural melodic gift earned him a reputation as a composer of light music in works such as some of his concert overtures and the sets of Welsh, English, Scottish, Irish and Cornish dances. He was also a highly successful composer of film music, penning the scores to over a hundred features and documentaries, including titles such as The Bridge on the River Kwai, Hobson's Choice and the St Trinian's series. His nine symphonies are often deeply personal and show a more serious side to his work, which has proved more controversial. Arnold also wrote a variety of concertos and chamber works, as well as music for the theatre including major ballets.

By 1961 Arnold had a reputation for being unpleasant, frequently drunk and highly promiscuous. He divorced his first wife in that year. His second wife was forced to take out a court order after they separated. After the divorce he made two suicide attempts. His later years saw a decline in both his health and his finances. In 1978 he was treated as an in-patient for several months in the acute psychiatric ward at the Royal Free Hospital, Pond Street, London, and in 1979 he entered St Andrew's Hospital in his home town of Northampton to be treated for depression and alcoholism. He overcame both, despite being given only a year to live in the early 1980s. He lived for 22 more years, albeit with a carer, Anthony Day, and completed his Ninth and final symphony in 1986. By the time of his 70th birthday in 1991 his artistic reputation with the general public was recovering and he was even able to enjoy a triumphant appearance on the stage of the Royal Albert Hall to receive an ovation after a Proms performance of his Guitar Concerto. Arnold died at the Norfolk and Norwich University Hospital, Norwich, on 23 September 2006, aged 84, after suffering from a chest infection. That same day his last work, The Three Musketeers, was premiered in a Northern Ballet production at the Bradford Alhambra. (The score included no new music by Arnold, but excerpts from various of his compositions were arranged by John Longstaff. The original score was compiled by Anthony Meredith.)

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The Dancing Master, opera en un acto (1952). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 23 Oct 2020 17:18 
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Harald Weiss (*1949) He was born in Salzgitter. Weiss's compositions are influenced by minimalism, as well as jazz and rock musics. Numerous trips (in the context of theater workshops and tours) to Africa, Asia, Europe, and South America have also had a significant influence on his music. Weiss has received many awards for his musical compositions and films, including the Niedersachsen Kulturpreis (1982), the Kulturpreis of Bielefeld (1984), and a fellowship from the Villa Massimo in Rome (1985-1986). In 2009 Dorothee Mields and Andreas Karasiak were the soloists in his requiem composition Schwarz vor Augen und es ward Licht! dedicated to the Knabenchor Hannover, premiered on 31 October 2009 with the NDR Symphony Orchestra. Weiss has lived in Majorca, Spain since 1984, and his music is published by Schott Music.

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Arche, Musiktheater (1984). Comienzo.


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 Asunto: Re: La otra ópera
NotaPublicado: 30 Oct 2020 21:00 
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Robert Frank Kurka (1921-1957) He was born in Cicero, Illinois. He was mostly self-taught as a musician. He studied for short periods under Darius Milhaud and Otto Luening, and received his Master of Arts degree in music from Columbia University in 1948. After that he lived most of his life in New York. Kurka held teaching positions at City College of New York, Queens College and Dartmouth College. He wrote a total of two symphonies, five string quartets, six violin sonatas, and other works for piano, voice, and chorus. He is probably best known for the instrumental suite, The Good Soldier Schweik. This was inspired by Jaroslav Hašek's anti-war novel The Good Soldier Schweik, published in English translation in 1956. Kurka expanded his music for an opera of the same name, completed just before his death in 1957. The libretto was written by Abe Meeropol of New York, who in 1937 had written the song, "Strange Fruit" about lynchings in the American South. The opera's orchestration was completed by Hershy Kay. The Good Soldier Schweik premiered at the New York City Opera on April 23, 1958. Its music attracted critical comparisons to the compositions of Kurt Weill, especially for its satirical, ironic bent and incorporation of popular styles. Kurka died of leukemia in New York City.

