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Relevant bibliographies by topics / Sacred Libretto

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Academic literature on the topic 'Sacred Libretto'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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Journal articles on the topic "Sacred Libretto"

1

Champonnois, Cécile. "Le mélange du sacré et du profane dans les livrets de tragédies lyriques du librettiste Nicolas-François Guillard (1752-1814)." Quêtes littéraires, no. 3 (December 30, 2013): 48–57. http://dx.doi.org/10.31743/ql.4604.

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Nicolas François Guillard (1752-1814) was one of the best librettists of the Tournant des Lumières. The libretto of Proserpine by Quinault, set to music by Lully at the end of the seventeenth century, was adapted by Guillard and once again set to music by Giovanni Paisiello in 1803. Six years later, in 1809, La Mort d’Adam, adapt-ed by Guillard from Friedrich Gottlieb Klopstock’ Der Tod Adams (1757), was set to music by Jean-François Lesueur. These rewritings, with religious or sacred topics staged for a secular theatre by Guillard, are very different from the original works and tend to be family dramas: he then transforms them into secular works with secular content. Human sacrifices are present in these works but seem to feature here for family reasons and not only for religious purposes. Divinities are presented by the librettist as human beings, whose family roles are predominant. The sacred and the profane are mixed in these two librettos, changed into hybrid works. Guillard seems to use the same model to adapt historical, mythological or religious works, which means that the role and the impor-tance of the religious in the works staged at the Académie Impériale de Musique in the period of the Tournant des Lumières has to be examined.

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2

REUL, BARBARA M. "CATHERINE THE GREAT AND THE ROLE OF CELEBRATORY MUSIC AT THE COURT OF ANHALT-ZERBST." Eighteenth Century Music 3, no. 2 (September 2006): 269–309. http://dx.doi.org/10.1017/s1478570606000613.

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As Empress of Russia, Catherine the Great (1729–1796) shaped not only history in general but also, as a member of its princely family, the history of Anhalt-Zerbst. Drawing upon little known eighteenth-century manuscripts housed at the Landeshauptarchiv of Saxony-Anhalt in Dessau and the Francisceumsbibliothek in Zerbst, this study assesses the impact of Catherine’s marriage in 1745 to Grand Duke Peter of Russia (1728–1762) on musical life at the court of Anhalt-Zerbst during and after the thirty-six-year tenure of Kapellmeister Johann Friedrich Fasch (1688–1758). First the role of music at the court prior to 1745 will be considered – specifically the ‘Concert-Stube’, an inventory of the Hofkapelle’s musical library prepared according to Fasch’s specifications in March 1743. The second section of this article focuses on the celebrations held at the court in 1745 on the occasion of Catherine the Great’s wedding. The Hofkapelle premiered a large-scale serenata by Fasch, the music to which has been lost. However, an examination of the extant libretto and of other music by Fasch that was performed at the court during the 1740s sheds light on the musical forces he would have employed and the compositional approach he might have taken. The Hofkapelle also performed a secular wedding cantata for bass solo and instruments by an anonymous composer as part of a spectacular fireworks display in three acts, the ‘Anhalt-Zerbstisches Freuden-Feuer’ (Fire of Joy), chronicled by Zerbst headmaster Johann Hoxa. Finally, it is possible to reconstruct a performance schedule of sacred music premiered in honour of Catherine the Great from 1746 to 1773. Despite Fasch’s death in 1758 and the Seven Years War, which led to the town of Zerbst being occupied by 16,000 Prussian soldiers for three years until 1761, new music was commissioned by the court from Fasch’s successor Johann Georg Röllig (1710–1790), Catherine the Great’s keyboard instructor at the court of Anhalt-Zerbst. He not only provided occasional compositions to commemorate her birthday and accession to the Russian throne but also composed a new cycle of Sunday cantatas to reflect the changing artistic priorities and practices of the Hofkapelle in the early 1760s.

