35 Fantaisie . 1 . Favarger . 85 Piano and cabinet organ . 7 . Ketterer and Durand . 1.75 Fantaisie . Concert . 3 . Kunkel . ... 50 Fantaisie . Op . 60. 8 . Moelling . 75 Polka mazurka . 2 . Getze . 35 Fantaisie brilliante . Op . 128.
Author: Board of Music Trade (UNITED STATES OF AMERICA)
Op. 20 Henri Wieniawski. MUSIC LIB . M 1013 W63f 1909 & part WIENIAWSKI FANTASIE BRILLANTE 2 Fantaisie brillante sur des Motifs de l'Opera “ Faust. Front Cover.
Author: Henri Wieniawski
Category: Violin with orchestra
1 48 — Rosellen , H. Souvenirs de l'opéra Ernani , Fantaisie brillante . Op . 81 . 3 Divertissements espagnols . Op . 83 . N ° 1. La Giralda . 2. Valse andalouse . 3. Cabalos des Muletiers . 2 Divertissements sur le ballet La Esmiralda ...
Author: B. SCHOTT'S (SOEHNE, Music Publishers.)
Beaming Light 60 Mazurka Brilliant . The Squirrel Dance Grande Tarantelle , Farewell Meditation . Le Progres Polka Convent Grove Galop Fleurette Polka Carrie Galop de Bravoure to Arcadia -- Fantaisie Brilliante L'Union - Grande Marche ...
Beaming Light 60 Mazurka Brilliant . ... 60 Arcadia - Fantaisie Brilliante 75 L'Union -- Grande Marche Nationale The Press - Grand Triumphal March Our Country's ... Willie's Polka - 50 Souvenir of my Country 1.50 Grande Fantaisie .
For a period of close to half a century, French grand opéra, as exemplified by the works of Giacomo Meyerbeer and his school, was the preferred form of music for the theatre in most of the civilized world. During the July Monarchy, French grand operas, with their plots drawn from historical events, tended to be received as metaphors for current political themes. Meyerbee’s Le Prophète illustrates the complex, contested nature of political meaning during this period. This opera was set in the context of the emerging liberal historiography pioneered by Jules Michelet, and reactions to it illustrate the manner in which audiences and critics constructed ‘meanings’ with reference to their personal and collective experience and memories, with grand opera occupying a central role at that time. Le Prophète was once one of the most famous of operas, performed over 500 times at the Paris Opéra, and given throughout the civilized world, in the days when opera was ever-present in society. The plot has been called absurd, based as it is on the history of the Anabaptists in Münster (1534-35). However, history is far stranger than fiction, and Eugene Scribe’s libretto provides a modification of the garish facts in the interests of a highly symbolic scenario based on a tragic Reformation episode, and exploring the implication of the role of religion, power and politics in the fate of humanity. The music is powerful, gripping, and torrential in its flow. Each act is beautifully structured, each set piece crafted to perfection, dominated by an overwhelming sound world of instrumental colours and disturbing harmony. The ballet plays a vital function as a countersign to the human deeds of darkness and despair that characterize the action. The Coronation Scene is fascinating, and overwhelming in its impact, one of opera’s greatest moments. This study examines the origins and creation of the opera, its dramaturgy and musical style, the history of its astonishing reception around the world until the 1930s. One of the special features of this book is the collection of iconography associated with the work and its interpretation by many of the greatest singers of the Golden Age of opera.
Promenade Meyerbeer. Fantaisie brilliante pour piano sur les opéras de l'illustre maestro. Duvernoy Jean-Baptiste (1850). “Fantaisie sur l'opéra Le Prophète, de Meyerbeer, pour Piano,” Op. 182. Ehrlich, Alfred Heinrich (1852).
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
This Guide has resulted from years of research on the papers and music of Giacomo Meyerbeer, and aims to provide a bibliographical aid and point of reference for further research. The first part presents the private papers connected to the composer and his principal librettist, Eugène Scribe—both archival and printed, with working papers and correspondence, as found in Berlin, Paris and some of the famous libraries of the world. The body of Part 2 draws together all the known resources on Meyerbeer's life and historical reputation—from full scale biographies and entries in reference books, through critical discussions to website resources to records of symposia. The third part provides material about his background with its unique mixture of Jewish and Prussian elements, the powerful role of the city of Berlin in his life and work. The fourth part lists bibliographic material for Meyerbeer's music, looking at his operas, grouped as German, Italian and French, with each individual entry providing a record of the scores available, both modern and historical, the various arrangements made from the operas during the heyday of their popularity, reviews of modern performances, discography, and bibliography of studies and publications pertinent to the wider cultural and historical contexts of the works. The next two sections constitute an extended record of material pertinent to the contemporaries of Meyerbeer. In the fifth section are select bibliographies of composers, authors, artists, performers, politicians, those who played some part in the composer's life, or anyone of significance in his wider contemporary circumstances. This is continued in the sixth part where the cultural and aesthetic elements of the composer's milieu, or life in the theatre during seventy years of the nineteenth century, are listed. The seventh part adds a bibliography of social and historical background, where the incidental issues of Judaism in nineteenth-century Europe, and the wider political, historical and geographical circumstances of Meyerbeer's life, his relentless travelling, and closely recorded experiences in Germany, France, Italy, Belgium, England, and Austria. The eighth section provides a thematic key to this extensive material. Part 9 provides an extended tripartite series of lists of the published scores, arrangements and some special studies of Meyerbeer over the period 1820 to 2005—in alphabetical, chronological and thematic ordering. The last two sections furnish the modern equivalent of this record of Meyerbeer and his compositions, showing in Part 11 the list of performances of his operas since the Second World War, and in Part 12, listing the recordings of the operas, both commercial and private, for the same period. The thirteenth and last section is iconographical, pictures that represent an interesting survey of the popular response to Meyerbeer in the 19th century.
Trois Fantaisies sur Le Pardon de Ploërmel pour cornet à piston et piano, Op. 27. —. ... Fantaisie brilliante sur Le Pardon de Ploërmel pour Hautbois et piano. ... "Fantaisie on Meyerbeer's ... opera Dinorah ... for the Pianoforte.
Author: Marco Clemente Pellegrini
Publisher: Cambridge Scholars Publishing
But these operas are far more than imitations: they show an apprehension of convention and genre that is nothing less than a dismantling of accepted formulas, and a highly original reconstruction of them."--Jacket.
Guichard , M. " Trois Fantaisies sur Is Pardon de Ploërmel pour cornet à piston et piano . " Op . 27. 1859 . ... Fantaisie brilliante sur Le Pardon de Ploërmel pour Hautbois et piano . " Op . 11. 1859 . Hünten , Franz .
Author: Robert Ignatius Letellier
Publisher: Fairleigh Dickinson Univ Press
No description available.
... ca.1838) n.n. Fantaisie Brilliante on Verdi's Opera “I Lombardi” n.n. Fantaisie Brilliante on Verdi's Opera “Nabucodonosor” n.n. Fantaisie über den Israelittischen Leichenbegängnissen üblichen Ruf Potem Mitzwo40 n.n. A gigue, ...
Author: Mark Kroll
Publisher: Boydell & Brewer Ltd
Category: Biography & Autobiography
Linda di Chamouni , " fantaisie brillante , price 48. Copyright of Boosey and Sons ... THE GIRL I LEFT BEHIND ME ' ( Chimes of England ) , arranged by W. H. HOLMES in a brilliant and pleasing manner for the Pianoforte , price 3s .