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Good Soldier Schweik, ópera en dos actos (1957). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 06 Nov 2020 22:08 
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Goffredo Petrassi 1904-2003) He was born at Zagarolo, near Rome. At the age of 15 he began to work at a music shop to supply his family's financial needs, and became fascinated by music. In 1928, he entered the Santa Cecilia Conservatory in Rome to study organ and composition. In 1934, composer Alfredo Casella conducted Petrassi's Partita for orchestra at the ISCM festival in Amsterdam. Later, Petrassi became musical director of the opera house La Fenice, and from 1959 taught composition at the Santa Cecilia Conservatory and at the Salzburg Mozarteum. Petrassi had many famous students, including Franco Donatoni, Aldo Clementi, Cornelius Cardew, Ennio Morricone, Karl Korte, Boris Porena, Norma Beecroft, Mario Bertoncini, Ernesto Rubin de Cervin, Eric Salzman, Kenneth Leighton, Peter Maxwell Davies, Michael Dellaira, Armando Santiago, and Richard Teitelbaum.

Petrassi's early work was part of an attempt by several Italian composers to create a national "Italian" revival in classical music, corresponding to the romantic work of Germans such as Richard Wagner. During this time, his work was characteristically neoclassical in style, influenced by Bartók, Hindemith and Stravinsky. In later years, Petrassi's open musical mind and acute personality led him to experiment with different post-Webernian influences and a wide range of poetic materials, from Latin hymns to Ariosto's La follia d'Orlando and Ritratto di Don Chisciotte (Portrait of Don Quixote), based on the Miguel de Cervantes literary character. All these influences are present in a remarkable series of eight Concerti for Orchestra which he composed between the late 1930s and the late 1970s. Petrassi stopped composing in 1986 due to increasing loss of eyesight.

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Il Cordovano, ópera en un acto (1948). Comienzo.

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 Asunto: Re: La otra ópera
NotaPublicado: 13 Nov 2020 14:35 
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Pavel Vranický (1756-1808) He was born in Neureisch (Nová Říše) in Habsburg, Moravia. He studied at the Faculty of Theology of University of Olomouc and later a theological seminary in Vienna. At age 20, like so many other Czech composers of that period, he moved to Vienna to seek out opportunities within the Austrian imperial capital. From 1790, he conducted both royal theater orchestras. He was highly respected by Mozart, Haydn and Beethoven; the latter two preferred him as conductor of their new works (e.g., Beethoven's First Symphony in 1800). Wranitzky was a prolific composer. His output comprises ten operas, 44 symphonies, at least 56 string quartets (some sources give a number as high as 73) and a large amount of other orchestral and chamber music. His opera, Oberon, König der Elfen from 1789 was a favorite in this genre and inspired Emanuel Schikaneder to write the libretto of The Magic Flute for Mozart in 1791; in the mid-1790s, Goethe sought to collaborate with Wranitzky on a sequel to the Mozart opera. Today, Wranitzky is identified as being one of three possible composers said to have composed the Austrian national anthem (the identity of the actual composer is not definitively known). Wranitzky died in Vienna on 29 September 1808. Beethoven wrote Variations on a Russian Dance (WoO 71), based on a theme in Wranitzky's opera Das Waldmädchen (The Forest Maiden).

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Oberon, König der Elfen, Singspiel (1789). Aria: Dies ist des edlen Hüons' Sprache.

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 Asunto: Re: La otra ópera
NotaPublicado: 20 Nov 2020 15:49 
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Manos Tsangaris (*1956) He was born in Düsseldorf. Tsangaris studied composition and New Music Theatre with Mauricio Kagel and percussion with Christoph Caskel at the Musikhochschule (Academy of Music) in Cologne. Since the 1970s, Manos Tsangaris has consistently made the conditions of a performance the central focus for compositions in various artistic formats. In1991, Tsangaris was Composer in Residence in Moscow at the invitation of the Soviet Union of Composers. In the same year, he initiated the “Praemoderne” congress in Cologne. In 1991 he received the Bernd Alois Zimmermann Grant from the City of Cologne, and in 1993/94 a grant from the “Akademie Schloss Solitude”, Stuttgart. In 1997 he was presented with the Art Award of the Berlin Academy of Arts. In 1998 he stayed at the Villa Serpentara, Olevano, and in 2009 he was guest of honour at the Villa Massimo in Rome. In 1991 he lectured at the summer academy Civitella d'Agliano (Italy), in 2002 he taught transdisciplinary composition at NY Musikk in Oslo and Stavanger(Norway) and in 2003 at the Klang Kunst Bühne summer academy of the Berlin University of the Arts. In 2007/08 he was in charge of the academy project of the European Center of the Arts in Dresden at the Hellerau Festival Centre with 20 recipients of grants.