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Rathey, Markus. "Setting the Stage: Drama, Libretti and the ‘Invention’ of Opera in Leipzig in the 1680s." Cambridge Opera Journal 29, no. 3 (November 2017): 287–311. http://dx.doi.org/10.1017/s0954586718000010.

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AbstractThe opera house in Leipzig opened its doors in 1693. Operas had been performed in central Germany for quite some time but they were primarily confined to courts. With the founding of the opera, Leipzig, home of an important trade fair, provided an additional musical attraction that could entertain merchants coming for the fair. While the year 1693 marks the beginning of regular opera performances in Leipzig, the preceding decades saw an increased interest in dramatic genres in the realms of both secular and sacred music. The connection between these dramatic works and the opera house are not just circumstantial. Some of the key players in the opera business in Leipzig were involved in these earlier pieces as well, especially the poet Paul Thymich, the first librettist for the Leipzig opera, who provided the majority of texts for the drammi per musica, Singspiels and sacred cantatas.

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Smith, R. "Handel's Israelite Oratorio Libretti: Sacred Drama and Biblical Exegesis. By Deborah W. Rooke." Music and Letters 93, no. 4 (November 1, 2012): 602–5. http://dx.doi.org/10.1093/ml/gcs083.

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5

Bell, R. H. "Handel's Israelite Oratorio Libretti: Sacred Drama and Biblical Exegesis. By DEBORAH W. ROOKE." Journal of Theological Studies 65, no. 1 (November 22, 2013): 173–77. http://dx.doi.org/10.1093/jts/flt187.

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Cataldo, Jeremiah W. "Handel’s Israelite Oratorio Libretti: Sacred Drama and Biblical Exegesis, by Deborah W. Rooke." Relegere: Studies in Religion and Reception 3, no. 2 (2013): 430–34. http://dx.doi.org/10.11157/rsrr3-2-618.

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7

Hochradner, Thomas. "Revived is the Lord... : Two Readings of a Dramatic Approach in Music." Musicological Annual 50, no. 2 (April 3, 2015): 213–21. http://dx.doi.org/10.4312/mz.50.2.213-221.

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To envision the non-presentable is a venture. This will only succeed if a conventional frame is going to secure the intention, if the composer is able to release extraordinary creative potential and the audience is endowed with effectual imagination. A comparison of Georg Friedrich Handel’s early oratorio La Resurrezione HWV 47 (1708) and Franco Alfano’s opera Risurrezione, premiered 1904, which is based on a libretto by Cesare Hanau after Lev Tolstoy’s novel Resurrection, makes it clear that certain structures – of the works’ dispositions as well as the musical realizations – help to avoid any danger of irrelevance or chauvinism. Whereas Handel’s approach is a sacral, Alfano’s a secular one, both times a starting position for the composer arises which basically incites a link between the antithetic spheres. Further on not similarities, but possibilities to individualize a topic are questioned, a topic which – notwithstanding the attraction of characterizing a transcendental area compositionally – has scarcely been taken up in the course of music history.

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Leaver, Robin A. "Deborah W. Rooke, Handel's Israelite Oratorio Libretti: Sacred Drama and Biblical Exegesis (Oxford: Oxford University Press, 2012), pp. xxii + 256. £75.00/$150.00 (hbk)." Scottish Journal of Theology 69, no. 1 (January 25, 2016): 103–4. http://dx.doi.org/10.1017/s0036930614000519.

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9

ERHARDT, TASSILO. "DEBORAH W. ROOKE HANDEL’S ISRAELITE ORATORIO LIBRETTI: SACRED DRAMA AND BIBLICAL EXEGESISOxford: Oxford University Press, 2012 pp. xxii + 256, isbn987 0 19 927928 9." Eighteenth Century Music 12, no. 1 (February 17, 2015): 96–98. http://dx.doi.org/10.1017/s1478570614000414.

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10

Bruhn, Siglind. "Explorations of Universal Order and Beauty in Paul Hindemith’s Symphony Die Harmonie der Welt." Nordic Journal of Aesthetics 21, no. 39 (August 15, 2010). http://dx.doi.org/10.7146/nja.v21i39.3004.

