Search Results

1 - 7 of 7 items :

  • "vocals parts" x
Clear All

Abstract

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.

, Gloria, Credo, Sanctus and Agnus Dei, was written for a large force. The vocal parts consist of a mixed choir ((sopranos, altos, tenors, basses) a mezzo-soprano solo; the instrumental parts consist of wood wind instruments ( ute I and II, oboe I and II, bassoon I and II, clarinet I, II and III, bass clarinet, soprano saxophone, alto saxophone I and II, tenor saxophone I and II, and baritone saxophone), brass instruments (horn I, II, III and IV, trumpet I, II, III and IV, tenor saxhorn I and II, baritone saxhorn, tuba I and II), and, additionally, the piano and

uide o e ri i a r a ersio o o D o s Mass i D a or us udi a ri i a o ariso o e u is ed di io s 4) 5) for chorus, organ, violoncello and double-bass Musicalia 1–2 / 2017 Elsnic’s fair copies (E1, E2) 7 8 - 9 - 10 11 - 12 Mše ro s še s or s r ode ar a io o e a o ra ass - 13 - 6) o D o ores o de e a do u e 7) 8) o ards a s e a o e M sour es o D o s Mass i D 9) 10) 11) 12) 13) o er s 14) Haig Utidjian Musicalia 1–2 / 2017 - Vocal parts (V1–4) - - 17 Autograph of orchestral version (A2) 18 19 20 - 15) 16) o D o e a i a a

National Theatre in Prague.27 In his lengthy monograph, Škroup’s biographer Josef Plavec writes that the score to „Žižkova smrt“ is lost, but this is not the case. The score has been preserved in the music archives together with the orchestral parts. It should be added that the vocal parts are also available under the same shelf mark. (no. 6 – of God, no. 14 – no. 15 – Furthermore, he […] er stirbt und hinterläßt den Prokop Holý zu seinem Nachfolger. Die Scene beschließt das Husitenlied: “My jsme Boží bojovníci!”30 (He dies and leaves behind Prokop Holý to

a similar way, we can even view the entire score at one go – its complex construction, its instrumental and vocal parts (as in the already mentioned graphic scores). All this, however, is only a poor substitute for the true substance of music – not its essence. Music, apart from its poly- dimensional shape, also involves the spiritual component – the interaction of sublime emotions, which by nature cannot assume any unequivocal shape. In relation to sound, image can only be an allusion to, or a simulation of, its presence, but image is not capable of

. | (…) | dem H: Sucha vor Notten | 2. [fl.] 16. [kr.]” 51) NA Alžbětinky, shelf mark Alž 39: “Kirchen Außgaaben Vor daß Jahr Christi 1759. | (…) | Vor 1 Harffen und Musical Events at the Prague Convent of Elizabethan Nuns in 1776 and the visitation records, it can be seen that there were nuns at the convent who sang bass vocal parts,52 so nothing in this respect would have prevented a performance of Operetto by the convent’s own forces within their enclosure. Jáchym Štěpanovský and the Elizabethan Nuns The composer and cantor Jáchym Štěpanovský also made a contribution

of Mařenka. Of the preserved vocal parts, the one that belonged to Karl Lindau (whose real surname was Gemperle, 1853–1934), the performer of the role Principál, is especially informative. Lindau was Viennese, and like karl Streitmann and Hans Pokorny, he got his start as an actor. He made his debut in 1870 in Graz in the title role of Schiller’s Don Carlos, but he turned himself into a superb comic actor. His lively, vivid acting at the Theatre an der Wien made him a favorite with the public. The solo parts were taken from the vocal score of the opera