Batsheba. Eat The History!, installation opera (2008-2009). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 27 Nov 2020 17:21 
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Douglas Stuart Moore (1893-1969) He was born in Cutchogue, Long Island, New York. His ancestors were among the first settlers to Long Island, NY. Moore was an alumnus of the Fessenden School, the Hotchkiss School and Yale University. Moore earned two degrees from Yale University, a B.A. in 1915, then a B.Mus in 1917. Moore served in the Navy as a lieutenant, after which he studied music with Nadia Boulanger, Vincent d'Indy and Ernest Bloch in Paris. Moore served as president of the National Institute and American Academy of Arts and Letters, 1953 - 1956. He had been a member since 1941. In 1921, Moore was hired as Director of Music at the Cleveland Museum of Art, during which he studied with Ernest Bloch at the Cleveland Institute of Music, and performed in plays at The Cleveland Play House. He made his debut as a composer and conductor in 1923 conducting his Four Museum Pieces with the Cleveland Orchestra. In 1926, Moore joined the music faculty at Columbia University, where he remained until his retirement in 1962. In 1954 he was a co-founder, with Otto Luening and Oliver Daniel, of the CRI (Composers Recordings, Inc.) record label. Apart from classical compositions, Moore also composed several popular songs whilst at Yale together with poet and Hotchkiss School mate Archibald MacLeish and later in collaboration with John Jacob Niles. He wrote the Yale fight song Goodnight, Harvard. These songs were later published in 1921 under the collective title "Songs my Mother never taught Me". He later collaborated with fellow Yale alumnus Stephen Vincent Benet on the folk opera The Devil and Daniel Webster. Moore authored two books on music, Listening to Music (1932) and From Madrigal to modern Music (1942).

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The Devil and Daniel Webster, folk opera (1939). Fragmento.

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Gallantry, a soap opera (1958). Fragmento.

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Carry Nation, opera (1966). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 04 Dic 2020 18:16 
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Pedro António Avondano (1714-1782) He was born and died in Lisbon. He studied with his father, Pietro Giorgio Avondano, a Genoese violinist of the Portuguese royal chapel and a composer, and himself became a violinist in the same chapel; others of his family were also members. His duties as a court musician included composing the music for the ballets which accompanied the operas. He also played the violin, and at his own house in the Rua da Cruz promoted balls and concerts mainly for the foreign communities. Three collections of minuets written for these balls were published in London, at the expense of the British community in Lisbon. He was a Knight of the Order of Christ, an honour purchased for 480,000 réis, and he also played an important role in the reorganization after the 1755 earthquake of the Irmandade de S Cecília, the musicians’ union of Lisbon. He wrote a dramma giocoso, Il mondo della luna (1765), and several oratorios and instrumental works.

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Il mondo della luna, dramma giocoso (1765). Aria: Vado, volo. Aria: Qua la mano, Io v'unisco in matrimonio.

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 Asunto: Re: La otra ópera
NotaPublicado: 12 Dic 2020 11:01 
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Gerhard E. Winkler

1959 born in Salzburg

1974 – 1980 Study of composition at Hochschule Mozarteum (Helmut Eder)

1979 – 1980 Study of Musicology, Philosophy and Psychology at Universities Salzburg and Vienna (Dissertation about Penderecki and Sound-composition in the 20th Century)

1993 Studies at IRCAM/Centre Pompidou, Paris.

Artist in residence at the Center for Arts and Media-Technologie, ZKM, Karlsruhe, at the IRCAM/Centre Pompidou, Paris.