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On 11 August 1957, the Munich Opera Festival premiered a recently completed opera by the celebrated German composer Paul Hindemith, Die Harmonie der Welt. Hindemith bases the dramaturgical and musical features of this opera on the scientific and spiritual content found in the writings of the 17th-century mathematician, astronomer and philosopher Johannes Kepler. Six years before he started working on this opera, the composer responded to a commission received from the Swiss conductor and patron of contemporary composers, Paul Sacher, by quickly composing and sending off the Symphony Die Harmonie der Welt which, as the composer writes in the program book for the first performance, “develops passages from the opera” in three movements entitled with terms taken from Boethius: I Musica instrumentalis, II Musica humana, and III Musica mundana. What are we to make of the explanation that the symphony “develops passages” from a work of which as yet nothing, neither libretto nor music, existed on paper? I want to show that it is tempting to assume a creative process that matures from the spiritual and aesthetic idea through a composition of musical material into components that would later serve both an instrumental and a music-dramatic representation of the subject.

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Dissertations / Theses on the topic "Sacred Libretto"

1

Varka, Natassa Elizabeth. "Charles Jennens's collection of Handel's sacred oratorios from 'Saul' to 'Jephtha' : sources, contexts, and revisions." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/285703.

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Charles Jennens (1700-1773), the librettist of 'Saul', 'Messiah', 'Belshazzar', the final part of 'L'Allegro, il Penseroso ed il Moderato', and probably 'Israel in Egypt', amassed a huge library of music that forms the bulk of what is now known as the Aylesford collection. Jennens's collection of Handel's music was unique among those of his contemporaries, not only because it includes part-books, but also because it is unusually comprehensive. The dissertation focuses on his copies of the sacred oratorios beginning with 'Saul' (1739) because most of the collection was copied in the 1740s, the sacred oratorios were the works that Jennens was most interested in, and 'Saul' was his first collaboration with Handel. As many of these manuscripts have not been the focus of modern scholarly attention, I first establish how, when, and by whom each manuscript was copied, in order to achieve a greater understanding of how and when Jennens assembled his collection, and what his reasons were for doing so. This close study of the manuscripts reveals that Jennens made extensive alterations to the verbal text, the structure, and the music of several oratorios in his collection. His amendments to 'Saul' and 'Belshazzar' shed light on his collaboration with Handel; and his amendments to 'Samson' and 'Joseph and his Brethren' provide insights into his attitude to Handel in the mid-1740s, his approach to word-setting, his views on the adaptation of Scripture for oratorio, and his beliefs and commitments. Jennens was a highly educated man whose activities were informed by two deeply held, conflicting allegiances: to the Anglican Church and to the deposed Stuarts. An examination of how he harnessed Handel's music to deliver his religious and political messages leads to a richer and more profound understanding of the works, of the relationship between Jennens, Handel, and Handel's music, and of their place in the religious and political context of the mid-eighteenth century.

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Samson, Sylvain. "Saint Exupéry et Villiers de l'Isle-Adam : Les épicentres de la construction de l'Univers, du parcours et de la figure du héros dans le Théâtre de Luigi Dallapiccola : une esthétique du sacré et de l'initiatique." Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2031.

