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Stravinsky, Igor, & Robert Craft. Stravinsky, selected correspondence, 3 vols. London: Faber and Faber, 2008.
Stravinsky, Igor. Le Sacre du Printemps: Facsimile of the autograph full score. Basel: Paul Sacher Foundation; London: Boosey & Hawkes, 2013.
Stravinsky, Igor., & Viktor P. Varunts. Perepiska s russkimi korrespondentami: Materialy k biografii [Talks with Russian reporters: Materials for the biography]. Moscow: Kompozitor, 1998.
Taruskin, Richard. Defining Russia Musically
A musical inspiration, Don Pasqule by Gaetano Donizetti offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal scores - areas, duets, recitatives and vocal ensembles and to emphasize their musical achievement.
By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.
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2. Constantinescu, G. (1974). Hamlet by Pascal Bentoiu , in Journal Muzica , nr. 3/1974. Bucharest: Musical Publishing House.
3. Constantinescu, G. (1979). Cântecul lui Orfeu . Bucharest: Eminescu Publishing House.
4. Constantinescu, G. (2008). Splendorile operei . Dicționar de teatru liric . Bucharest: Didactic and Pedagogical Publishing House.
5. Cosma, M. (2001). Opera în România privită în context european. Bucharest: Musical
In the diverse space of contemporary music, the fascinating and controversial personality of the Welsh composer Karl Jenkins, which is surprising from several perspectives, stands out. Open to assimilating and processing music from various sources (academic, liturgical, folk, entertainment, oriental, exotic), the all-round musician Karl Jenkins impresses the public with unexpected artistic choices, giving up the hypostasis of instrumentalist of the jazz-rock band Nucleus and of the group Softmachine in favour of the postmodern creator he has become today, synthetizing trends from musical compositions of the last decades of the 20th century. Once with the return to the functional system, either through minimalism or through neo-romanticism, the artist has successfully covered a potential sonority path of modern opposites, also evoking references to creative models of the past. We are referring to the musical valorizing of the sacred in a synthetic vision between tradition and innovation, in the works included in the Adiemus cycle, in the opus choir Missa for Peace and, more particularly, in the Requiem (2005), a significant score in the contemporaneity. The manner in which the composer, while resorting to a musical genre originating from the Roman Catholic cult and drawing on the liturgical text of the Mass for the dead, inserted Japanese poetry, written following the structure of haiku, belonging to representative authors - Gozan Koshigaya, Issho Kosughi, Hokusai Katsushika, Kaga-no-Chiyo, is highly surprising. This study aims to highlight the interweaving imagined by Karl Jenkins between the two cultures as well as to conduct a semantic analysis of an opus in which the relationships between music and words entail a highly emotional response.