1999 Guest-Artist at the Music-Department of the UCSD, University of California, San Diego. Several Collaborations with the Experimentalstudio of the SWR, Freiburg

Development of Real-Time-Score-pieces as well as interactive Computer-Environments for musicians. Integration of these experiences also in fixed written scores.

Since 1999 freelanced composer

His works are commissioned by and performed at many important Festivals.

Heptameron, interactive opera (1998-2002). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 18 Dic 2020 15:10 
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Uzeyir Hajibeyov (1885-1948) He was born in Shusha in the Shusha Governorate of the Russian Empire, which is now part of Azerbaijan. His father, Abdul Huseyn Hajibeyov, was the secretary to Khurshidbanu Natavan for many years, and his mother, Shirin, grew up in the Natavan household. Growing up, Hajibeyov was strongly influenced by Natavan's work. In 1911 and 1912 Hajibeyov attended private courses in Moscow with Ladukhin for solfège and Sokolov for harmony; in 1913 he entered the organ class of the St Petersburg Conservatory and studied harmony with Kalafati. While in the capital he wrote his best musical comedy, Arshin mal alan, in which, as in his previous comedies, he reflected the morality of pre-Revolution Azerbaijan and satirized its patriarchal-feudal customs. In Azerbaijan the arias, couplets and dances of the work became accepted as folk music. Having returned to Baku in 1914, Hajibeyov became director of the arts section of the Red Army’s political administration after the October Revolution, and then director of the National Commissariat of Enlightenment. He was also one of the founders, and from 1938 permanent director, of the city’s conservatory. During the post-Revolution years he acquired a greater public, proving in both articles and compositions the originality and value of Azerbaijani music while protesting against the musical isolation of any nation; for him, Azerbaijani composers had to master European techniques as well as develop their own traditions.

The first collection of Azerbaijani folksongs, edited by Hajibeyov and Mahomayev, came out in 1927. A year earlier Hajibeyov had organized a polyphonic choir, a bold innovation at a time when monody was still dominant in Azerbaijani musical culture; in 1931 he formed the first orchestra of Azerbaijani folk instrumentalists playing from notation; and in 1936 he established the State Choir. His compositions of the 1930s included mass songs and marches, fantasias, the trio Ashug sayagï (the first chamber work based on Azerbaijani mugam) and choral pieces, while at the same time he worked on the basic research for his study Osnovï azerbaydzhanskoy narodnoy muzïki (‘The foundations of Azerbaijani folk music’). But his most important work of this period was the epic-heroic opera Kyor-oglï, a more mature work than any of his previous dramatic compositions in which he succeeded in achieving the synthesis he desired of European operatic forms with the national melos: of Western with Eastern principles of development. The text is based on episodes from the Azerbaijani epic about Kyor-oglï, the leader of a peasant uprising and an ashug (folk musician); accordingly, his musical material is based on ashug intonations. The opera presents themes which concerned its composer all his life: art, love and his nation’s struggle for freedom.

In 1941 Kyor-oglï won Hajibeyov a State Prize of the USSR; he had already been made a National Artist of the USSR in 1938, and in 1946 he won a second State Prize for the film version of Arshin mal alan. He wrote marches and battle songs for World War II, and during the war years made re-creations of the heroic genres of national music (jengi and gakhraman) and wrote the music for the national anthem of the Azerbaijani SSR. He was elected to the Azerbaijani Academy of Sciences in 1945, the same year that he was appointed director of the Institute of the History of Azerbaijani Art. In 1947, for the eighth centenary of the poet Nizami, he composed the remarkable romance-gazelles Sensiz (‘Without You’) and Sevgili janan (‘The Beloved’).