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L’opéra occupe une place essentielle dans la pensée de Luigi Dallapiccola (1904-1975). Ses deux premiers opéras, Volo di notte et Il Prigioniero, sont influencés par Antoine de Saint Exupéry (1900-1944) et Auguste de Villiers de l’Isle-Adam (1838-1889). Ces deux auteurs, fondamentaux pour l’ensemble du corpus musico-théâtral du compositeur, s’avèrent décisifs dans sa conception de l’Univers, du Parcours et de la Figure du Héros : ils annoncent une esthétique du Sacré et de l’Initiatique. En écrivant lui-même ses livrets, Dallapiccola retravaille ses sources, qu’il questionne et qu’il associe à une littérature riche. Le héros traverse un cheminement méandreux, entre ombre et lumière, rêve et cauchemar, liberté et prison. Exaltation sereine et effroi se conjuguent, mythe et religion sont investis : ils génèrent un espace sacré du héros. Les lectures, littéraire, musicale, mais aussi philosophique et anthropologique, découvrent un parcours semé d’épreuves, voyage initiatique teinté de solitude, d’angoisse et de souffrance. Le héros évolue au sein d’une triple structure, sacrée, initiatique et expressionniste. Luigi Dallapiccola construit une pensée de l’opéra transdisciplinaire, humaniste et visionnaire, qui interroge la thymie de l’Homme
Opera is the core of Luigi Dallapiccola’s thought (1904-1975). His first two operas, Volo di notte and Il Prigioniero are influenced by Antoine de Saint Exupéry (1900-1944) and Auguste de Villiers de l’Isle-Adam (1838-1889). These two authors, essential to the composer’s whole musical and dramatic corpus, are in fact at the root of the World, of the Journey and of the Figure of the Hero: they foretell an aesthetic of the Holy and of the Initiatory. When writing his libretti himself, Dallapiccola works on his sources, questioning them and associating them to a rich literature. The hero follows a tortuous path, amid light and shadow, dream and nightmare, freedom and jail. Serene Elation and dread mingle, myth and religion are treated: they create a sacred place for the hero. The readings, literary, musical but also philosophical and anthropological, reveal a treacherous course, an initiatory journey imbued with loneliness, fear and suffering. The hero evolves in a tripartite structure, sacred, initiatory and expressionist. Luigi Dallapiccola builds up a multi-disciplinary conception of opera, humanist, visionary, which questions Man’s mood

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Pegah, Rashid-S. "Handschriftliche Libretti von Domenico Lalli oder: von Neapel über Venedig und Arolsen nach Delhi." Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden, 2020. https://slub.qucosa.de/id/qucosa%3A70943.

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Domenico Lalli (eigentlich: Sebastiano Biancardi, 1679-1741) wird hauptsächlich als venezianischer Librettist wahrgenommen. Sicherlich liegt dies auch an seiner gelegentlichen Zusammenarbeit mit Antonio Vivaldi. Allenfalls ist noch von seiner Tätigkeit in Neapel die Rede. Tatsächlich finden sich in Beständen verschiedener früherer Hofbibliotheken eigenhändige Textbücher von Domenico Lalli, so beispielsweise in Dresden (Mscr.Dresd.Ob.48.e, Ob.48.f, Ob.48.g, Ob.48.ga) und in München. Ausgehend von solchen Textfunden werden Lallis Beziehungen zu Höfen im Heiligen Römischen Reich Deutscher Nation in den Blick genommen.

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Metzler, Patrizia. "Aria forms and chorus textures in Bach's early cantatas : the influences of Neumeister, Telemann, and Rosenmüller /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3269978.

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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007.
Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2722. Adviser: John Walter Hill. Includes bibliographical references (leaves 187-193) Available on microfilm from Pro Quest Information and Learning.

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Carriço, José Abel Nogueira Gonçalves. "“O Caloiro” (1913) de Josué Trocado (1882-1962) : um contributo escolar para o desenvolvimento social e cultural da Póvoa de Varzim." Master's thesis, 2008. http://hdl.handle.net/1822/8944.