Hajibeyov’s achievement was to prove the possibility of combining the traditions of Azerbaijani folk music with those of European art music. The singlemindedness with which he pursued this aim is clearly evident from his early mugam operas through to Kyor-oglï: from recitational constructions to a completely original folk-style work. His constant striving towards the unification of Eastern and Western sources, both philosophical and aesthetic, shows as much in the historical-legendary operas, celebrating the strength and beauty of human feelings, as in the musical comedies on social themes; and his success owed something to the fact that he was a gifted writer and wrote most of his own librettos. The theory of Azerbaijani folk modes he established is reflected in his compositional work. Indeed, his style is notable for its modal thought, which influences the principle of thematic development; national traits are particularly evident in his melodies, with their modality, cadences, sequences and so on, for the most part in a descending movement. He introduced many new genres into Azerbaijani music, and his greatest work, Kyor-oglï, proved a particularly important model: its monumental and dramatic choral scenes contained the seeds for the cantatas and oratorios of later Azerbaijani composers, and its numerous dance numbers prepared the way for the evolution of a national ballet. There is a Hajibeyov archive at the Academy of Sciences of the Azerbaijani SSR (manuscript stocks M-22).

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Kyor-oglï, opera en cinco actos (1937). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 25 Dic 2020 15:12 
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Alessandro Melani (1639-1703) Born in Pistoia, Melani began singing at the Pistoia Cathedral at the age of 11, remaining there for ten years until he became maestro di cappella in Orvieto in 1663 and Ferrara in 1665. He returned to Pistoia in December 1666 to replace his brother as maestro di cappella of the cathedral in June 1667. The following October he was appointed maestro di cappella of the Basilica di Santa Maria Maggiore in Rome. He remained there until July 1672 when he became the maestro at San Luigi dei Francesi, remaining in that role until his death 31 years later. Melani was a favorite composer of Cardinal Giulio Rospigliosi (later Pope Clement IX). The Papal conclave of 1667 commissioned him to write an opera (title now unknown) for Carnival of 1668. His next opera, L'empio punito (commissioned by Marie Mancini), premiered at Carnival a year later and was notably the first opera on the subject of Don Juan. In 1686 he collaborated with Scarlatti and Pasquini on the opera Santa Dimna. In 1685 he composed an oratorio, Golia abbattuto, for King John III of Poland. The work was written to celebrate the Holy League's victory against the Turks; he gained the commission through the efforts of Pope Innocent XI. This coupled with the fact that Alessandro’s nephews were made a part of the minor nobility in Tuscany around this time has caused some scholars to speculate that politics played a role in the events surrounding the 1685 commission. Melani wrote another notable oratorio in 1690, Lo scisma nel sacerdozio (now lost), for Francesco II d'Este. Of all the oratorios attributed to him the most frequently performed was Il fratricidio di Caino. He also enjoyed the patronage of Ferdinando II de' Medici, Grand Duke of Tuscany and he was listed among the "celebrated professors of music protected by the Prince of Tuscany" in 1695. He died in Rome at the age of 64.

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L'empio punito, ópera en tres actos (1669). Del acto tercero: Scioglie Febo il biondo crine. Del acto tercero: Addio Delfa.

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 Asunto: Re: La otra ópera
NotaPublicado: 01 Ene 2021 19:05 
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Heinrich-Artur Feischner (1910-1961) He was born in Reval (Tallinn) to Heinrich Gottlob Feischner, a confectioner and proprietor of the Café Feischner on Harju Street. Few details of his childhood years survive. According to a 1936 article in the Estonian newspaper Esmaspäev, Feischner met fellow composer Eugen Kapp (two years his senior) at the age of 14 while at school. This acquaintance inspired young Feischner to begin composing songs, which he later described as “naive and romantic…they probably felt the influence of Tchaikovsky.” He attended the Leipzig Conservatory until 1931, studying composition with Hermann Grabner. He there became friends with fellow student composers Hugo Distler and Yury Arbatsky. Upon his return to Tallinn, he continued his studies with Eugen Kapp and Adolf Vedro, while also working at his father’s cafe, a respected hangout for writers, poets and musicians. Among his acquaintances there were the poets Alexis Rannit and Igor Severyanin; the latter dedicated his poem «Безвестные строки» (“Unknown lines”) to Feischner. His frequent musical collaborators included organist Paul Indra, soprano Olga Indra, clarinetist Bernhard Lukk, and bassoonist Leino Ernits, who performed his Trio quasi una fantasia, bassoon sonatina and wind quintet in 1936. Composer and music critic Riho Päts, who attended Ernits’s performance of the bassoon sonatina and wind quintet, condemned the former as a work of “sprawling linearity…unable to attract any substantial interest,” but praised the latter for its “originality, humorous grotesqueness and strong western influences.” The quintet appears to have been Feischner’s most successful work of the time, winning a prize at a competition organized by the Estonian Society of Academic Sound Artists and receiving repeated mention in various newspaper articles. His compositional style of this period is unknown, since none of these works have survived to the present day, though Feischner himself cited the influences of Bach, Schubert, Hindemith and Stravinsky, particularly the latter’s approach to instrumentation. Hindemith's influence was noted by an anonymous reviewer in Feischner's "para-tonal" neoclassical piano concerto (1935). He emigrated to Germany either during or following World War II, eventually settling in Stuttgart. His first symphony premiered in Berlin on 7 December 1944, while the suite from his ballet Café Savoy was premiered by the Süddeutscher Rundfunk orchestra on 1 January 1946. Between 1954 and 1961 he wrote music for a dozen TV movies and miniseries. He died in Stuttgart at the age of 51.

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Zirkus Carambas, ópera (1957). Fragmento.

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Ene 2021 19:26 
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Camillo Togni (1922-1993) He was born in Gussago, near Brescia. He began studying piano at the age of 7, with Franco Margola in Brescia, then from 1939 to 1943 with Alfredo Casella in Rome and Siena, and Giovanni Anfossi in Milan. Later he studied with Arturo Benedetti Michelangeli, receiving his diploma from the Conservatory of Parma in 1946. Michelangeli introduced him in 1938 to the music of Arnold Schoenberg, which affected him profoundly and caused him to develop a tremendous interest in the Second Viennese School. During the war, he gained access to Schoenberg’s scores through Luigi Rognoni, with whom he was studying. By 1940, Schoenberg’s influence was clearly at work in Togni’s Prima serenata for piano, and his new-found technique came to full flower in the Variazioni for piano and orchestra (1945–46), with which he made his compositional debut at the 1946 Venice Festival of Contemporary Music. In 1949, together with Luigi Dallapiccola and Bruno Maderna, he addressed the First International Dodecaphonic Congress in Milan. From 1951 to 1957 he attended the Ferienkurse in Darmstadt, but he found the turn toward aleatoricism there, beginning in 1957, alien to his nature, and did not return until he was invited back in 1990.

From 1960 to 1961, he taught courses on contemporary music at the University for Foreigners in Florence. From 1977 to 1988 he held the chair of the Advanced Course in composition at the Conservatory in Parma. Starting in 1989 he taught the special courses in composition at the School of Music in Fiesole. Amongst the most widely admired works from his post-Darmstadt period are the Charles d'Orléans settings, Rondeaux per dieci (1963–1964), which acquires a "torpid expressivity" through the juxtaposition of the coolness of an extremely high lyrical soprano voice and the resonance of the instrumental bass register. It was awarded the 1965 ISCM Prize for chamber music. His last project was a trilogy of operas on texts by Georg Trakl, a poet whose works had engaged Togni’s attention since 1955. The first part, Blaubart, was composed between 1972 and 1975, and the second part, Barrabas, between 1981 and 1985. However, the planned third part, Maria Magdalena, remained unwritten at the time of his death in Brescia in 1993.

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Barrabas, ópera lírica (1981–1985). Comienzo.

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 Asunto: Re: La otra ópera
NotaPublicado: 07 Ene 2021 21:14 
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Ubicación: Madrid
Hoy es jueves...

¿Año nuevo, día nuevo?.


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 Asunto: Re: La otra ópera
NotaPublicado: 07 Ene 2021 21:56 
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:lol: No, son los efectos de la cuarentena. Efectivamente tocaba mañana. :wink:

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