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Dissertação de Mestrado em Estudos da Criança - Área de Especialização em Educação Musical
“O Caloiro” (1913) de Josué Trocado (1882-1962) - Um contributo escolar para o desenvolvimento social e cultural da Póvoa de Varzim é uma Tese de Mestrado efectuada sob a orientação do Professor Doutor Gerhard Doderer para ser apresentada na Universidade do Minho - Instituto dos Estudos da Criança, na Área de Especialização em Educação Musical. É uma investigação histórica que se concentra no passado musical da Póvoa de Varzim, mais propriamente no início do século vinte e especificamente na vertente do acontecimento musical. Num misto de estudo de caso ou de história de vida também se aprofundou o conhecimento sobre o autor da opereta/revista em destaque, com cuja obra culmina este trabalho. O trabalho inicia-se por um campo mais vasto, onde se faz uma resenha histórica sobre os géneros musicais versados com “O Caloiro” desde a sua génese até à forma, passando-se à sua recepção em Portugal, e por fim particularizando-se com a obra do autor biografado e com o seu impacto no seu meio, do qual também é feita uma breve análise social. Quanto ao autor, para além das notas biográficas complementa-se esta abordagem com grelhas preenchidas pelas composições que foram de possível recolha, desde a música profana até à sacra. Quanto à obra “O Caloiro”, faz-se a transcrição do libreto e da partitura a qual se introduz com uma breve análise. As fronteiras nos factos históricos diluem-se e por vezes o antes e o depois acontecem procurando reforçar a ideia de que não há consequente sem antecedente, o que permitiu uma certa divagação até aos dias de hoje, para que se entenda o que somos e a quem o devemos e para que não fique esquecido o devido reconhecimento. Na conclusão expressa-se a ideia de que a Póvoa de Varzim teve um valoroso passado musical, e para o comprovar registaram-se todas fontes consultadas.
“O Caloiro” (1913) de Josué Trocado (1882-1962) – Um contributo escolar para o desenvolvimento social e cultural da Póvoa de Varzim is a Master dissertation supervised by Professor Gerhard Doderer. It was presented to the Universidade do Minho - Instituto dos Estudos da Criança, Área de Especialização em Educação Musical. It’s a historical research focus on the musical past of Póvoa de Varzim. It covers the beginning of the 20th century and it deals mostly with musical event. Blending case study with biographical research, it provides an insight into the life and work of Josué Trocado. This dissertation begins with a historical review on music styles that are on the basis of “O Caloiro”, it further considers the reception of these styles in Portugal, and, finally, it focuses on the musical work of Josué Trocado, illustrating it with a list of the author’s compositions (sacred and secular music) and a transcription of both the libretto and the score of “O Caloiro”. There are very thin frontiers between historical events, between the present and the past, between before and after. Events tend to be recurrent and the deeper we enter into the past, the better we know ourselves in the present. This dissertation shall prove, in the end, that Póvoa de Varzim possesses a remarkable musical past which is fully acknowledged by all the sources registered in the text.

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Books on the topic "Sacred Libretto"

1

Rooke, Deborah W. Handel's Israelite oratorio libretti: Sacred drama and Biblical exegesis. Oxford: Oxford University Press, 2012.

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Handel's Israelite oratorio libretti: Sacred drama and Biblical exegesis. Oxford: Oxford University Press, 2012.

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Vanderhorst, Johnny. The pastor: Freedom in chains : full version. Bartlesville, Okla: Living Sacrifice Book Co., 2005.

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Mackintosh, E. Sherwin. New York City Church of Christ presents Upside down: A musical based on the Acts of the Apostles. N.Y., N.Y: S.L. Johnson, 1987.

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Vanderhorst, Johnny. The pastor: Freedom in chains : touring cast version. Bartlesville, Okla: Living Sacrifice Book Co., 2005.

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To whom it may concern: A musical celebration. New York: S. French, 1986.

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Entrekin, Mike. Embracing joy: A musical play celebrating the life of the King of Kings. [Prattville, Ala: First Baptist Church?], 2003.

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Bach, Johann Sebastian. Johannes-Passion ; Matthäus-Passion = Johannese passioon ; Matteuse passioon. Tallinn: Scripta Musicalia, 1995.

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Washburn, Jo An. A light in the wilderness: A Book of Mormon musical. Snowflake, AZ: Washburn's, 1990.

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Bach, Johann Sebastian. Johannes-Passion ; Matthäus-Passion ; Weihnachts-Oratorium ; Messe in h-Moll : Textausgabe. Stuttgart: Reclam, 2000.

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